Yale University Library

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YALE UNIVERSITY
LIBRARY

EDWIN J. BEINECKE, '07
FREDERICK W. BEINECKE, '09 S
WALTER BEINECKE, '10
FUND

BIOGRAPHICAL AND CRITICAL
DICTIONARY

OF

PAINTERS AND ENGRAVERS.

BIOGRAPHICAL AND CRITICAL
DICTIONARY OF
PAINTERS AND ENGRAVERS,
FROM THE
REVIVAL OF THE ART UNDER GIMABUE,
AND THE
ALLEDGED DISCOVERY OF ENGRAVING BY FINIGUERRA,
TO THE PRESENT TIME:
WITH THE
CIPHERS, MONOGRAMS, AND MARKS, USED BY EACH ENGRAVER ;
AND AN AMPLE LIST OF THEIR PRINCIPAL WORKS.
TOGETHER WITH
TWO INDEXES,
ALPHABETICAL AND CHRONOLOGICAL.
TO WHICH IS PREFIXEB,
AN INTRODUCTION,
CONTAINING
% T&wi Account of t$z Maimer* tst ®ntwiW

MICHAEL BRYAN.
IN TWO VOLUMES.
VOL. II.

OMNESAKTES QUE AD HOMANITATEM PERTINENT, HABENT QUODAM COMMUNE VINCULUM, ET QUASI COGNATIONE
INTER SE CONTINENTUR.  CICLltO.

LONDON:
VRINTED FOR CARPENTER AND SON, OLD BOND STREET; J. BOOKER, NEMr BOND
STREET; AND WHITTINGHAM AND ARLISS, PATERNOSTER-ROW.
181(5.

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A

BIOGRAPHICAL AND CRITICAL
DICTIONARY

PAINTERS AND ENGRAVERS.

M
MAAN.
MAAN, or Man, Cornelius. This artist was born at Delft in 1621. He was in-
structed in the rudiments of the art by an obscure painter, and having a strong inclina
tion for travel, he went to Paris when he was very young, where he met with sufficient
encouragement to supply him with the means of extending his journey to Italy, which
was the ultimate object of his wishes. He travelled through Lyons to Lombardy, and
made a stay of two years at Florence, where he executed some considerable works for a
nobleman, who was desirous of retaining him longer, had not his anxious wish to visit
Rome prevailed over the flattering offers which were made to him. Arrived in the
metropolis of art, he was indefatigable in his studies, and by the most assiduous applica
tion, during a residence of three years, he became an able and correct designer. He
afterwards went to Venice, where the works of Titian, particularly his portraits were
the chief objects of his attention. He at length returned to Holland, after an absence
of nine years, and established himself in his native city, where he distinguished himself
as a painter of history and portraits, in the latter of which he particularly excelled.
One of the most admired paintings at Delft, is a large picture, by C. Maan of the
portraits of the most eminent medical characters of his time, painted for the hall of
the surgeons, which has more of the attributes of the Venetian than the Dutch school.
He died in 1 706, aged 85.
Vol. II. A

2 MAA MAA
MAAS, or Maes, Arnold. He was born at Gouda in 1620, and was a scholar of David
Teniers-the younger. He painted, with considerable success, similar subjects to those
of his instructor. Village festivals, wakes, and merry-makings, are the subjects of his
pictures, which are ingeniously composed, and touched with neatness and spirit, though
infinitely inferior to those of his charming model. Aspiring to a higher department of
the art, he visited Italy, for the purpose of studying the works of the great historical
painters. After residing a few years at Rome, he returned to Holland, and died soon
after his arrival. M. Descamps asserts, that he etched some plates, and was instructed
in engraving by Renier Persyn ; but I have never met with any of his prints, nor is he
mentioned as an engraver by any other authority.
MAAS, or Maes, Dirk, or Theodore. This painter was bora at Haerlem in 1656. After
studying some time under Henry Mommers, he became a scholar of Nicholas Berghem,
whose works were in the highest estimation ; but by a singular capriciousness of dispo
sition, was induced to leave that admirable painter, to place himself under John van
Huchtenburg, the battle-painter, whose style he afterwards followed with considerable
reputation. He studied, with great attention, the design and anatomy of the horse,
and drew that animal in all its various attitudes with surprising correctness. He painted
battles, skirmishes, huntings, and horse-fairs ; and his pictures were ingeniously com
posed, and touched with an intelligent and spirited pencil. He visited England in the
reign of King William, where he met with some encouragement, and, among other
works, painted the Battle of the Boyne, for the Earl of Portland, of which there was a
print engraved in two sheets. We have a few very spirited etchings by this artist;
among which is a Cavalier on horseback ; fine, and scarce.
MAAS, or Maes, P. By this artist, who was probably a relative of Dirk Maas, there is
an etching, in a slight but spirited style, of the Virgin and Child, with two angels,
which appears to be the work of a painter. It is inscribed, P. Maas, fecit, in aqua forti.
MAAS, or Maes, Nicholas. He was born at Dort in 1632, and after being instructed in
the rudiments of design by an obscure artist in his native city, he went to Amsterdam
where he entered the school of Rembrandt. Under that master he became an excellent
Colourist, and on leaving his academy, distinguished himself as a painter of historical
subjects of a small size, which, in richness of tone and harmony of effect, approached
the admired works of Rembrandt ,• but finding portrait painting a more profitable pur
suit, and possessing a surprising facility, he adopted that branch, in which he became
one of the most successful artists of his time. He died in 1693, aged 61.
MAAS, or Maes, Godfrey. An eminent painter of the Flemish school, born at Antwerp
in 1660. He was the son of an indifferent painter, by whom he was taught the elements
of design ; and it does not appear that he had the advantage of superior instruction.
He was, however, environed by the chef-d'ceuvres of Rubens, Vandyck, and the other
distinguished artists of his country; and by an assiduous study of them, aided by a
decided disposition for the art, he became one of the most celebrated historical painters
of his time. The churches in the different cities of the Netherlands bear ample testi
mony of his ability; but it is at Antwerp that he is seen to the greatest advantage;

MABUSE. 3
though surrounded with the works of the many able painters who had preceded him-
In the cathedral of that city is a fine picture by this master of the Death of St. Lucia;
and in the church of St. George, is his celebrated altar-piece, representing the Martyrdom
of that saint. In the church of the hospital is a picture of the Assumption of the
Virgin, composed and painted in the great style of Rubens. In 1682, he became a
member of the Academy at Antwerp, 6n which occasion his picture of reception was
an emblematical subject of the liberal arts, which is one of the admired pictures of their
hall. His compositions are ingenious aud copious, his design more correct than is usual
in the works of the Flemish painters, and, like the generality of his countrymen, he was
an excellent colourist.
MABUSE, or Malbeugius, John de. This extraordinary, artist was born at Maubeuge, a
small town in Hainault, according to Harms, in the chronological Tables, in 1492, M.
Descamps says, in 1499. Both these dates are, however, erroneous, as he was in Eng
land in the reign of Henry VII., whose portrait he painted, with that of Prince Arthur,
who died in 1502. He was a contemporary, and nearly of the same age, with Albert
Durer, who was born in 1470. It is no where mentioned by whom he was instructed,
but he had the advantage of studying in Italy, and was one of the first artists of his
country who attempted to reform the dry stiff style that prevailed before him. His works
were of sufficient merit to excite the curiosity, and to obtain the applause of Albert
Durer, and Lucas of Leyden, both of whom visited him, and expressed the most
marked admiration of his works. To appreciate the extraordinary merit of John de
Mabuse, it is necessary to have seen his genuine pictures, instead of the wretched rem
nants of gothicity which are frequently ascribed to him. His colouring is fresh and
clear, his design as correct as that of Albert Durer, and much in the style of that master;
and his pictures are of a finish so precious and polished, that they are not surpassed by
the surprising productions of Mieris and Gerard Douw. One of his admired works was
a picture of the Descent from the Cross, painted for a church at Middleburg, which was
considered one of the most surprising productions of the age. His most capital and
distinguished performance was a picture painted for the altar-piece of the church of the
Abbey at Grammont ; it represents the Wisemens' Offering, a composition of several
figures, admirably grouped, with a fine expression in the heads ; and the draperies, and
ornamental accessaries, coloured and finished in the most beautiful manner. It appears
by the register of the Abbey, that this admirable production occupied the painter seven
years, and that he was paid two thousand golden pistoles for his labour. When Albert
and Isabella were governors of the Netherlands, they purchased it of the monks, and
placed it in the private chapel of their palace. After the death of Prince Charles of
Lorraine, it was sold, with the rest of his pictures, and was afterwards brought to this
country. It is now in the possession of the Earl of Carlisle. We are informed by
Karel van Mander, that John de Mabuse visited England, which is proved by the various
portraits which remain by him in this country of the Royal Family and the nobility.
Among others, there is at Windsor a picture of Arthur, Prince of Wales, with Prince
Henry, and the Princess Margaret, which is engraved by Vertue. It appears that he
died in 1532, from an inscription on a print of his portrait, published by Galle, Fuit
Hanno patria Malbodensis ; obiit Antwerpia anno, 1532. His death is dated by M.
Descamps in 1562. A 2

4 MAC MAC
MACCHI, Florio. According to Malvasia, this painter was a native of Bologna, and a
worthy disciple of Lodovico Caraeci. He flourished about the year 1620, and painted
several pictures for the churches at Bologna. In S. Andrea del Mercato, is a picture by
him of the Crucifixion, with two laterals ; and in la Morte, the Raising of Lazarus. But
his most admired work is his fine fresco of the Annunciation, in the church of II Spirito
Santo, which has been frequently mistaken for a work of Lodovico. Florio Macchi is
mentioned by Orlandi, in the Abecedario, as an engraver, but his prints are no where
specified.
MACCHIETTI, Girolamo, called del Crocifissajo. This painter was born at Florence
in 1535. He was called del Crocifissajo, from his father being a carver of crucifixes.
After studying some time under Michele Ridolfo del Ghirlandajo, he became a scholar
of Giorgio Vasari, whom he assisted for six years in the works he executed in the Ducal
Palace at Florence. He afterwards visited Rome, where he studied two years. On his
return to Florence, he acquired considerable reputation by his two pictures of the Ado
ration of the Magi, in S. Lorenzo, and the Martyrdom of S. Lawrence, in the church of
S. Maria Novella. His best works are at Naples, Pisa, and Benevento. Lanzi asserts,
that he resided some time in Spain.
MACE, or Macee, Charles. A French designer and engraver, born- at Paris about the
year 1631. He was employed by M. Jabach to make designs from his celebrated collec
tion of drawings, and to etch them. The set consists of two hundred and eighty prints,
engraved by this artist, in conjunction with the two brothers Corneille, Rousseau, and
Pesne. M. Huber attributes to Mace a set of twelve etchings from landscapes, with
biblical subjects, after Benedetto Castiglione. They are executed in a bold and free
style.
MACE RATA, Guiseppino da. This painter was born at Macerata about the year 1600,
and is said to have been a disciple of Agostino Caraeci. His style exhibits the prin
ciples of that school, as is evident in his works in the two colleges at Fabriano ; of the
Annunciation, painted in oil, at S. Niccolo;and his frescos, in S. Venanzio, representing
some of the miracles of the Apostles; which are distinguished by the fine expression of
the heads, and the grand style of their composition. In the church of the Carmelites
at Macerata, is a picture by him of the Virgin and Infant, with a glory of angels, and
S. S. Nicola and Girolamo ; and at the Cappuccini, Christ giving the Keys to St. Peter
both of which are stamped with the character of the school of the Caraeci. The latter
is so nearly the composition of Guido's picture of the same subject, in the church of the
Filippini at Fano, that it may almost be considered as a copy. It is signed, Jos. Ma.
faciebat. 1630.
MACRET, Charles Francis Adrian. A modern French engraver, born at Abbeville in
1752, and died at Paris in 1783, aged 31. He was a pupil of N. G. Dupuis, and en
graved a few plates in a neat pleasing style. Among others, we have the following by
him :
Christ and the Woman of Samaria ; after Vanderwerf.
The Arrival of Rousseau in the Elysian Fields ; after Moreau.
The Reception of Voltaire in the Elysian Fields ; after Fauvet.

MAD MAG 5
The Sacrifice to Cupid ; after Greuze.
The First Fruits of Self-love ; after Gonzalez.
MADDERSTEG, Michael. This painter was born at Amsterdam in 1659, and is called
by Houbraken the ablest scholar of L. Backhuysen. His sea-pieces and storms ap
proach so near to the pictures of that master, in the forms of his vessels, the movement
of the waves, and the lightness of the skies, that they are sometimes mistaken for those
of Backhuysen. He was invited to the court of Berlin, where he passed the greater
part of his life. He died in 1709, aged 50.
MAENNL, Jacob. Mannl.
'if':'
MAES. See Maas.

MAFFEI, Francesco. This painter was a native of Vincenza, and a scholar of Santo
Peranda, though he afterwards became a follower of the style of Paolo Veronese. He
flourished about the year 1640, and painted history with considerable reputation. He 'is
accused by Boschini of extravagance and manner, and is styled by that author " A
painter of giants;" but there appears in his works an originality of design, accompanied
by a grace, which acquit him of the accusation of being a mannerist. His picture of
S. Anna, in the church of S. Michele at Vincenza, and other works by him in the public
palace, exhibit a poetical fancy, and are coloured in the best style of the Venetian
school. It is to be regetted, that he adopted a hasty and slight mode of finishing his
pictures, little calculated to preserve his reputation to posterity, as many of them have
already become nearly obliterated. Of his large picture of Paradise, in the church of
S. Francesco at Padua, scarcely a trace remains.
MAGANZA, Giovanni Batista, the elder. He was born at Vincenza in 1509, and was
the head of a family of artists, who did credit to their country. He was brought up in
the school of Titian, whose style he followed with some success. He was more distin
guished as a painter of portraits than historical subjects; but in the few he has left he
evinced a chaste and refined taste. He was one of the reputable poets of the day and
published several works under the name of Magagno. He died in 1589, aged 80.
MAGANZA, Alessandro. He was the son of the preceding artist, bora at Vincenza in
1556. After receiving some instruction from his father, he became a scholar of Giovanni
Antonio Fasolo, and studied the works of Paolo Veronese, and Zelotti. His principal
works are the Adoration of the Magi, in the church of S. Domenico ; and the Martyr
dom of S. Giustina, in S. Pietro ; at Vincenza. He died in 1630, aged 74.
MAGANZA, Giovanni Batista, the \ounger. This artist was the son and scholar of
Alessandro Maganza, born at Vincenza in 1577. He painted history in the style of
his father, to whom he showed himself little inferior in his picture of S. Benedetto in
the church of S. Giustina at Padua. He assisted Alessandro in many of his principal
works at Vincenza, where he died of the plague in 1617, aged 40.

6 MAG M,A1
MAGGI, Giovanni-. This artist was a native of Rome, and flourished about the year
1600. He painted landscapes and architectural views, but is more known as an engraver
than a painter. In 1618 he published a set of plates of the principal fountains in Rome,
engraved in conjunction with Domenico Parasachi. He had undertaken to engrave the
plan of Rome, on a very large scale, with all the principal buildings ; but from the want
of encouragement he was not able to carry his object into execution. We have by him
the following prints :
A Landscape with Ruins and a Waterfall, with figures ; J. Mains, in. etfec. 1595.
Figura della Vita humana ; Joh. Maius,fec. 1600
The Portrait of a Cardinal ; as large a life.
MAGISTRIS/Simone de. This artist was a native of Caldarola, in the ecclesiastical
state, and flourished about the year 1585. He distinguished himself as a painter and
sculptor. His picture in the dome at Orsino, representing St. Philip and St. James,
paiuted in 1585, evinces a better style of composition than dexterity in the execution.
The works he produced at Ascoli, at a more advanced period of his life, particularly
his Madonna del Rosario, in S. Domenico, are highly applauded by Orsino in his Guida
d'Ascoli.
MAGLIAR, Andrea. An Italian engraver, born at Naples about the year 1692. He
engraved some plates after Francesco Solimeni.
MAGLIAR, Gioseffo. He was the son of the preceding artist, by whom he was in
structed in engraving, and gave unusual promise of ability, but died veiy young. He
engraved a plate representing Christ appearing to S. Guglielmo ; after Solimeni.
MAGNANI, Cristofano. This painter was born at Pizzichettone, a castle in the vicinity
of Cremona, and was a scholar of Bernardino Campi. He flourished about the year
1580, and painted history and portraits with no little reputation. He is said to have
possessed so retentive a memory, that he could draw the likeness of any person he had
once seen, of a most correct resemblance. He painted some considerable works in
fresco, in conjunction with Cavaliere Malosso and Mainardi.
MAGNASCO, Alessandro, called Lissandrino. He was born at Genoa in 1681, the son
of Stefano Magnasco, an obscure painter, who had been a scholar of Valerio Castelli.
He studied at Milan, under Filippo Abbiati, and though he painted on a smaller scale
and different subjects from those of his instructor, he acquired the boldness and spirit
of his touch. He painted public processions, military exercises, and subjects called by
the Italians Bambocciate, and is styled by Lanzi the M. A. delle Battaglie of the Genoese
school. There are several of his pictures in the Palazzo Pitti at Florence where he
resided some time, and was particularly patronized by the Grand Duke Gio. Guastone-
He died in 1747, aged 66.
MAINARDI, Andrea, called il Chiaveghino. This painter was a native of Cremona
and flourished from the year 1590 till 16 13. He was brought up in the school of Ber
nardino Campi, and was one of his ablest disciples. In conjunction with his nephew
Marc Antonio Mainardi, he executed several considerable works at Cremona. One of

M A J M A J 7
his best pictures is the Marriage of S. Anna, in the church of the Eremitani ; a per
formance which would do honour to any school, in thebeauty of the forms, the splendour
of the vestments, and the pleasing and harmonious tones of its colouring ; a more intel
ligent conduct of the chiar-oscuro would have left little to be wished for. Unfortu
nately for his fame, he did not always bestow upon his works equal care and attention;
and some of them appear to have been the production of negligence and haste.
MAJOLI, or Majola, Clemente. He was born at Ferrara about the year 1640, and
studied at Rome under Pietro da Cortona. He was a reputable painter of history, and
some of his pictures in the churches at Ferrara, and in the Rotundo at Rome, are men
tioned in very favourable terms. In the church of S. Paolo, at Ferrara, is a picture of
S. Maria Maddalena de Pazzi ; and in S. Guiseppe, S. Niccolo da Tolentino, supported
by an angel.
MAJOR, Isaac A German painter and engraver, born at Frankfort about the year
1576. Early in his life he went to Prague, where he became a scholar of Roland Savery,
at that time painter to Rodolphus II. He was instructed in engraving by Giles Sadeler,
in whose style he engraved several plates, though very inferior to that artist. In the
execution of his prints he united the point with the graver. We have by this artist the
following: A set of six Landscapes, Views in Bohemia; after P. Stephani.
A set of nine romantic Views, numbered; Isaac Major, fee.
A very large Landscape, with 1 he figure of St. Jerome ; after Roland Savery. Isaac Major,
seal. Vienna;, 1622.
The Emperor in a Triumphal Car, with Swans and Eagles ; inscribed, Ite Triumphalis felices
&c.
MAJOR, Thomas. An eminent English engraver, born about the year 1715. He resided
some years of the early part of his life at Paris, where he engraved several plates after
Berghem, Wowermans, &c. On his return to England, he distinguished himself by a
variety of plates of portraits, landscapes, and other subjects, executed in a neat firm
style. In 1768, he published a set of twenty-four prints, entitled, The Ruins of Poestum,
otherwise Posidonia, in Magna Grczcia, after the designs of J. B. Bona. The following
are his principal plates : PORTRAITS.
John Carteret, Earl of Granville. 1757.

Cardinal Pole.

VARIOUS SUBJECTS.

The Departure of Jacob ; after F. Lauri.
The Good Shepherd ; after Murillo.
Two Landscapes ; after Gaspar Poussin.
A Landscape, with a Man driving Sheep ; after Rubens.
Two Flemish Festivals ; after Teniers.
TheJManege; after Wowermans.
The Travellers; after N. Berghem.

3 MAI MAL
Two Landscapes; Morning and Evening; after N. Berghem.
The Four Seasons ; after Ferg.
A View near Haerlem; after Vander Neer.
A Sea-port; after Claude.
A View of Ponte Mole, near Rome ; after the same.
MAIR. An old German engraver, who flourished about the year 1499- From the re
semblance of the style of his engraving to that of- Martin Schoen, it has been con
jectured that he was his disciple. His design is equally gothic; but he is very inferior
in every respect to that master. He is said to have been the inventor of that species
of engraving called chiar-oscuro. Among others, we have the following prints by him,
which are generally signed with his name, and dated about the year 1499-
Samson carrying the Gates of Gaza.
The Wisemens' Offering.
The Martyrdom of St. Sebastian.
A Man talking to a Woman, seen through the door of a house, with a Dog snarling at a Monkey.
The Virgin and Infant, with St. Anne.
The Virgin and Infant, with St. Joseph holding a Candle; in chjar-oscuro.
MAIR, Alexander. A German engraver on wood and on copper, who flourished about
the year 1660, and chiefly resided at Augsbourgh. We have by this artist some book
plates and frontispieces, executed with the graver in so masterly a style, that it is to be
regretted an engraver of such talents should not have been employed on more im
portant subjects. He engraved the Frontispiece to Velser's Dissertation on the Antiquities
of Augsbourg, published in 1596, and that of the Uranometria, by John Bayer, dated
1603. He usually marked his plates with the cipher j^.

e
ues

MAISON-NEUVE. A modern French engraver, mentioned by Basan. He engraved th
French Parnassus, from a bronze, and several portraits ; among which is that of Jaque
Theodore Klein.
MAITRE, Roux. See Rosso.
MALAGAVAZZO, Coriolano. This painter was born at Cremona about the year 1555
and was- a disciple of Bernardino Campi, who he assisted in some of his great works in
the church of S. Gismondo. He is more known as the coadjutor of that eminent artist
than by any original productions of his own. His principal work is his picture in the
church of S. Silvestro, at Cremona, representing the Virgin and Infant, with St. Francis
and St. Ignatius, which, according to Lanzi, is supposed to have been designed by
Bernardino.
MALEUVRE, Peter. A French engraver, born at Paris in 1740. He was a pupil of
Beauvarlet, and visited London, where he was for some time under Sir Robert Strange.
On his return to Paris he engraved some portraits, and other subjects, in a neat style.
We have, among others, the following by him :

MAL MAL 0

portraits.

Gustavus Adolphus, King of Sweden.
Count d'Aranda.
M. d'Alembert.
M. de Lalande. SUBJECTS.
The Dozer ; after Craesbeck.
The Satyr and the Peasant ; after Dietricy.
The Spoiled Child ; after Greuze.
A Sea-storm; after Backhuysen.
Boors regaling; after Brower.
The Bath of Diana ; after Marillier.
MALINCONICO, Andrea. This painter was bora at Naples about the year 1600, and
was one of the ablest scholars of Cavaliere Massimo Stanzioni. Of his fresco works
little is known, but, according to Dominici, the churches at Naples abound with his oil
paintings, particularly in that of de Miracoli, of which the most esteemed are the Four
Evangelists, and the Doctors of the church. These are, however, very superior to the
generality of his works, which are not unfrequently slight and negligent.
MALLERY, Charles de. A Flemish designer and engraver, born at Antwerp about the
year 1576. From tbe neatness of his style, it is probable that he formed his manner
from the prints of the Wierexs, or that he was instructed by them. He worked entirely
with the graver in a highly finished style, though his drawing is not very correct. He
must have been extremely laborious, as his prints are very numerous, and all of them
executed with the greatest delicacy. The Abbe de Marolles possessed three hundred
and forty-two prints by him. Vandyck painted his portrait among the celebrated artists
of his time, which is engraved by Lucas Vorsterman. The following are his principal
prints: The infant Jesus, with two Angels, in a landscape ; C. de Mallery, fee.
The Adoration of the Magi.
The Holy Family, with Mary Magdalen.
St. Francis.
Several Heads of Christ, the Virgin, Saints, the Apostles, and other devotional subjects; from
his own designs, and after Anthony Salaert, and other masters.
Part of the plates of the great Huntings; after Stradan ; engraved in conjunction with the
Collaerts, the Galles, and others.
The History of the Silkworm ; in six plates ; after Stradan.
A set of plates of Horses, for a book, entitled La Cavalerie Francoise. 1602.
Four plates of the Miller, his Son, and the Ass ; after Ambrose Franck; scarce.
MALO, Vincent. He was born at Cambray about the year 1625, and was first a disciple
of Rubens. After the death of that celebrated master he became a scholar of David
Teniers the elder, who had been brought up in the same academy. He afterwards went
to Italy, where he passed the remainder of his life, and distinguished himself as a painter
Vol. II. B

10 MAL MAN
of battles and landscapes; and also painted some altar-pieces for the churches at Genoa.
He died at Rome about the year 1670, aged 45.
MALOMBRA, Pietro. This painter was born at Venice in 1556, and was a scholar of
Giuseppe Porta, called Salviati. Although an imitator of the works of Palma, he
avoided the feebleness of a mannerist. His compositions and design are more studied
and correct than is usual in the works of the Venetian painters. Such are his pictures
of the miracles wrought by St. Francis of Paula, in the church dedicated to that Saint,
at Venice. He is still more admired in his historical subjects of an easel size, and
painted with great success architectur'al views of the principal places in Venice, enriched
with groups of numerous figures, ingeniously composed, and designed with elegance and
grace. He was also a distinguished portrait painter. He died in 1618, aged 62.
MALOSSO. See Trotti.
MALTESE. An indifferent painter of fruit, flowers, and still-life, whose works have little
more to recommend them than a spirited touch, and a forcible effect.
MAN, Cornelius. See Maan.
MANAIGO, Silvestro. This painter was born at Venice about the year 1680, and was
a scholar of Gregorio Lazzarini. He possessed a fertile invention, and his compositions
evince both genius and taste; but the love of gain seduced him into a rapidity and
negligence of operation, and he fell into the tameness and repetition of a mannerist.
His most creditable work is his picture of Christ driving the Money Changers from the
Temple, in the church of S. Felice, at Venice.
MANASAR, Daniel. A German engraver, who resided at Augsbourg about the year
1626. He engraved chiefly plates of architecture, plans of buildings, &c. which are
executed entirely with the graver, in a neat but stiff style. Conjointly with Wolfgang
Kilian, he engraved the plates for a work entitled, Basilica S. S. Udalrici et afra Au
gusta Vindelicorum Histories, published at Augsbourg in 1626. His prints are usually
marked with the initials of his name, with an F. for fecit, D. M. F.
MANCHETTI, Michele. According to Dominici, this painter was born at Genoa
about the year 1550, and studied at Naples, under Marco di Pino, were he acquired some
reputation as an historical painter. One of his best works was a picture in the church
of S. Agnello at Naples, representing the Virgin and Infant, with St. John, Mary Mag
dalen, and St. Lucia ; painted in 1586.
MANENTI, Vincenzio. This painter was born at Canimorto, in the province of Sabina
in 1600. He was the son of Ascanio Manenti, an obscure artist, by whom he was in
structed in the first principles of design. He afterwards studied at Rome, under Gui-
seppe Cesari and Domenichino. There are several of his pictures in the churches of
his province ; and Lanzi speaks favourably of his S. Stefano, in the Dome at Tivoli
and his S. Saverio, in the church of II Gesu. He died in 1674, aged 74.

MAN MAN II
MANETTI, Rutilio. This painter was bora at Siena in 1576, and was a scholar of Fran
cesco Vanni. He did not, however, attach himself to the graceful style of that master,
but sought the vigorous colouring and robust character of M. A. Caravaggio. His pic
tures at Siena are remarkable for a tenebrosity which destroys the just equilibrium of
light and shadow, by which illusion is essentially supported. This deficiency is the
more to be regretted, as he possessed a correct design, and his ideas are neither mean
nor ignoble. He was well versed in architecture ; and in some of his best works reminds
us of Guercino. There are several of his pictures at the Certosa at Florence, and in the
churches at Pisa, among which is particularly admired a riposo of the Holy Family, in
S. Pietro di Castelvechio. He died in 1637, aged 66.
MANETTI, Domenico. He was probably a relation of the preceding artist. He chiefly
distinguished himself in painting historical subjects of an easel size, of which there are
many in the private collections at Siena, one of which is particularly mentioned by
Lanzi, in the Casa Magnoni, representing the Baptism of Constantine.
MANFREDI, Bartolomeo. This painter was born at Mantua in 1574. Although Man-
fredi was a scholar of Cristofano Roncalli, called dalle Pomerance, he might be styled
another Michael Angelo Caravaggio, if his works were not distinguished by a superior
choice of forms, and a more dignified taste of design. He painted few pictures for the
churches; the subjects he made choice of were usually banditti, assemblies of game
sters and armed soldiers, which he represented with an appropriate ferocity of character
and an extraordinary effect of light and shadow. The works of Manfredi are rarely to
be met with, as he died young; and of the few pictures he painted, some are attributed
to M. Angelo Caravaggio, or to Valentin.
MANGLARD, Adrian. A French painter and engraver, born at Paris in 1688. At an
early period of his life he went to Rome, where he met with considerable encouragement
and painted several landscapes and sea-pieces for the Villa Albani, and for the Palazzi
Colonna and Rosphigliosi. Joseph Vernet was his scholar, who surpassed him. He
died at Rome in 1761, aged 73. We have several pleasing etchings by this artist of
landscapes and marines, from his own designs.
MANNL, or Maennl Jacob. A German engraver in mezzotinto, born at Vienna about
the year 1695. In 1720, Christopher Lauch, the inspector of the Imperial Gallery
which had been augmented by the collection of the Archduke Leopold, undertook to
have the whole of the pictures engraved, and Jacob Mannl was employed for that pur
pose. The death of the undertaker and of the artist prevented the completion of th
project, and only thirty-one plates were finished. These prints are now become ex
tremely rare. M. Heinecken, in his idea of a complete collection of prints ffives
particular description of them from those in the possession of Mariette. Thev ar
follow :
The Portrait of the Emperor Charles VI.
The dead Christ, supported by an Angel ; after Palma.
The Virgin, with the infant Christ, who is caressing St. John; after Vandyck.
B2

12 MAN MAN
Mary Magdalen Penitent, accompanied by an Angel ; after Coreggio.
St. Francis praying ; after Bassano.
St. Clara kneeling ; after the same.
The Repentance of St. Peter ; after Spagnoletto.
The Martyrdom of St. 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 with the Doctors; after Spagnoletto.
Sampson delivered to the Philistines ; after Vandyck.
The Ecce Homo ; half-length ; after Titian.
The Virgin, or Mater Dolorosa; after the same.
A Philosopher meditating on a Scull ; after L. Giordano.
A Geometrician ; after the same.
St. Margaret treading on the Dragon ; after Raffaelle.
Tobit restoring his Father to sight; after M. A. Caravaggio.
Christ taken in the Garden ; after B. Manfredi.
Susanna at the Bath; after Tintoretto.
Susanna and the Elders; after Ann. Caraeci.
Jupiter and Mercury, with Baucis and Philemon ; after Carlo Loti. ,.. . ,
Diana and her Nymphs ; after Willeborts Boschaert, and John Fyt.
The Virgin and Infant ; after Titian.
A Warrior giving his hand to a man ; after Giorgione.
A dying Magdalen; after the younger Palma.
Christ bearing his Cross; after Bassano.
Judith with the Head of Holofernes ; after A. Varotari.
Judith ; after Carlo Veneziano.
A Child holding a Dog ; after P. Veronese.
MANNOZZI, Giovanni, called da San Giovanni. This painter was born at San Gio
vanni, in the Florentine state, in 1590. He was a scholar of Matteo Roselli, whose cor
rect and finished style was no way congenial with the vivacity of his invention, and the
prompt facility of his execution. The capricious flight of his imagination occasionally
led him into the most absurd extravagance; but when he chose to restrain this impetu
osity, and to reflect on his subjects, he discovers both judgment and taste. Such are
his works in the churches at Florence, and in the tribune of the S.S. Quattro, at Rome.
Lanzi observes, that although he did not begin to study the art until he was eighteen
years of age, and died in his forty-eighth year, the number of his works at Rome, in the
pontifical states, and at Florence, appears almost incredible. He died in 1648, and left a
son, Giovanni Garzia Mannozzi, who painted some frescoes at Pistoja, in a respectable
style.
MANSFELD, John Ernest. A modern German engraver, born at Prague in 1738.
When he was sixteen years of age he visited Vienna, where he learned design in the
Imperial Academy, and was instructed in the art of engraving. His best plates are
small portraits, with accessorial ornaments, of eminent personages of Vienna, and others
neatly executed with the graver. The following are his principal prints :

MANTEGNA. 13
portraits.
The Empress Maria Theresa ; J. E. Mansfeld, sc.
The Emperor Joseph II. ; the same.
Pope Pius V. Hagenauer, pinx. 1782.
Wenceslaus, Prince Kaunitz ; after Vinazer.
Francis Anthony, Count Kollowrat; after the same.
Maurice, Count Lacy; after Kollonitz. 1776.
Frederick, Baron Trenck ; J. E. Mansfeldjee.
Joseph Haydn ; the same.
Anthony Stoerk ; the same. 1773.
Sir Robert Murray Keith ; after Graff. subjects.
A Waterfall on the Danube ; after Wenzely.
The Coronation of the Emperor Leopold ; after Sehutz.
MANTEGNA, Andrea. This distinguished painter and engraver was born at a village
near Padua in 1431, as appears from the date of his first public picture in the church of
S. Sofia at Padua, painted in 1448, when he was seventeen years of age. He was the
son of a herdsman, and his first occupation was watching cattle, which his passion for
drawing sometimes occasioned him to neglect. This decided disposition for the art in
duced Francesco Squarcione to take him under his tuition, and such was his extraordi
nary progress under that master, that he adopted him as his son. At an age when others
usually commence the study of the art, he was fixed on to paint an altar-piece for the
church of S. Sofia, at Padua, which he inscribed Andreas Mantinea Patavinus annos VII.
et X. natus sua manu pinxit 1448. He soon after painted the Four Evangelists, for the
same church. The celebrity he acquired by these and other performances induced
Jacopo Bellini, a painter then in great reputation, to bestow on him his daughter in
marriage. This union was by no means agreeable to Squarcione, the enemy of Bellini
who in consequence became as inveterate in his detraction of the works of Mantegna
as he had before been strenuous in his praise of them. F. Squarcione had collected in
a journey through Greece, a rich assemblage of statues and bas-reliefs, which were the
models of study in his numerous school; but by none were they so profoundly contem
plated as by Mantegna, by which he acquired a pure and correct design, a select choice
of forms, and a simplicity of composition superior to his contemporaries. His devout
adherence to the antique had however seduced him into a neglect of nature, and of that
animated expression of character which she alone affords. For this deficiency he
was severely satirized by Squarcione, particularly for his picture of the Martyrdom of
St. James, in the church of the Eremitani, which is designed in a dry formal style. This
rebuke occasioned him to change his manner; and in a picture he painted soon after
for the church of S. Giustina, of St. Mark writing his Gospel, he represented the head
of the Evangelist with an admirable expression of the most fervid devotion. He was
invited to Rome by Innocent VIII. for whom he painted a chapel in the Vatican, and
other considerable works, in which his style was improved by his study of the remains
of antiquity in that metropolis. His chief residence was at Mantua, where he was par
ticularly patronised by the Marchese Lodovico Gonzaga, for whom he painted some of
his finest works, both in oil and in fresco. His most celebrated performance in oil is his
picture called della Vittoria, painted in 1495, for a chapel of the Marchese Francesco

14 MANTEGNA.
Gonzaga, in the church of the Filippini, in commemoration of a victory, gained by lhat
prince over Charles VIII. of France at the battle of Formoni. It represents the Mar
quis in armour, kneeling before the Virgin and Infant seated on a throne, surrounded
by several saints, and near her St. Elizabeth, which is the portrait of the Marchioness,
with the young St. John. In this extraordinary production, the surprising delicacy of
the carnations, the elegant cast of the draperies, the glittering lucidity of the armour,
and the tasteful accessories by which it is accompanied, equally surprise and charm us.
Each head is a model worthy of study for the grace and vivacity of expression, and the
truth of character ; and the design both in the naked and in the vestments, completely
contradicts the commonly received opinion, that the gothic style, and that of Mantegna,
are the same. This interesting picture, which was long the admiration of every visitor
of Mantua, was carried off by the French, with their other plunder, and is now one of
the ill-acquired ornaments of their Museum. Mantua appears to have been destined to
be stripped of the best productions of this estimable artist by the spoils of war; as the
fine series of pictures of the Triumph of Julius Caesar, formerly in the Palazzo di S. Se-
bastiano, and now in his Majesty's collection, which Vasari considers as his most dis
tinguished works, and for which he was knighted by the Marquis of Mantua, became
tbe plunder of the Germans at the sacking of the city. As an engraver, Andrea Man
tegna claims our veneration as one of the earliest practisers of the art, and as having
contributed more than all his contemporaries to its perfection, by his superior know
ledge of design. Coeval with Antonio'Pollajuoli, he resembles him in the style of his
engraving, but he greatly surpasses him in the drawing of his figures, particularly in the
naked. His plates are generally executed by single strokes from one corner of the plate
to the other, in a manner resembling drawings made with a pen, without hatchings, or
cross lines. Several of his prints are engraved from his own designs, which are distin
guished by a simplicity and correctness of outline unusual at the early period in which
he lived. He sometimes marked his plates with a monogram similar to one afterwards
made use of by Marc Antonio Raimondi, ]VF- ar,d sometimes with a tablet, also made
use of by that celebrated engraver, 16|l \\$ . The following are his principal plates :
The Virgin seated, with the infant Jesus in her arms.
The Scourging of Christ.
The Entombing of Christ, inscribed, Humani generis Redemptori.
Christ descending into Hell.
Christ holding the Standard of the Cross between two Saints.
Judith with the Head of Holofernes.
A Battle of Sea Monsters, with the figures of two armed Warriors.
A Battle of Sea Gods, with the figure of Neptune.
Hercules between Virtue and Vice. This print is sometimes attributed to Marc Antonio.
Hercules strangling Anteus, inscribed, Divo Herculi invicto.
Four Female Figures dancing.
Bacchus, supported by Fauns and Satyrs.
The Triumph of Julius Caesar; in nine plates; after his pictures now in the King's collection
It is difficult to meet with a complete set of these plates. They have been copied in chiar
oscuro by Andrea Andreani.
Andrea Mantegna died at Mantua in 1505, aged 74, where a monument was erected to
his memory by his sons, in the church of S. Andrea, in 1517, which has occasioned
Vasari, with his usual inaccuracy, to date his death in that year.

MAN MAR 15
MANTEGNA, Francesco. Among the best scholars of Andrea Mantegna, were Fran
cesco, and another of his sons, who finished the frescoes left imperfect by their father in
the Camera degli Sposi, in the castle at Mantua, and painted the ceilings, so much
admired for the infantine and playful beauty of the angels. Francesco also painted
two laterals for an altar-piece in S. Andrea, a work of his father's.
MANTOUANO, Rinaldo. This painter was bora at Mantua, and was one of the most
distinguished scholars of Giulio Romano. Vasari regrets the premature death of this
promising artist, who was regarded as one of the ablest painters of his time. In the
church of S. Agnese at Mantua, is a fine picture by him of the Virgin and Infant, with
S. Agostino and S. Girolamo, composed and designed with a grandeur so much beyond
his age, that it gave rise to a suspicion that it was painted from a design of his in
structor. He died in the flower of his life.
MANTOUANO. See Andreani and Ghisi.
MANTOUANO. See Venusti.
MANTOUANO, Teodoro. See Ghigi.
MANUEL, Nicholas and Rodofl. See Deutsch.
MANZUOLI, Maso, called Maso di S. Friano. This painter was born at Florence in
1536. He was first a disciple of Pierfrancesco di Jacopo, and afterwards of Carlo Portelli.
Vasari does not hesitate to place this artist on an equal rank with Batista Naldini and
Alessandro Allori. This honourable testimony will not appear unmerited to those who
have seen his picture of the Visitation of the Virgin to St. Elizabeth, formerly in the
church of S. Pietro Maggiore at Florence; afterwards taken to Rome, and placed in the
gallery of the Vatican. This graceful and impressive picture was painted when he was
thirty years of age, and is not only the most admired of his works, but is regarded as
the ablest production of the Florentine school at the period in which he lived. There
are other works by him in the church of the S. Trinita, and in the Florentine gallery.
He died in 1575, aged 39.
MARACCI, Giovanni. See Marracci.
MARATTI, Carlo. This eminent painter was born at Camurano, in the Marquisate of
Ancona, in 1625. At twelve years of age he showed so strong a propensity for design,
that his parents sent him to Rome, where he entered the school of Andrea Sacchi, under
whom he studied several years, and was his most favoured disciple. By the recommen
dation of his instructor, he made the great works of Raffaelle the chief objects of his
contemplation; he studied them with the most exemplary assiduity, and became a cor
rect and elegant designer. He was much employed in painting holy families, pictures of
the Virgin, and female saints, on which account the contemporary artists, particularly
Salvator Rosa, supposing him incapable of higher or more arduous exertions, satirically
styled him Carluccio delle Madonne. To counteract the efforts of his enemies, Andrea
Sacchi procured him the commission to paint a picture for the Battisterio of St. John

16 MARC.
of Lateran, where he represented Constantine deslroying the idols, a performance which
stifled the voice of calumny, and was esteemed one of the ablest productions of the
time. It procured him the patronage of Alexander VII. under whose protection, and
that of his successors, he became the most popular and most employed artist at Rome.
His most admired works are those he painted in the style of Andrea Sacchi, of which
the following are the most worthy of notice. The Death of St. Francis Xavier, in the
church of II Gesu, which is engraved by J. Frey; the Visitation, in la Pace; and the
Conception, in S. Isidore: but his most celebrated work is the Martyrdom of S. Biagio
at Genoa, which Lanzi observes is worthy of the ablest emulator of the style of Sacchi.
Carlo Maratti was a correct designer, but his forms discover little acquaintance with
the beauties of the antique. His compositions are rich, and even magnificent, but they
bear the character of coldness and languor, and appear rather the productions of labour,
than the inspirations of genius. The expression of his heads is sweet and amiable, though
not distinguished by peculiar dignity or grace. He prided himself on the copious
casting of his draperies, but in these he was governed by manner and practice, and- the
confused multiplicity of his folds exhibits little of the beauty of the figure. His colour
ing in general is silvery and pleasing; but towards the latter part of his life it was occa
sionally chalky and cold. He seems to have been more indebted for what is approved
in his works to the great models he consulted, than the originality of his invention ; and
though his pictures will always be thought worthy of our esteem, they possess neither
the fire nor the sentiment that excites our admiration. We have by this painter several
etchings, executed in a free spirited style, though neater and more finished than those
of painters usually are. Some of them are from his own designs, and others after the
celebrated Italian masters. The following are by him :
A set often plates of the Life of the Virgin; from his own compositions.
Several Holy Families, and subjects of the Virgin ; after the same.
Heliodorus driven from the Temple ; in two sheets ; after Raffaelle.
Christ, with the Woman of Samaria; after An. Caraeci.
The Flagellation of St. Andrew; after Domenichino.
Joseph discovering himself to his Brethren; after Mola.
St. Charles Borromeo interceding for the persons afflicted with the plague; after Cavaliere
Perugino.
Carlo Maratti died at Rome in 1713, at the advanced age of 8S.
MARC, Estevan. According to Palomino, this Spanish artist was a native of Valencia
and a scholar of Pedro Orrente, under whom he became an eminent painter of battles.
He also painted historical subjects, though less distinguished in that branch than the
former. In the church of San Juan de Mercado, at Valencia, is an altar-piece of the
Last Supper, highly commended by his biographer. For the Bueno Retiro he painted a
large picture of the Marriage at Cana, where there is also one of his most capital
battle-pieces. He died at Valencia in 1660, at an advanced age.
MARC, Migukl. He was the son and scholar of Estevan Marc, born at Valencia in 1633.
He painted history and battles in the style of his father, though greatly inferior to him.
One of his best performances is the Death of St. Francis, in the church of the Franciscans
at Valencia. He died at Valencia in 1670, aged 37.

MAR MAR 17
MARCA, Giovanni Batista Lombardelli, called della. This painter was bom at
Montenuovo in 1532. He was first a scholar of Marco Marchetti da Faenza, and, ac
cording to Baglioni, visited Rome in the Pontificate of Gregory XIII. where he attached
himself to an imitation of the works of Raffallino da Reggio, of whom he became an
assistant and coadjutor in some fresco paintings in the Vatican. In the church of S.
Pietro Montorio he painted a series of pictures of the Life of St. Francis ; and in S.
Maria de Monti, the Resurrection. There are several of his works in the churches at
Montenuovo. He died in 1587, aged 55.
MARC, Antonio. See Raimondi.
MARCEL, N. This artist was born at Frankfort in 1628, and was a scholar of George
Vlugels, an indifferent painter of still-life. Marcel greatly surpassed his master, and his
pictures of flowers, fruit, shells, &c. are very highly finished and delicately coloured.
They are held in considerable estimation in Germany. He died at Frankfort in 1683,
aged 55.
MARCELLIS, Otho. A Dutch painter, born at Amsterdam in 1613. It is not known
by whom he was instructed, but he acquired considerable celebrity by his excellence in
a very singular branch of the art. He painted reptiles, insects, and curious plants, which
he designed with surprising fidelity, and finished with extraordinary care. The admira
tion of these exotic productions was not confined to his own country. He resided
some time at Paris, where he was greatly encouraged by the Queen-mother, by whom
he was munificently rewarded. He afterwards visited Florence, where his talents were
equally distinguished by the Grand Duke. His works were not less admired at Naples
and Rome, where he passed several years. He painted every thing from nature, for
which purpose he is said to have kept a kind of museum of serpents, vipers, rare insects
and other curiosities, which he copied with unexampled precision, and a singular beauty
of pencil. His pictures are found in the choicest collections in Holland, He died at
Amsterdam in 1673, aged 60.
MARCENAY, Anthony de Ghuy. A modern French engraver, who flourished about
the year 1760. He was one of the most successful imitators of the style of Rembrandt
and has engraved several plates of portraits and other subjects, in which the dry point is
used with great dexterity. Among others, we have the following prints by him :
portraits.
Henry IV. of France ; after Janet.
The Duke of Sully; after Porbus.
The Chevalier Bayard.
The Maid of Orleans.
Viscount Turenne ; after Champagne.
Prince Eugene ; after Kupetzki.
Marshal Villers ; after Rigaud.
General Paoli.
Stanislaus Augustus, King of Poland; after Bacierelli.
Marshal Saxe ; after Liotard.
Vol. II. C

18 MAR MAR
The Portrait of Tintoretto ; after a picture by himself.
A haltlength of Rembrandt, with a pallet. subjects.
Sun-set ; after Fernet.
A View of the Sea-coast, with Fishermen; after the same.
A Land-storm; after Vanuden.
A Skirmish of Cavalry; after Parrocel.
The Testament of Eudamidas : after N. Poussin.
Tobit recovering his Sight ; after Rembrandt.
MARCHAND, or Marchant, Peter. Florent le Comte mentions an old artist of this
name, who lived about the year 1577, and engraved both on wood and on copper ; but he
does not specify any of his works. Professor Christ attributes to this engraver a mo
nogram composed of a P. and an M. P'Vj • with the above date.
MARCHANT, Petrus. The name of an engraver affixed to a book of goldsmith's orna
ments, executed with the graver in a neat free style. It is signed, Petrus Marchant,
fecit. 1623.
MARCHANT, J. There is a portrait of Mrs. Cibber engraved by this artist ; after Hudson
in 1?49.
MARCHESI, Guiseppe, called II Sansone. This painter was born at Bologna in 1699
and was first a scholar of Marc Antonio Franceschini, but afterwards studied under
Aureliano Milani. To the vigorous colour, and the bold fore-shortening of his first
instructor, he united tlie correct design of Milani, and distinguished himself by many
admired works in the churches of Bologna. In S. Pietro is a fine picture of St. Ambrose
refusing the Emperor Theodosius the Entrance to the Temple. His picture of the Birth
of the Virgin, in la Madonna di Galeria, and that of the Resurrection in S. Croce, are
painted in the great style of Franceschini. One of his most esteemed works is' the
Martyrdom of S. Prisca, in the Dome of Rimini, in which he appears to have had in
view the St. Agnes of Domenichino. Lanzi ranks his picture of the Four Seasons among
the happiest productions of the modern Bolognese school.
MARCHESI, Girolamo. See Cotignola.
MARCHESINI, Alessandro. According to Orlandi, this painter was born at Verona in
1664, and received his first instruction in the art from Biagio Falcieri. At the age of
sixteen he was sent to Bologna, and placed under the tuition of Carlo Cignani Under
that master he became a reputable painter of history, a.nd on his return to Verona was
employed in several works for the churches of S. Biagio, la Madonna della Scala, and
other public edifices He resided some tune at Venice, where he was chiefly occupied
,d painting easel p1Ctures of historical and fabulous subjects, which were more remark-
able for facility of execution than correctness and study. He died in 1738 aged 76

MAR MAR 19
MARCHETTI, Marco, called da Faenza. This painter is called by Baglione Marco da
Faenza. He flourished at Rome in the pontificate of Gregory XIII. who employed him
in ornamenting the loggie of the Vatican with grotesque and arabesque subjects, in
which he particularly excelled- His talents were not however confined to that branch
of the art. He painted historical subjects, which were correctly and elegantly designed,
. with a more than usual acquaintance with the nude. Such is his picture of the
Murder of the Innocents in the Vatican. In the church of the Trinita de Monti, he
painted a series of pictures of the Life of St. Francis di Paola. Cosmo I. employed him
sometime in the Palazzo Vecchio, at Florence. He died in 1588.
MARCHIS, Alessio de. This artist was a Neapolitan, and flourished about the year
1710. He painted landscapes, sea-ports, and towns on fire; in which he followed the
great style. of Salvator Rosa. His principal works are at Perugio and Urbino, where
they are held in high estimation. Lanzi reports of this painter, that in order to imitate
nature more exactly in his conflagrations, he set fire to a barn, for the purpose of study ;
the fact being discovered, he was sent to the gallies for some years, but was released
from his punishment in the pontificate of Clement XI. who employed him in his palace
at Urbino, which he decorated with several of his best works. One of his most cele
brated pictures is the Burning of Troy, in the Palazzo Semproni.
MARCILLA, or Marsiglia Guglielmo da. This painter was born at Marseilles in 1475.
Vasari reports, that having been concerned when he was young, in an unfortunate
quarrel, in which one of the parties was killed ; to avoid the rigour of justice, he took
refuge in a cloister, and became a monk. He afterwards fled from his monastery, and
travelled to Arezzo, and on his arrival in Italy was secularized. At Arezzo he distin
guished himself by some very extraordinary paintings on glass, the fame of which
reached Rome, whither he was invited by Julius II. For that pontiff he executed
some considerable works on glass, as well as several paintings in fresco. In the dome
at Arezzo he painted the Evangelists, designed in the great style of M. A. Buonaroti,
and like the frescoes of that sublime master, are coloured in a low and subdued tone.
His glass-paintings, on the contrary, have all the richness and glow that colour can give,
and when assisted by the brightness of the sun, are of undescribable brilliancy. He died
in 1537, aged 62.
MARCOLINI, Francesco. An Italian engraver on wood, born at Forli about the year
1500. In 1540 he published a book entitled, II Giardino de Pensieri, with wooden cuts,
executed by himself, after the designs of Guiseppe Porta, called Sahiati, which possess
considerable merit.
MARCONI, Rocco. This painter was a native of Trevigi, and flourished about the year
1505. Ridolfi ranks him among the disciples of Palma, but Zanetti, with more proba
bility asserts that he was a scholar of Giovanni Bellini. He excelled as a colourist, and
was a tolerably correct designer, although coarse and austere in his forms, and ignoble
in his characters. His picture in the church of S. Niccolo, which is considered one of
his earliest works, is dated 1505. One of his best performances is the Adultress before
Christ, in S. Giorgio Maggiore.
C2

20 MAR MAR
MARCUCCI, Agostino. He was a native of Siena, though^educated at Bologna, and had
the advantage of studying in the school of the Caraeci, until Pietro Facini attempted
the establishment of a rival academy, to which Marcucci attached himself. He painted
some pictures for the churches at Bologna, among which is the Death of the Virgin in
la Concezione.
MARESCALCO, Giovanni. See Buonconsigli.
MARESCOTTI, Bartolomeo. This painter was a native of Bologna, and was brought
up in the school of Guido Reni, of whose style he was a slight and unsuccessful imitator.
There are some of his works in the churches and public edifices at Bologna ; in S. Mar-
tino Maggiore, the Martyrdom of S. Barbara ; in S. Stefano, the Crowning of the Virgin ;
and S. Sigismondo condemned to death, in the church dedicated to that saint.
M ARGAR1TON E. This venerable artist is regarded as the most ancient painter of whom
we have any account in the history of modern art, who, with Cimabue, contributed
to the revival of painting. He appears to have been born at Arezzo in the year 1198,
about forty years before the birth of that master. He is said by Vasari to have been
instructed by some Greek painters in the rude and barbarous exercise of the art, prac
tised at that remote period. His works were almost confined to images of the Virgin
and Crucifixes, a few of which remain in the churches at Arezzo ; and in S. Croce, at
Florence, where there is a picture of St. Francis, by Cimabue, to which the works of
Margaritone are little inferior. He also distinguished himself as a sculptor and an
architect. On the death of Gregory X. at Arezzo, Margaritone was appointed to erect
his monument, on which occasion he carved a marble statute of the Pope, and decorated
the chapel with his portrait, and other paintings. He died in 1275, aged 77.
MARI, Alessandro. He was born at Turin in 1650, and was first a scholar of Domenico
Piola of Genoa, but afterwards went to Venice, where he studied some time under
Cavaliere Liberi. He next visited Bologna, and passed some years in the school of
Lorenzo Pasinelli, and on leaving that master, painted some pictures for the churches" in
that city, of which the most esteemed were the Crucifixion, and the Martyrdom of St.
Sebastian, in S. Barbaziano. His principal residence was at Milan, where he gained
considerable reputation by painting symbolical subjects, in imitation of the old masters.
According to Lanzi he went to Spain, and died at Madrid in 1707, aged 57.
MARIA, Cavaliere Ercole, called Ercolino di Guido. This painter was a native of
Bologna, and a favourite disciple of Guido Reni. He imitated and copied the works of
his instructor with such precision, that he is said to have deceived the master himself.
Malvasia reports, that Guido having left a picture in a half finished state, Ercole copied
it, and placed his work on the easel of his master, who proceeded to finish it, without
discovering the deception. His powers appear however to have been confined to the
humble pretensions of a copyist, although they were such as to procure him the most
flattering encouragement, even at Rome. He was particularly patronised by Urban VIII.
who conferred on him the honour of knighthood. He died young at Rome, about the
year 1640.

MAR MAR 21
MARIA, Francesco di. He was born at Naples in 1623, and became a disciple of
Domenichino, when he resided in that city. Like his admirable instructor, he studied
tbe subjects he painted with the most profound attention; and, like him, endured with
patient suffering the taunts and scoffings of his contemporaries for tardiness and irreso
lution, which; accompanied Zampieri to the tomb. His historical works are not nu
merous ; but the few that exist are held in the highest estimation, and may be mistaken
by the inexperienced for the works of Domenichino. He particularly excelled in por
trait painting; and Lanzi reports, that a portrait by him being exhibited at Rome with
one by Rubens, and another by Vandyck, the preference was given by the judges,
Niccolo Poussin, Pietro da Cortona, and Andrea Sacchi, to that of Maria. He died in
1690, aged 67.
MARIANI, Giovanni Maria. This painter was a native of Ascoli, and flourished about
the year 1655. He was a scholar of Domenico Fiasella at the time when Valerio Cas-
telli studied under that master, and in conjunction with him distinguished himself by
several works at Genoa, both in oil and in fresco. His picture in the oratory of S. Jacopo,
o,f the Baptism of that Saint, may be ranked with the best productions of his time.
He passed some part of his life at Rome, and was received into the academy there in
1650. He sometimes painted historical subjects of an easel size, which are found in the
first collections at Genoa and Florence. One of his most admired works of this descrip
tion is his picture of the Rape of the Sabines, in the Florentine gallery.
MARIENHOF,  . A Dutch painter, born at Gorcum in 1650. It is not known by
whom he was instructed; but according to M. Descamps he passed the early part of his
life in studying and copying the works of Rubens. He afterwards settled at Brussels,
where he was much employed in painting small historical pictures, which were touched
and coloured entirely in the manner of Rubens. He died young.
MARIESCHI, Michele. This artist was a native of Venice. He excelled in painting
architectural views and perspective, and passed the first part of his life in German v,
where his works were much esteemed. On his return to Venice he painted the most
remarkable views in that city, several of which he has etched in a pleasing and spirited
style. He died in 1743.
MARIESCHI, Jacopo. He was the son of the preceding artist, born at Venice in
1711. After being instructed in design and perspective by his father, he became a
scholar of Gasparo Diziani. He painted architectural subjects, and views of Venice, in
which he imitated the style of Canaletti, but with less success than Francesco Guardi.
He died in 1794, aged 83.
MARIETTE, John. An eminent French engraver and printseller, born at Paris in
1654. He was instructed in drawing by his brother-in-law, J. B. Corneille, with the
intention of becoming a painter, but by the advice of Charles le Brun, he changed his
pursuit, and devoted himself to engraving. Several of his plates are from his own de
signs; and his compositions possess considerable merit, though his drawing is not very
correct. He worked both with the point and the graver, in a slight, and rather a coarse
style. We have a great number of plates by him, the greater part of uhich are fron-

22 MAR MAR
tispieces, vignettes, and other book-ornaments. The following are esteemed his best
prints :
The Descent from the Cross ; after le Brun.
The Angels ministering to Christ in the Desart; after the same.
St. Peter delivered from prison ; after Domenichino.
Moses saved from the Nile; after Poussin.
Joseph making himself known to his Brethren ; after M. Corneille.
Christ curing the Paralytic ; after the same.
St. Louis receiving the Communion ; after J. B. Corneille.
St. Louis received into Heaven ; after the same.
John Mariette died at Paris in 1742, aged 88.
MARIETTE, Peter John. He was the son of the preceding artist, from whom he in
herited a very considerable property, and an extensive collection of prints, which, by
continual additions, he rendered the most numerous and select of any private individual
in Europe. His immense assemblage of prints and drawings was sold in Paris in 1775.
For his amusement he etched a few plates of landscapes, after Guercino ; and some heads
and studies, after Caraeci and Perino del Vaga. He died at Paris in 1774.
MARIANI, Onorio. This painter was born at Florence in 1627, He was the cousin and
disciple of Carlo Dolci, and for some time followed the finished and laboured manner of
his relative, but afterwards adopted a grander and more dignified style : more ideal and
less constrained. His principal works are in the church of S. Maria Maggiore, and in
that of S. Simone at Florence. Of his easel pictures there are several in trie private
collections, which are highly esteemed. He died in 1715, aged 88.
MARINI, Benedetto. This painter was a native of Urbino, and flourished about the
year 1625. According to Lanzi, he was one of the most distinguished scholars of Claudio
Ridolfi, and on leaving that master resided some years at Piacenza, where he painted
several altar-pieces, and other works, in which he united the Lombard with the Venetian
style. The most celebrated of his performances is his picture of the Multiplication of
the Loaves, in the refectory of the Conventuali, painted in oil, in 1625 ; an immense
composition, arranged with surprising ingenuity and variety. Lanzi gives him the pre
ference to his instructor in the extent and vivacity of his genius, though perhaps inferior
to him in the fundamental principles of the art.
MARINUS. A Flemish engraver, who flourished about the year 1630. His principal
residence was at Antwerp, where he executed several plates, in a neat but singular style.
They are worked entirely with the graver, with very delicate strokes crossing each other
and filled up with long dots. They are very highly finished, though the drawing and the
folds of the draperies are not very correct. The prints of this artist are held in consi
derable estimation, particularly fine impressions of them. Among others we have the
following by him :
The Flight into Egypt ; a night-piece ; after Rubens.
St. Ignatius curing the Diseased ; after the same.
St. Francis Xavier resuscitating a dead person ; after the same.

MAR MAR 23
The Adoration of the Shepherds ; after Jordaens.
Christ before the High-priest Caiphas ; after the same.
The Martyrdom of St. Apollonia ; after the same.
Village Children forming a Concert ; after C. Saehtleven. 1633.
He also engraved some plates, after M. A. Caravaggio, Vandyck, and others.
MARIO da Fiori. See Nuzzi.
MARIOTTI. By this artist, who was a native of Italy, and probably a painter, we have a
slight, spirited etching of a frontispiece to a collection of altar-pieces, published at
Rome by Giacomo Rossi. The figures are well drawn, and it is executed in the style of
a painter. It is after a design by Ciro Ferri.
MARK, Qointin. A modern German engraver, bora at Littau in 1753. He visited
Vienna when young, and was instructed in engraving by Schmutzer, under whom he be
came an eminent artist, and was made a member of the Imperial Academy. His plates
are neatly executed with the graver. The following are among his best prints :
The Virgin and Infant, with St. John ; after L. Giordano.
Susanna and the Elders ; after Rubens.
Alexander and Diogenes ; after the same.
Herodias with the Head of St. John; after T. van Thulden.
Cleopatra showing Augustus the Bust of Julius Caesar ; after P. Battoni.
Venus and Cupid asleep ; after Franceschini.
The Amorous Miser ; after Braun. 1786.
MARLIE, Rene Elizabeth. See Lepicie.
MARLOW, M. An obscure English engraver, who lived about the year 1675. He
appears to have been employed only by the booksellers, and in that capacity engraved
a portrait of John Mayne, Arithmetician, prefixed to his Clavis Commercialis ; dated
1674.
MARMION, Edmund. An English designer and engraver, by whom we have a few
etchings of domestic subjects of ladies and gentlemen, from his own designs. His prints
bear some resemblance to those of Gaywood, though inferior to him. There is a portiait
of George Tooke, of Popes, by him, which is scarce.
MARMOCCHINI, Giovanna Cortesi. This lady was born at Florence in 1670. She
was first a pupil of Livio Mehus, and afterwards of Pietro Dandini. She was after
wards taught miniature painting by Ippolito Galantini. Although , she chiefly excelled
in portraits in miniature, she practised both in oil and in crayons, and under the pa
tronage of the Grand Duchess, met with very extensive encouragement. She died
in 1736, aged 66.
MARMOLEJA, Pedro de Villegas. A Spanish painter, born at Seville in 1520. He
travelled to Italy for improvement ; and from the great style of his design, has been
incorrectly said to have been a disciple of Raffaelle, who died in the year in which

24 MAR MAR
Marmoleja was born. His principal works are in the churches, and in the hospital of
San Lazaro, at Seville, and are said to be distinguished by beauty of form and dignity
of character. He died in 1599, aged 77-
MAROLI, Domenico. This painter was bora at Messina in 1612. He was a scholar of
Antonio Ricci, called Barbalunga ; and on leaving the school of that master visited
Venice, where he studied with attention the works of the great masters of that school,
and returned to Sicily with the powers of an accomplished colourist. His carnations
are fresh and delicate ; and the airs of his heads expressive and full of character.
Such are his pictures of the Martyrdom of S. Placido, in S. Paolo; and the Nativity, in
the Chiesa della Grotta, at Messina. Whilst at Venice, he painted with success some
pastoral subjects, in the syle of Giacomo Bassano, which were much admired. This
artist fell a victim to the revolution which took place in Sicily in 1674.
MARONE, Jacopo. He was a native of Alessandria, and flourished from about the year
1451 till 1484. His principal residence was at Genoa, and in the state, where he painted
several altar-pieces for the churches. In the church of S. Jacopo at Savona, is a picture
of the Nativity by him, painted in distemper, in a careful high-finished style. In S.
Brigada, at Genoa, are two pictures by this master, dated in 1481 and 1484.
MAROT, John. A French architect and engraver, born at Paris in 1620. We have by
this artist several architectural plates of plans and elevations of the most remarkable
edifices in Paris, and the vicinity. In conjunction with S. de la Boissiere, Is. Silvestre,
I. le Paultre, Seb. le Clerc, F. Chaveau, and other artists, he executed several of the plates
for the great cabinet of the King of France. The following are his principal prints :
A set of thirteen plates of Churches and public edifices at Paris; designed and engraved after
their measurement by J. Marot.
A second set of twelve plates of the same.
Twenty-one plates of Views of the Chateau de Richelieu.
The Plans and Elevations of the Louvre ; three plates.
The Plans and Views of the Chateau de Vincennes; three plates.
The Plan and Elevation of the Chateau de Madrid ; two plates.
MAROT, Daniel. He was the son of the preceding artist, born at Paris in 1650 and
distinguished himself as an architect and an engraver. He is usually styled architect
to William III. King of England ; and engraved several plates in the style of his father
which were published at Paris, with some of those of John Marot, entitled Receuil del
planches des Sieurs Marot, pere etfls. He also engraved a set of architectural plates
which were published at Amsterdam in 1712; and the statues and vases in the palace at
Loo. We have also the following prints by him :
The great Fair at the Hague, with the Burghers under arms, saluting the Prince and Princess of
Orange ; in two sheets.
The great Fair at Amsterdam, with the Citizens under arms.
The Festival of the Birth-day of the Prince of Orange. 1686.
The Interior of the Audience-chamber at the Hague.
A perspective View of Voorst.

MAR MAR 25
MARRACCI, Giovanni. This painter was born at Lucca in 1637, and was first a scholar
of Pietro Paolini. When he was fourteen years of age he went to Rome, where he had
the advantage of being received into the school of Pietro da Cortona, under whom he
studied some time; and before he was twenty-five had distinguished himself as an
historical painter at Rome. On the death of his father he returned to Lucca, where he
painted several pictures for the confraternity of S. Lorenzo, and the Collegiate di S.
Michele. In the dome of S. Ignazio, at San Giovanni, he painted some considerable
fresco works. He died in 1704, aged 67.
MARSHALL, William. An English engraver, who, from the persons he represented,
must have begun to practise the art early in the reign of James I. He engraved
chiefly for the booksellers, by whom he was employed upwards of forty years. He
worked entirely with the graver, in a stiff style, without taste. His best prints are his
portraits, of which he engraved a great number, most of which are' supposed to have
been done from his own designs, after life. Although they are very indifferently exe
cuted, they are interesting to the collector, on account of the personages they represent.
He also engraved several frontispieces, and other book ornaments. We have among
others the following portraits by him :
Sir Thomas Moore, Chancellor.
Desiderius Erasmus.
William Cecil, Lord Burleigh.
Robert Dudley, Earl of Leicester.
Nicholas Ridley, Bishop of Rochester.
Lady Jane Grey.
James I.
William Camden, Historian, &c.
William Shakspeare.
Benjamin Jonson.
Charles I. ; three prints.
Francis, Lord Bacon.
George Villiers, Duke of Buckingham.
Robert Devereux, Earl of Essex; scarce.
William Alexander, Earl of Sterling ; scarce.
William Laud, Archbishop of Canterbury.
Nathanial Bernard, Rector of Ramenham ; scarce.
Dr. Donne, when 18 years of age. 1635.
The Reverend Dr. John Taylor.
The Reverend John Sym.
The Reverend Josia Shute.
James, the first Duke of Hamilton.
John Milton.
James Shirley, Poet.
Sir Robert Stapleton, Poet. 1646.
Sir John Suckling, Poet.
The Frontispiece to the Arcadian Princess. 1635.
- to the Evangelical Harmony.

 to Virgil's Works, by Ogilby. 1649.

Vol. II. D

26 MAR MAR
MARSIGLIA, Guglielmo. See Marcilla.
MARTEAU, Giles de, the elder. This artist was born at Liege in 1722. He went to
Paris when he was young, where he acquired considerable reputation as one of the most
successful revivers of the dotted style of engraving, which he brought to great perfec
tion. He was received into the Academy at Paris in 1764. He engraved several plates
of academical figures, after the designs of some of the most eminent French artists. We
have also, among others, the following prints by him :
The Portrait of C. Vanloo, Painter.
The Education of Cupid ; after Boucher.
Venus and Cupid ; after the same.
The Head of Heliodorus; from a design by Pierre; after Raffaelle.
The Bust of the Virgin ; after Pierre.
The Entombing of Christ ; after Stellaert.
Justice protecting the Arts ; after Cochin.
Lycurgus wounded by a Plebeian ; after the same ; his reception plate.
An allegorical Subject on the Death of the Dauphin ; after the same.
A set of six Landscapes ; after J. Houel.
MARTEAU, Giles de, the younger. He was the nephew and pupil of the preceding
artist, born at Liege about the year 1750. He engraved some plates in the style of his
uncle, which are not without merit. Among others, we have the following by him :
Innocent Pleasure ; after Huet.
The favourite Lamb; after the same.
Two Hunting-pieces ; after the same.
Cupid crying ; after the same.
MARTENASIE, Peter. A Flemish engraver, who was a native of Antwerp, and was
instructed in engraving at Paris by J. P. le Bas. We have the following prints by him :
The Watering place; after Berghem.
The Father of a Family ; after Greuze.
The Rape of the Sabines ; after Rubens.
MARTIN, David. An English mezzotinto engraver, who flourished about the year 1765.
He engraved several portraits, among which are :
L. F. Roubillac, Sculptor; after A. Carpentiers. 1765.
Lady F. Manners, daughter of the Marquis of Granby. 1772.
J. J. Rousseau ; after Ramsay.
David Hume ; after the same.
MARTINELLI, Giovanni. This painter was a Florentine, and flourished about the
middle of the seventeenth century. He was an artist to whom, Lanzi remarks
history attributes less merit than he deserves. In the Florentine gallery is a fine picture
by this master of the Feast of Balthasar; and in S. Lucia de Bardi, the Guardian Angel •
but his most esteemed work is his picture of a miracle wrought by St. Anthony, at the
Conventuali at Pescia.

MAR MAR 27
MARTINEZ, Sebastian. A Spanish artist, born at Jaen in 1602. He was a reputable
painter of history, and, according to Palomino, resided the early part of his life at
Cordova, where he painted several pictures for the churches, particularly three altar-
pieces in the Convent of Corpus Christi, representing the immaculate Conception, San
Francisco de Assis, and the Nativity. On the death of Don Diego Velasquez, he visited
Madrid, and was appointed painter to Philip IV. He died at Madrid in 1667, aged 65.
MARTINEZ, Ambrosio. He was bom at Granada about the year 1630, and was brought
up in the school of Alonzo Cano. By the instruction of that distinguished artist, he
became a reputable historical painter. His principal works are in the church of the
Monastery of San Geronimo, and at the Carmelites, in his native city. He died at
Granada in 1674, aged about 44.
MARTINEZ, Jusepe. This Spainish painter was born at Saragossa in 1612, and went
young to Italy, where he studied some years at Rome. Oh his return to Spain he was
employed in several considerable works for the churches and convents at Saragossa.
Palomino mentions a series of pictures of the life of our Saviour in the cloyster of S.
Geronimo. He died in 1682, aged 70.
MARTINI, Giovanni. This artist was a native of Udina, and flourished from the year
1501 till 1515. He was a co-disciple with Pelligrino di S. Daniello, under Giovanni
Bellini. His principal work is a picture of S. Marco, in the dome at Udina, painted in
competition with his fellow student, which, according to Vasari, is little inferior to him.
MARTINI, Pietro Antonio. A modern Italian engraver, born at Parma in 1739. He
visited Paris when young, where his first productions were some plates, etched after
Teniers, and other Flemish artists, which were finished by Le Bas. Martini was some
time in London, where he engraved several plates. We have, among others, the follow
ing by him :
Heliodorus driven from the Temple; after Solimene.
Christ driving the Money-changers from the Temple ; after the same.
Architectural Ruins ; after Robert.
The Pleasures of Summer ; after Vernet.
A View of Spoletto ; after the same.
A View of Porto Ercole ; after the same.
A View of Avignon ; after the same.
The Augurs ; after Sal. Rosa ; etched by Martini, and finished by Le Bas.
MARTINOTTI, Evangelista. This painter was born at Castel Monferrato in 1634. He
was a scholar of Salvator Rosa, and, according to Orlandi, excelled in painting land
scapes, with figures and animals. Lanzi mentions him as a painter of history, and com
mends his picture of the Baptism of Christ by St. John, in the dome of Casale. He
died in 1694, aged 60. He had a brother, Francesco Martinotti, who was also a
disciple of Salvator R.osa, and painted history. He died in 1674, aged 38.
MARTIRELLI. This painter was born at Naples in 1670, and was a scholar of Giacomo
del Po. His first attempts were in historical subjects, but not succeeding to his wishes,
D2

28 MAR MAS
he abandoned that branch of the art, and applied himself to landscape-painting, to which
his powers were better adapted, and became a reputable artist. He imitated the style
of Salvator Rosa, in the romantic wildness of his scenery, as well as in the figures with
which he embellished his pictures. He died in 1720, aged 50.
MARTI S, Ottaviano. He was a native of Gubbio, and flourished from the year 1400
till 1444. Lanzi mentions a picture by him, in the church of S. Maria Nuova, painted
in fresco in 1403, representing the Virgin and Infant, with a glory of angels, in which,
though in a dry Style, the attitudes are as graceful as any of his contemporaries.
MARUCELLI, Giovanni Stefano. According to Baldinucci, this artist was born in the
province of Umbria in 1586*. He was a scholar of Andrea Boscoli, and distinguished
himself as a painter of history, although he was more celebrated as an architect and
engineer. His principal residence was at Pisa, where he painted, in the tribune of the
dome, Abraham and the Angels, which is admired for the elegance of the composition,
and the harmony of the colouring. He died in 1646, aged 60.
MARZIALE, Marco. This painter was a native of Venice, and, according to Lanzi,
flourished from 1488 till 1506. He was a scholar, or at least an imitator, of Giovanni
Bellini, and painted historical subjects in a dry stiff style. In the Conservatorio delle
Penitenti at Venice, is a picture of the Purification, signed Marcus Martialis Venetus.
1488. He was living in 1506, as appears from a picture of Christ with the Disciples at
Emaus, dated in that year, in the Contarini collection.
MASACCIO, Maso di S. Giovanni, called. This eminent painter was born at S. Gio
vanni di Valdarno, in the Florentine territory, in 1401. He was first a disciple of Maso-
lino da Panicale, who he soon surpassed, and after the death of that master finished the
works left imperfect by him. He formed his principles by studying the works of Lorenzo
Ghiberti and Donatella. He learned perspective under Filippo Brunelleschi, and went
to Rome to improve his design by the study of the antique. The powers of Masaccio
form an epoch in the history of the art, and he is regarded as the founder of a new style
characterised by the insipient grandeur of the Florentine school. Vasari observes that
the productions of his predecessors may be said to be painted ; but the works of Ma
saccio are stamped with the genuine attributes of truth and nature. His first perform
ances retained somewhat of the dry and gothic stiffness which prevailed before him.
Such are his S. Anna, in the church of S. Ambrogio at Florence ; and his series of pic
tures of the Passion of our Saviour, in the chapel of S. Catherine, in the church of S.
Clemente at Rome. But his celebrated fresco works in the church of S. Pietro del
Carmine at Florence, are distinguished by a greatness of style unknown to his contem
poraries. His compositions are studied and combined, his design daring, though cor
rect, and his colouring tender and true, with a harmony of effect, little known at that
period. The airs of his heads are distinguished by extraordinary animation and truth of
expression, and are compared by Mengs to those of Raffaelle. The folds of his draperies,
though minute, are simple and natural. His works became the study of the best painters'
i
* Mr. Pilkington dates the birth of this artist in 1646, and his death in 1706; though he calls him a scholar
of Boscoli, who, by his own account, died in 1606.

MAS MAS 29
who succeeded him, and were the models from which Pietro Perugino, and even Raffaelle,
formed their style. There are few of his pictures to be met with in private collections.
In the gallery at Florence is a portrait of a young man, which is highly esteemed. He
died in 1443, in the prime of life, and was suspected to have been poisoned. Some of
his works, left imperfect at his death, were finished by Filippo Lippi.
MASCAGNI, Donato, called Fra Arsenio. This painter was born at Florence in 1579,
and was one of the ablest scholars of Jacopo Ligozzi. Soon after leaving the school of
that master, he became a monk of the order of the Servi, and took the name of Fra
Arsenio, by which he is generally known. He painted several altar-pieces for the
churches at Florence, particularly for that of his monastery. His principal performance
is a large picture in the library of the Servi, at Vallombrosa, which Lanzi mentions in
very favourable terms. It is a copious and ingenious composition, representing Matilda,
Countess of Ferrara, yielding up that state to the see of Rome. His style is more dis
tinguished by minuteness and precision, than for elegance of design, or suavity of
colour. He died in 1636, aged 57-
MASE, F. de la. An obscure French engraver, mentioned by Mr. Strutt as having etched
a plate representing St. Jerome in his cavern ; after L. de la Hire, which proves him to
have been a man of ability.
MASO, di S. Friano. See Manzuoli.
MASOLINO da Panicale. See Panicale.
MASQUELIER, Louis Joseph. A modern French engraver, born at Lisle about the
year 1741. He was a pupil of J. P. le Bas at Paris, where he engraved several plates, in
the neat spirited style of his instructor, which possess considerable merit, particularly
his landscapes. Among others, we have the following prints by him:
The arrival of Voltaire in the Elysian Fields ; after le Barbier.
An old Man kneeling near a Scull, called Diogenes ; after G. Douw.
A View in Flanders ; after Teniers ; etched by Masquelier, and finished by Le Bas.
A Landscape, with Cattle ; after P. Potter.
A pair of Landscapes ; after Ruysdael; by Masquelier and Le Bas.
A View in Italy ; after Fernet.
A Shipwreck ; after the same.
Two Views of Ostend ; after Le May.
A Landscape, with a Waterfall ; after Dietricy.
He engraved several of the plates for Le Voyage d1 Italic, by St. Non.
MASSARD, John. A modern French engraver, born at Paris about the year 1740. He
was a pupil of J. G. Wille, and has engraved several plates in the neat finished style of
that artist. The following are among his most esteemed prints :
portraits.
The Family of Charles I. ; after Vandyck.
Louis XVI. of France, when Dauphin.

30 MAS MAS
Marie-Antoinette ; his consort.
Nicholas de Livri, Bishop of Callinique ; after L. Toque.
subjects.
The Virgin and Infant ; after Vandyck.
Abraham and Hagar; after the same.
Eve presenting the forbidden Fruit to Adam ; after Cignani.
The broken Pitcher ; after Greuze.
The benevolent Lady ; after the same.
MASSARI, Lucio. This painter was born at Bologna in 1569, and was some time a
scholar of Bartolomeo Passerotti ; but he afterwards studied in the great school of the
Caraeci. His style resembles that of Annibale, rather than Lodovico; and in some
of his works he approaches so near to his manner, that they may easily be mistaken for
those of that master. Of this description are his pictures of the Marriage of St. Cathe
rine, in the church of S. Benedetto at Bologna; Christ appearing to Magdalen, at the
Celestini; and his two altar-pieces in S. Michele in Bosco. In his picture of S. Gaetano
in the church of the Theatins, he appears to have imitated the style of his friend and
fellow student Albano, particular!}' in the glory of angels, which is entirely in the grace.
ful manner of that master. Although he generally made choice of cheerful and pleasing
subjects, his ^powers were not incompetent to the more arduous exhibition of the tragical
and terrific. Such are his pictures of the Murder of the Innocents, in the Palazzo Bon-
figliuola ; and Christ bearing his cross, at the Certosa, a grand and copious composition,
with an admirable variety in the expression of the heads, and of the most impressive
effect. He died in 1633, aged 64.
MASSARO, Niccolo. This artist was a Neapolitan, and a scholar of Salvator Rosa.
He painted landscapes, which resemble those of his instructor more in his forms and
scenery than in his colouring, which is languid and weak. As he was not successful in
the design of the figure, he was assisted in the decoration of his pictures by other artists,
particularly by Antonio di Simone, a painter little known. He died in 1704.
MASSAROTTI, Angelo. He was born at Cremona in 1655, and for some time studied
under Agostino Bonisoli, in his native city. He afterwards visited Rome, where he
became a scholar of Carlo Cesi. One of his first performances was an altar-piece for the
church of S. Salvatore in Lauro. Although he resided several years at Rome, his
style partakes more of the Cremonese than the Roman taste. He trusted little t'o his
imagination, but usually painted each individual figure from a portrait before him. By
this servile habit, he could hardly avoid the vices of a mannerist. His principal work is
a large picture in the church of S. Agostino, representing that saint distributing his
regulations to his different orders. He died in 1723, a°ed 68.
MASSE, John Baptist. A French miniature-painter and engraver, born at Paris in 1681
In the early part of his life he applied himself to engraving, but having made some at
tempts to paint portraits in miniature, he met with such success, that he adopted it as
his principal profession, although he arrived at a celebrity as an engraver, which procured
him a reception into the Academy at Paris. He undertook the direction of the engrav
ings from the pictures by Le Brun, in the gallery of Versailles, for which he made some

MAS MAS 31
of the designs. The work consists of five hundred and twenty plates, entitled, La grande
galerie de Versailles et les deux salons qui l' accompagnent , dessinee par J. B. Masse et gravee
par les meilleurs maitres du terns, Paris 1752. He engraved himself the following prints :
Mary de Medicis, Queen of Henry IV. a frontispiece to the Luxembourg gallery ; after Rubens.
The Portrait of Anthony Coypel, Painter ; after a picture by himself ; engraved by Masse, for
his reception at the Academy.
Mercury sent by Venus to dispose Dido in favour of jEneas ; after J. Cotelle. /
MASSEI, Girolamo. This painter was a native of Lucca, and, according to Baglione,
flourished at Rome in the pontificate of Paul V. where he painted several pictures for
the churches and public edifices. In S. Luigi de Francesi is an altar-piece by him,
representing the Martyrdom of St. Sebastian ; and in the Trinita de Monti there are
several pictures in fresco of the Life and Miracles of St. Francis of Paula. Agostino
Taja, in his Descrizione del Vaticano, says, he was one of the artists selected by Fra Ig-
nazio Danti, superintendant of the works to ornament the loggie of the Vatican, where
he was employed several years. He returned to Lucca towards the latter part of his life,
where he died, at the age of 80.
MASSI, G. This artist is mentioned by Mr. Strutt as the engraver of a portrait of Car
dinal Alaman Salviati ; after P.Nelli; dated 1730.
MASSINI, C. The name of this artist, who was apparently a painter, is affixed to a slight
etching, after G. F. Greut, representing Penelope weaving her web.
MASSON, Anthony. This celebrated French engraver was born near Orleans in 1636.
He was bred to the business of an armourer, and first exercised the burin in graving
ornaments on steel. Early in his life he settled at Paris, where he applied himself to
drawing with great assiduity, and acquired some celebrity in painting and designing
portraits. But he is principally distinguished as an engraver; and in some of his plates,
particularly his portraits, he reached an excellence which has seldom been surpassed.
His plates are executed entirely with the graver, which he handled with surprising firm
ness and facility, and at the same time with the utmost delicacy. His portrait of Brisa-
cier, known by the name of the Grey-headed Man, is a model of lightness and precision.
That of Olivier d'Ormesson is also admirable. Of his subjects, the celebrated print of
Christ with the Disciples at Emaus, after Titian, commonly called the Table-cloth, may
be regarded as a chef-d'oeuvre in that style of engraving. The following is an ample list
of the works of this eminent artist : portraits.
Anne of Austria, Queen of France ; after P. Mignard.
Maria Theresa of Austria, Queen of France ; after JV. Mignard.
Maria Anne Victoria of Bavaria, Dauphiness.
Louis Augustus, Duke du Maine, ad virum sc.
John James de Mesmes, Count d'Avaux. 1683.
Francis de Beauvilliers, Duke de St. Aignau.
Francis Rouxel de Medavi, Archbishop of Rouen. 1677.
Maria de Lorraine, Duchess de Guise; after N. Mignard.

32 MASSON.
The Count D'Harcourt, called the Cadet de laperle; after N. Mignard; extremely fine.
Nicholas de Lamoignon, Count de Courson. 1676.
Jerome Bignon, Librarian to the King. 1686.
Denis Marin, Secretary to the King. 1672.
Louis Verjus, Count de Crecy. 1679.
Frederick William, Elector of Brandenbourg. 1683 ; scarce.
Guido Patin, Med. Doct. ; engraved in a singular style; rare.
Charles Patin, his son, M. D.
Francis Maria, Doge of Genoa. 1685.
Hardouin de Beaumont, Archbishop of Paris ; after N. Mignard.
Emanuel Theodore, Duke d'Albert; after the same.
Gaspar Charrier, Secretary to the King; after Blanchet.
Alexander du Puy, Marquis of St. Andr6; after de Seve.
Louis, Duke de Vendome ; after P. Mignard.
G. de Brisacier, Secretary to the Queen, called the Grey-headed Man; very fine.
Olivier le Fevre d'Ormesson, President of the Parliament. 1668 ; very fine.
Peter Dupuis, Painter to the King ; after N. Mignard.
Anthony Masson, Engraver to the King ; se ipse fecit.
The following heads, as large as life, though finely engraved, are less happy in the
execution than the preceding portraits.
Louis XIV. with a Hat ; ad vivum fecit . 1687.
Louis XIV. ; a large oval ; after C. le Brun.
Louis, the Dauphin, his son, with a Hat.
Philip, Duke of Orleans.
John Baptist Colbert, Prime Minister. 1677.
Francis de Harley, Archbishop of Paris. 1684.
Claude du Housset. 1681.
Henry de la Tour d'Auvergne, Viscount de Turenne.
Nicholas Potier de Novion, President of the Parliament. 1679.
William de Lamoignon, President of the Parliament. 1675.
Charles Colbert, Marquis de Croissi ; after H. Cascar.
subjects.
St. Jerome in Meditation ; Masson, sc.
The Holy Family ; after N. Mignard.
Christ with the Pilgrims at Emaus; after Titian. This print is celebrated by the name of the
Table-cloth ; very fine.
The Assumption of the Virgin; after Rubens; fine and scarce.
The Brazen Serpent ; after the same ; in two sheets ; fine.
MASSON, Magdalen. This ingenious lady was the daughter of the preceding artist
born at Paris about the year l660,and was a pupil of her father, in whose fine style she
engraved several portraits, or heads, as large as life. Among others, we have the follow-
ing by her :
Elizabeth Charlotte, Duchess of Orleans; Mad. Masson, sc.
Elizabeth of Orleans, Duchess of Alencon; after P. Mignard.
Maria Theresa of Austria, Queen of France; after Hubert.
Elizabeth Maria Josephine, Infanta of Spain.

MAS MAT 33
Victor Amedeus II. Duke of Savoy.
Louis Henry de Gondrin de Montespan; after a picture by A. Masson.
MASTELLETTA, II. See Donducci.
MASUCCI, Agostino. This painter was bora at Rome in 1691, and was the last scholar
of Carlo Maratti. Without the possession of great vigour or energy, his powers were
equal to the subjects he usually treated, which, for the most part, were holy families,
and subjects of the Virgin. In his small pictures he rivals his master in the amiable
character of his Madonnas, and the pleasing arrangement of his compositions. Of his
works in the churches and public edifices at Rome, the most esteemed are his picture of
S. Anna, in the church del Nome SS. di Maria ; and the Holy Family, in S. Maria
Maggiore. In the church of the Osservanti, at Macerata, is an admired picture of S.
Francesco ; but his most considerable work is his S. Bonaventura, at Urbino, an inge
nious and abundant composition, mentioned by Lanzi in very favourable terms. He
died in 1758, aged 67.
MATH AM, James. A Dutch engraver, born at Haerlem in 1571. He was the son-in-law
of Henry Goltzius, by whom he was instructed in the art ; and, by his advice, went to
Italy, where he engraved several plates after the works of the most eminent Italian
masters. On his return to Holland he worked under the eye of Goltzius, and executed
a great variety of prints, after the ablest painters of the Low Countries. He worked
entirely with the graver, which he handled with great freedom and facility. It is to be
regretted that his drawing is not more correct. He sometimes marked his prints with a
monogram, composed of I. M. A. J/\ . The following are his principal works, many of
which are highly esteemed: portraits.
Philip William, Prince of Orange ; after M. Mirevelt.
Henry of Nassau, Prince of Orange. 1610.
Bust of Philip Winghius, inscribed, Henricus Goltzius Amiciticc ergo delineabat Roma.
Michel Angelus, Buorarotus.
Abraham Bloemaert ; after Paul Moreelse.
SUBJECTS AFTER ITALIAN MASTERS.
The Holy Family, with St. Anne ; after Raffaelle.
Mount Parnassus, with Apollo and the Muses; after the same.
The Holy Family, with St. Catherine ; after Titian. 1592.
The Alliance of Venus with Bacchus and Ceres ; after the same.
The Visitation of the Virgin ; after Salviati.
Christ washing the Feet of his Disciples ; after Taddeo Zuccaro.
Christ praying on the Mount ; after the same.
The Nativity ; after the same.
The Assumption of the Virgin; after the same.
The Adoration of the Kings ; after Fed. Zuccaro.
Christ curing the Sick ; after the same.
Christ raising the Widow's Son ; after the same.
The Visitation of the Virgin; after Paolo Veronese,
Vol. II. E

34 MATHAM.
SUBJECTS AFTER GOLTZIUS.
The Fall of our first Parents.
The Visitation of the Virgin to St. Elizabeth.
The Crucifixion, with the Virgin and St. John.
Christ appearing to Magdalen. 1602.
Christ with the Disciples at Emmaus.
The Loves of the Gods, Jupiter and Europa, Apollo and Leucathoe, Mars and Venus, and
Hercules and Dejanira ; four plates.
Perseus and Andromeda. 1597.
The Four Seasons ; in four circular plates. 1589.
Faith, Hope, and Charity. 1590.
The seven Cardinal Virtues ; in seven plates.
The seven Mortal Sins ; in seven plates.
The Type of Human Life ; in three plates. 1592 ; scarce.
SUBJECTS AFTER GERMAN AND DUTCH MASTERS.
Abraham sending away Hagar ; after Ab. Bloemaert.
The Annunciation ; after the same.
The Adoration of the Shepherds ; after the same.
Jupiter and Danae; after the same.
Cupid and Psyche ; after the same.
Samson and Dalilah ; after Rubens.
The dead Christ, with the Marys; after Jer. Franck.
The Crucifixion ; after Albert Durer ; scarce.
Venus asleep, surprised by Satyrs ; after Rottenhamer.
A set of five prints of Fruit-pieces, and the Interiors of Kitchens ; after Peter van Aertsen, called
Long Peter ; scarce.
MATHAM, Theodore. He was the son and pupil of the preceding artist, bora at Haer
lem about the year 1600. After engraving a few plates in his own country he went to
Italy, where he entered the school of Cornelius Bloemaert; in conjunction with Michael
Natalis, Renier de Persyn, and others, he engraved the statues in the Palazzo Giusti
niani. On his return to Holland, he engraved a variety of plates, principally portraits,
which are executed with the graver, occasionally assisted with the point, in a clear, free
style. He usually signed his plates with his initials T. M. with the addition of fecit or
sculpsit. We have the following prints by him :
PORTRAITS.
Michael le Blon, Agent to the Crown of Sweden ; after Vandyck.
Joost van de Vondel, Dutch Poet ; after Sandrart.
Vopiscus Fortunatus Plempius, Med. Doct; after Backer.
D. Gerardus Vossius, Canonicus Cantuariensis ; after Sandrart.
Gaspar Barteus, Med. Doct. ; after the same.
Philip William, Count Palatine of the Rhine; after J. Spilberg.
Wolfgang William, Count Palatine ; after the same.
Stephen Vacht, Dean of Sarten; after the same.
Claudius a Salmasi ; after Dubordieu.

MAT MAT 35
Henricus Regius, Med. Doct. ; after IL Bloemaert.
D. Leonardus Marius Goezauus, Professor Coloniensis ; after N. Moyari.
SUBJECTS.
The Virgin and Infant, with St. John ; after Bassano.
The Holy Family ; after J. Sandrart.
Diana and Acteon; Th. Matham,fec.
The Descent from the Cross, with the Marys, St. John, and Joseph of Arimathea; after Ge-
rardus Leydanus ; fine.
MATHAM^ Adrian. This artist was of the same family as the two preceding engravers,
born at Haerlem about the year 1600. He engraved part of the plates for the Academie
de I'Espee, published at Antwerp in 1628. We have also some portraits, and a few
grotesque subjects by him. He worked entirely with the graver, in a style resembling
that of J. de Gheyn, the elder, though very inferior to that artist, both in execution and
design. The following are his best prints :
portraits.
James Graham, Marquis of Montrose.
Peter Bor Christiaensz, Historian ; after F. Hals.
D. Sibrandus Sixtius Oistervirius ; after N. Mayart.
SUBJECTS.
The Golden Age ; after H. Goltzius. 1620.
An old Man caressing a Woman, to whom he presents his Purse; after the same.
Two Beggars, the Man playing on a Viol, the Woman singing ; after A. Vander Venne.
A Combat of six grotesque Figures ; after the same.
MATHEUS. A French engraver, who resided at Paris about the year 1620. He was
chiefly employed by the booksellers, and engraved several plates of frontispieces, and
other book ornaments, in a neat finished style. They possess considerable merit, and
are, for the most part, from his own designs. Among others, we have the following bv
him :
The Adoration of the Magi ; from his own designs.
The Frontispiece to a General History of France ; published at Paris in 1619.
A Frontispiece to the Works qf Thomas Aquinas. 1622.
Another Frontispiece to Amours D'Endimion et de la Lune. 1624.
MATHEY, C. The name of this engraver is affixed to the portrait of Arcangelo Corelli,
the Musician, after Howard.
MATHIEU, A. A French engraver, who flourished about the year 1656. We have by
him some spirited etchings, retouched with the graver, in a style somewhat resembling
the works of Callot, for a thin folio volume, entitled Les Armes triomphantes de son Altesse
Monseigneur le Due d'Esperon pour le suject de son heureuse entree, faite dans la ville de
Dijon. 1656.
E2

36 MAT MAT
MATHIEU, John. A modern French engraver, born at Paris in 1749- He was a pupil
of J. de Longueil, and has engraved various plates of landscapes and views, in a neat
pleasing style. He also executed several of the plates for Le Voyage de la Grece, by the
Count de Choiseul ; and for the Travels of the Abbe de St. Non. Among others, we
have the following prints by him :
A Pair of Landscapes ; after Hilaire.
The Lover's Vow ; after Fragonard.
The Tempest ; after the same.
The Hunting Party ; after K. du Jardin.
The Sicilian Shepherd ; after Mayer.
A View in Saxony ; after Wagner.
A Landscape, with Ruins ; after the same.
The Broken Bridge ; after Wowermans.
A Landscape, with a Mill; after Ruysdael.
A View in Italy; after Gaspar Poussin.
MATHYSSENS, Abraham. A Flemish painter, born at Antwerp about the year 1570.
According to M. Descamps, he was a reputable painter both of history and landscapes.
In the cathedral at Antwerp is a picture by him of the Death of the Virgin ; and in the
church of the Recollets, an altar-piece, representing the Virgin and infant Saviour, with
St. Francis.
MATSYS, or Messis, Quintin, called the Blacksmith of Antwerp. According to Van
Mander, this painter was bora at Antwerp in 1450, and, until he was twenty years of
age, followed the laborious calling of a blacksmith. The cause of his quitting the anvil
for the pallet, is said to have originated in his having conceived a strong attachment to
the daughter of an artist of his time, who had determined she should marry no other
thana painter. Finding her father inflexible in his resolution, he abandoned his devotion
to Vulcan, and became an humble worshipper at the shrine of the Muses. This account
of his conversion to the art, is supported by the verses of Lampsonius, affixed to his
portrait, engraved by Jerome Cock ; and by the inscription on his monument, in the
cathedral at Antwerp; Connubialis amor de Mulcibre fecit Apellem. It is not known
under whom he studied, or whether he had the advantage of any particular instruction ;
but he became one of the most eminent painters of his time in the dry minute style
prevalent at that period. His most considerable work is an altar-piece, with two fold
ing-doors, in the chapel of the Circumcision, in the cathedral at Antwerp. The centre
picture represents the dead Christ on the knees of the Virgin, with Mary Magdalen, and
other figures. On one side of the shutters is the daughter of Herod with the Head of
St. John ; and on the other St. John in the cauldron of boiling oil. Of this curious
performance, Sir Joshua Reynolds gives the following description. " In the Pieta the
Christ appears starved to death, in which manner it was the custom of the painters of
that age always to represent a dead Christ ; but there are heads in this picture not
exceeded by Raffaelle, and indeed not unlike his manner of painting portraits, hard and
minutely finished. The head of Herod, and that of a fat man near the Christ, are ex
cellent. The painter's own portrait is here introduced. In the banquet, the daughter is
rather beautiful, but too skinny and lean." In his Majesty's collection is his well-known
representation of the Misers ; and in the gallery of the Louvre are three pictures by him,

MAT MAT 37
which, in the French invasion of Flanders, were deemed sufficiently curious and inte
resting to become the objects of their plunder. They represent the Holy Family ; the
Marriage of Zacchary and St. Elizabeth; and Zacchary struck dumb, for his incredu
lity. He died at Antwerp in 1529, aged 79-
MATSYS, or Messis, John. He was the son and scholar of the preceding artist, born at
Antwerp about the year 1480. He followed the style of his father, but was in every
respect greatly inferior to him. Some of his best pictures are at Amsterdam, among
which is one representing two old Men counting their Money, which is favourably
spoken of by Van Mander.
MATSYS, Met, or Metensis, Cornelius. A Flemish engraver, who flourished about the
year 1545. We have a variety of prints by this artist, principally from his own designs,
which are executed in a style resembling that of Francis de Babylone, though more cor
rect in the drawing. It was for some time supposed that Matsys and Metensis were two
different artists; but M. Heineken, with more appearance of probability, considers the
prints marked with the monograms Qf^Em anc^ CNK' t0 have been executed by the
same engraver. He sometimes signed his plates Corn. Met. He appears to have visited
Italy, from the taste of his design, and the masters from whom he engraved. He is not
very successful in his female heads, which are neither handsome nor expressive. The
following prints are attributed to him :
The Portrait of Ernest, Count de Mansfeld.
The Cardinal Virtues.
The Death of Cleopatra. 1550.
An old Man, with two old Women, one of whom holds a Basket of Eggs. 1549.
Judith with the Head of Holofernes. 1539.
A Battle ; after G. Penz.
The Holy Family, with St. Elizabeth ; after Raffaelle, Corn. Met.
The miraculous Draught of Fishes; after the same ; Cornel. Met. fee.
The Entombing of Christ ; after an etching by Parmigiano.
A set of Prints from the Old Testament; on some of these he has put one of the above-men
tioned monograms, and also signed his name at length, Cornelius Matsys, fecit. They are
dated 1549 and 1550.
MATTEIS, Paolo de. This painter was born at Naples in 1662, and, according to Lanzi,
was the most celebrated scholar of Luca Giordano, and an artist who might compete
with the ablest of his time. In the early part of his life he went to France, where he
was employed for three years in some considerable works for the court. He was invited
to Rome by Benedict XIII. where he painted several pictures for la Minerva, and the
church of Ara Caeli. At Genoa, in the church of S. Girolamo, are two of his admired
works, representing the Immaculate Conception, with a glory of angels, and St. Jerome
appearing to S. Saverio in a dream. But the theatre of his best exertkms is Naples, his
principal residence, where he distinguished himself by numerous works in the churches
and palaces; in which he appears to have emulated the promptness and surprising faci
lity of his instructor, without equalling him in the vigour of his colouring, or the ge
neral effect of the chiar-oscuro. He chiefly prided himself on having painted the great

30 MAT MAXJ
Cupola of Gesu Nuovo in sixty-five days, in which there are passages which remind us
of the genius and dispatch of Lanfranco. He died in 1728, aged 66.
MATTEUS, Cornelius. The name of this artist is affixed to a spirited etching of a land
scape, with a ruin in the back-ground ; it is executed in the style of a painter resembling
that of Herman Swanevelt.
MATTIOLl, Lodovico. This artist was born at Bologna in 1662, and learned design in
the school of Carlo Cignani, with the intention of becoming a painter, but having made
some essays in etching, he met with such encouragement that he was induced to devote
himself entirely to engraving. We have a variety of etchings by him, after the Bolog
nese masters, as well as from his own designs; among which are the following:
The Annunciation ; after Lod. Caraeci; scarce.
The Circumcision ; after the same.
The Nativity; after Agos. Caraeci.
Christ and the Woman of Samaria ; after An. Caraeci.
The Death of St. Joseph ; after Franceschini.
The Presentation in the Temple ; after G. M. Crespi.
The Martyrdom of St. Peter ; after the same.
MATURINO. This eminent painter was born at Florence in 1490. He was one of the
artists who had the advantage of studying under Raffaelle, and was employed by him
in ornamenting the loggie of the Vatican. He became the intimate friend and co
adjutor of Polidoro da Caravaggio, with whom he applied himself to an assiduous study
of the antique bassi-relievi, and other relics of Grecian sculpture, by which he acquired
an elegance of taste, and a purity of design, in which he was only surpassed by Polidoro.
In conjunction with that great master, he was much employed in ornamenting the ex
terior of the palaces at Rome, many of which were of extraordinary beauty ; and it is
much to be lamented, that, from their exposed situation, few of them have escaped tbe
injuries of time, or the destructive fury of barbarism. One of the most celebrated of
their united works was the Death of the Children of Niobe, at the Maschero d'Oro,
which is now unfortunately perished; the admirable composition is however preserved
to us by the print of Cherubino Alberti. The sacking of Rome by the Spaniards in
1527, separated the two friends, and interrupted their conjunctive exertions. Maturino
did not long survive that disaster, but is said to have died of the plague when he was
little more than 37 years of age.
MAUCOURT, Charles. A French mezzotinto engraver, born at Paris about the year
1743, and died in London in 1768. Among other prints, we have the following by him
which is become scarce.
The Expulsion of the Jesuits from Spain; C. Maucourt,fec.
MAUPIN, or Maupain,Paul. According to Basan, this artist was a native of Abbeville,
and flourished about the middle of the seventeenth century. He executed some wooden
cuts in chiar-oscuro, after J. Stella. Basan mentions another engraver on wood of the

M A U M A Z 3.9
name of Maupain, a relation of the above mentioned artist, but he does not specify any
of his works.
MAUPERCHE, Henry. A French painter and engraver, born at. Pans in 1606. He
painted landscapes with considerable reputation, and was received into the Academy at
Paris in 1655. In the apartments at Fontainbleau are several works in fresco by him.
We have by him several etchings, some of which are from his own designs, and others
after H. Swanevelt. The following are by him:
A set of six plates of the History of Tobit.
A set of six plates of the History of the Virgin, from the Annunciation till the Flight into
Egypt.
Twelve Landscapes ; after Herman Swanevelt.
Two Plates of the Prodigal Son.
Four Landscapes, with Figures and Ruins.
MAURER, Christopher. This artist] was born at Zuric in 1558. His father, Joshua
Maurer, was a painter of some merit, by whom he was instructed in the first elements of
design, but he afterwards studied at Strasburg, under Tobias Stimmer, whose style he
adopted. He was a reputable painter in distemper and on glass, but he distinguished
himself more as an engraver, both on wood and on copper. In conjunction with Stim
mer, he published some prints of animals of the chase. He executed a set of wooden
cuts for the Bible, which are admired for their neatness. He also etched a set of forty
plates of emblems, which were published after his death, in 1622, entitled, Emblemaia
miscel. nova. fyc. He died at Zuric in 16]4, aged 56. He sometimes used the cypher Af.
MAYNO, Juan Bautista. A Spanish painter, bora at Toledo in 1594. He was a scholar
of Domenico delle Grecche, or Domenico Teotocopoli, under whom he proved an
eminent artist. At an early period of his life he became a monk of the order of the
Predicatores; but this seclusion from the world did not prevent the exercise of his
talents, and he was reputed as one of the ablest painters of his time. In the convent
of San Pedro the Martyr, at Toledo, there are four of his principal works, representing
the Nativity, the Resurrection, the Descent of the Holy Ghost, and the Mystery of the
Trinity ; and in the same church another fine picture by Mayno, of the Repentance of
"St. Peter. He had the honour of being drawing-master to Philip IV. who was not only
a lover of the art, but a proficient; and was employed by him to paint his celebiated
battle-piece in the Bueno Retiro, into which he has introduced the Duke d'Olivarez
animating the troops to victory, by showing them the portrait of their King Philip.
He died at Toledo in 1654, aged 60.
MAZO, Don Juan Bautista. This Spanish painter was bora at Madrid in 1620, and was
educated in the school of Don Diego Velasquez. He is said by Palomino to have
been an universal painter, and to have equally excelled in history, portraits, and land
scapes. He possessed an extraordinary talent in copying with surprising exactness the
works of other masters, particularly those of Titian, Tintoretto, and Paolo Veronese-
and was much employed by Philip IV. in copying the celebiated Venetian pictures in

40 MAZ MAZ
the royal collection, which could with difficulty be distinguished from the originals.
He died at Madrid in 1670, aged 50.
MAZZA, Damiano. This painter was a native of Padua, and was one of the ablest dis
ciples of Titian. He chiefly resided at Venice, where he painted some pictures for the
churches, which approached nearer to the fine style of his instructor, than any of his
contemporaries. His most celebrated work was his picture of Ganymede taken up by
the Eagle, in the Casa Sonica at Padua, which was regarded by many as a production of
Titian. This promising artist died in the flower of his life, to the great regret of the
admirers of art, who had formed the most sanguine expectations of his growing talent.
MAZZIERI, Antonio di Donnino. According to Vasari, this painter was a native of
Florence, and a disciple of Francia Bigio. He flourished about the year 1520, and dis
tinguished himself as a painter of landscapes and battle-pieces, which were well coloured,
and touched with great spirit.
MAZZOCCHI, Paolo. See Uccello.
MAZZOLINI, Lodovico, called Mazzolini di Ferrara. This painter was born at Fer
rara about the year 1481. He must not be confounded with Mazzolino, a Milanese,
mentioned by Lomazzo in his Idea del Tempio della Pittura. Mazzolini of Ferrara is
stated by Barrufaldi to have been a scholar of Lorenzo Costa. He was less successful
in his large pictures than those of an easel size, which are spoken of by Lanzi in very
favourable terms. In the church of S Francesco at Bologna is an altar-piece of Christ
disputing with the Doctors, and a small picture below it of the Nativity, which is much
superior to the large picture. His works are very highly finished, and each object is de
signed with great neatness and precision. In the Florentine gallery is a small picture by
him of the Holy Family, with St. Anne and St. Joachim. He died in 1530, aged 49.
MAZZONI, Giulio. He was a native of Piacenza, but studied at Rome under Daniele
di Volterra, and flourished about the year 1568. He is mentioned by Vasari, in the life of
that distinguished master, as a painter of considerable merit. His principal work is the
Four Evangelists in the dome at Piacenza. Though deficient in foreshortening, he was
respectable in every other branch.
MAZZONI, Cesare. He was born at Bologna in 1678, and was first a scholar of Lorenzo
Pasinelii, and afterwards studied under Giovanni Gioseffo dale Sole. There are several
of his works in the churches and public edifices at Bologna, which prove him to have
been a respectable painter of history. In S. Colombano, the chief altar-piece is by him,
representing that saint kneeling before the Virgin and Infant. In S. Tommaso di Strada
Maggiore is the Crucifixion, with the Virgin, Mary Magdalen, and other figures ; and
in S. Giovanni in Monte, St. Peter delivered from prison. He died in 1763, aged 85.
MAZZUCHELLI. See Morazzone.
MAZZUOL1, Francesco, called II Parmigiano. This admired painter was the son of
Pier llano Mazzuoli, an obscure artist, bora at Parma, according to the Padre Aff6, who

MAZZU0L1. 41
has written his life, in 1503; Vasari says in 1504. His father dying when he was very
young, he was brought up under his uncles, Filippo and Michele, who taught him what
they knew of the art ; and such was the vivacity of .his genius, that, without the advan
tage of superior instruction, at the age of sixteen, he painted his picture of the Baptism
of Christ by St. John, in the church of the S. Annunziata, at Parma, which was the asto
nishment of his contemporary artists. Surrounded with the admirable productions of
Coreggio, he appears to have studied them with the greatest attention and success.
The congeniality of their taste is not unaptly expressed by an elegant modern poet:
" Soft as Catullus, sweet Coreggio played,
With all the magic charms of light and shade;
Though Parma claim it for her rival son,
The praise of sweetest grace thy pencil won*."
His earliest works were entirely in the style of that exquisite painter ; such are his S.
Bernardo at the Osservanti at Parma, and the Holy Family, in the collection of the
Presidente Bertioli. The desire of seeing the works of Michael Angelo and Raffaelle,
led him to Rome, when he was twenty years of age, where his talents recommended
him to the notice of Clement VII. for whom he painted a picture of the Circumcision,
for the palace of the Vatican, his first production in that metropolis. He now embellished
his taste by imitating the grace and dignity of Raffaelle, and invigorated his design by
contemplating the gigantic energy of Buonaroti. Vasari reports that it was said at
Rome, " that the soul of Raffaelle had passed into the person of Parmigiano." Maz-
zuoli was high in his patron's favour, and in the public estimation, when his flattering
career was interrupted by the sacking of Rome in 1527. This event, so disastrous to
the arts and artists of that capital, obliged him to take refuge at Bologna, where he
painted some altar-pieces for the churches, among which was his celebrated picture of
the Virgin and infant Christ, with St. John, St. Margaret, and' St. Jerome ; in S. Mar-
gherita. This distinguished performance was long the admiration and the study of the
Caraeci ; and is now in the gallery of the Louvre. In the church of S. Petronio is a
grand picture of S. Rocco, a noble and dignified performance. On his return to Parma
he was engaged to paint in fresco the vault of la Madonna della Steccata, where he
represented Adam and Eve, and his famed chiar-oscuro of Moses breaking the Tables
of the Law, in which the sublimity of the idea, and the great style of the design, render
it one of the grandest productions of the Lombard school. Of his easel pictures, one
of his most admired compositions is the Virgin and Infant, with St. Catherine, St. John,
and St. Jerome, in the Florentine gallery, of which there are several repetitions.
Another celebrated picture by him, representing the Virgin and Child, with Mary Mag
dalen and Angels, called La Madonna del collo lungo, was formerly in the same collec
tion, and is now in the French Museum. To the prejudice of his reputation, and the
detriment of the art, this accomplished painter was unfortunately addicted to the ruinous
mania of alchemy, and wasted his substance and his health in the absurd pursuit of the
philosopher's stone. This fatal infatuation occasioned him to neglect, and at last to
abandon, the important works he was engaged in at the Steccata, and having received
several sums of money in advance, he was prosecuted by the confraternity. He fled to
Casale Maggiore, where he died of a fever, brought on by disappointment and chagrin,
at the age of 37- * Hayley's Essay on Painting. Epist. i. v. 282.
Vol. II. F

42 MAZZUOLI.
• The style of Parmigiano is distinguished by a seductive elegance of contour, and the
most captivating grace in his attitudes. His design, though sometimes learned and
severe, is frequently more tasteful than correct ; and though his forms are beautiful, and
the characters of his heads full of sweetness and expression, they are not always exempt
from the appearance of affectation. In aiming at extreme delicacy, he occasionally fell
into meagreness and manner. He was generally an enchanting colourist, and was a
profound master of the magic of chiar-oscuro. As an engraver, Francesco Mazzuoli
has been erroneously supposed to have been the inventor of etching ; but it was practised
in Germany a considerable time before him; though he is considered as the first artist
who exercised the point in Italy. This is rendered extremely probable, by the difficulty
he appears to have laboured under, in the mechanical part of the execution of some of
his first prints. His plates are scratched in with the point, and being sometimes not
well corroded with the aqua fortis, they are retouched with the graver, without much
delicacy of execution. From his inexperience in the process, his earliest etchings are
seldom clear, or perfect, though some of those executed in the latter part of his life are
greatly superior. These defects are, however, amply compensated by the tasteful ar
rangement of his subjects, and the spirit and animation of his design. It is very difficult
to meet with fine impressions of his prints, as the plates have been much retouched,
and have been frequently copied. The originals are distinguishable by the superior
expression in the heads, and the elegance of the outline. We have a number of wooden
cuts from his designs, printed in chiar-oscuro, which have been incorrectly said to have
been executed by himself; but it is perfectly ascertained that he only superintended
their execution by Ugo da Carpi, Antonio da Trento, Andrea Andreani, and others.
Antonio Zanetti has lately considerably added to their number. We have the following
etchings by this distinguished artist :
Moses and the Burning Bush; supposed to have been his first plate.
Judith with the Head of Holofernes.
Joseph and Potiphar's Wife.
A set of thirteen plates of Christ and the Apostles.
The Nativity.
The Marriage of St. Catherine.
The Holy Family, with St. John presenting a Basket of Flowers.
The Holy Family, with Zacharias.
Another Holy Family, with St. John embracing the infant Jesus.
The Entombing of Christ. Guido has copied this print.
The Resurrection, with several Soldiers.
A Man and a Woman seated, in a landscape.
A Mother instructing her four Daughters.
A Shepherd resting on his Crook.
Diogenes seated near his Tub. There is a wooden cut of this subject, by Ugo da Carpi.
St. Peter and St. Paul healing the lame' Man; after Raffaelle; fine.
MAZZUOLI, Girolamo. He was the son of Michele Mazzuoli, and the cousin and
scholar of Parmigiano, whose graceful style he followed with considerable success.
His works are chiefly confined to Parma and its vicinity, although there are some of his
pictures in the churches at Mantua and Pavia. He did not accompany Francesco to
Rome, preferring the study of the works of Coreggio. It is believed that several of his

MAZ M E C 43
pictures have, from the similarity of their manner, been attributed to Parmigiano, which
will account for the paucity of his productions, though he lived to an advanced age.
After the death of Francesco, he was employed to finish the pictures at the Steccata,
left imperfect by that master, and painted his celebrated fresco of the Last Supper, in
the refectory of the monks of S. Giovanni Evangelista, a grand composition, in which
he displayed the fecundity of his invention, and the facility of his hand. In the church
of S. Benedetto, at Mantua, is another of his most considerable fresco works, represent
ing the Multiplication of the Loaves. Of his pictures in oil, one of the most admired is
the Marriage of St. Catherine, in the church of the Carmelites, in which he appears to
have emulated the graces of Coreggio. He was living in 1580.
MAZZUOLI, Alessandro. He was the son and scholar of the preceding artist, and
painted history in the style of his father, but was greatly inferior in every respect. In
1571, he was employed in some fresco works in the dome at Parma.
MAZZUOLI, Guiseppe, called II Bastaruolo. In the index to his Storia Pittorica,
Lanzi, by an oversight, calls this painter Filippo; but in the body of the work he
styles him Guiseppe, by which name he is designated by Cesare Barotti, in his Pitture e
Scolture di Ferrara. He was born at Ferrara about the year 1525, and was a fellow
student with Gio. Francesco Surchi, in the school of Dosso Dossi. He acquired the
name of II Bastaruoli from the profession of his father, who was a dealer in grain. With
the exception of a deficiency in perspective, which is occasionally discernible in his
works, he may be ranked among the most eminent painters of the Ferrarese school. In
the middle part of his life he corrected this defect, and acquired a suavity of colouring,
which partook of the purity of Titian ; and a breadth, and an intelligence of the chiar
oscuro, worthy of the school of Coreggio. His pictures were in such estimation, that
there is scarce a public edifice in his native city which does not possess some of his
works. In the cathedral at Ferrara is a fine picture of the Virgin and Infant, crowned
by angels; in S. Maurelio, the church of the Capuchins, the Ascension, one of his most
admired works ; in II Gesu, the Annunciation, and an esteemed picture of the Madonna
and Bambino, with Mary Magdalen and St. John; but his most celebrated performance
is his picture in the Conservatorio of S. Barbara, representing that saint and St. Ursula,
with a number of female figures, composed and painted with extraordinary beauty and
simplicity. This able artist was drowned, whilst bathing in the Po, in 1589.
MECHAU, James. A modern German painter and engraver, born at Leipsic in 1748.
He was for some time a pupil of Bernard Rode, at Berlin, and afterwards frequented the
academy at Leipsic. He painted history and landscapes, in which he acquired consi
derable reputation in Germany ; but he is more generally known as an engraver. He
etched several plates, some of which are from his own designs ; and engraved a variety
of views in Italy in aqua tinta. He handled the point with tolerable dexterity. Among
others, we have the following prints by him :
St. Michael vanquishing the Demon; Mechau, fee. aqua forti.
The Resurrection of Lazarus. Mechau, fee. 1761.
The Adoration of the Shepherds ; after C. Schut.
A Dance of Nymphs and Fauns ; after Giulio Carpioni.
A set of six Italian Landscapes ; in the style of Swanevelt. 1792.
A set of six Views in and near Rome. 1792, 1793.
F2

44 MEC MEC
MECHEL, Christian de. This artist was a native of Basle in Switzerland, in 1737. He
was for some time a pupil of J. G. Wille, at Paris, and afterwards resided at Basle, where
he carried on a considerable commerce in prints. We have by him, among others, the
following plates. portraits.
The Emperor Joseph II. on horseback, reviewing his troops; after J. C. Brand.
Frederick II. King of Prussia, on horseback ; the companion.
General Elliot, Lord Heathfield.
Christianus & Meckel, Chalcographus, &c. SUBJECTS.
An old Man mending a Pen; after Metzu.
Cupid shooting an Arrow ; after Carlo Vanloo.
Four Views of the Rhine ; after Brinckman and Weirotter.
MECHELN, or Mekenen, Israel van. Father and son. It was for some time sup
posed that the various prints which are attributed to Israel van Mecheln, were the works
of one and the same person ; but on account of the great difference observable in their
style, as well as from the dates inscribed on some of them, M. Heineken, and others,
have very reasonably concluded, that both the father and the son practised engraving.
Israel van Mecheln the elder, is stated by M. Huber to have been born at Mecheln, a
village near Bocholt, a small town in the bishopric of Munster, in Westphalia, about
the year 1424. He is regarded as one of the earliest engravers of whom we have any
account, and immediately succeeded, or was rather a contemporary of Martin Schoen.
That he was not a disciple of Schoen, is evident from the total difference in their style.
It has not been found practicable to distinguish precisely the prints of the elder Mecheln
from those of his son ; but it may be naturally concluded, that the ruder part of them, in
point of design and execution, should be ascribed to the father. M. Heineken estimates
the number of their prints at about two hundred and fifty. They are usually signed with
the initials I. M. or I. V. M. or Israhel V. M. or sometimes at length, Israhel van Mekenen
Goldschmit, or Israhel tzu Bockholt : the letters in the gothic character. The folio win fl
are among their most remarkable prints :
The Portrait of Israel van Mecheln the elder, with a beard, and a kind of turban ; signed Israel
von Meckenen Goldschmit.
The Portraits of Israel van Mecheln the younger and his Wife; inscribed Figuracio facierum
Israhelis et Ide Uxoris, I. V. M.
A set of Prints of the Life of Christ. These, as well as the two following prints, are supposed to
be some of the earliest works of the elder Mecheln.
The Descent of the Holy Ghost.
St. Luke painting the Virgin.
Judith with the Head of Holofernes. In the back-ground is a battle, and cannons, with other
warlike instruments.
The Death of the Virgin. M. Schoen, and others, have engraved this subject.
The Virgin standing upon a Crescent, crowned by angels.
The Annunciation ; the Angel holds a Scroll, on which is inscribed AVE. GRA.
The Virgin seated, in a landscape, embracing the Infant, and St. Joseph reposing. On the right
of the print is a Grasshopper, on which account it is called the Virgin with the Grasshopper.
The same subject has been engraved by Albert Durer, and copied from him by Marc Antonio.

MEC MED 45
The Virgin and Infant surrounded by four Angels. 1480.
The Virgin seated, holding the Infant, with a garden-wall in the back-ground, inscribed in
gothic letters, Ave potissima Maria. The same is engraved by M. Schoen.
The Feast of Herod ; Herodias with the Head of St. John.
Herod's Cruelty.
Christ bearing his Cross.
The Scourging of Christ.
The Crucifixion ; Israhel, M. ; with a light ground.
The Crucifixion; Israhel V.M.; with a dark ground.
St. George and the Dragon ; I. V. M.
St. Jerome seated in a room, pointing to a Scull which lies on the table. This is considered one
of their best prints. It has been copied by Lucas van Leyden.
St. Anthony tormented by Devils. The same subject is engraved by Martin Schoen.
The Death of Lucretia.
A Man and a Woman walking, with Death behind a tree, shaking an hour-glass. This print has
been copied by Albert Durer, and others
Several single Figures of male and female Saints.
A Woman singing, and a Man playing on the Lute.
A Man playing on the Organ.
Three naked Women, with a Globe hanging above them. Albert Durer and others have copied
this print.
A Man holding a Scull, inscribed, Respice finem.
A Cup, richly ornamented. The same has been engraved by M. Schoen.
A variety of goldsmith's ornaments, and a great number of other subjects.
M. Israel van Mecheln the younger died in 1523.
MECHELN. The name of this artist is affixed to a portrait of Pope Urban VIII. dated
1623.
MECHERINO. See Beccafumi.
MEDICI, Pietro. This artist was born at Florence in 1586, and was a scholar of Lodo
vico Cardi, called Cigoli. By the instruction of that eminent master, he became a
reputable painter of history, and was employed in painting several altar-pieces for the
churches at Florence, which possess considerable merit. He died in 1648, aged 62.
MEDINA, Sir John. This painter was the son of Medina de PAstuiias, a captain in the
Spanish service, born at Brussels in 1660. He was a scholar of Francis du Chatel, and
afterwards improved himself by studying the works of Rubens. When he was twenty
years of age he came to England, and for some time painted portraits with considerable
success. He was invited to visit Scotland, under the patronage of the Earl of Leven,
who procured him many commissions ; and he painted the portraits of most of the Scotch
nobility. At Wentworth Castle is a large picture of the first Duke of Argyle, with his
two sons, John and Archibald, painted in the Italian style ; and, according to Lord
Orford, superior to most of his contemporaries. The portrait of Medina, by himself,
was sent to the Grand Duke of Tuscany by the Duke of Gordon, and was placed in the
Florentine gallery. He occasionally painted history and landscapes. Two small his
torical pictures by him are said to be in Surgeon's Hall at Edinburgh, where there are

46 M E E MEH
also the portraits of the principal professors. Sir John Medina was knighted by the
Duke of Queens berry, then Lord High Commissioner. He died at Edinburgh in 1711,
aged 51.
MEER, John vander, the elder. This painter was born at Schoonhoven in 1627. It is
not known by whom he was instructed ; but when he was young he visited Italy, accom
panied by Lieven Vanderschur. On his return to Holland he met with the most flatter
ing encouragement, and his pictures were sought after with unusual avidity. He painted
landscapes, with cattle and figures, and marines. His sea-pieces are particularly ad
mired, in which the different vessels are designed with correctness and precision ; his
skies are light and floating, and the water clear and transparent. His tints are warm
and tender ; and there is a sunny brilliancy in his colouring, which reminds us of the sea
ports of Claude. He also painted battle-pieces with considerable success, and. designed
his figures and horses with great fire and animation. He has been reproached with too
great a predominance of blue in his distances, a peculiarity not uncommon to those who
have studied in Italy, where nature frequently assumes a brightness of atmosphere un
known in more northern climates. He died at Haerlem in 1691, aged 64.
MEER, John vander, the younger. He was the son of the foregoing artist, born at
Haerlem in 1665, and was first instructed by his father, but he afterwards had the ad
vantage of studying under Nicholas Berghem, of whom he became one of the most cele
brated scholars. He painted similar subjects to those of Berghem, representing land
scapes, with cattle and pastoral figures, and was so successful in painting sheep, that he
has been said, in those particular objects, to have equalled, if not surpassed, his instruc
tor. His landscapes exhibit very pleasing scenery; the forms of his trees are well
chosen, and the freshness of the verdure in his plants and foliage is very agreeable.
Though certainly very inferior to the works of Berghem, the pictures of Vander Meer
the younger are found in the best collections, particularly in Holland, where they are
highly esteemed. He died in 1688, aged 33. We have a few charming etchings by this
artist, which are now become scarce ; viz.
A set of four Landscapes, with Sheep.
An Ewe suckling a Lamb ; 7. v. der Meer de Jonghe, fecit. 1683; very fine and rare.
MEHUS, or Meus, Livio. This painter was born at Oudenarde in 1630. The troubles
which soon afterwards took place in that country, obliged his family to leave Flanders
and they settled at Milan, where he received some instruction from a Flemish artist'
then resident in that city. At an early age he visited Florence, where he was favoured
with the protection of Prince Manias, and placed under the tuition of Pietro da Cor-
tona, who was at that time employed by the Grand Duke Ferdinand II. in the Palazzo
Pitti. He accompanied his instructor to Rome, where he studied the antique and the
best models, and became a correct and careful designer. He afterwards visited Venice
where he improved himself in colouring, by contemplating the works of the great mas
ters of that school. On his return to Florence he was employed by the Marquis Gerini
to ornament his palace, in conjunction with Ciro Ferri, who had been his fellow student
under P. da Cortona, where he painted his celebrated picture of Bacchus and Ariadne
Although he was more engaged in embellishing the palaces of the nobility, by whom he

ME I M E I 47
was much employed, than in painting for the churches, he was fixed on to paint the dome
of the church of La Pace ; a performance in which he appears to have outdone himself.
It is composed and designed in the best taste of the Lombard school. He was afterwards
employed by the Grand Duke in the Palazzo Pitti, where he painted his fine picture of
the Sacrifice of Abraham. He possessed a fertile and inventive genius ; his pencil is re
solute and prompt, and his colouring chaste and harmonious. His portrait, by himself,
is in the collection of Painters, in the Florentine gallery. He died in 1691, aged 61.
MEI, Bernardino. He was a native of Siena, and flourished from the year 1636 till 1653.
It is not said under whom he studied, but the Padre della Valle, who had seen several
of his works, says his style sometimes resembles the Caraeci, and sometimes Guercino.
There are some of his pictures in the churches at Siena. One of his best performances
is a ceiling in fresco, representing Aurora, in the Casa Bandinelli.
MEIGEL, Christopher. A German engraver, who resided at Nuremberg, where he
published a folio Volume of prints, engraved by himself, representing the follies of dif
ferent people of all professions. They are executed in a very indifferent style.
MEIGHAN, R. An English engraver and bookseller, who flourished about the year
1628, and carried on the business of a bookseller and publisher in St. Dunstan's Church
yard. He has been supposed, to have been the engraver of a scarce portrait of John
Gavel, a reclaimed criminal, prefixed to his Recantation of an ill-spent Life. It is pro
bable, however, that he was only the publisher of it, as it is inscribed, R. Meighan, exc.
1628.
MEIL, John William. A modern German designer and engraver, born at Altenbourg in
1732. He resided chiefly at Berlin, where he was for some time employed in engraving
vignettes and book-ornaments, from his own designs. He has engraved a great number
of plates, in a neat spirited style, in which he appears to have been emulous of imitating
the charming works of Delia Bella, in which he has not been entirely unsuccessful.
Among a variety of other prints, we have the following by him :
A set of eight small plates of Heads and Caricatures ; scarce.
Four of Quack-doctors and Ballad-singers ; in the manner of Dietricy.
A set often Vignettes for the Poem of Joseph and his Brethren; by BitauU.
Twelve Allegorical Vignettes.
Hercules playing on the Lyre.
A set of four Landscapes, with figures.
Fifty-two subjects, entitled, Spectaculum Natures et Artium ; published at Berlin in 1765.
MEIRE, Gerard vander. This old painter was a native of Ghent, and flourished about
the year 1450. He was one of the earliest painters in oil, after Van Eyck. Van Mander
mentions a picture by this master, representing the Death of Lucretia, which was very
highly finished, well coloured, and tolerably correct in the design.
MEIRERPECK, M. Wolfgang. A German designer and engraver on wood, who flou
rished about the year 1550. In conjunction with G. Liberal, he designed and executed

48 M E I MEL
the wooden cuts for the Commentaries of Matthiolus on Dioscorides, published at Venice in
Latin, in 1548, and in Germany, in the Bohemian language, in 1560.

MEIS, B. This artist is mentioned by Mr. Strutt as the engraver of a print representing
a poet writing. It is etched in a style somewhat resembling that of Benedetto Castig-
lione, and subscribed B. Meis, fecit.
MELAN. See Mellan.
MELANI, Guiseppe and Francesco. These brothers were natives of Pisa. Guiseppe,
a scholar of Camillo Gabrielli, was a reputable painter of history, as is evident from his
large picture in oil, of the Death of S. Ranieri, in the dome at Pisa, which, according to
Lanzi, without being ranked among the most distinguished works of art in that sanctu
ary, does him considerable honour, as an ingenious composition, and freer from manner
than most of his contemporaries. His chief merit is in fresco painting, in which he
never appears to more advantage than when he painted the figures in the architectural
views of his brother Francesco, in which they both seem to have imitated the splendid
style of Pietro da Cortona. Francesco was esteemed one of the ablest painters of per
spective of his time. Their most celebrated joint performance is the vault of S. Matteo
at Pisa. Francesco died in 1742; Guiseppe in 1747.
MELCHIORI, Giovanni Paolo. This painter was bora at Rome in 1664, and was
brought up in the school of Carlo Maratti. He painted history with considerable repu
tation, and was employed for some of the public edifices at Rome. His most esteemed
work is his picture of the Prophet Ezekiel, in the Basilica of St. John of Lateran.
MELDER, Gerard. This painter was born at Amsterdam in 1693. He showed an early
inclination for the art ; and when a boy, neglected the usual amusements of his age to
devote his time to drawing. He became possessed of some miniatures by Rosalba, and
by copying and imitating them, he arrived at great proficiency in that branch of paint
ing. He drew the portraits of many of the principal persons of his time, and was much
employed in copying, in water-colours, the pictures of Mieris, Vander Werf, and others
which he finished with surprising delicacy. He also painted in enamel; but is more
distinguished for his miniatures. He died at Utrecht in 1740, aged 47.
MELEUN, Count de. A French amateur engraver, mentioned by Basan. He lived
about the year 1760, and etched for his amusement several small plates from Berghem
Callot, and other masters. '
MELINI, Carlo Domenico. An Italian engraver, born at Turin about the year 1745
but chiefly resided at Paris, where he became a pupil of Beauvarlet. We have several
plates by him, executed in a neat finished style, among which are the following :
PORTRAITS.
The King of Sardinia.
The Children of the Prince of Turenne.

MEL MEL 49
SUBJECTS.
La belle Source ; after Nattier.
The Education of Cupid ; after Lagren&e.
Morning, a landscape ; after Loutherbourg.
MELISSI, Agostino. This painter was a native of Florence, and flourished about the
year 1675. According to Baldinucci, he was much employed by the Grand Duke in
painting cartoons for tapestry, from the designs of Andrea del Sarto. He also painted
several pictures of his own composition ; among) which, the above-mentioned author
commends his picture of Peter denying Christ, in the Palazzo Gaburri.
MELLAN, Claude. An eminent French designer and engraver, born at Abbeville in
1601. His disposition for the art discovering itself at an early age, he was sent to Paris,
where he learned the elements of drawing in the school of Simon Vouet. An inclina
tion for engraving induced him to attempt the management of the graver, which he
soon handled with extraordinary facility. To improve himself in design he went to
Rome, when he was sixteen years of age, where he studied some years with great assi
duity, and became one of the ablest burinists of his time. He executed several plates,
which were highly esteemed, and was engaged to engrave the busts and statues in the
Giustiniani collection. The greater part of the plates he engraved at Rome, are exe
cuted in the usual manner, with the strokes crossed a second and a third time, as the
strength of the shadows require. He afterwards adopted a novel and singular method
of working, with single parallel lines, without any cross strokes over them, the shadows
being expressed by the same lines being made stronger, and consequently nearer to each
other. By this new mode of engraving he acquired considerable celebrity; and the
effect he produced by it, particularly in plates of a small and middle size, is clear, soft,
and agreeable. It is certainly surprising, that he has been able to give such force and
harmony to his plates, by so simple an effort, and such economy of labour ; but his suc
cess is rather to be attributed to the singular dexterity with which he handled the
graver, than to the peculiarity of the process. His print of Rebecca, after the picture
by Tintoretto, is of an admirable colour, and of the most mellow effect. It is evidently
engraved from the work of a great colourist, of which he appears to have seized the very
tones of the painter ; yet it is only in some of the accessories that he has introduced any
cross lines. The number of his prints is very considerable, among which there are many
admirable portraits, several of them from his own designs, as well as the greater part of
his historical plates. He lived to the advanced age of 87, and died at Paris in 1688.
The following are his most esteemed prints :
PORTRAITS.
Urban VIII. ; after Bernini. 1631.
Cardinal Bentivoglio.
The Marquis Justiniani.
Anne of Austria, Queen of France.
Henry, Duke of Montmorency.
The Cardinal, Duke de Richelieu.
The Cardinal de Mazarin.
Vol. II. G

.50 MELLAN.
Francis de Villemontee, Bishop of St. Malo. 1661.
Peter Seguier, Chancellor of France.
Nicholas Caeffeteau, Bishop of Marseilles ; after Du Moustier.
The Cardinal du Perron ; after Herbin.
Victor le Bouthillier, Archbishop of Tours. 1658.
Nicholas Claude Fabri de Peiresc ; one of his finest portraits.
Charles de Crequis Lesdigueres, Marshal of France. 1633.
Peter Gassendi, Professor of Mathematics.
Louisa Maria de Gonzaga, Queen of Poland. 1645.
Claude Mellan, painter and engraver. 1635.
SUBJECTS FROM HIS OWN DESIGNS.
Lot aud his Daughters. Rome, 1629.
Samson and Dalilah.
Moses and the Burning Bush. 1663.
The Miracle of the Manna.
The Annunciation ; inscribed, Ecce Virgo concipiet. 1666.
The Virgin, with the infant Jesus on her knee. 1659.
The Holy Family. Rome, 1635.
Christ praying in the Garden ; a night-piece ; fine.
Christ seized by the Soldiers ; inscribed Pater, ignosce illis, Sfc.
St. John, with Magdalen embracing the Cross. Rome.
The Crucifixion, with the Virgin, Magdalen, and St. John.
The Entombing of Christ, with an inscription, Terra mota est.
The Resurrection ; inscribed, Per se resurgens. 1683.
The Face of Christ, called the Sudarium of St. Veronica ; executed entirely by a single spiral
line, begun at the extremity of the nose, and continued, without quitting, over the whole face
and back-ground.
St. Peter Nolasque, supported by two angels. One of the finest and, the rarest print of the
artist.
Four large plates of the Life of St. Bruno.
St. Bruno praying in the Desart.
St. Francis praying. 1638; very fine.
Several other Saints in acts of Devotion.
Mary Magdalen expiring, supported by angels.
SUBJECTS AFTER VARIOUS MASTERS.
Herodias with the Head of St. John ; after S, Vouel.
The Roman Charity ; after the same.
The Death of Lucretia ; after the same.
St. Catherine kneeling, to whom an augel is presenting the palm of martydoni ; after the same.
Rebecca meeting the Servant of Abraham ; after Tintoretto; esteemed the finest of his prints.
He also engraved part of the plates of the antique statues in the Justiniani gallery,
the whole of which consists of 32,2 prints, and a part of the antique marbles in the royal
palaces of France, which were completed by S. Baudet.
Mellan did not always sign his prints with his name at length, but sometimes with the
initials C. M. or with the abbreviation C. Mel. or CI. Mell.

MEL MEM 51
MELONE, Altobello. This painter was a native of Cremona, and flourished about the
year 1497. According to Vasari, he painted for one of the churches at Cremona a series
of pictures of the Passion of our Saviour, which are described by that author as
superior to the productions of the coeval artists of his country. He was less successful
in fresco than in oil. Of the latter, his best performance is a picture of Christ descend
ing into Limbo, in the sacristy of the church del Sacramento. It is a composition of
many figures, and though they are not very correctly drawn, and generally too long,
it is coloured with force, and at the same time with tenderness, with a grace in the forms
and attitudes, unusual in the Cremonese school, at the period at which he lived.
MELON!, Francesco Antonio. An Italian engraver, born at Bologna about the year
1670. His first intention was to study painting, for which purpose he became a scholar
of Marc Antonio Franceschini, but not succeeding to his wishes, he etched some plates
after the designs of that master, which encouraged him to devote himself entirely to
engraving. Among others, we have the following by him :
The Adoration of the Shepherds ; after C. Cignani.
Aurora ; from a ceiling painted at Forli ; by the same.
MELOZZO, da Forli. Lanzi supposes the baptismal name of this painter to have been
Francesco, and thinks it probable that he was a disciple of Ansovino da Forli, who had
studied under Francesco Squarcione; though he is said by others to have been a scholar
of Pietro della Francesca. He was a native of Forli, and, according to Vasari, flourished
about the year 1472. Such was his desire of learning the best principles of the art, that
it is asserted by Scanelli, in II Microcosmo della Pittura, that, though of a noble and
affluent family, he submitted to the menial duties of a domestic servant and colour-
grinder to some of the principal painters of his time. To this venerable artist is attri
buted the first invention of fore-shortening, which was afterwards carried to such perfec
tion by Coreggio. In the study of perspective, considerable progress had been made by
Pietro della Francesca, since its alleged invention by Paolo Uccello, the Florentine; but
the merit of first painting figures in perspective, on vaults and ceilings, by which the
illusion is rendered completely effective, wa9 reserved for Melozzo. He appears to
have resided at Rome some time previous to 1472, in which year he painted, for Cardinal
Riario, nephew of Sixtus IV. on the vault of his chapel, in the church of the Apostles,
a fresco of the Ascension, which is spoken of by Vasari as a work of surprising effect. In
1711, when the chapel was taken down and rebuilt, this painting was sawed out of the
wall, and placed in one of the apartments of the pontifical palace of Monte Cavallo,
with the inscription, Opus Melotii Foroliviensis, qui summos fornices pingendi artem vel
primus invenit vel illustravit. The style of Melozzo resembles that of Andrea Mantegna.
His design is rigidly correct, and the expression of his heads noble and dignified. This
eminent artist was still living in 1494, as appears from Luca Paccioli's work, entitled,
Summa d' Aritmetica e Geomelria, published in that year, in which he mentions Melozzo
da Forli among the most celebrated painters of perspective then living.
MEMMI, Simone, sometimes called Simone Martini. Simone Memmi, one of the
earliest painters after the revival of the art, was born, according to Vasari, in 1285. He
is said by some to have been a scholar and coadjutor of Giotto, and to have aided him,
G 2

52 MEM MEN
at Rome, in his celebrated mosaic of the Navicella. The Sienese writers state him to
have been a disciple of their venerable compatriot Maestro Mino. Although he might
not be a scholar of Giotto, he is known to have assisted him in his works, and to have
painted some frescoes in St. Peter's, in imitation of his style, which occasioned the Pope
to invite him to Avignon, where he painted the portrait of the famed Laura, for which he
has been celebrated by Petrarch in two of his sonnets. His pictures in the Vatican have
perished ; but several of his works remain at Siena, Pisa, and Florence. At Pisa, in the
Campo Santo, are some frescoes of subjects from the life of S. Ranieri, and his much
admired Assumption of the Virgin. In the Capitolo degli Spagnuoli, at Florence, are
some of his works of more extensive compositions, of the Life of Christ, St. Peter
Martyr, and others. He painted several portraits of the most eminent personages of
that time. He died in 1345, aged 60.
MEMMI, Lippo. This artist was a native of Siena, the brother-in-law and scholar of the
preceding artist, and flourished- about the year 1360. Although unequal to Simone
Memmi in invention, he was a successful imitator of his style, and with the advantage
of his designs, executed several works which would have been regarded as the produc
tions of Simone, if he had not signed them with his name. When he was not supported
by such assistance, his performances were deficient in composition, though well colour
ed. He sometimes painted in conjunction with his relative, as appears from a picture
formerly in S. Ansano di Castel Vecchio, at Siena, now in the Florentine gallery, in
scribed A. D. 1333. Simon Martini et Lippus Memmi de Senis, me pinxerunt. At Ancona
and at Assisi, are some pictures begun by Simone, and finished by Lippo Memmi.
MENAGEOT, Robert. A modern French engraver, born at Paris in 1748. He was for
some time a pupil of Boucher, and at first practised painting, but he afterwards devoted
himself entirely to engraving. We have several plates by him, executed in the dotted
manner, some of which were engraved for Mr. Boydell, during his residence in London.
Among others, we have the following prints by him :
Friendship ; a circular print ; after Coreggio.
Innocence; the companion; Menageot, fecit.
The Virgin and Infant, with St. Elizabeth ; after Guido.
An African Woman ; after Loutherbourg.
MENANT, P. A French engraver, who flourished at Paris about the year 1715. In
conjunction with Raymond, Fonbonne, Scotin, and others, he executed part of the
plates of the Views of the Palace and Gardens at Versailles. They are neatly executed
but in a stiff formal style, and without effect.
MENGOZZINO. See Santi.
MENGS, Antonio Raffaelle. This celebrated artist was born at Auszig, in Bohemia
in 1728. His father, Ishmael Mengs, a miniature painter of little celebrity, instructed
him in the first rudiments of drawing, and having removed to Dresden whilst his son
was young, our artist had an opportunity of improving himself, by studying the works
of the best masters in that celebrated gallery. When he was thirteen years of age, his
father took him to Rome, in 1741, where he was employed in copying, in miniature

MENGS. 53
some of the works of Raffaelle, for Augustus III. Elector of Saxony arid King of Po
land, which were sent to Dresden, and were much admired. He remained at Rome three
years, and on his return to Saxony was appointed one of the painters to the Elector and
King, with a salary, and was permitted by his royal patron to visit Rome a second time,
where he resided four years, and exhibited a picture of the Holy Family of his own
composition, on a larger scale, which gained him great reputation. He married at
Rome, and was desirous of fixing his residence in that capital, but his father would not
permit him to indulge his inclination, and he was compelled to return to Saxony, where
he arrived in 1749. He remained three years at Dresden, where the tyranny of his
father rendered his situation so distressing, thathe found his health and spirits impaired,
and he requested and received the King's permission to return to Rome. He was soon
afterwards reduced to very embarrassed circumstances, by the discontinuance of his
salary, which was stopped, from the distressed state of the King's finances, occasioned
by the war. He worked at Rome for support, at very low prices, when he was employed
by the Duke of Northumberland to paint a copy of the celebrated school of Athens, by
Raffaelle. It was about this time that he was engaged to paint the ceiling of the church
of St. Eusebius ; and soon afterwards he executed his admired fresco of Mount Parnas
sus, in the Villa Albani, which has been finely engraved by Raphael Morghen. In an
excursion he made to Naples, to execute a commission for the Elector of Saxony, he
became known to the King, afterwards Charles III. of Spain, who, on his succession to
the throne, invited Mengs to Madrid, with the offer of a very considerable appointment.
This proposal was not likely to be refused, and he arrived at the court of Spain in 1761.
His first undertaking was the ceiling of the King's antichamber, representing the
Graces, and afterwards that of the Queen's apartment, where he painted one of his most
celebrated works, the Aurora, a grand and beautiful composition. The climate of Spain
not agreeing with his constitution, he was permitted by the King to return to Rome, for
the re-establishment of his health. On his arrival he was employed by Clement XIV.
in the Vatican, where he painted his picture of Janus dictating to History, who writes ;
and a Holy Family, which have been engraved by Dom. Cunego. He remained three
years at Rome, and on his return to Madrid was received with great kindness by his
royal protector. It was soon after his return that he undertook his famous work of the
ceiling of the great saloon, in the palace at Madrid, where he represented the Apothe
osis of the Emperor Trajan, a composition of extraordinary ingenuity and judgment.
The colouring and general effect of this magnificent work are admirable. The fresco
paintings of Mengs are greatly superior to his pictures in oil; and in them his style is
infinitely preferable. Of his works in oil, perhaps the most esteemed is his picture of
the Nativity, in the royal collection of Spain. It is painted on the same principle as
the famous Notte by Coreggio, in which the whole light emanates from the infant
Saviour. It was so highly valued by the King, that he ordered it to be covered with a
single plate of glass, to preserve it from injury. It measures nine feet ten inches, by
seven feet.
Through his whole life, Mengs devoted himself entirely to the study of his art, with
out the necessary relaxations of exercise or society ; and after a residence of little more
than two years, from his return to Madrid, he found that incessant application, and the
unfavourable climate, had reduced him to a state of weakness, which made it necessary
for him to return, without loss of time, to the more friendly temperature of Rome. To
that emporium of the arts, his inclinations and habits of study had at all times bent; and

54 MENGS.
it was with the most heartfelt gratitude that he received his royal patron's permission to
return to Italy, with an increased pension, and the most munificent marks of his esteem.
His enfeebled frame felt returning vigour as he journeyed, and when he approached
Rome, his languid spirits brightened, at the hope of passing the remainder of his life in
the sacred residence of virtd and taste. But these endearing prospects were of short
duration. Soon after his arrival at Rome, the death of his wife, to whom he was ten
derly attached, occasioned him the deepest affliction. He sunk into a state of the most
melancholy despondency, which brought on a return of his former indisposition. In
this state of debility, he called in the assistance of an ignorant empiric, whose injudi
cious and violent treatment occasioned his death, in 1779, in the fifty-first year of his
age. The talents of an artist are seldom duly appreciated during his life. The inflated
eulogium of friends must subside, and the heated rancour of enemies cool, before his
true character can be established by the dispassionate and judicious. The indiscreet
zeal of his partisans has not hesitated to exalt his powers to a level with those of Raf
faelle; and some of his admirers, particularly the celebrated Winkelman, place him in
a still more elevated rank. He has been gazed at by some, as the sole bright luminary
of modern times, who attribute to him the purity of the antique, the composition and
expression of Raffaelle, the grace and chiar-oscuro of Coreggio, and the colouring of
Titian. Should these attributes appear strained, as they probably will to the rational,
they may be contrasted with opinions less favourable to his reputation, though perhaps
quite as consistent with what is due to his undoubted ability, and with that justice
which we owe to his illustrious predecessors. He is said to have been an artist, who had
seen much and invented little ; that he dispenses neither life nor death to his figures ;
excites no terror, rouses no passions, and risks no flights. By studying to avoid parti
cular faults, he runs into general ones, and his execution bears the marks of tameness
and servility. The contracted scale and idea of a painter of miniature, is to be traced
in all, or most, of his compositions, in which the finished delicacy exhibits the hand of
the artist, but gives no emanations of the soul of the master. If it is beauty, it does not
warm ; if it is sorrow, it excites no pity.
To form a just idea of this painter's ability, it is necessary to have seen his most
studied and distinguished works, which are unquestionably in Spain. If the powers of
Mengs do not surprise us by the fiery soaring of his imagination, or the daring display of
novel and inventive genius, they satisfy the most scrupulous, by the chaste arrangement
of his ideas, and his careful and learned attention to the propriety of costume. His
acquaintance with the antique is studied and profound, and his characters are distin
guished by a quiet correctness, and a placid expression of tranquil and inanimate
beauty; though he was perhaps unequal to the delineation of the sublime and terrific
or the development of the passions, agitated by the varied impulses of human feeling.
As a theorist, and a writer on art, Mengs is entitled to a distinguished reputation. He
supplied the Abbe Winkelman with very important materials for his Storia delle Belle
Arti, and has himself written some excellent treatises on painting, which, though his
ideas are occssionally wrapt up in pedantic mystery, and enveloped in difficulties, little
intelligible to the incipient understanding of the student, are however calculated to
elevate the mind of the painter to the most consummate idea of the grandeur and sub
limity of his art.

MEN MER 55
MENICHINO, del Brizzio. See Ambrogi.
MENTON, Francis. According to Van Mander, this painter was born at Alkmaer in
1550, and was a disciple of Francis Floris. He painted history and portraits. His
pictures were well composed, and his drawing tolerably correct. The encouragement
he met with as a portrait painter, prevented him from painting many historical pictures,
but in the few he has left, he proves himself to have been a reputable artist. He was
living in 1604.
MERANO, Giovanni Batista. This painter was born at Genoa in 1632. He was a
scholar of Valerio Castelli, and by the recommendation of his master studied with at
tention the works of Coreggio, at Parma, where he was employed by the Duke, and for
many private collections. One of his best performances is the Murder of the Innocents,
in the church del Gesu, at Genoa, which Lanzi describes as a copious and ingenious
composition, with great variety of expression and character, and of an harmonious
colouring. He died in 1700, aged 6S.
MERCATI, Giovanni Batista. A Florentine painter and engraver, born at Citta San
Sepolcro, about the year 1600. He was an imitator, if not a scholar, of Pietro da Cor-
tona, and painted history in the style of that -master. In the church of S. Chiara, in
his native city, he painted two subjects from the life of the Virgin ; and in S. Lorenzo,
an altar-piece representing the titular, with other Saints, which resembles the style of
the Caraeci, in the variety and expression in the heads, and the ample folding of the
drapery. We have several spirited etchings by this artist, some of them are from his
own designs, of which the following are the principal :
A set of fifty-two plates of Ruins and Views in Italy; engraved in the manner of -Sylvestre ;
Gio. Bat. Mercati,fec.
Four Antique Figures, from the arch of Constantine ; engraved in the style of Gallestrucci ;
circular; Gio. Bat. Mercati.
The Marriage of St. Catherine ; after Coreggio.
St. Bibiana refusing to sacrifice to false Gods ; after P. da Cortona.
MERCIER, Philip. This painter was originally of French extraction, but was born at
Berlin in 1689, and was brought up in the Academy there. After visiting France and
Italy, he went to Hanover, where he painted the portrait of Prince Frederick, which he
brought with him to England, and when his royal highness came over, Mercier was
appointed his painter, became a favourite, and was taken into his household, and by the
Prince's order drew several of the royal family, particularly the three eldest princesses,
which were engraved in mezzotinto by J. Simon. After nine years, he lost the favour
of the Prince of Wales, and was dismissed from his service. He afterwards lived in
Co vent Garden, painting portraits and pictures of domestic subjects, in the style of
Watteau, in whose manner there is an etching of Mercier, with his wife and two
children. He died in 1760, aged 71.
MERCIER, Anthony le. We have by this artist some slight but spiiited etchings of
architectural ornaments, &c. after the designs of P. Collo.

56 MERIAN.
MERIAN, Matthew, the elder. An eminent designer and engraver, born at Basle in
1593. Having discovered an early disposition for the art, he was sent to Zuric, and
placed under the tuition of Dietrich Meyer, a glass painter and engraver, with whom he
studied four years, and in that time had already acquired some celebrity. On leaving that
master he went to Frankfort, where he formed an intimacy with Theodore de Bry, and
improved his talent by the instruction and advice of that able master, whose daughter
he married. He was at this time employed in engraving his topographical plates of the
Views in the environs of Heidelberg, Stutgard, Schwalbach, &c. which he afterwards
published at Frankfort, and which are the best of his works. They are etched from his
own designs, in a slight free style, and finished with the graver, and give a perfect idea
of the places they represent, though without much taste in the execution. He has the
credit of having been the instructor of the estimable Hollar. The following are his
principal prints, which are sometimes marked with one of these ciphers, iA or j&.
portraits.
David Pareus ; Prof. Academies Hiedelberg.
Daniel Sennertus ; oval.
Arnold Weickerdus, Med. Doc. 1626. SUBJECTS.
A set of plates from Sacred History.
The Last Supper, inscribed, Accepit Jesus panem ; a large plate ; very scarce.
A large plate of the Picture of Human Life ; inscribed, Tabula Cebetis, continent totius vita
humancc descriptionem ; scarce.
A set of seven Views in France.
Six Views in Germany.
Sixteen Views in Germany and Switzerland.
Twelve Views of Gardens, &c.
Twenty-four Picturesque Landscapes, with figures.
He died at Frankfort in 1651, aged 58.
MERIAN, Matthew, the younger. He was the son of the foregoing artist, born at
Basle in 1621, and is said to have been successively the scholar of Sandrart, Rubens, and
Vandyck. He painted history and portraits, and is mentioned by Fuessli, his country
man, as a very reputable artist. Of his historical works, that author particularly notices
the Martyrdom of St. Lawrence, in the dome at Bamberg. He was a tolerably correct
designer, and his colouring partook of the vigour of the Flemish school. As a portrait
painter, he was employed by the most distinguished personages in Germany. He was
also an engraver, and is supposed to have been in England about the year 1640, as there
is an emblematical frontispiece by him, with the portrait of Dr. Donne, prefixed to his
Sermons, published in that year.
MERIAN, Maria Sybilla. This celebrated lady was the daughter of Matthew Merian
the elder, born at Frankfort in 1647. She had the misfortune of losing her father when
she was only four years of age, but her mother having some time afterwards married
Jacob Murel, a reputable painter of flowers and fruit, he encouraged the disposition she
discovered for drawing, and taught her the first rudiments of the art. With the advan-

MER MER 57
tage of his instruction, she made a surprising progress, and soon arrived at a proficiency
in painting flowers, fruit, insects, and still-life, in miniature, which astonished her mas
ter. Her inclination led her particularly to the study of natural history, and she had
formed an extensive collection of insects and reptiles, which she designed with the
nicest precision. To render her more perfect in that branch, her father-in-law placed
her under the care of Abraham Mignon, the celebrated flower-painter, who had been
his scholar, and who excelled particularly in painting insects ; and it was not long be
fore she arrived at a perfection little short of her instructor. She usually painted in
water-colours, on vellum, and represented butterflies, caterpillars, and other insects, in
the various changes they undergo, with a fidelity and a beauty of finishing, which has
never been surpassed. In 1665, she married John Andrew Graff, an ingenious artist of
Nuremberg, who had been a scholar of Murel, and settled in that city. Not satisfied
with the description of insects and their metamorphoses, which she found in the works
of the natural historians of her time, she formed the project of giving to the world her
own observations and researches, accompanied with plates, from her designs, and partly
etched by herself. In 1679, she published the first volume of her interesting work, at
Nuremberg, written in German, under the title of The History of the Insects of Europe^
drawn from nature, and explained by Maria Sybilla Merian, with their generation and changes,
with the Plants on which they feed. The second volume appeared in 1683. Her zeal in
the pursuit of her favourite study induced her to undertake a voyage to Surinam, for
the purpose of designing from nature the insects and plants peculiar to that climate. In
1698 she embarked at Amsterdam, where she had resided some time ; and after an absence
of two years returned to Holland, with the fruits of her voyage. In 1705 she published
an account of them at Amsterdam in Latin, entitled, Dissertatio de Generatione et Meta-
morphosibus Insectorum Surinamensium, containing sixty plates. This work was aug
mented, in a later edition, with twelve additional plates, by her daughter Dorothea Graff.
The miniatures of this lady have a delicacy and beauty of colouring which have seldom
been equalled, and they are still in the highest estimation, notwithstanding the extraor
dinary attention which has since been paid to the accurate execution of such works.
There are two large volumes of the drawings of this artist in the British Museum, one
containing the insects of Europe, and the other those of Surinam. They were pur
chased at a great price by Sir Hans Sloane, who is said to have given five guineas for
each drawing. She died at Amsterdam in 1717, aged 70.
MERIAN, Gaspar. This artist was a native of Germany. He engraved a set of plates
representing the Ceremonies of the Election of the Emperor Leopold, published at
Frankfort in 1660.
MERLIN, James van. According to Florent le Comte, this artist, conjointly with Theo
dore van Merlin, who was probably his brother, engraved a few plates after Martin de
Vos, and others. They flourished about the year 1600.
MERSION, Madelaine le. This French lady etched a plate of a Landscape and Cattle,
in a style resembling that of Dankerts, when he engraved after Berghem. It was published
at Paris, without date, or the name of the painter.
Vol. II. H

58 MES MET
MESA, Alonso de. According to Palomino, this paiuter was born at Madrid in 1628,
and was a scholar of Alonso Cano. He painted history with considerable reputation,
and executed several works for the public edifices in that capital, of which the most
admired are said to have been a series of pictures of the life of St. Francis, in the
cloyster of the Franciscans. He died at Madrid in 1668, aged 40.
MESNIL, E. A modern French engraver, mentioned by Basan. He was living in 1760,
at the time he published his dictionary, and had engraved several plates after Mieris,
Karel de Moor, and other Dutch masters.
MESSINA, Antonello da. This painter was born at Messina in 1426. After learning the
rudiments of the art in Sicily, the fame of Masaccio induced him to visit Rome, where he
studied some time. He afterwards went to Naples, where he resided, at a period when
some of the works of John van Eyck, or John of Bruges, who had some time before
made his discovery of painting in oil, were brought from Flanders by some Neapolitan
merchants, and presented to Alphonso I. King of Naples. The novelty of the inven
tion, and the beauty of the colouring, inspired Antonello with a strong desire of becom
ing possessed of a secret which had excited such universal admiration. He determined
on visiting the author of so interesting a discovery, and of using all the means in his
power to become acquainted with the mystery. With this resolution he travelled to
Bruges, and so far insinuated himself into the good graces of Van Eyck, who was then
advanced in years, that he instructed him in the process, with which he returned to
Italy, and was the first artist who painted in oil in that country. From him the secret is
said to have been communicated to Domenico Veneziano. Such is the account given
of this event by Vasari, but its accuracy is much doubted by later and more correct au
thorities ; and even the authenticity of the invention by Van Eyck is considered as very
questionable, if not entirely unfounded, as may be seen by a reference to the article of
Van Eyck. Of the works of Antonello, history furnishes us with a very parsimonious
account. Lanzi mentions two altar-pieces by him in the two churches della Dominante
at Venice, and some pictures of the Virgin, in private collections. He also notices a
portrait in the possession of Sig. Martinengo, inscribed, Antonellus Messaneus me fecit
1494, and a pieta in the hall of the Consiglio de Dieci, signed Antonius Messinensis. The
time of his death is not precisely ascertained.
MESSINA, Salvo da. According to Hakert, in his Memorie de Pittori Messinesi, this
painter was the nephew of Antonello, and flourished about the year 1511. He is said,
by that author, to have been a successful follower of the style of Raffaelle ; and he men
tions with distinction a picture by him, in the sacristy of the cathedral at Messina,
representing the Death of the Virgin, which, he says, is painted del piupwo Rqfaelksco
stile.
METELLI. See Mitelli.
METENSIS, Cornelius. See Matsys.

MET MEU 59
METGER. J. J. The name of an obscure engraver, affixed to a portrait of Cardinal
Giovanni Nitardo, very indifferently executed, for " Priorata's History of the Emperor
Leopold," published in 1672.
METRANA, Anna. According to Orlandi, this lady was a native of Turin. She flourish
ed about the year 1718, and distinguished herself as an eminent paintress of portraits.
METZU, Gabriel. This charming painter was born at Leyden in 1615. It is not known
by whom he was instructed, but he appears to have made the works of Gerard Terburg
the models of his imitation, whom he equalled in the silky softness of his pencilling, and
surpassed in the elegance and correctness of his design. At an early period of his life
he established himself at Amsterdam, where his works soon rose into the highest estima
tion. His pictures generally represent domestic scenes, and what are called conversa
tions, ladies at their toilet, or playing on musical instruments; and sometimes subjects
from low life, as fish stalls, women selling game, fruit, vegetables, &c. These objects
have been treated by several of the Dutch painters, but by none more successfully than
by Metzu. Less minute in detail, and less laboured in the finishing, than the works of
Gerard Douw, and Mieris, he excels them in the lightness and spirit of his touch, and
the chasteness and harmony of his colouring. Though he painted on so small a scale,
his style may be compared to that of Vandyck, in the correct drawing of the heads
and hands, the delicacy of his carnations, and the breadth and facility of his pencil.
An enemy to manner, his touch is vague and free, and always adapted to the particular
object he had to represent. The attitudes of his figures are easy and natural, and there
is a truth, and naivete in the expression of his heads which may be said to be peculiar
to him. The works of Metzu may perhaps be justly proposed as models of perfection
in the particular branch of art iu which he excelled, as combining freedom with finish
and as exhibiting a transparence and purity of colouring, which is disturbed and de
stroyed by the torment of extreme and laborious polishing. The pictures of this admi
rable artist are not frequently to be met with, as he died in the prime of life. An unin
terrupted assiduity in his profession, and constant confinement, is said to have impaired
his health, and brought on the afflicting complaint of the stone. He was under the
necessity of submitting to the operation, which he did not long survive, but died in
1658, aged 43.
MELILEN, Anthony Francis vander. This distinguished artist was born at Brussels in
1634, though from his long residence at Paris he is generally considered of the French
school. His parents, who were in affluent circumstances, perceiving his early inclina
tion to the art, placed him as a disciple of Peter Snayers, a reputable painter of battles
whom he surpassed before he quitted his school. Some of his first productions after
leaving that master, found their way to Paris, and possessed sufficient merit to attract
the attention of Charles le Brun, at that time the arbiter of taste in the French metro
polis. As the object of the arts, as well as every consideration of the court, was to flatter
the ambition of Louis XIV. it was with this view that Le Brun recommended Vander
Meulen to M. Colbert, as possessing a proper talent to commemorate the military
atchievements of that monarch. The minister, always ready to seize every opportunity
of tickling the vanity of his sovereign, eagerly listened to the proposal. Vander
Meulen was invited to Paris, and was soon afterwards pensioned by the King, and ac-
H2

60 M E U M E Y
commodated with apartments at the Gobelins. The brilliant exploits of Louis XIV.
afforded ample employment for the ability of the painter; and Vander Meulen was
appointed to attend his royal patron to the field in his different campaigns. He painted
for the Chateau of Marly the principal battles and sieges of that monarch in Flanders.
It is perhaps to be regretted, that the eminent talents of this painter were confined to
the precise representation of modern warfare, and the linear designation of troops drawn
up by the regularity of tactics, with the monotonous uniformity of habiliments, than
which nothing can be less picturesque. Shackled with such restrictions, the works of
Vander Meulen lose a considerable share of the interest they would otherwise have
possessed with posterity. It will not, however, be denied, that he acquitted himself,
under this constraint, with great ability. He also painted huntings, and cavalcades, in
which the figures and horses are correctly drawn, and touched with great spirit. The
works of Vander Meulen are admired for an exact and local representation of events, a
bold design, an animated pencil, and a clear and silvery tone of colour. His landscapes
are distinguished by the freshness of his verdure and foliage, the pleasing degradation of
his distances, and the lightness and brilliancy of his skies. If his pictures are less effec
tive, and less vigorous in light and shadow than the battles of II Borgognone, it may in
a great degree be attributed to the formality before mentioned, and to the prevalent
taste of the country in which he resided. Although he was principally employed in
painting for the court, there are several of his pictures in private collections. He died
at Paris in 1690, aged 56.
MEULEN, Peter Vander. He was the brother, and probably the scholar, of the pre
ceding artist. He painted battles and huntings, and in 1670 came to England, where
he was afterwards employed in celebrating the exploits of King William, Louis's rival.
He was originally bred a sculptor, but abandoned that art for painting. Largilliere
painted a portrait of this artist, of which there is a mezzotinto print by Becket.
MEURS, J. V. The name of this artist is affixed to the portrait of Tycho Brache, the
astronomer. It is executed with the graver in a neat finished style. He was chiefly
employed by the booksellers, and engraved several frontispieces, and other book orna
ments.
MEURS, C. H. van. This engraver was a native of Holland, and resided at Amsterdam
about the year 1760. According to Basan, he engraved several plates after Mieris, Van-
derwerf, and other masters.
MEUSNIER, Philip. A French painter of perspective and architectural views, born at
Paris in 1655. He was a scholar of Jacques Rousseau, and on leaving that master went
to Rome, where he passed several years, designing the most magnificent buildings in
that metropolis. On his return to Paris he was patronised by Louis XIV. and his suc
cessor. He was a member of the Royal Academy at Paris, and his works were held in
considerable estimation. He died at Paris in 1734, aged 79.
MEYER, Joachim. This artist was a native of Strasburg, and flourished about the
year 1570. We have by him a set of sixty-two wooden cuts, of a variety of combats
with the sword.

MEY MEY m
MEYER, Andrew. This artist, according to Professor Christ, was a native of Zuric in
Switzerland. He is said to have been a painter, and to have engraved some views of
towns, which are marked with a curious monogram dfr .
MEYER, Dietrich. A Swiss painter and engraver, bora at Zuric in 1571. He painted
portraits and history with some reputation. We have engraved by him a set of por
traits of illustrious personages of Switzerland, which are usually marked with a cipher
composed of a D. and an M. ]^J.
MEYER, John. This artist was probably of the same family. He was a painter, and
usually resided at Nuremberg. We have several prints by him, some of which are from
his own designs. Among others a set of battles, etched in a spirited style. He also
engraved a set of the principal fountains at Rome, which were published at Nuremberg
in 1600.
MEYER, Rodolph. He was the son and scholar of the preceding artist, born at Zuric
in 1605. He painted history and portraits with considerable reputation, but was more
distinguished as an engraver than a painter. We have by him several plates of emble
matical subjects and portraits, some of which were published with those of his brother
Conrad, who is the subject of the succeeding article. He made the designs for Death's
Dance, which were engraved by Conrad.
MEYER, Conrad. This artist was the younger son of Dietrich Meyer, and the younger
brother of Rodolph, born at Zuric in 1618. After receiving some instruction from his
father he went to Frankfort, where he became a scholar of Matthew Merian. He painted
a few historical subjects, and was more employed in portraits, which are said to be de
signed with energy and spirit, and well coloured. As an engraver, he may be considered
as one of the most laborious artists of his time, and the number of his prints is very con
siderable. Caspar Fuesslin, who had endeavoured to collect an entire set of them, had
got together upwards of nine hundred, without being nearly complete. The following
are his principal works :
A set of thirty Portraits of the Burgomasters of Zuric.
Twenty Portraits of the Clergy of Zuric.
Forty Portraits of Laicks and Artists ; some of which are from the designs of his father and
brother.
One hundred and three Portraits of the Reformers, Ecclesiastics, and literary characters.
A set of sixty-one plates of the Dance of Death; principally from the designs of Rodolph Meyer.
A set of fifteen prints ; entitled, the Mirror of a Christian.
Twenty-six prints of the Sports of Children.
Ten plates of the Ages of Man.
One hundred and twenty-two subjects from the Old Testament.
He also engraved a great variety of views, landscapes, and emblematical subjects.
Conrad Meyer died at Zuric in 1689, aged 71.
MEYER, Felix. This painter was born at Winterthur, in Switzerland, in 1653. He was
the son of a clergyman, who was desirous of bringing him up to the church ; but his
inclination for drawing interfered with his studies, and he was at length permitted to

62 MEY MEY
indulge his propensity. He was sent to Nuremberg, where he became a scholar of John
Francis Ermels, a very reputable painter of landscapes. His progress under that master
was surprisingly rapid, and at an early age he found himself capable of drawing from
nature with facility and correctness. In company with Roos and Rugendas, he was
indefatigable in designing the most picturesque views of Switzerland, so favourable
to the studies of the landscape-painter. He afterwards visited Italy, to study the more
cultured scenery of the environs of Rome ; but the climate proving obnoxious to his
health, he returned to Switzerland. He possessed an uncommonly fertile imagination,
and an extraordinary readiness of hand ; of which M. Descamps gives a remarkable in
stance. In his travels through Germany, he visited the celebrated Abbey of St. Florian,
at a time when the abbot was desirous of having two of the saloons decorated with land
scapes in fresco. An artist of the country had been applied to for the purpose, who was
so tedious in his progress, that he had been occupied several months in preparing
sketches for the work. Our artist being introduced to the superior as a painter, was
shown the apartments, and was consulted by the Abbot in what manner the work could
be best accomplished. After examining the rooms, Meyer took a long stick, to which
he attached a piece of charcoal, and immediately commenced sketching on the wall.
" Here in the front," said he, drawing as he spoke, " I would have a large tree, further
in the distance a forest ; rolling from these rocks I would represent a waterfall," and so
on. The Abbot was astonished to see the wall covered with a design executed with
such taste and facility. He engaged Meyers to finish the two apartments, which he
accomplished in less time than the artist had employed in making the designs.
The celebrity of Meyer soon became known throughout Germany, and he was em
ployed by several of the princes of the empire in ornamenting their apartments. As he
was not very successful in the design of the figures, he was frequently assisted in them
by Melchoir Roos and George Philip Rugendas. In the earlier part of his life his pic
tures were finished with care and attention, but at a later period he painted with negli
gence and haste. His works were no longer studied from nature, but the productions
of manner and dispatch. He died in 1713, aged 60. F. Meyer has etched several
plates of landscapes from his own designs, which are executed in a slight but pleasing
style : among which are :
A set of twelve Views in Switzerland, nearly square; Felix Meyer, fee.
Four Landscapes, with ruins and figures ; same mark. 1701.
Four Views in Switzerland, with figures.
Four Mountainous Landscapes, with buildings.
MEYER, or Meyerle, Francis Anthony. This painter was born at Prague in 1710.
According to Lanzi, he resided several years at Turin, where he acquired the name of
Francesco Antonio Meyerle. He painted small highly-finished pictures of domestic
subjects and portraits, which were greatly admired, although he was less successful
when he painted on a larger scale. He passed the latter part of his life at Vercelli
where there are many of his works, which are highly esteemed. He died in 1782*
aged 72.
MEYERING, Albert. This painter was born at Amsterdam in 1645. He was instructed
in the elements of design by his father, Frederick Meyering, who was chiefly employed
in tainting skreens, and other subjects of furniture. Albert was, however, destined to

M E Y MEY 63
exercise his talents in a more respectable walk. Whilst he was yet young, he formed
the project of travelling in search of improvement, and before he was twenty years of
age he visited Paris, where he resided some time, but with no great encouragement. By
assiduity and labour he procured tbe means of continuing his journey to Italy. At
Rome, he met with his countryman and friend John Glauber, with whom he studied with
unremitting attention the most remarkable views in the vicinity of that city. His abili
ties procured him the esteem of the first artists at Rome ; and he met with sufficient
employment to induce him to continue his residence in that capital for some time. On
his return to Holland, after an absence of ten years, he was employed by William, Prince
of Orange, in conjunction with Glauber, in painting the ceilings, and ornamenting the
palace of Loo, and the chateau of Soesdyck. The freedom of his hand, and the style of
his composition, were particularly adapted to the works he was principally engaged in,
which, for the most part, were large landscapes for saloons, and the ornaments of apart
ments. His views are agreeably varied, they are frequently embellished with the ruins
of ancient architecture, and decorated with figures representing historical or fabulous
subjects, in the style of Gerard Lairesse. He died at Amsterdam in 1714, aged 69. We
have about twelve etchings by Albert Meyering, of landscapes from his own designs.
They are executed in a spirited painter-like style.
MEYERS, Jeremiah. This artist was born at Tubingen about the year 1728. He visited
England when he was fourteen years of age, and became a pupil of Zinck, who was at
that time in great reputation as a miniature painter and enameller. He was one of the
most eminent artists of his time in the particular branch he adopted, and was made mini
ature painter to the Queen. Mr. Meyers was one of the original members of the Royal
Academy at its foundation, in 1768. He died in 1789.
MEYSSENS, John. A Flemish painter and engraver, born at Brussels in 1612. He was
first a scholar of Anthony van Opstal, and afterwards of Nicholas vander Horst, both
obscure artists. He attempted both historical subjects and portraits, but was particu.
larly successful in the latter, in which he was very generally employed. The greater
part of his life was passed in Holland, where he painted the portrait of Henry of
Nassau, the Count of Bentheim, and the principal persons of the court. He afterwards
resided at Amsterdam, where he carried on an extensive commerce in prints, and en
graved many plates from his own designs, as well as after other masters, among which
are several portraits of artists. As an engraver, he is not entitled to great celebrity, and
his plates are executed in a style very inferior to what might have been expected from
his abilities as a painter. Among others, we have the following prints by him :
PORTRAITS.
Charles I.
Henrietta Maria, his Queen.
Henry de Keyser, Architect and Sculptor; J. Meyssens,fec.
Guido Reni ; se ipse pinx. J. Meyssens,fec.
Francesco Padouanino, Painter; se ipse pinx.
Daniel Segers, Flower-painter ; after Lievens:
Cornelius de Bie; after Eras. Quellinus.
William de Nieulant, painter.
Mary Ruthven, wife of A. Vandyck ; after Vandyck.
John Meyssens, Painter and Engraver; se ipse pinx.

64 MEY MIC

SUBJECTS.
The Virgin and Child ; after Titian.
Meleager presenting the Boar's Head to Atalanta ; after Rubens.
MEYSSENS, Cornelius. He was the son of John Meyssens, born at Antwerp about the
year 1636, and was instructed in engraving by his father. His principal plates are por
traits, many of which are from the designs of John Meyssens. They are executed with
the graver, in a stiff tasteless style. He also engraved several frontispieces, and other
book ornaments. The following are his most esteemed works :
A set of Portraits of the Emperors of the House of Austria ; entitled, Effigies Imperatorum
domtis Austriacce, delineatee per Joannem Meyssens, et eeri insculptce per filium suum Cor-
nelium Meyssens,
The Portrait of the sovereign Princes and Duke of Brabant; entitled, Les Effigies des Souve-
rains Princes et Dues de Brabant. A part of these are engraved by P. de Jode, Waunians,
and others. DETACHED PORTRAITS.
Charles II.; for the History of Leopold.
Octavius, Duke of Aremberg : C. Meyssens, sc.
Cardinal Antonio Barberini.
Cardinal Rinaldo, Principe Estense.
John de Witt, Pensionary of Holland.
David, Count of Weissenwolff, &c.
MEYSSONIER, Justus Aurelius. This artist was born at Turin in 1G95, and is men
tioned by Basan as a painter, a sculptor, an architect, a goldsmith, and an engraver. He
chiefly resided at Paris, where he was made goldsmith to the King, by patent, and was
appointed first designer in his cabinet. He etched some plates of ornaments, &c. and
left a great number of architectural drawings, and designs for goldsmiths, several of
which were afterwards engraved by Huquier.
MEZIOS, M. An artist mentioned by Mr. Strutt as an engraver of great merit, though
little known. He is said to have engraved a few portraits, in a neat clear style : amono-
others, that of Joannes Petrus Lothicus, Medicus et Poeta, affixed to his works, pub
lished in 1626.
MEZZADRI, Antonio. This painter was a native of Bologna, and flourished about the
year 1688. According to Lanzi, he excelled in painting fruit and flowers, in which he
was scarcely surpassed by the celebrated Gobbo of the Caraeci.
MICARINO. See Beccafurni.
MICHAELIS, J. W. A very indifferent engraver of portraits, who resided at Frankfort
about the year 1700. He engraved several heads for a work entitled, Notitia Universi-
tatis Francofertanaz ; published in 1707.

MIC MIC 65
MICHAU, Theodore. This painter was bora at Brussels in 1676. He painted landscapes
and merry-makings, in which he imitated the charming style of David Teniers the
younger, but with little success, either in the spirit and character of his figures, or the
sweet and. silvery tone of his landscapes.
MICHAULT, George. A modern French engraver, born at Abbeville in 1752. He
was a pupil of Francis Aliamet, and has engraved several plates in the style of his in
structor; among which are a part of the views of the Garden of Monceau, near Paris.
We have also the following by him :
Acis and Galatea ; after la Fosse.
The dead Christ ; after Sehiavone; in the Orleans Gallery.
MICHEL, John Baptist. A French engraver, born at Paris in 1738. He is said to have
been a scholar of Chenu, who he has greatly surpassed. He came to England about the
year 1780, and was employed in several plates for Mr. Boydell. The following are his
principal prints : portraits.
Sir Thomas Gresham ; after Sir A. More.
Rubens' Wife ; after Rubens.
Francis Hals ; after a picture by himself.
La Joconda ; after Lionardo da Vinci.
M. F. A. de Voltaire. SUBJECTS AFTER VARIOUS MASTERS.
Two prints of the Bath of Venus ; after Boucher.
The Death of Dido ; after M. A. Chalks.
The Death of Hercules ; after the same.
Abraham, Sarah, and Hagar; after P. da Cortona.
The Prodigal Son ; after Salvator Rosa.
Hercules and Omphale; after Romanelli.
Venus and Cupid ; after Carlo Maratti.
The Death of St. Joseph ; after Velasquez.
The Three Graces ; after Rubens.
Faith, Hope, and Charity; after the same.
The Nativity ; after Carlo Cignani.
The Adoration of the Shepherds ; after Guido.
Clytie; a circular print ; after An. Caraeci.
Cupid stung by a Bee ; after West.
Alfred dividing his last Loaf with a Pilgrim; after the same.
The Continence of Alfred ; after the same.
MICHELE, Parrasio. This painter was a native of Venice, and flourished about the
year 159Q. He was a scholar of Paolo Veronese, whose style he followed with some
success! There are several of his works in the churches at Venice; among which his
picture of the Pieta, in S. Guiseppe, is spoken of by Ridolfi in very favourable terms.
Vol. II. I

66 MIC MIE
MICOCARD,. Papillon mentions a wooden, cut hy,this artist, representing Diogenes;
after Parmigiano. It is probably a copy of the print of the same subject, cut in wood,
by Ugo da Carpi.
MIEL, John. This eminent painter was born at a village near Antwerp in 1599- He
was a scholar of Gerard Segerss, and was one of his ablest disciples. On leaving that
master lie went to Rome, where he attached himself to the works of Andrea Sacchi, and
was received into his academy. From the favourable opinion his instructor conceived
of his talents, he was intrusted to assist him in some of his most considerable works.
Being employed by Sacchi to co-operate with him in a picture he was engaged in for
the Palazzo Barberini, representing a procession of the Cavalry of the Pope ; Miel,
whose disposition naturally led him to the grotesque, and what the Italians call Bam-
bocciate, introduced something of the ludicrous, which was deemed inconsistent with
the gravity of the subject. This occasioned a sharp rebuke, and a consequent separa
tion. Stung with the reproach of his master, and encouraged by the advice of his friend
Bernini, Miel determined to improve and strengthen his powers, by visiting Lombardy,
for the purpose of studying the works of Coreggio and the Caraeci ; and passed some
time at Parma and Bologna. On his return to Rome he was employed by Alexander VII.
to paint a picture of Moses striking the Rock, for the gallery of Monte Cavallo. He
also painted for the churches of S. Martino de Monti, the Baptism of S. Cyrillio ; and in
S. Maria dell Anima, some frescoes of the life of S. Lamberti, and the Annunciation.
In these considerable works he showed himself capable of treating the dignity of histo
rical painting, though his genius was more inclined to the familiar and lighter subjects
treated by Bamboccio and M.-Angelo delle Battaglie. He was made a member of the
academy of St. Luke in 1648. It will not, however, be disputed, that his best perform
ances are his easel pictures, representing fairs, markets, huntings, festivals of the Car
nival, and similar subjects; and that in his historical works, though we admire the bril
liancy of his colouring, and his intelligence of the chiar-oscuro, there is a want of eleva
tion in the character of his heads, and we desire a more select choice of forms, and more
graceful attitudes. He was invited to the court of Turin by Charles Emanuel, Duke
of Savoy, who favoured him with his protection, and retained him in his service for the
remainder of his life. It was at this time that he painted his celebrated hunting-pieces
and subjects of the fable, in a saloon in the Chateau of the Venerie, which have been
engraved by G. Tasniere. For these admired works, the Duke conferred on him the
order of knighthood of St. Maurice. He died at Turin in 1664, aged 65.
John Miel has etched several plates from his own designs, which are executed in a
masterly style, and produce a charming effect. His point is free and playful, and his
figures and animals are designed with great spirit. We have the following by him :
The Holy Family.
The Assumption of the Virgin.
A set of four Pastoral Subjects ; in one of them is a figure seated on a bank, picking a thorn
from his foot. These are charmingly etched.
Three Battle Pieces; for the History of the wars in Flanders, by Flaminius Strada.
MIERHOP, Francis van Cuyck de. This painter was born at Bruges in 1640. He was
of a noble family, and at first only studied drawing as an amusement, but having an

MIERIS. m
uncommon inclination for the art, he followed it with perseverance, and became a con
siderable proficient. The vicissitude of fortune at length reduced his family to indi
gence, and on that disastrous occasion he found the advantage of having cultivated
his talent. He withdrew himself from Bruges, perhaps under the impulse of a false
pride, and settled at Ghent, where he soon distinguished himself as an artist. He par
ticularly excelled in painting game, fish, fruit, and animals, in the manner of Francis
Snyders; and some of his pictures approach the admired works of that celebrated
painter. In the refectory of the monastery of the Alexines, at Ghent, is an excellent
picture by this master, representing fish, dead game, dogs, &c. which has been fre
quently mistaken for a work of Snyders.
MIERIS, Francis, the elder. This admired painter was born at Leyden in 1635. He
was the son of a goldsmith and lapidary, who seconded the inclination for the art which
he discovered in his son, by placing him under the tuition of Abraham Toornevliet, an
eminent painter on glass, by whom he was instructed in the elements of design. Having
seen some of the admirable productions of Gerard Douw, he was ambitious of imitating
a style which, had raised that artist to the greatest celebrity. He became his scholar,
and was not only the ablest of his disciples, but is considered by many as superior to
his instructor. His first productions excited universal admiration, and it soon became
difficult to obtain a work of his hand. He was commissioned to paint a picture for the
Arch-Duke of Austria, on which occasion he exerted all his talents. He painted the
interior of a mercer's shop, with a beautiful young woman presenting various silks to a
gentleman, who was evidently admiring the shopwoman more than her goods. The
Arch-Duke was so much pleased with the performance, that he invited him to Vienna,
and offered him a munificent establishment, which his engagements did not permit him
to accept. When the Grand Duke of Tuscany visited Leyden, he was particularly
struck with the exquisite finishing of his works, and engaged him to paint a picture,
which is regarded as one of his most admirable productions. It represents a young lady
dressed in'white satin, playing on the lute, with another female and a young man
seated on a couch, to whom a domestic presents a silver salver with refreshments. He
also painted for that prince a portrait of himself, which was placed in the Florentine
Gallery. The pictures of Francis Mieris the elder are extremely rare, and are only to
be met with in the choicest collections, where they, at least, hold an equal rank with
those of Gerard Douw. The same minute accuracy, the same polished finishing, are
found in both their works ; though the subjects made choice of by Mieris are generally
more select and agreeable. His design is more correct ; his pencil is more free and
spirited ; and his colouring, by being less disturbed, is purer and more delicate.
Francis Mieris occasionally painted portraits, which he finished in the same admirable
manner as his other works. They are very correctly drawn, and have the appearance
of great truth and nature. He died in 1681, aged 46.
MIERIS, John. He was the elder son of the preceding artist, bora at Leyden in 1660,
and received his first instruction in the art from his father. Despairing of being able
to equal Francis Mieris in the minuteness and delicacy of his finishing, he devoted
himself to a different pursuit, and attempted historical painting, and portraits as large
as life. After the death of his father he went to Italy, and on his arrival at Rome ap
plied himself to his studies with an assiduity which proved fatal to him. He was un-

68 MIE MIG
fortunately afflicted with the stone ; and his malady was increased by his sedentary
habits, to such a degree, that he fell a victim to it in the thirtieth year of his age.
MIERIS, William. William was the younger son of Francis Mieris, born at Leyden in
1662. He studied under his father, whose style he adopted with great success. At the
age of nineteen he was already an able artist, when the death of his father deprived him
of the advantage of his instruction. He continued to pursue the same track which had
led the elder Mieris to such merited celebrity, and he can scarcely be said to have been
inferior to his father in the exquisite finishing of his pictures, though certainly very
unequal to him in the arrangement of his compositions, the correctness and taste of his
design, the purity and delicacy of his colouring, the suavity and mellowness of his
touch, and his intelligence of the chiar-oscuro. His best pictures represent subjects
taken from ordinary life, such as confectioners' shops, women selling game, or vegeta
bles, the interiors of apartments, and conversations. In these, every minute object is
finished with the utmost care, and sometimes to a degree which approaches to hardness.
The works of Gerard Lairesse had at that time excited universal admiration; and
William Mieris was encouraged by his friend and patron, M. de la Court, to aim at a
more elevated style; and, in imitation of the Poussin of Holland, to paint landscapes,
with historical or fabulous subjects. The attempt was not, however, very favourable to
his fame, as his incapacity of designing the naked, and his ignorance of costume, ren
dered him totally inadequate to the dignity of history. The extreme labour and preci
sion with which the most trifling objects are finished, prevents the effect of the whole;
his carnations, from their smoothness and polish, have the appearance of 'ivory ; and his
landscapes, without effect, or degradation in the plans, appear to be the work of a flower-
painter. His pictures of domestic subjects are, however, deservedly held in very high
estimation, and are placed in the choicest collections. William Mieris died at Leyden
in 1747, at the advanced age of 85.
MIERIS, Francis, the younger. He was the son of William Mieris, born at Leyden in
1689, and was instructed by his father. He painted similar subjects, but was extremely
inferior to him in every respect. His design is heavy and tasteless, his touch is dry and
hard, and his colouring false and unnatural. He sometimes attempted to copy the works
of his father, but their decided inferiority will prevent the least experienced collector
from mistaking them for the works of William Mieris.
MIGER, Simon Charles. A modern French engraver, bora at Paris about the year 1745
He was a pupil of Charles Nicholas Cochin, the younger, and has engraved several
plates of historical subjects and portraits, in a neat clear style. He was a member of
the French Academy. Among others, we have the following by him :
PORTRAITS.
David Hume, Historian ; after Cochin.
John Stanley, Musician ; after the same.
Count Maurice de Bruhl ; after the same.
Christopher Gluck, Musician ; after Duplessis.
Laurent Cars, Engraver; after Perenneau.
John James Rousseau ; after Le Moyne.
Francis Mieris, Painter; after a picture by himself.

MIG MIG 69
SUBJECTS AFTER VARIOUS MASTERS.
Hercules strangling Anteus; after Voiriot ; engraved for his reception into the Academy in 1777.
The Flaying of Marsyas; after C. Vanloo ; his other reception plate.
Hercules and Omphale ; after Dumont.
The Rape of Europa ; after Halle. *
A View of the Coast near Civita Vecchia ; after Vernet.
MIGLIONICO, Andrea. According to Dominici, this painter was a native of Naples,
and a scholar of Luca Giordano. He painted history with some reputation; and there
are several of his works in the churches of his native city, of which the most esteemed
is his picture of the Descent of the Holy Ghost, in the S. S. Nunziata. He died soon
after Luca Giordano.
MIGNARD, Nicholas. According to M. Watelet, the family of the Mignards was of
English extraction, and their name was originally More. He reports, that the father of
our artist, and six of his brothers, were officers at the same time in the army of Henry IV.
of France ; and being all of them handsome, and of a martial appearance, on their
being all presented at the same time to that monarch by the name of More, the King,
facetiously exclaimed, Ce ne sont.pas la des Mores, mats des Mignards. The name of Mig
nard remained to thein. Nicholas Mignard was born at Troyes, in Champagne, in 1608.
He received his first instruction in the art from an obscure painter of his native city ;
but he soon afterwards went to Fontainbleau, where he had the advantage of studying
the works of Primaticcio and II Rosso, and the antique statues which had been collected
by Francis I. He afterwards visited Italy, and passed two years at Rome. On his re
turn to France he passed some time at Avignon, where he married, and from his long
- residence in that city, was called Mignard of Avignon, to distinguish him from his
brother Peter Mignard, called the Roman. By the recommendation of Cardinal Maza
rine, he was invited to Paris, and employed in several works for the palace of the
Thuilleries, among which, are Apollo crowning the Muses of Poetry, Painting, and
Music; Apollo and Daphne; and Mercury presenting a Lyre to Apollo. He was also
much employed-as a portrait painter, and drew many persons of distinction, some of
which have been admirably engraved by Anthony Masson. He was a member of the
Academy at Paris, where he died in 1668, aged 60. Nicholas Mignard has etched eight
plates of subjects, after Annibale and Agostino Caraeci, from the Farnesian gallery. They
are executed in a bold spirited style.
MIGNARD, Peter, called the Roman. This eminent painter was the younger brother
of the preceding artist, born at Troyes in 1610. His father intended him' for the pro
fession of physic, and for that purpose he received the necessary education, and was
placed under one of the most eminent practitioners of his time. His decided inclina
tion for the art occasioned him to devote all his leisure moments to the study of design.
Without the help of an instructor, he painted a picture of the portraits of the professor
and his family, which excited universal surprise. He was induced to abandon his medical
pursuits, and placed himself under the tuition of John Boucher, a painter of some repu
tation at Bourges. After passing two years under that master he went to Paris, where
he entered the school qf Simon Vouet, where he studied some time. The Marquis dr

70 MIGNON.
Crequy having brought from Rome, where he had been ambassador, some valuable
pictures of the Italian masters, the young Mignard was allowed access to them, and he
was soon convinced that Italy was the only centre of the art, the true focus of its light,
of which France had, till then-, only received very feeble rays. He soon afterwards
visited Rome, where he resided twenty-two years, and acquired the title of Mignard the
Roman. At Rome he renewed his intimacy with Charles Alphonse du Fresnoy, who
had been his fellow student under Vouet. They lived in habits of the closest friendship
during Du Fresnoy's residence in that capital ; and the counsels of that excellent theorist
were of considerable advantage to him in his studies. His attention was particularly
directed to the works of Raffaelle and Annibale Caraeci, particularly the former, whose
graceful and dignified style he imitated in his pictures of the Virgin, which were greatly
admired at Rome. He was patronised by Urban VIII. and by all his successors to
Alexander VII. whose portraits he painted, and distinguished himself in that branch, as
well as in historical subjects. His principal works at Rome are the Annunciation, and
a picture of the Trinity, in S. Carlo alle Quattro Fontane ; and a Holy Family in S.
Maria in Campitelli. He was invited to return to France by Louis XIV. who employed
him in several important works, and he painted the portrait of the King several times,
as well as those of the principal nobility. D'Argenville reports, that the last time he
painted the King, the monarch perceiving that he regarded him with more than usual
attention, said to him, " You find me grown older?" " Sire," replied the artist, " I per
ceive the traces of a few more campaigns in your Majesty's visage." On the death of
Charles le Brun, he was made first painter to the King. His most considerable works
in France, are his great cupola in the church of Val-de-Grace,"and his twelve pictures in
fresco, in the gallery of St. Cloud. Though the productions of Mignard are not dis
tinguished by decided originality of invention, and a commanding facility of hand;
they lay claim to our approbation, by a correct design, a captivating amiability in his
forms, and a harmonious, if not a vigorous effect in his colouring. Several of his pic
tures have been engraved by some of the most celebrated of the French burinists, among
which are Gerard Audran, Poilly, Roullet, Nanteuil, &c. We have only one etching by
himself, representing St. Scholastique kneeling before the Virgin. He died at Paris in
1695, aged 85.
MIGNON, Abraham. This celebrated artist was born at Frankfort in 1639. He was the
son of a merchant, who designed him for his own profession, but finding his inclination
for the art, he placed him under the tuition of Jacob Murel, an eminent flower-painter,
with whom he continued till he was seventeen years of age, when he already surpassed
his master. Murel carried on a considerable commerce in works of art, and his business
leading him to Holland, he was accompanied^ by his pupil, who he recommended to the
care of John David de Heem, whose works were then in the highest reputation. The
assiduity and progress of the scholar increased the esteem and attention of the master
and the pictures of Mignon were in a short time universally admired. His works were
anxiously purchased at considerable prices, and, with an unusual share of industry, he
found it difficult to keep pace with the demand for them. The beauty and freshness of
his flowers and fruit, and his picturesque manner of disposing them, have perhaps only
been surpassed by John van Huysum. The insects he introduced into his pictures are
exquisitely finished, and the dew-drops on the leaves of his flowers and fruit, have all
the transparency of real water. He died in 1679, aged 40.

MIG MIL 71
MIGNON, I. An obscure artist, mentioned by Mr. Strutt as the engraver of a coarse
incorrect etching, representing Abraham purchasing the cave of Macphelah from the
children of Heth. It is inscribed, lo. Mignon,fec.
MILANESE, II. See Cittadini.
MILANESE, Felice. By this artist, who was probably a painter, we have a small up
right etching, representing the Virgin and Infant seated on a pedestal, with a Bishop,
and several children before her; it is signed, Felice Milanese, fee.
MILANI, Giulio Cesare. This painter was born at Bologna in 1621, and was a disciple
of Flamminio Torre, of whose style he was one of the most successful followers. His
works in the churches at Bologna are not degraded by the vicinity of such powerful
competitors. Of these, his most esteemed productions are his Marriage of the Virgin,
in S. Guiseppe; S. Antonio di Padona, in the church of S. Maria del Cestello; and the
Holy Family with St. John, at the Servi. He died in 1678, aged 57.
MILANI, Aureliano. He was the nephew of Giulio Cesare Milani, born at Bologna
in 1675, and was a scholar of Cesare Gennari, and afterwards of Lorenzo Pasinelli. He
did not however attach himself to their manner, but, enamoured of the works of the Ca
raeci, lie devoted himself to an attentive study of their style. According to Crespi, no
painter of his time approached nearer to the admired principles of that academy, and,
with the exception of Carlo Cignani, he was the artist whose talents contributed most
to support the credit of the Bolognese school. His principal works at Bologna are, his
S. Girolamo, in S. Maria della Vita; the Stoning of Stephen, in S. Maria Mascarella ;
and the Resurrection, in La Purita. He died in 1749, aged 74.
MILANI, Gioseffo Maria. This painter was born at Pisa in 1678, and was a scholar of
Camillo Gabrielli. Following the example of his instructor, he attached himself to an
imitation of the style of Pietro da Cortona and Giro Ferri. On leaving that, master,
he applied himself with great assiduity to the study of architecture, and particularly
excelled in painting perspective, and views of the most magnificent buildings, which he
embellished with figures, elegantly designed, grouped with great ingenuity, and his
colouring is splendid and harmonious. There are several of his fresco works in the
churches at Pisa, of which the most considerable is a ceiling in the church of St. Mat
thew.
MILE, Francis, sometimes called Francisque. The family of this artist was originally
French, though he was born at Antwerp in 1644. His father had accompanied the
Prince of Conde, to whom he was attached, into the Netherlands, at the time of his
revolt. Having shown an early inclination for the art, the young Mile, was placed as
a pupil of Laurent Franck ; and it was not long before he surpassed his master. His
father dying when he was still young, he had no other resource than the exercise of his
talents; and when he was. eighteen years of age, he had acquired sufficient reputation
to induce his instructor to bestow on him his daughter in marriage. He soon after
wards visited Paris, where he was particularly struck with the works of N. Poussin,
which were in the possession of M. Jabach, to which he had free access. They became

72 MILLER.
the models of his study; and in his best works he approached nearer to the grand style
of that painter, than any of his imitators. He painted history, but was more successful
in what are called heroic landscapes, adorned with figures representing some historical
or fabulous subject. He is said to have possessed so retentive a memory, that he could
recollect the scenery or composition of any particular picture which had struck his at
tention ; and in his observation of the effects of nature, he could recollect, at a distant
period, any thing remarkable, with extraordinary precision. He is stated by M. d'Ar-
genville to have visited Holland and England, in both of which countries he left proofs
of his ability. On his return to Paris, he was received into the Academy, and his,
works were held in high estimation. The landscapes of Mile exhibit a grandeur of
scenery, in which, though he has been surpassed by the Poussins, has been approached
by few of the artists of his country. It is always appropriate to the history he wished
to represent, and, like his distinguished model, he is a strict observer of the propriety
of costume. His pencil is broad and facile, and his colouring generally agreeable,
though in some of his pictures there is too great a monotony, and a want of intelligence
in his masses of light and shadow. We have a few-etchings by this able artist, which
are esteemed for the picturesque subjects they represent, and the light and spirited style
of their execution. Among others, are the following :
A Landscape, with Egyptian Ruins, with the subject of Moses saved from the waters of the
Nile ; Francisque, inv.
Another grand Landscape; with the History of Cephalus and Procris.
A Mountainous Landscape, with figures, and a town in the middle.
Six other Landscapes, of various sizes.
He died in 1680, aged 36.
MILLER, Andrew. This artist was a native of Ireland, and flourished about the year
1740. He resided at Dublin, and engraved several portraits in mezzotinto, which are
by no means destitute of merit. Among others, we have the following portraits by him :
Dean Swift; after F. Bindou. 1743.
Robert Boyle, Philosopher.
Charles Lucas, M. D. of Dublin.
Robert Josleyn, Lord of Newport, Chancellor of Ireland. 1747.
Josiah Hort, Archbishop of Tuam.
Eaten Stannard, Recorder of Dublin.
Joseph Baudin, Painter.
Joseph Miller, Actor, in the Character of Teague.
John Harper, in the Character of Jobson.
Snowdon, in the Character of Caled, in the Siege of Damascus.
Turbutt, in the Character of Sosia, in Amphitrion.
MILLER, J. An English engraver, who flourished about the year 1760. We have a
variety of prints by him, chiefly portraits, which possess considerable merit. Among
many others are the following :
King George III. ; advivum.
Queen Charlotte ; the same.
Jeffery, Lord Amherst.

MIL MIN 73
George Bridges Rodney, Lord Rodney.
Charles Townsend, Chancellor of the Exchequer.
Thomas Gray, Poet.
Charles Churchill, Poet.
Sir John Vanbrugh.
John Wilks, M. P. and Chamberlain of London.
MILLER, John Sebastian. See Muller.
MILN, Robert. By this artist we have some plates of Scottish antiquities, engraved for
a book published at Edinburgh in 1710, entitled, Miscellanea quadam Erudita Antiquitatis,
qua: ad Barealem Britannia majoris partem pertinent, fyc.
MILOT. An obscure artist, mentioned by Mr„ Strutt. He resided at Antwerp about the
year 1620, and is said to have worked for the booksellers only. He engraved several
.frontispieces and portraits, in a neat, but stiff and tasteless style.
MINDERHOUT. This painter was born at Antwerp in 1637, and was a member of the
Academy in that city, as appears from his picture of reception preserved in their hall,
representing a view of the Port of Antwerp, with a variety of vessels, and a great number
of figures. At an early period of his life he settled at Bruges, where he afterwards
continually resided, and was received into the society of painters in that city in 1-662,
where there are several of his pictures in the public edifices and in private collections.
The works of this master generally represent marines and sea-ports, frequently those of
Antwerp and Bruges. They are usually of a large size, and possess the merit of a bold
design, a spirited touch, and an intelligent management of the chiar-oscuro. His pic
tures are very unequal ; and towards the latter part of his life they seem to have been
executed with negligence and haste. His best works are, however, to be found in the
principal collections in Flanders.
MINGOT, Teodosio. This Spanish painter was a native of Catalonia, born in 1551, and
was a disciple of Gaspar Becerra. He is erroneously stated by Palomino to have stu
died at Rome under Michael Angelo Buonaroti, who died when he was only thirteen
years of age. He is believed to have visited Italy, where he acquired a correct style of
design, and was a vigorous colourist. He was employed by Philip II. in the palace of
the Pardo, where his principal works perished in the conflagration by which that edifice
was destroyed. He died in 1590, .aged 39-
MINZOCCHI, Francesco, called II Vecchio di San Bernardo. This painter was born
at Forli in 1513. He formed his first manner by studying the works of Marco Palme-
giano, whose stiffness and formality are visible in his first productions, particularly in his
picture of the Crucifixion, at the Osservanti. He afterwards reformed his style of design
in the school of Girolamo Genga, and became an excellent colourist, by imitating the
works of Pordenone. Among his best wor&s are noticed the Sacrifice of Melchisedech,
and the Miracle of the Manna, painted in fresco in a chapel in the Basilica di Loreto,
in which the prophets and principal figures have a igrandeur of character, and a splen
dour of colour, worthy of an able follower of Pordenone, though in other respects defi-
Vol. II. K

74 MIR MIR
cient in the dignity and propriety which the subjects require. Scanelli celebrates a
great fresco woik by this master, in the church of S. 'Maria della Grata at Forli, repre
senting the Trinity, painted with a force of colouring, and an intelligence in fore-short
ening, which deserves a higher reputation than is generally attributed to him. He left
two sons, Pietro Paolo and Sebastiano Minzocchi, who painted history, but were
very unequal to their father. There are some indifferent works by them in the church of
S. Agostino, and at the Franciscans at Forli.
MIRADORO, Luigi. He was a native of Genoa, and, according to Lanzi, flourished from
the year 1639 till 1651. After learning the first principles of the art in his native city,
he went to Cremona about the beginning of the seventeenth century, where he studied
after the works of Panfilo Nuvolone. He afterwards adopted a style which bears some
resemblance to that of the Caraeci, though less select in his forms, and less studied and
expressive in his characters. His design is bold and free, and his colouring chaste and
harmonious. Although this artist is little known in his own country, and is unnoticed
by Orlandi, his works are highly esteemed throughout Lombardy, particularly at Cre
mona, where he chiefly resided. He frequently made choice of, and was the most suc
cessful in, the most terrific subjects he could select. Among his most esteemed works
are, a dead Christ in the lap of the Virgin, in the hall of the Merchants at Piacenza;
and his picture of S. Giovanni Damasceno, in the church of S. Clemente, at Cremona.
MIRE, Noel le. A modern French engraver, born at Rouen in 1723. He was a pupil of
Le Bas, and has engraved several plates in the neat style of that artist. We have, among
others, the following by him : PORTRAITS.
Alexis Piron; after L'Epicie.
Mademoiselle Clairon, crowned by Melpomene, with four French verses by Garrick; after
Gravelot.
General Washington ; after le Paon.
The Marquis de la Fayette ; after the same.
SUBJFjCTS after various masters.
St. Sebastian ; after Parmigiano ; for the Dresden gallery.
Jupiter and Danae ; after Ann. Caraeci.
The Death of Lucretia ; after Andrea del Sarto.
A pair of Views in Flanders, with figures ; after Teniers.
A View of Mount Vesuvius in 1757; after La Croix.
The Triumphal Arch of Titus Vespasian ; after the same.
MIREVELT, Michael Janson. This artist was born at Delft in 1568. He was the son
of a goldsmith, who, perceiving his disposition for drawing, placed him under the care
of Jerome Wierix, an eminent engraver, with the intention of his pursuing that profes
sion. When he was twelve years of age he executed a plate of Christ and the Woman
of Samaria; and soon afterwards another of Judith with the Head of Holofernes. These
juvenile performances attracted the attention of Anthony de Montfort, called Block-
landt, who persuaded him to apply himself to painting, and offered to receive him into

MIR MIT 75
j
his school. So flattering a proposal induced him to quit the graver for the pencil, and
for some years he studied historical painting under that able master. His first produc
tions on leaving the school of Blocklandt, were some altar-pieces for the churches at
Delft; but having painted the portraits of some of the princes of the house of Nassau,
they were so universally admired, that he afterwards met with continual employment in
that branch, and as he lived to an advanced age, he is supposed to have painted a greater
number of portraits than any artist of his country. He is said, by Descamps, to have
been invited to England by Charles I., and that he declined the proposal, on account of
the plague, which at that time raged in London. If this statement is correct, it must
have been in 1625, the first year of that king's reign, at which time the capital was
afflicted with that dreadful visitation. The portraits of Mirevelt are finely drawn, and
are full of expression ; several of them have been admirably engraved by his brother-in-
law, James William Delft. Vandyck painted the portrait of Mirevelt, among the most
eminent artists, which is also engraved by Delft. He died at Delft in 1641, aged 73.
MIREVELT, Peter. He was the son of the preceding artist, born at Delft in 1596, and
practised portrait painting, in the style of his father, with considerable reputation. One
of his most esteemed works is a large picture in the hall of the Surgeons at Delft, repre
senting the portraits of the principal members of that society at that time. He died
young, in 1632.
MIRUOLI, Girolamo. According to Vasari, this artist was a native of Romagna, and
flourished about the year 1570. He was a disciple of Pellegrino Tibaldi, and was a
reputable painter of history. There are some of his fresco works in the church of the
Servi at Bologna. He also distinguished himself at Parma and Modena, where he was
employed by the Duke, and died painter to the court.
MISEROTTI, D. This artist is mentioned by Mr. Strutt as the engraver of several plates
for the collection of prints, from the paintings in the gallery of the Grand Duke of
Tuscany.
MITELLI, Agostino. This eminent artist was born at Bologna in I609. Although he
distinguished himself as a painter of perspective and architectural views, he was not
incapable of designing the figure, which, according to Passeri, he studied in the school
of the Caraeci. When, in conjunction with Michael Angelo Colonna, he painted the
decorations of the archiepiscopal palace at Ravenna, he sometimes designed the figures,
and sometimes the perspective; but he afterwards devotedjiimself entirely to the latter.
If the works of Mitelli are inferior to those of II Dentone in vigour and solidity, they
charm by the grace and elegance of his choice, and the tender tinting of his colour.
His ornaments were always happily appropriated to the character of the edifice he had
to embellish, and strictly suited to the solemnity of the temple, the elegance of the
saloon, or the splendour of the theatre. In these he was ably supported by the figures
of M. A. Colonna, with whom he long worked in conjunction, and formed an intimacy
which lasted twenty-four years, and was only terminated by the death of Mitelli. Of
their numerous works at Bologna, the most admired are la Capella del Rosario, and the
saloon in the Palazzo Caprara. They equally distinguished themselves at Parma, Mo
dena, and Genoa. In 1658, they were invited to the court of Spain by Philip IV. where
K2

76 MIT MOD
they ornamented the palaces with some of their finest works, partieuiamly a grand saloon,
in which Colonna has introduced his celebrated fable of Pandora. He died- at Madrid
in i860, aged 51. We have several spirited etchings by this master, consisting chiefly
of architectural ornaments ; and a set of forty-eight friezes, dated 1645.
MITELLI, Guiseppe Maria. He was the son of the preceding, artist, born at Bologna
in 1634. After receiving some instruction from his father, he entered the school of
Flaminio Torre. He painted history with some reputation, and occasionally introduced
the figures into the perspective views of Agostino. There are several of his pictures in
the churches at Bologna, of which the most worthy of notice are, S. Riniero healing the
Sick, in S. Maria della Vita ; a Pieta, in the Annunziata ; and Christ taken in the Garden,
at the Cappuccini. He was more distinguished as an engraver than a painter, and has
etched a great variety of plates from his own designs, and after some of the most cele
brated of the Italian masters. They are executed in a slight feeble style, and the draw
ing is generally incorrect. He possessed, however, an inventive genius, and his works
are not unworthy of the attention of the curious. He usually marked his plate*
GMA M"5X> or with the cipher QjJ . The following are his principal works :
A set of twelve plates, after the most esteemed pictures in the churches at Bologna.
The History of iEneas, in twenty plates ; after tlie pictures by the Caraeci, in the Palazzo Fa»i,
at Bologna,
The Cries of Bologna, in forty-one prints ; after An. Caraeci.
The Adoration of the Shepherds, called the Notte ; after Coreggio.
The Martyrdom of St. Erasmus ; after Poussin.
David and Goliath ; after Titian.
The finding of the Cross ; after Tintoretto.
The Rich Man and Lazarus ; after P. Veronese.
The twenty-four Hours of Human Felicity. There are two additional prints, making a set of
twenty-six, probably from his own designs. They were published at Bologna in 1675, and are
now become scarce.
He died in 1718, aged 84.
MOCETTO, Girolamo, or Hieronymus Mocetus. This artist was born at Verona about
the year 1454, and was a disciple of Giovanni Bellini. Little is known of his works as a
painter; and Lanzi merely notices a picture by him, dated in 1493, in the church of SS.
Nazario e Celsoat Verona. He engraved a few plates in a neat, but stiff style, exe
cuted entirely with the graver. His prints are very scarce, and their rarity may be
said to constitute their greatest value. They are usually marked with his baptismal
name, thus, £E R°M- We have by him,
The Resurrection, with four Soldiers near the Tomb.
A sacrifice, with many figures ; from an antique bas-relief.
He also engraved some battles, and other subjects; and is said to have executed a
wooden cut of the entrance of Christ into Jerusalem, which is dated 1500.
MODENA, Pellegrino Munari, called da. Pellegrino Munari, sometimes called Are-
tusi, but more generally known by the name of Pellegrino da Modena, was born in that
city about the year 1485. It is not known by whom he was instructed at Modena, but

MOD MOE 77
in 150Q> when he was little more than twenty years of age, he painted an altar-piece for
the church of S. Giovanni, which gained him great reputation. The celebrity of Raffa
elle, then in the zenith of his fame, dreto him to Rome, where he had the advantage of
being admitted into the school of that inimitable painter. His talent was soon disco
vered by his able instructor, and he was selected by him to assist in the great works he
was then: engaged on in the Vatican. He was intrusted to paint, from the designs of
Raffaelle, the histories of Jacob and Solomon, which he executed entirely to the satis
faction of his master. After the death of Raffaelle he painted some pictures of his own
composition for the churches at Rome, particularly in S. Eustaeio, and in S. Gtacomo
degli Spagnuoli, where he painted in fresco the life of S. James. On his return to
Modena,lie was employed for several of the public edifices, and painted his celebrated
picture of the Birth of the Virgin, in the church of S. Paolo, designed with all the
grace and dignity of his admirable instructor. This eminent artist was high in the
public esteem, and in the midst of a brilliant career, when the world1 was deprived of his
talents by an unforeseen and dreadful catastrophe. His son happened to quarrel with
one of his companions, which ended in the death of his antagonist. Pellegrino, ap
prized of the fatal accident, ran out into the street, to endeavour to save his son from the
pursuit of justice ; he was encountered by the relatives of the deceased, who fell upon
him with the greatest fury, and put an end to his existence. This tragical event hap
pened in 1523, when he was about 38 years of age. No scholar of Raffaelle approached
nearer to him in the sublime character of his heads, and the grandeur of his forms.
MODENA, Niccoletto da. This artist was born at Modena about the year 1460. He
painted perspective and architecture, but is more known as an engraver, and is considered
one of the earliest artists who practised engraving in Lombardy. His plates are rudely
executed with the graver, and sufficiently prove that he had received no instruction in
the art, but was obliged to work out his own system. He sometimes signed his plates
with his name, and sometimes with one of these monograms, Mr-, or JVg . Among
others, we have the following prints by him :
The Adoration of the Shepherds; with his name.
St. Sebastian ; marked Niccolleto, on a tablet.
Another St. Sebastian ; inscribed, Ora pro nobis Sancte Sebastiane.
St. Jerome reading ; with the monogram.
St. George ; with his name.
St. Martin; inscribed, Divo Marti; with his name on a tablet.
A Triton embracing a Syren; marked N. M. on a tablet.
MODIGLIANI, Francesco. This painter was a native of Forli, and flourished about the
year 1600. Lanzi notices some of his works at Urbino, where he is called Francesco da
Forli, representing a Deposition from the Cross, and some frescoes in the church of -S.
Lucia. But his best productions are at the Osservanti at Forli, and in the church of
S. MariadelRosario; they are subjects of the Old Testament, among which are Adam
and Eve driven from Paradise, the Deluge, the Tower of Babel, and others.
MOELART, Jacob. He was born at Dort in 1649, and was for some time a scholar of
Nicholas Maas. His progress under that master was considerable, and he proved a
reputable painter both of history and portraits. Of his historical works, Houbraken

78 MOF MOI
particularly commends his pictures of Moses striking the Rock, and tlie Destruction. of
Pharaoh and his Host. He distinguished himself as a portrait painter, and was em
ployed by the principal persons of his country. He died in 1727, aged 78.
MOFFEI, C. F. This obscure artist is mentioned by Mr. Strutt as the engraver of a
coarse, incorrect etching, representing the Death of St. Francis. It is inscribed, C. F.
Moffei, fecit.
MOGALLI, Como. An Italian designer and engraver, bora at Florence in 1667- He
was instructed in design by Giovanni Batista Foggini, a Florentine sculptor, and
applied himself chiefly to engraving. He executed part of the plates for a book of
Etruscan antiquities, published at Florence in 1724, by Thomas Dempster; and was
employed, in conjunction with Antonio Lorenzini and others, to engrave the plates for
the Museo Fiorentino. We have also some prints by him, after Santo di Tito, F. Perucci,
and others. The following are from the pictures in the Florentine gallery :
The Holy Family reposing ; after Albano ; circular.
Apollo and Marsyas ; after Guercino.
Magdalen carried up to Heaven by an Angel ; after Guido Cagnacci.
The Holy Family ; after Coreggio.
Eve presenting the Apple to Adam ; after Gab. Cagliari.
Adam and Eve driven from Paradise ; after the same.
Christ and the Disciples at Emaus ; after Palma.
The Marriage of St. Catherine; after Fra Bartolomeo.
David and Bathsheba ; after Salviati.
The Annunciation ; after Andrea del Sarto.
The Adoration of the Shepherds ; after Titian.
A Bacchanalian Dance ; after the same.
Philip II. King of Spain; after the sarile.
MOGALLI, Niccolo. He was the son of the preceding artist, born at Florence in 1723.
After learning the principles of design under Francesco Conti, he was instructed in en
graving by J. D. Picchiante. About the year 1750 he went to Rome, where he resided
several years, and was employed by the celebrated Winkelmann to engrave, from the
designs of Casanova, the plates for his work, entitled, Monumenti antichi, inediti, spiegatiet
illustrati da Giovanni Winkelmann. Roma 1767. He also engraved some plates for the
Florentine gallery, and for the cabinet of Portici.
MOINE, or Moyne, Francis le. A French engraver, who was concerned with Berain
and Chaveau, in designing and engraving the ornaments of painting and sculpture,
which are in the gallery of Apollo in the Louvre.
MOINE, Francis. An eminent French painter, born at Paris in 1688. He was a scholar
of Louis Galloche, under whom he became one of the most promising young artists of
his country, and obtained the first prize at the Academy. He did not, however, enjoy
the advantage of studying in Italy under the pension of the King, being prevented by the
difficulties of the time; and his parents, who were in indigent circumstances, had not
the means of supporting him in his travels. By an assiduous study of the best models

MOITTE. 79
he could meet with in his own country, he acquired a distinguished reputation, and be
came a member of the Academy at Paris in 1718. His picture of reception was Her.
cules and Caucus, which, though not one of his best performances, is remarkable for
the correctness of the design. In 1724, M. Berger, one of his patrons, formed the pro
ject of visiting Italy, and invited Le Moine to accompany him. The proposal was
readily accepted, though he may be said to have rather run through the country, than
visited it for the purpose of study, being only six months on their journey, and that at
a time of life when his principles were already formed. In his short visit to Rome he
appears to have been more captivated with the splendid sumptuosity of Pietro da Cor-
tona, and the daring dispatch of Lanfranco, than the sublimity of Michael Angelo, or
the graceful dignity of Raffaelle. On his return to Paris he was engaged to paint the
cupola of the chapel of the Virgin in St. Sulpice, where he distinguished himself by
the beauty of his groups, and the freshness of his colouring. This undertaking, which
occupied him three years, established his celebrity. He was commissioned by Louis XV.
to paint the ceiling of the grand saloon at Versailles, representing the Apotheosis of
Hercules, an immense machine, which, in dimensions, is the most stupendous in Europe,
as it measures sixty-four feet by fifty-four. It consists of nine compartments, and was
finished in four years. This prodigious work procured him the appointment of prin
cipal painter to the King at the death of Louis de Boullongne, with a liberal pension.
Notwithstanding this flattering patronage, he fell into a state of melancholy and despon
dency, which his friends endeavoured in vain to dissipate. M. Berger, calling on him
one day to invite him to his country seal, he conceived that the officers of justice were
come to conduct him to prison ; he snatched up his sword, stabbed himself in several
places, and as his friend entered his apartment, fell lifeless at his feet. This event hap
pened in 1737, in the forty-ninth year of his age.
MOITTE, Peter Stephen. A French engraver, born at Paris in 1722. He was a pupil
of P. F. Beaumont, and has engraved several places of portraits and various subjects, in a
clear neat style. His most considerable works were the plates he executed for the
gallery of Dresden, and the cabinet of Count Bruhl. We have, among several others,
the following prints by him : portraits.
J. Restout, Painter to the King ; after de Latour.
Charles John Francis Henault, Historian ; after St. Aubin.
subjects after various masters.
The Holy Family ; after Andrea del Sarto; Dresden collection.
Another Holy Family ; after F. Vanni; the same.
The Marriage of St. Catherine ; after Coreggio.
Christ praying on the Mount of Olives ; after the same.
A Halt of Travellers ; after Wowermans.
The Watering-place ; after the same.
The Dutch Cook ; after Gerard Douw.
The Fish Woman ; after the same.
JEneas saving his Family from the burning of Troy ; after M. Corneilk.

80 M O I MOL
The Triumph of Venus ; after Boucher.
The Pleasures of Summer ; after the same.
Several Prints after Greuze, Cochin, and other masters.
MOITTE, F. A. He was the son and pupil of the preceding artist, born at Paris about
the year 1748. We have by him several plates after Greuze, and other.masters,; among
which are the following :
A pair, Poetry and Painting; after Greuze.
A Flemish Repast ; after Jordaens.
MOL, Peter van. This painter was bora at Antwerp in 1590, and was brought up in
the great school of Rubens. He painted history with no mean reputation, and was
-employed for some of the churches in Flanders and Brabant. In the cathedral at
Antwerp is a picture by him of the Adoration of the Magi, finely coloured, in the style
of his master ; and in the gallery of the Louvre is a dead Christ, with the Holy Women,
St. John, and Joseph of Arimathea. He died in 1650, aged 60.
MOLA, Pietro Francesco. This eminent painter was born at Coldra, in the Milanese
state, in 1609. He was the son of an architect, who placed him under the tuition of
Guiseppe Cesari d'Arpino, at Rome ; but his father's affairs calling him to Bologna, he
was accompanied thither by his son, and he became a disciple of Francesco Albano.
He did not however adopt the principles of either of those masters, but sought a bolder
style of design, and a more vigorous colour. The works of Guercino were particularly
the objects of his admiration, and he was ambitious of acquiring the energy and pow
erful effect of his chiar-oscuro, and the magic of his relief. Aiming at a fresher and
more harmonious system of colour than he found in the works of Guercino, he went to
Venice, where he studied the best productions of the great masters of the Venetian
school. He returned to Rome in the pontificate of Innocent X. by whom he was em
ployed in several considerable works, particularly a chapel in the church del Gesu, where
he painted in fresco St. Peter delivered from Prison, and the Conversion of St. Paul,
which gained him great reputation. He was not less patronised by Alexander VII. for
whom he painted his most celebrated work of Joseph making himself known to his
Brethren, in the pontifical palace of Monte Cavallo. In the church of S. Maria della
Vita, at Milan, are two of his most admired performances, representing St. John in the
Wilderness, and St. Paul the Hermit. The figures are designed with a correctness and ,
dignity worthy of the Caraeci;, and in the latter he has introduced a noble landscape,
resembling that in the famed St. Peter Martyr by Titian. Although Mola reached a
distinguished rank as an historical painter, he is still more esteemed for his admirable
landscapes, to which his genius and inclination seem to have particularly directed him.
His scenery is sometimes solemn and sublime; and when his sites are more pleasing
and extensive, they are always marked with a grandeur, which is hardly surpassed in the
best productions of Caraeci or Domenichino. His touch is firm and free, and his co
louring unusually vigorous and glowing. The figures with which they are decorated
generally represent some subject of history or the fable, and are introduced with infinite
taste and intelligence. He died at Rome in 1665, aged 56. We have a few etchings
by P. F. Mola, executed in a spirited and masterly style. The following axe byhim :

MOL MOL 81
The Virgin suckling the Infant Jesus ; after his own design.
The Holy Family, with Angels. This plate was first etched by Mola, and was afterwards
finished with the graver by a clumsy unskilful hand.
Joseph discovering himself to his Brethren. This print has been sometimes attributed to Carlo
Maratti.
The Holy Family, with Angels presenting Flowers1 to the infant Jesus; after Albano.
MOLA, John Baptist. This artist has been said to be the brother of Pietro Francesco
Mola, but, according to the authorities of Malvasia, Orlandi, and others, which have
been followed by Lanzi, and adopted by d'Argenville, he was of a different family, and
was a native of France, bora about the year 1620. After passing some years in the
school of Simon Vouet at Paris, he went to Italy, and studied at Bologna, under Fran
cesco Albano, by whose instruction he became a reputable painter of history and land
scape. When Albano was invited to Rome, he was accompanied to that capital by
Mola, where he passed some time, studying the works of the best masters, and particu
larly the Farnesian Gallery, by Annibale Caraeci. Among his best performances at
Rome are four large landscapes, in the Salviati palace, painted entirely in the charming
style of his instructor. We have a few etchings by this artist, among others,
Cupid in a Char, drawn by two little Loves ; after Albano.
MOLENAER, John. A Dutch painter of drolls and merry-makings. His pictures are
ingeniously composed, and are coloured with a richness and harmony approaching the
admirable productions of Adrian Ostade, though greatly inferior to that artist in the
beauty of his pencil, and the expression of his heads.
MOLYN, Peter, the elder. This artist was born at Haerlem about the year 1600. He
painted landscapes in a very pleasing style. His skies and distances are touched with
lightness and delicacy, and his fore-grounds are enriched with buildings and ruins in a
picturesque manner. We have several spirited etchings by this artist, which are incor
rectly attributed by Mr. Strutt to his son, Peter Molyn, called Tempesta. They are
executed in the style of John Vandevelde. His prints are generally signed with his
name, the P. and M. being joined thus ^^. Among others are the following :
A set of four Landscapes; inscribed, P. de Molyn, fee. et exe. 1626.
Another set of four Landscapes; P. Molyn, fecit. 1726.
Several Candle-light pieces and dark subjects.
MOLYN, Peter, the younger, called Tempesta, or Pietro Mulier. This painter was
the son of the preceding artist, born at Haerlem in 1637. Ho learned the principles of
the art from his father, but having seen some of the hunting pieces by Francis Snyders
he applied himself with great zeal to imitate the style of that master, and with so much
success, that his pictures were scarcely less esteemed than those of Snyders. He did
not confine his talents to huntings and animals, but equally excelled in painting sea-
storms and tempests, in which he represented the violent agitation of the waves and
the horrors of shipwreck, in the most impressive manner. When he was twenty-five
years of age, he went to Italy, where his ability in depicting these disastrous subjects
acquired him the name of II Tempesta. At Rome his works were particularly admired;
and he was so much employed, that he was under the necessity of calling in the assistance
Vol. II. L

82 MOM MON
of a coadjutor, whose sister he married. His reputation reached Genoa, whither he was
invited, with offers of the most tempting kind, and, in an evil moment, he was induced
to accept them. His reception, and the encouragement he met with, were most flatter
ing; and he was in the most brilliant career of fortune and fame, when the indulgence
of a fatal passion blasted all his prospects, and from the enviable height of the public
esteem and admiration, plunged him into the abyss of guilt, remorse, and infamy. He
conceived a violent attachment to a Genoese lady of great beauty, and finding that it
was in vain to hope for a return of it whilst his wife lived, he formed the horrible pro
ject of putting an end to her life. To accomplish his dreadful purpose, he invited her
to join him at Genoa, and employed assassins to murder her on the way. His crime did
not long escape the vigilant eye of justice ; he was arrested on suspicion, and many cir
cumstances appearing to corroborate his guilt, he was sentenced to an ignominious
death. The intercession of his powerful friends, and perhaps some consideration for his
talents, occasioned his punishment to be changed to perpetual imprisonment, of which
some years had passed, when the French bombarded Genoa, and as the city was in
danger of being burned, the doge ordered the prisons to be opened, and Tempesta
escaped into the duchy of Parma. It is said that some of his finest works were those
he painted during his imprisonment. He passed the remainder of his life at Parma and
Milan, where his pictures were held in the highest estimation. He died in 1701, aged 64.
MOMPER, or Mompert, Joos, or Jodocus. This painter was born at Antwerp in 1580.
As it is not known under whom he studied, and as his manner does not resemble that of
any painter of his country, it is probable that he had no other instructor than nature.
He painted mountainous landscapes in a bold free style, and appears to have taken his
views from the romantic scenery of Switzerland, rather than the confined prospects in
his own country. Contrary to the usual style of the Flemish artists, his works have
nothing of the precise finishing which was so much admired in the*pictures of Breughel
and Savery. His pencil is broad and facile, and his colouring clear, and of an agreeable
effect, though in the forms of his trees and mountains, there occasionally appears the
stiffness and formality of a mannerist. His pictures are frequently decorated with
figures by the elder Teniers, or John Breughel. Vandyck painted the portrait of
Momper, among the celebrated artists of his country, and has etched a plate of it himself.
He etched a few plates of landscapes from his own designs, which are scarce.
MONA, or Monna, Domenico. He was born at Ferrara in 1550, and was a disciple of
Guiseppe Mazzuoli, called il Bastaruolo. He possessed a prompt and ready invention
and an astonishing facility of execution, which accounts for the extraordinary number
and magnitude of the works he has left at Ferrara, where there is scarcely a church or
public edifice which does not possess something of his hand. There is a surprising ine
quality in his works ; and in viewing his best performances, such as the Birth of the
Virgin, and the Nativity of our Saviour, in S. Maria in Vado ; and the Entombing of
Christ, at the Servi ; it appears unaccountable, that, with the possession of such powers,
he could be so negligent of his fame, as to expose to public view the slight and imbe
cile productions which form the majority of his works. Lanzi attributes this incoherence
to occasional derangement of mind, and reports, that in a fit of insanity he killed an
officer of the household of the Cardinal Aldobrandini, which obliged him to take refuse
in the duchy of Parma, where he died in 1602, aged 52.

MON MON 83
MONACO, Pietro. A modern Italian engraver, born at Belluno about the year ] 738.
He chiefly resided at Venice, where he published in 1763 a set of one hundred and
twelve plates, after the most celebrated pictures at Venice. These prints are very
unequal ; some of them, however, possess considerable merit. The following are his
most esteemed prints : PORTRAITS.
Giovanni Batista Tiepolo ; after a picture by himself.
Jacopo Tatti, called Sansovino, Sculptor ; after Titian.
SUBJECTS AFTER VARIOUS MASTERS.
Tobit restoring his Father's Sight; after Dam. Feti.
The Adultress before Christ ; after P. Veronese.
The Nativity; after Seb. Ricci.
The Murder of the Innocents ; after Giulio Carpioni.
The Last Supper ; after Pittoni.
Lot and his Daughters ; after P. Liberi.
Christ conducted to Mount Calvary ; after Gio. Bat. Tiepolo.
Christ with the Disciples at Emaus ; after Gio. Bellini.
The Presentation in the Temple ; after Anto. Balestra.
MONAMY, Peter. This painter was a native of Jersey, born about the year 1670. His
parents were in indigent circumstances, and he was sent to England when a boy, and
apprenticed to a house-painter on London Bridge. But, as Lord Orford observes
speaking of this artist, "where nature gives talents, they break out in the homeliest
school. The shallow waves which rolled under his window, fitted him to imitate the
turbulence-of the ocean." The sea-pieces of Monamy are inferior to those of William
Vandevelde, but they are equalled by few painters of those subjects. His calms, parti
cularly, are sunny and transparent, and his vessels are designed and equipped with the
greatest correctness and precision. He died in Westminster in 1749.
MONANNI, Monanno. According to Baldinucci, this painter was a native of Flo
rence, and was a disciple of Cristofano Allori. He went early to Rome, where he
painted history with some reputation, and was received into the Academy there in 1652.
In the church of S. Giovanni Decollate at Rome, is a picture by him of the Baptism of
Christ by St. John.
MONCALVO, II. See Caccia.
MON CORNET, Balthazar. A French engraver, who flourished about the year 1650.
He chiefly resided at Paris, where he followed the business of a printseller. Basan
styles him one of the most indifferent engravers of his country, which is treating him
with more severity than he merits, as France has certainly produced many artists inferior
to him. He engraved an almost incredible number of portraits, and a few subjects
after Rubens, and other masters, among which are the following :
The Battle between Constantine and Maxentius ; after Rubens.
The Triumph of Constantine; after the same.
L2

84 MON MON
A set of Ornaments for goldsmiths.
A small etching of Rabbits, in imitation of the style of Hollar.
MONDINI, Fulgenzio. This painter was a native of Bologna, and flourished about the
year 1658. He was a scholar of Guercino, and painted history with considerable repu
tation. This able artist is particularly commended by Malvasia, who asserts, that he
was one of the most promising young painters of that period, and would have reached
a distinguished rank in the art, if his talents had been permitted a longer career. He
died young, at Florence, where he had been employed by the court. There are several
of the works of this artist in the churches at Bologna, of which the following are the
most worthy of notice. In the Annunziata are two admired pictures by him, of the
Angel appearing to St. Joseph in his Dream ; and the Repose of the Holy Family in
Egypt. In S. Petronio, two frescoes of subjects from the Life of S. Antonio di Padoua.
.MONERI, Giovanni. He was born at Visone, a small town near Acqui, in Piedmont, in
1637, and studied at Rome under Romanelli. In 1657 he returned to his native town,
and gave proof of his ability in a picture of the Assumption, painted for the Cathedral
at Acqui. At a more advanced age, and with an improved talent, he painted an
esteemed picture of the Presentation in the Temple, for the church of the Capuchins.
He died in 1714, aged 77.
MONGEROUX, M. de. A French amateur engraver, who, for his amusement, etched
some plates, among which is a landscape with figures and animals; after Casanova.
MONI, J. According to Papillon, this artist was a native of Lyons, and flourished about
the year 1570. He was an eminent engraver on wood, and executed a set of cuts from
his own designs, for the Bible History, published at Lyons, by William Rouille, in 1570.
He also copied the engravings on wood from the Bible, executed by Solomon Bernard,
called Little Bernard, which copies were published at Lyons in 1582. He sometimes
marked his prints with the initials of his name, and sometimes with the monogram &..
MONNIGKS, or Monnix. This painter was born at Bois-le-Duc in 1606. It is not said
by whom he was instructed, but he went early to Italy, and studied several years at
Rome. He chiefly excelled in architectural views, markets, and conversations. His
talents recommended him to the notice of Urban VIII. who took him into his service
with a liberal establishment, and employed him in several important works during his
residence at Rome. He painted the most remarkable views in that capital, the Colo-
seum, the columns of Trajan and Vespasian, the Campo Vaccino, and the other interest
ing scenery of that city and its vicinity. He was a perfect master of perspective, and
the figuies which decorate his pictures are correctly drawn, and touched with great
spirit. The wgiks of this master are almost entirely confined to Italy, where he passed
the greater part of his life. He did not return to Holland until he was upwards of
seventy, and died at Bois-le-Duc in 1686, aged 80.
MONNOYER, John Baptist, called Baptist. This eminent flower-painter was born at
Lisle in 1635. He studied at Antwerp, and for some time applied himself to historical
painting j but finding that his genius led him to another branch of the art, he attempted

MON MON 85
to paint flowers and fruit, in which he greatly distinguished himself. He went young
to Paris, where his works were greatly admired; and in 1663 he was received into the
Academy with distinction. He was employed in ornamenting the palaces of Versailles,
Trianon, Marly, and Meudon. This flattering encouragement did not prevent him from
accepting the invitation of Lord Montague, then our ambassador to France, to accom
pany him to England. His first performances were several pictures of flowers and fruit,
for the embellishment of Montague House, now the British Museum, which are amongst
the finest of his works. During a residence of nearly twenty years in London, he
painted an infinite number of pictures, which decorate the mansions of the nobility, and
the collections of individuals. If the pictures of John van Huysum, Rachel Ruysch,
and Mignon, are admired for the velvet softness of their pencil, and the polished finish
ing of every object, those of Baptist claim our admiration, by the boldness of his com
positions, the energy of his touch, and the force and vigour of his colouring. J. B.
Monnoyer etched a few plates from his own designs, representing vases with flowers,
which are executed in a tasteful and spirited style. He died in 1699, aged 64.
MONNOYER, Anthony, called Young Baptist. He was the son and scholar of the
foregoing artist, and painted flower-pieces in the style of his father, which, though not
destitute of merit, were greatly inferior to those of John Baptist Monnoyer.
MONOSILIO, Salvatore. This painter was born at Messina about the year 1700, and
studied at Rome under Sebastiano Conca, whose style he followed with some reputation.
There are several of his works in the public edifices at Rome. He painted the ceiling
of one of the chapels in S. Paola della Regola ; and a picture of S. Pascale in the church
of SS. Quaranta. In the church of the Priests of the Mission, is one of his best works,
representing the Conversion of St. Paul.
MONSIGNORI, Francesco. He was born at Verona in 1455, but was brought up in the
school of Andrea Mantegna at Mantua. He painted history with considerable success,
and was much patronised by the Marchese Francesco Gonzaga. Less learned and cor
rect in his design than Mantegna, he is more modem in his style; and his colouring, par
ticularly in the carnations, has more of the morbidezza. He excelled in painting animals,
which he was fond of introducing into his works. In the church of the Franciscans, at
Mantua, is one of his best pictures, representing S. Lodovico ; and in the refectory
some perspective views, which show him to have been a perfect master of that branch of
the art. He died in 1519, aged 64.
MONSIGNORI, Girolamo. He was the brother of the preceding artist, born at Verona
about the year 1460. At an early period of his life he became a monk of the order of
the Dominicans ; and painted some altar-pieces for the church of his monastery. In the
great library of S. Benedetto is a fine copy by this artist of the celebrated Last Supper,
by Lionardo da Vinci, which, according to Lanzi, is considered the best that has been
painted of that miracle of art. He died in 1520.
MONT, Del. See Delmont.

86 MON MON
MONTAGNA, Benedetto. This artist was a native of Vicenza, and flourished about the
year 1500. According to Ridolfi, he painted some pictures for the churches in his
native city, which are so much in the style of Giovanni Bellini, that they may be mis
taken for the works of that master. He is, however, better known as an engraver than
a painter; and though his works are very feeble and imperfect, both in design and exe
cution ; they are deserving of notice, as among the earliest specimens of the art in the
Venetian states. It is probable that some of the prints of Albert Durer, which were
brought to Venice, and the early works of Marc Antonio, who resided some time in that
city, might have encouraged him to attempt the art, which may be said to have been
then in its infancy in Italy, as at that time Marc Antonio had not produced any of his
capital works. The prints of Benedetto Montagna bear a slight resemblance to the
earliest and rudest engravings of Marc Antonio. They are from his own designs, and
are usually signed with his name at length ; they are now become very scarce. We have
among others the following by him :
The Virgin seated, holding the infant Jesus, St. John is standing by her side, and St. Joseph ap
pears below. In the back-ground is a town, with a river and a bridge over it.
A young Man sitting on a Rock.
Venus punishing Cupid.
The Rape of Europa.
The Judgment of Midas.
A Naked Figure standing by a Tree.
Two Figures, an elderly Man playing on the bagpipes, and a young one playing on the violin.
Three Women, in a landscape, one of them taking a Child from a Tree.
A Landscape, with a Cottage, and an old Man seated on a bank.
MONTAGNA, Marco Tullio. According to Baglione, this painter was a native of
Rome, and flourished in the pontificate of Clement VIII. He was a disciple of Fede
rigo Zuccaro, and painted history both in oil and in fresco, with some reputation. In
the church of S. Cecilia, the ceiling is painted by this master ; and in S. Niccolo in
Carcere, is an altar-piece by him, representing a subject from the life of St. Nicholas.
MONTAGNA, Matthew. See Plattenberg.
MONTAGNAN A, Jacopo. This painter was a native of Padua, and flourished from the
year 1495, till after 1508. Vasari and Ridolfi call this artist Jacopo Montagna, but his
real name was Montagnana, as appears from a signature on a picture of the Resurrection
by him, in the Vescovado at Venice, which he has marked, Jacopus Montagnana, 1495. In
the Sala del Consiglio, at Belluno, there is a picture by him, representing a subject from
the Roman History, which, if we may judge from an epigram written under the work in
ancient characters, must have been regarded as one of the most esteemed productions
of the time. It is a copious composition, and at first sight might be attributed to Andrea
Mantegna, from the correctness of the design, and the draping of the figures. The in
scription is as follows :
Non hie Parrhasio, non hie tribuendus Apelli,
Hos licet auctores dignus habere labor.
Euganeus, vixdum impleto ter mense, Jacobus
Ex Montagnana nobile pinxit opus,

MON MON 87
MONTALTO. See Danedi.
MONTANINI, Pietro, called Petruccio Perugino. This painter was born at Perugia
in 1619. He was first a scholar of Ciro Ferri, but his genius leading him more to land
scape painting than historical subjects, he left that master, and became a disciple of
Salvator Rosa. His landscapes are designed in the bold and romantic style of his in
structor, though very inferior in the design of his figures. There are many of his works
in the private collections at Perugia. He died in 1689, aged 70.
MONTELATICI, Francesco, called II Cecco Bravo. According to Orlandi, this painter
was born at Florence about the year 1600, and was a scholar of Giovanni Bilivert. He
did not, however, attach himself entirely to the style of that master, but blended the
taste of his instructor with that of Domenico Cresti, called Passignano. He was a
tolerably correct designer, and no vulgar colourist. The name of II Cecco Bravo was
given him on account of his touchy and quarrelsome disposition. Of his works at
Florence, the most remarkable are, the Fall of Lucifer, in the church of the Teatini ;
and a fine picture of S. Nicollo Vescovo, in S. Simone. He was invited to Inspruch by
the Archduke Ferdinand, and died there, painter to the court, in 1661.
MONTEMEZZANO, Francesco. He was born at Verona about the year 1555, and was
brought up in the school of Paolo Veronese, whose style he followed in the copiousness of
his compositions, the airs of his heads, and the splendour of his draperies ; but his pencil
is tame and spiritless, and his colouring languid and weak. His most respectable per
formances are, his picture of the Annunciation, in the church of the Osservanti alia
Vigna, at Venice ; and Christ appearing to Magdalen, in the church of S. Giorgio, at
Verona. He died in 1600, in the prime of life.
MONTENAT. This artist was an engraver on wood, and, according to Papillon, exe
cuted several cuts from the designs of Simon Vouet.
MONTEPULCIANO. . See Morosini.
MONTERO, de Roxas, Juan de. A Spanish painter, born at Madrid in 1613. He was
a disciple of Pedro de las Cuevas, and studied in Italy. Of his pictures in the churches
at Madrid, Palomino particularly commends the Assumption of the Virgin, in the
church of the Colegio de Atocha; the Angel appearing to St. Joseph, in San Juan de
Alarcon ; and the Destruction of Pharaoh's Host, in the sacristy of the convent de la
Merced. He died at Madrid in 1680, aged 70.
MONTI, Giovanni Batista. According to Soprani, this artist was the son of a poor
mendicant, bora at Genoa about the year 1610. When a boy, he discovered an uncom
mon disposition for the art, by sketching on the walls of the houses, which being noticed
by a Genoese nobleman, he charitably took him under his protection, and placed him as
a pupil under Luciano Borzoni. His progress under that master was so rapid, that it
surprised his instructor, and he became a respectable painter of history. He was, how
ever, more distinguished for his excellence in portraits, and painted the principal per
sonages of his country. He died of the plague in 1657.

88 MON MON
MONTI, Francesco, called II Bresciano delle Battaglie. This painter was born at
Brescia in 1646, and was first a scholar of Pietro Ricchi, but afterwards studied under
II Borgognone. He excelled in painting horses and battles, which he designed in a
spirited and masterly style, and acquired the name of II Bresciano delle Battaglie.
There are many of his works at Rome, Genoa, and Parma, where they are held in con
siderable estimation. He died in 1712, aged 66.
MONTI, Francesco, Bolognese. He was born at Bologna in 1685, and was brought up
in the school of Giovanni Gioseffo dal Sole. On leaving that master, he was taken into
the protection of the Conti Ranuzzi, for whom he painted one of his finest pictures of
the Rape of the Sabines. He was afterwards employed at the court of Turin, where he
painted the Triumph of Mordecai, an ingenious and copious composition, which is
highly commended by Crespi. Of his numerous works in the churches at Bologna, the
most esteemed are, Christ with the Disciples at Emaus, at the Osservanti ; the Virgin in
glory, with S. Barbara and S. Filippo Neri, in the Madonna di Galeria ; and the Mar
tyrdom of S. Fedele, at the Cappuccini. He died in 1768, aged 83.
MONTICELLI, Andrea. According to Orlandi, this painter was born at Bologna in
1640, and studied perspective under Agostino Mitelli. He designed some architectural
views in imitation of that master, but he chiefly excelled in painting flowers, fruit, vases
and other still-life, which he touched with freedom and spirit, and he was a tolerable
colourist. He died in 1716, aged 76.
MONTICELLI, Michele Angelo. He was born at Bologna in 1678, and was first a
scholar of Marc Antonio Franceschini, but afterwards studied under Domenico Viani.
He excelled in painting landscapes and battles, of which his biographer Crespi speaks
in terms of the highest approbation. No painter of his time surpassed him in the degra
dation of his distances, the forms and foliage of his trees, and the judicious arrangement
of his plans ; and his figures .were designed with correctness and spirit. In the midst of
a promising career, he had the misfortune of losing his sight in the prime of life.
MONTMIRAL, the Marquis of. This French nobleman is said by Basan to have etched
several plates of landscapes, from his own designs, and others after Albert. They are
dated about the year 1733.
MONTORFANO, Giovanni Donato. This painter was a native of Milan, and flourished
about the year 1495. In the refectory of the Dominicans delle Grazie, he painted a
picture of the Crucifixion, a composition of many figures, which would have been more
the object of public admiration, if it had not been placed so near the celebrated Last
Supper, by Lionardo da Vinci. With such a rival, he was not likely to be able to com
pete, to whom the greatest masters would be little degraded by yielding the palm.
There is a just and natural expression in the heads, which, if it had been accompanied
by a more elegant turn of the figures, and more graceful attitudes, he would have been
equalled by few of his contemporaries. In the picture is a group of soldiers at play, in
which every face is impressed with the character of attention, and the impatient desire
of gain, which is admirably depicted. The back-ground represents the City of Jerusa
lem, in which the perspective and distance are correctly observed.

MON MOO 89
MONVERDE, Luca. This painter was born at Udina in 1501, and was a disciple of
Pellegrino di San Daniello. This promising artist was only permitted a short career in
the art, in which he would otherwise have probably acquired a distinguished reputation.
He painted an altar-piece for the church of S. Maria delle Grazie at Udina, representing
the Virgin and Infant, with SS. Gervasio e Protasio, which rendered his premature death
lamented by every admirer of the art. He died in 1522, aged 21.
MOOJAERT, or Mooyaert, Nicholas. A Dutch painter and engraver, born at Amster
dam about the year 1600. He is said to have formed his style by imitating the works of
Adam Elsheimer, and painted landscapes with figures, in the manner of that master.
He has the credit of being the instructor of Jacob vander Does, Solomon de Coninck,
John Baptist Weeninx, and other eminent artists. He engraved several plates from his
own designs, among which are the following :
A set of six of different Animals.
Lot and his Daughters ; in the style of Elsheimer.
A Landscape, with cattle.
MOOR, Karel de. This eminent painter was born at Leyden in 1656. He was in
tended by his parents for one of the learned professions, but a decided inclination for
the art induced his father to place him under the care of Gerard Douw. His progress
was considerable, but being desirous of distinguishing himself on a larger scale than was
practised by that master, he was sent to Amsterdam, where he became a scholar of
Abraham vanden Tempel. The death of that painter, when he was only sixteen years of
age, obliged him to search after another instructor, and his election fixed on Godfrey
Schalcken, under whom he studied at Dort for some years. His first productions on
leaving that master, were portraits and domestic subjects, which were generally admired,
and procured him immediate employment, and he was esteemed one of the ablest artists
of his time. The states of Holland commissioned him to paint a picture for their
council chamber, and left the choice of the subject to himself, provided that it related
to the administration of justice. On this occasion, de Moor proved himself capable of
nobler exertions than those which had hitherto engaged his pencil. He painted the
terrible Judgment of Brutus condemning his two Sons to death, which he repre
sented in the most awful and impressive manner. The celebrity of Karel de Moor
reached Italy, and the Grand Duke of Tuscany expressed a desire to have his portrait,
painted by himself, to be placed among the illustrious artists in the Florentine Gallery,
which was sent to Florence in 1702, and the painter was honoured in return with a gold
medal and chain. He was commissioned by the Emperor of Germany to paint the por
traits of Prince Eugene and the Duke of Marlborough, which he executed so much to
the satisfaction of that monarch, that he conferred on him the order of knighthood.
One of his most capital performances is in the hall of the magistrates at the Hague,
representing the Burgomasters and Echevins, in the year 1719- The pictures of de Moor
are ingeniously composed, his figures are correctly designed, and his colouring is clear
and transparent. In some of his larger portraits he seems to have aimed at a style, par
taking of the chaste delicacy of Vandyck, with somewhat of the vigour of Rembrandt.
Although his works are always very highly finished, his touch is firm and free, and they
have nothing of the appearance of labour. He died at the Hague in 1738. He etched
Vol. II. M

9€ MOO , MOR
a few portraits, from his own designs, among which are those of Gerard Douw, John van
Goyen, and Francis Mieris.
MOORE, Jacob. This painter was bora at Edinburgh about the year 1740, and was
brought up in a school of design established in that city, under the direction of Alex
ander Runciman. About the year 1770, he went to Italy, where he acquired consider
able celebrity as a landscape painter. He appears to have formed his style by studying
the works of Claude, and his pictures, like those of that celebrated master, generally
represent views of the Campagna, and the environs of Rome. Moore was much em
ployed by the British nobility and gentry who visited that capital, and the indiscretion
of" some of his admirers went so far as to compare his merit with that of Claude. A
more rational estimate of his talents, will admit that his scenery is always picturesque,
and his forms well chosen ; but there is a mealy mawkishness in his aerial tints, and a
poverty of tone throughout, which keeps him at a fearful distance from his admirable
model. He died at Rome in 1795, aged about 55.
MOORE, Samuel. Acccording to Lord Orford, this gentleman held a situation in the
Custom-house. He flourished about the year 1715, and appears to have dedicated much
of his time to drawing and engraving. His prints are not executed with much delicacy,
they are coarsely etched, and afterwards retouched with the graver. Among other
plates, he engraved the Coronation Procession of King William III. and Queen Mary,
which, as it is without the name of the designer, may be presumed to be from his own
composition. Vertue informs us, that " he made a medley of things drawn, written, and
painted, which he presented to Sir Robert Harley, Speaker of the House of Commons,
afterwards Earl of Oxford;" it was an imitation of several sorts of prints.
MOORTEL, John. This artist was born at Leyden in 1650. He was an eminent painter
of fruit, flowers, and still-life. Although his flower-pieces are inferior to those of John
van Huyum and Rachel Ruysch, there is a mellowness and relief in his pictures of fruit,
which approach to illusion. His works are chiefly confined to Holland, where they are
justly esteemed, and are found in the choicest collections. He died at Leyden in
1719, aged 69.
MORALES, called El Divino. This admired Spanish painter was born at Badajos, in
Estremadiiro, in 1509, and was a scholar of Pedro Campana. From his constantly
making choice of devout subjects, and the beauty of his pencil, he acquired the appella
tion of El Divino Morales. His pictures generally represent the head of our Saviour
-crowned with thorns, or that of the Virgin in grief; and it is said there are few in
stances of his having drawn the figure at length. His heads are of a most admirable
and touching character, and are finished with the greatest care, without weakening the
force, or diminishing the expression. In this respect, his works bear some resemblance
to the highly characteristic heads of Lionardo da Vinci. It must be allowed, however,
that he was an artist of a contracted genius, and of a barren invention, never venturing
beyond the simple delineation of a head, though it will be confessed that in. this limited
scope he has carried the art to the highest possible perfection. His Ecce Homo exhi
bits the height of human suffering, borne with more than human complacency ; and his
Mater Dolorosa is the very extremity of sorrow. Some of his pictures are preserved at

MOR MOR 91
Cordova and at Seville ; and in the chapel of Our Lady of the Soledad, at the convent
of the Trinitarians, at Madrid, is a Santa Veronica, by his hand. There is also a fine
picture of an Ecce Homo in the convent of Corpus Christi, in that city. He died in
1586, aged 77.
MORANDI, Giovanni Maria. According to Lanzi, this painter was born at Florence
in 1622. He was a disciple of Giovanni Bilivert, and, on leaving that master, visited
Venice where he studied for some time the works of the great colourists of that school.
He afterwards went to Rome, where he painted several altar-pieces for the churches,
and was also employed for private collections. Of his works at Rome, the most deserv
ing of notice are his Visitation of the Virgin to St. Elizabeth, in the church of La Ma
donna del Popolo; and the Death of the Virgin, in La Pace. The latter is considered
his masterpiece, and has been engraved by Pietro Aquila. He was also much employed
as a portrait painter, and in that capacity was invited to Vienna by Leopold I., where
he painted the family of the Emperor, and the portraits of many of the most distin
guished personages of Germany. His design bears the character of the Roman school,
and in his compositions and colouring he appears to have aimed at the splendid style of
Pietro da Cortona. He lived to the advanced age of 95, and died at Rome in 1717.
MORANDINI, Francesco, called II Poppi. . This painter was born at Poppi, a small
town in the Florentine state, in 1544. He was a scholar of Giorgio Vasari, whose style
he followed, though more minute in detail, and more addicted to the gay and festive in
his compositions. Of his works in the churches at Florence, Vasari particularly notices
his picture of the Conception, in S. Michelino; and his still more admired Visitation of
the Virgin to St. Elizabeth, in S. Niccolo.

'o

MORAZZONE, Pier Francesco Mazzuchelli, called II. He was born at Morazzone,
in tbe Milanese, in 1571, and, from the place of his nativity, is generally called II Mo
razzone. He resided at Rome in the early part of his life, where he painted for the
church of S. Maria Maddalena al Corso, the Assumption of the Virgin, with the Apostles;
and for S. Silvestro in Capite, the Adoration of the Magi. He afterwards went to
Venice, where he studied the works of Titian, Tintoretto, and Paolo Veronese, by which
he greatly improved his style of colouring; and on his return to Milan he painted the
Adoration of the Kings, for the church of S. Antonio Abate, in a style so superior to the
picture of the same subject which he had painted at Rome, that it appeared to be by a
different hand. At Como, in the church of S. Giovanni, is one of his principal works,
representing St. Michael discomfiting the rebel Angels. He was employed and patron
ised by the King of Sardinia, by whom he was knighted. In 1626, he was invited to
Piacenza, to paint the great cupola of the cathedral, which he only lived to commence.
It was afterwards finished by Guercino, and was one of his grandest works. He died in
that year, at the age of 55.
MORE, Sir Anthony. This eminent painter was born at Utrecht in 1519, and in the
early part of his life was a scholar of John Schoreel. He afterwards went to Italy,
where he passed some time in studying the works of Michael Angelo Buonaroti and
Raffaelle. On his return to Holland he devoted himself to an imitation of the style of
Holbein, in which he was more successful than in attempting the grandeur of the models
M 2

92 MOREAU.
he had contemplated at Rome. Like Holbien, he was a precise follower of nature, but
without reaching the delicacy and clearness of that master, though he designed and
painted in a bold and masculine style, and possessed a tolerable acquaintance with the
chiar-oscuro. He was recommended to the protection of the Emperor Charles V. by his
countryman Cardinal Granville; and in 1552 arrived at the court of Spain, where he
drew Prince Philip, and was sent into Portugal, to paint the portrait of King John III.
and Catherine of Austria, his queen, sister to Charles, which were executed so much to
the satisfaction of the Emperor, that he was afterwards sent to England to paint that of
the Princess Mary, previous to her marriage with Philip of Spain. On this occasion he
is said to have employed all the flattering aids of his art, and accompanied the King to
England, where he continued till the death of Mary. He returned with Philip to Spain,
who treated him with an intimacy and familiarity which had nearly proved fatal to him.
Philip was accustomed to honour him frequently with a visit when he was painting, and
in a moment of condescension and admiration, slapped him jocosely on the shoulder,
which the painter indiscreetly returned, by smearing the hand of the monarch with
carmine. The jest was rash and inconsiderate, and the King was not of a disposition to
be played on with impunity. The attendant courtiers revolted from the sight with dis
gust and amazement; but Philip, recollecting himself, passed it over with a smile of
complacency. The artist threw himself on his knees, in atonement of his offence, and
every thing appeared to be forgotten; but he was secretly advised to withdraw himself
from Spain, and he lost no time in returning to the Netherlands, where he was after
wards patronised by the Duke of Alva. The talents of Sir Anthony More were not
confined to portraits, he painted several historical subjects for the royal collection in
Spain, most of which perished in the conflagration of the palace of the Pardo. He
died at Antwerp in 1576, aged 57.
MOREAU, Louis. A French engraver, born at Paris about the year 1712. He was
chiefly employed in engraving ornamental subjects and theses. We have also by him
the following prints : portraits.
Ludovicus de Ponte Societatis Jesu; L. Moreau,fec.
J. B. Bebel; after Watteau. SUBJECT.
Christ raising the Daughter of Jairus from the Dead ; after La Fosse.

as e
van-

MOREAU, John Michael. A modern French engraver, born at Paris in 1741 and w
probably of the same family as the preceding artist. He was an artist of considerabl
merit, and was received into the Academy at Paris in 1781. He engraved a great vari
ety of vignettes and other book ornaments, in a neat style. His plates are chiefly
etched and assisted with the graver. We have also the following prints by him •
The Bath of Bathsheba ; after Rembrandt.
The Consecration of Louis XVI. at Rheims.
Four plates, forming a large print of the Fete given at Paris in 1782, for the Birth of the
Dauphin.
The Tomb of J. J. Rousseau ; J. M. Moreau,fec. 1778.
A set of twenty-five small plates for the first volume of the Chansons de la Borde.

MOR MOR 93
MOREELZE, Paul. This artist was born at Utrecht in 1571, and is distinguished by
Van Mander as a painter, an architect, and an engraver. At first he practised portrait
painting, under Michael Mirevelt, but he afterwards went to Rome, where he studied
some time. On his return to Holland he painted some historical subjects and architec
tural views, which were not without merit, though he was more employed in portraiture,
in which he was little inferior to Mirevelt. As an engraver, we have a few excellent
wooden cuts by him, executed in chiar-oscuro ; they are designed in a masterly style,
and in the union of the three tints, produce a very pleasing effect. They are now be
come scarce. He sometimes signed them with his name at length, the P. of the bap
tismal name being joined to the M. thus, fj>\ ., and sometimes with the cipher only-
Among others, we have the following by him :
Cupid led by two Females, dancing; P. Moreelze. 1612.
The Death of Lucretia ; the same mark and date.
MORELL, N. He was born at Antwerp in 1664, and was a scholar of N. Verendael, an
eminent painter of flowers and fruit. He painted similar subjects to those of his in
structor, and also excelled in painting vases with bas-reliefs, and other objects of still-
life, in which he acquired a celebrity which occasioned him to be invited to the court of
Brussels, where he was engaged in ornamenting the palaces, and in painting for the col
lections of the principal nobility. The pictures of Morell are elegantly composed; his
pencil, though precious, is facile and spirited ; and there is a freshness in his colouring,
particularly adapted to the subjects he represented. His works were highly esteemed
in his lifetime, and though his prices were considerable, he met with constant employ
ment, which enabled him to maintain a magnificent establishment, and to live in terms
of intimacy with persons of the first rank, by whom he was greatly respected. He died
at Brussels at a very advanced age.
MORELLI, Bartolomeo, called II Pianora. This painter was born at Pianora, a small
town in the Bolognese state, about the year 1629, and studied at Bologna under Fran
cesco Albano. He painted history with great reputation, particularly in fresco, and
some of his works are compared by Crespi to those of Albano. Among his numerous
pictures at Bologna the most remarkable are, his S.Teresa, in the church of La Madonna
delle Grazie; and the Resurrection, in Buon Gesu. But his most admired performance is
the chapel of the Casa Pepoli, in S. Bartolomeo di Porta, in which the elegance of the
design, and the beauty of the colouring, is little inferior to his instructor. He died in
1683, aged about 63.
MORELLON. See Cave.
MORETTO, II. See Bonvicino.
MORGHEN, John Elias. A German engraver, who flourished about the year 1757.
He resided chiefly in Italy, and was employed by the Marquis Gerini to engrave part of
the plates after the works of the Florentine artists, in the Ducal Gallery. In 1767, he
published six plates of the Antiquities of Pestum, after the designs of Antonio Joli.

94 MOR MOR
MORGHEN, Philip. He was the son of the preceding artist, bom at Naples about the
year 1730, and was instructed in engraving by his father, in conjunction with whom he
executed part of the plates for the Antiquities of Herculaneum, published p.t Naples in
1757- We have also by him :
A set of the Twelve Apostles ; after the Statues by Baccio Bandinelli, at Florence,
Thirty-one Views and Ruins in the environs of Naples.
MORGHEN, Raphael. This celebrated artist is presumed, hy M. Huber, to be the son
or the nephew of Philip Morghen. He was born at Naples about the year 1755. After
receiving some instruction in his native city, he was sent to Rome, where he became a
pupil of Giovanni Volpato. Under that able artist he became one of the most accom
plished burinists of the day, and has engraved several plates after the most distinguished
works of art in Italy. The following are his most esteemed prints :
portraits.
Francesco Moncado, Duke of Ossono, on horseback ; after Vandyck.
The Family of Earl Spencer; after Angelica Kaufman.
The Family of Holstien Beck; after the same.
subjects after various masters.
The Miracle of the Mass of Bolsena ; after Raffaelle.
The Transfiguration ; after the same
The celebrated Madonna della Seggiola ; after the same.
La Madonna del Sacco ; after A. del Sarto.
The Virgin and Infant with a Book; after Fra. Bartolomeo.
St. John crying in the Wilderness ; after Guido.
The Aurora ; after the celebrated painting by Guido, in the Rospigliosi palace.
The Seasons dancing before Time ; after N. Poussin.
The Holy Family reposing ; after the same.
Diana and her Nymphs ; after Domenichino.
Apollo and the Muses on Mount Parnassus ; after Mengs.
MORIN, John. An eminent French painter and engraver, born at Paris about the year
1612. He was a disciple of Philip de Champagne, and for some time practised paint
ing, which he afterwards abandoned, to apply himself entirely to engraving. His plates
are executed in a singular style, being a mixture of strokes and dots ; and they are
harmonized with each other, so as to produce a very pleasing effect. They are chiefly
executed with the point. His best prints are his portraits, many of which are executed
in a masterly manner ; and though they are not finished with all the neatness and deli
cacy which the graver is capable of producing, they are etched with uncommon taste,
and great freedom of hand. The extraordinary merit of his portraits will render an
ample list of them acceptable to the collector. The following are his principal plates :
PORTRAITS AFTER PHILIP DE CHAMPAGNE.
Louis XIII. King of France; octagon.
Anne of Austria, Regent ; octagon.
Armand, Cardinal de Richelieu.
John Baptist Amador, A bbe de Richelieu.

MORINA. 95
Julius, Cardinal de Mazarin.
Cornelius Jansenius, Bishop of Ypres.
John Paul de Gondy, Cardinal de Retz.
Francis de Sales, Bishop of Geneva.
S. Charles Borromeus, Cardinal, and Archbishop of Milan.
John Peter le Camus, Bishop of Bellay.
John du Verger, Abbe de St. Siran.
Michael de Morillac, Keeper of the Seals.
Michael le Tellier, Secretary of State.
James Tubceuf, President of the Chamber of Accounts.
Ren6 de Longueuil, President k Mortier.
Henry de Lorraine, Count d'Harcourt.
Nicholas de Neufville, Marquis de Villeroy.
Charles de Valois, Duke d'Angoul&me.
Robert Arnauld, Seigneur d'Andilly.
Vincent Voiture, of the French Academy.
James le Mercier, Architect to the King.
Anthony Vitre, celebrated Printer of Paris.
PORTRAITS AFTER VARIOUS MASTERS.
James Augustus de Thou, President of the Parliament ; after Ferdinand.
Francis Augustin de Thou, President ; after the same.
Guido, Cardinal de Bentivoglio; after Vandyck.
The Countess de Bossu ; after the same.
Margaret Lemon ; after the same.
Charles de Mallery, Engraver and Printseller ; after the same.
Jerome Franck, Painter ; se ipse pinx.
SUBJECTS AFTER VARIOUS MASTERS.
The Adoration of the Shepherds ; after Ph. Champagne.
The Virgin and infant Jesus; after the same.
The Crucifixion, in three sheets ; after the same.
The taking down from the Cross; after the same.
The Assumption of the Virgin ; after the same.
Two half-lengths of St. Peter and St. Paul ; after the same.
The Virgin, with the infant Jesus on her knee, holding a bouquet of flowers, inscribed, Dileetus
meusmihi; after Raffaelle.
The Virgin adoring the infant Christ ; after Titian. This is a fine specimen of the artist's
ability.
The Virgin, with the dead Christ ; after Caraeci.
A Landscape, with Ruins ; after Claude Lorraine.
A Landscape, with a Man driving two Cows; after Fouquieres.
Another Landscape, with figures ; after the same.
A set of four Landscapes, with Ruins and Figures ; after Cornelius Poelemburg.
A Landscape, with Ruins and a Fountain; after J. B. Corneille.
MORINA, Giulio. According to Malvasia, this painter was a native of Bologna, and
was first a scholar of Lorenzo Sabatini ; but he owed his best improvement to an atten
tive study of the works of the Caraeci. He painted history with considerable reputation
and appears from the airs of his heads to have been emulous of imitating the expres-

96 MORLAND.
sion of Coreggio. There are many of his works in the churches at Bologna, of which
the most worthy of notice are the Crucifixion in SS. Sebastiano e Rocco ; the Visitation
of the Virgin to St. Elizabeth, in S. Uomobono; and the Presentation in the Temple, at
the Servi.
MORLAND, George. This ingenious artist was the eldest son of Henry Morland, a
reputable painter in crayons, born in 1764. The young Morland discovered very early
symptoms of decided genius; and it was highly gratifying to his father to perceive so
marked an inclination for a pursuit, to which he had destined him from his birth. He
had no other instructor than his father, to whom he was articled when he was fourteen,
and during his pupilship, his application was assiduous and exemplary. He was not per
mitted by his father to prosecute his studies regularly at the Academy; and it is asserted
by his biographer, that he drew there only three nights, though he occasionally attended
the lectures. On the expiration of his indenture he left his father's house, and the re
mainder of his life is the history of genius degraded by intemperance aud immorality,
which alternately excites our admiration of his uncommon ability, and our regret at the
profligacy of his conduct.
In estimating the faculties of Morland, it is observable, that notwithstanding the
shortness of his life, the periods of preparation, maturity, and declension, are more de
cisively marked than in those of most other men, and do not comprehend a space of
more than six years, during which he produced the pictures that have established his
reputation. In these he has described the manners and habits of the lower class of
people in this country, in a style peculiarly his own. Of his powers as a painter, we
cannot give a more satisfactory account, than by inserting an abstract from his life,
published by Mr. Dawe, where a particular and an interesting account of him will be
found, written with intelligence and impartiality. Most painters who have arrived at
eminence, have marked their outset by finishing highly ; this was the case with Morland,
who surmounted those difficulties of execution in his youth, which too many are obliged
to encounter after they have acquired a taste for higher excellencies in their profession.
His productions when a boy were hard, formal, and laboured; even after he had rejected
the style in which his father had instructed him, his pictures were carefully finished,
and every object was painted immediately from nature,, with considerable attention to
detail. He, however, imperceptibly neglected the parts, and adopted a broader style;
and finding that it pleased others, it pleased himself.
About the year 1790, he appears to have arrived at his meridian: he was then able
to paint whatever he chose, and to bestow on his pictures as much time as he thought
proper. He had acquired confidence in his powers, and a knowledge of nature, which
he had not yet ceased to consult. At this period, we find truth in his representations,
without the particularity of individual imitation, and freedom, without the looseness
and manner of his latter productions. He had learned, in some degree, to generalize
his ideas of form and character ; his faculties were mature, and invigorated by success
and applause. But even at this period, his pictures seldom possessed sufficient interest
when of a large size; and he never chose an action that was important enough to give
energy and employment to any considerable number of figures. His subjects were,
however, well adapted to his talents : of powerful exertion, or refined expression, he was
in a great degree incapable, for his knowledge of anatomy was slight, and the habits of
his life must have destroyed all nice discrimination of passion or sentiment, whatever

MORLAND. 97
he might have once possessed. In his landscapes, the scene is seldom intrinsically fine,
or rendered so by accidents of nature, as in the works of Rubens and Rembrandt. In
deed he was ignorant of the principles of extensive landscape; nor was his colouring
or effect appropriate to subjects of that description. His studies were confined to the
animals, the figures, and the more obvious parts of his pictures ; and he neither had a
sufficiently extensive knowledge of nature, nor bestowed time enough on his paintings,
to avail himself of that which he possessed. His scenes are such as he was most accus
tomed to, and seldom having visited mountainous countries, except Derbyshire, he did
not attempt romantic subjects. He generally exhibits with truth the most common but
interesting species of English scenery, consisting of fields and hedges, with ponds of
water and clay banks. His storms, though not grand, are sometimes replete with
familiar incidents, local circumstances, and partial effects, that denote observation.
In short, he was little capable of landscape, except as a back-ground and accompani
ment to his figures ; but there it often possessed considerable merit.
Morland's best productions are his interiors. Indeed, the more confined the subject,
the greater was his success, and his faults increase as the scene extends. He was pecu
liarly happy in the description of the stunted dwarf pollard oak, with a group of sheep
under it. In the general conception of such subjects he has scarcely been excelled.
He succeeded best in those animals that required least correctness of drawing, such as
pigs, guineapigs, sheep, asses, &c. In these he is often extremely happy; for
no artist ever painted such subjects with greater feeling : he avoided the delicate pro
portions of the horse, by selecting such as were old, rough, and clumsy. A white horse
was a favourite object with him, as it must be with every painter, from its affording a
mass of light, with a most desirable opportunity for the display of colouring, owing to
the variety of yellow, and other tints, with which it is diversified. Indeed, an old white
horse, of this description, is one of the most picturesque objects to be met with in rustic
scenery. But the pig was his favourite animal, and that which he introduced most fre
quently, and with great success. His touch was well adapted to the representation of
its bristly hide, and he seldom fails faithfully to depict the gluttonous and lazy character
of the animal. The innocence of the sheep he has also pourtrayed with considerable
success. It may be interesting to compare Morland with a painter of his own country. The
rural pieces of Gainsborough are more highly esteemed than those of Morland; and
in sentiment, composition, and effect, greatly surpass his best performances. In genius,
Morland might perhaps be equal to Gainsborough; but the latter best cultivated his
talents. In colouring, each artist had his respective excellencies and defects. Gains
borough is rich, but by endeavouring at transparency, often becomes flimsy. Morland
is natural but ochrey. The one had too little solidity, the other carried it to excess-
but in effect of light and shadow, Gainsborough had greatly the advantage, for he pre
served fine keeping, which, when Morland attempted, he produced only mist and fog
representing his extreme distance no farther off than his middle ground, and there is no
depth in his pictures. In each artist too great a sameness of colouring and chiar-oscuro
is observable, and both are incorrect in drawing, and loose in execution. Gainsborough
in all his works displayed refined feeling and an elegant mind, and he has given to the
eye the most interesting representations of rustic innocence; while the taste of Morland
was of a lower kind, though he delineated the characters he selected with equal success.
Those who have visited the cottage of the peasant, who have enjoyed rural sports, or
Vol. II. N

98 MOR MOR
engaged in rustic occupations, will feel a peculiar charm in the works of Morland,
arising from associations which the truth of his pencil never fails to excite. But Gains
borough seems most calculated to delight those whose ideas of such employments have
been refined by the descriptions of pastoral poetry. Towards the latter part of his life
his defects rapidly increased : he then worked merely to supply the exigencies of the
moment, and grew more confident and careless. His paintings declining from their
original peculiar excellence, fell to vapid imitations of his former works, poor, meagre,
and monotonous, deprived of force and character, with all the defects of manner and
negligence. These feeble glimmerings of expiring genius show, according to their
dates, a regular decay. His earlier works evince an intuition into the feelings of
nature, and display combinations that few could produce. Upon the whole, Morland's
paintings indicate a mind, which, with due cultivation, was capable of very high attain
ments, and excite our admiration, that so much could be effected during a life spent
like his. He died the 29th of October, 1804, aged 42.
MORO, II. See Torbido.
MORO, Giovanni Batista d'Angeli. This painter was born at Verona about the year
1512. He was a scholar of Francesco Torbido, called II Moro, but improved his style
by studying the works of Titian. He painted several pictures, both in oil and fresco,
for the churches at Verona, and sometimes in competition with Paolo Veronese. In S.
Eufemia he had painted a fresco of Paul before Ananias, which, on the demolition of
the wall on which it was painted, was sawed out with great precaution and expense,
and removed to another part of the church. His colouring is more vigorous than that
of his instructor, and his design more graceful. Such is his picture in S. Stefano of
an Angel presenting the Palms of Martyrdom to the Innocents. We have several
slight but spirited etchings by this master, in which the extremities of the figures are
drawn in a very masterly style. In conjunction with Batista Vicentino, he engraved a
set of fifty landscapes, mostly after Titian, which Eire executed in a bold free style. We
have also the following by him :
The Nativity, or Adoration of the Shepherds; after Parmigiano.
The Virgin, with the infant Christ and St. John ; B. A. del Moro, fee.
The Holy Family, with St. Elizabeth and St. John; after Raffaelle.
Another Holy Family ; after the same.
The Martyrdom of St. Catherine; after Bernardino Campi.
The Baptism of Christ by St. John; after the same.
MORO, Marco, and Guilio d'Angeli. The son and brother of the preceding artist. By
the latter is the Quattro Coronati, in the church of S. Apollinari at Venice ; and by the
latter a picture of Paradise, in S. Bartolomeo. Marco died young.
MORONI, Domenico. He was born at Verona in 1430, and was instructed in the art by
some of the disciples of Stefano Veronese. In the church of S. Bernardino at Verona
is an altar-piece by this master, which was highly esteemed, and preserved with great
care.

MOR M O Ii 99
MORONI, Francesco. He was the son and disciple of the preceding artist, born at
Verona in 1474, and is said by Vasari to have greatly excelled his father in the graceful
style of his design, and in the tenderness and suavity of his colouring. The latter part
of his life was passed at Rome, where he Was employed in painting several altar-pieces
for the churches and convents, which hold a respectable rank even in that emporium of
art. He died at Rome in 1529, aged 55.
MORONI, Gjovanni Batista. This painter was a native of Albini, in the Bergamese
state, and flourished from the year 1557 till 1578. He was a scholar of Alessandro
Bonvicino, called II Moretto, and, according to Tassi, was one of the most assiduous of
his disciples, and the most successful follower of his style. That author gives a de
tailed account of his numerous works in the churches of Bergamo and the vicinity. His
pictures are, however, inferior to those of his instructor in invention and design, and
particularly in the graceful expression which distinguishes the productions of II Moretto.
He was, however, an excellent colourist. Among his most esteemed works are his pic
ture of the Crowning of the Virgin, in the church of La Trinita ; the Assumption, with
the Apostles, in S. Benedetto ; and at the Cappuccini, the dead Christ in the arms of
the Virgin, with several saints. He was one of the best portrait painters, except Titian.
MORONI, Pietro. He was the son of the preceding artist, and, according to Averoldi,
was first instructed by his father, but afterwards became a disciple of Paolo Veronese,
and also studied after the works of Titian. He was esteemed one of the most correct
designers of the Venetian school, and yielded to none of his cotemporaries in the
impasto and lucidity of his colouring. Such is his picture of Christ bearing his Cross,
in the church of S. Barnaba ; and in his several works in the public edifices at Brescia.
He died at Riva di Soldo about the year 1625.
MOROSINI, Francesco, called II Monte Pulciano. According to Baldinucci, this
painter was a Florentine, and a scholar of Orazio Fidano, in whose style he painted a
picture of the Conversion of St. Paul, for the church of S. Stefano at Florence.
MORTIMER, John Hamilton. .This ingenious artist was born at Eastborne, in Sussex,
in 1739- His father was collector of the customs of that, port, and his uncle is said to
have been a painter of talents above mediocrity. As he was frequently admitted into
the painting-room of his relation, he conceived an early inclination for the art, and
with the assistance of his uncle, arrived at a proficiency in drawing sufficient to enable
him to sketch whatever objects appeared to him to be interesting. It is not improbable
that he originally imbibed his taste for the terrific from the romantic scenery which was
the haunt of his youth, and the savage hardihood which marked the countenances of the
bands of ferocious smugglers by which the place was infested. He was sent to London
and placed as a pupil under Hudson, from whose instruction a mind of his cast could derive
no advantage. He was indebted for his greatest improvement to his constant attendance
in the Duke of Richmond's gallery, to design after the select objects of art in the pos
session of that nobleman, which were liberally opened for the study and advancement of
the young artists of the time. He was encouraged and assisted in his studies by the
benevolent Cipriani, who recommended him to the particular patronage of the Duke,
who was desirous of detaining him in his house, but the offer was rejected. He soon
N 2

100 MOR MOS
afterwards gained the premium of one hundred guineas given by the Society for the
Encouragement of Arts, Manufactures, and Commerce, for the best historical picture,
which was adjudged to his painting of St. Paul converting the Britons, which some time
afterwards became the property of Dr. Bates, who presented it, in 1778, to the church
of Chipping Wycombe in Buckinghamshire. The reputation of Mortimer was now
established, and he successivelyJncreased his celebrity, by the production of his pictures
of King John granting Magna Charta to the Barons : the Battle of Agincourt ; Vorti-
gern and Rowena, and his other admired works. He was for some years a member of the
society of artists, who exhibited at the room now called the Lyceum, in the Strand ; but
in the year 1779, without solicitation or expectation, was created a royal academician, by
the especial grant of his Majesty ; but he did not live to receive his diploma. After an
illness of a few days, he died at his house in Norfolk-street, the 4th of February, 1779-
We have several etchings by Mortimer, mostly from his own designs, which are executed
in a bold free style. Among others are the following :
The Virgin teaching St. John to read ; after Guercino.
A set of twelve circular plates of Characters from Shakspeare.
Nature and Genius introducing Garrick into the Temple of Shakspeare.
A set of fifteen Studies ; after S. Rosa, Lairesse, and others.
MORTO da Feltro. This artist was born at Florence in 1468, and was instructed in the
first rudiments of design in his native city ; but he went early in his life to Rome, where
he devoted himself to the study of what are called grottesche, in which he arrived at a
great perfection. In 1505 he resided at Venice, where he was employed by Giorgione
to paint the grotesque ornaments in some of the important works he was engaged in.
From an unsettled and capricious disposition, he abandoned painting, when he was
about forty years of age, and entered the army. He was killed in battle at Zara, in the
year 1513, in his forty-fifth year.
MOSES, called little Moses. See Uytenbroeck.
MOSIN. See Mouzyn.
MOSLEY, Charles. An English engraver, who resided in London about the year 1760
and was chiefly employed by the booksellers. His best prints are his portraits, of which
the following are the most worthy of notice :
Charles I. on horseback; from the picture by Vandyck at Kensington.
Marshal Belleisle on horseback.
MOSTAERT, John. This painter was born at Haerlem in 1499. He was a disciple of
Jacob van Haerlem, an artist of some reputation, under whom he became a very eminent
painter of history and portraits. Van Mander describes several of his works which
remained, in his time, in the churches and public edifices in Holland. He particularly
commends a picture by him of the Nativity, in the church of the Jacobins at Haerlem
and an Ecce Homo, in another church in that city, a grand composition of several figures.
But one of his most esteemed productions was a Feast of the Gods, in the possession of
the Count de Borsele. At the Hague, were two celebrated pictures by him, of Abraham

MOUCHERON. 101
and Sarah, and Hagar and Ishmael. His talents recommended him to the patronage of
Margaret, Sister to Philip I. of Spain, in whose service he remained till his death. He
was not less successful in portraits than in historical subjects, and painted that of his
patroness, and the principal personages of his time. He died in 1555, aged 56.
MOUCHERON, Frederick. This painter was bora at Embden in 1633. At an early
age he showed a strong inclination for the art, which, not meeting with any obstacle on
the part of his parents, and as his genius seemed to lead him to landscape painting, he
was placed as a pupil with John Asselyn. Under that able master he was indefatigable
in his studies, and his advancement was commensurate with his assiduity. When he
was little more than twenty years of age, he found himself able to undertake a journey
to France, on the produce of his talents, where he passed some years, and met with the
most flattering encouragement. It was his intention to have visited Italy, by the advice
of his instructor, who had studied at Rome; but his works were so much admired at
Paris, that he abandoned his project. After a residence of several years in that capital
he returned to Antwerp, and afterwards settled at Amsterdam, where his pictures were
held in equal estimation. He had now the advantage of having his pictures embellished
with figures by Adrian Vandevelde and John Lingelback; and his best productions are
those which he painted in the latter part of his life. The landscapes of Moucheron
exhibit very pleasing scenery; the forms of his trees are generally well chosen, and his
foliage is light, and apparently in motion. He frequently introduced a waterfall rush
ing through the different plans of his pictures, and enriched them with picturesque
buildings and architecture. Though the works of Moucheron are unequal to those of
Both, Berghem, and other distinguished artists of the Dutch school, they are considered
worthy of a place in the choicest collections in Holland. He died in 1686, aged 56.
MOUCHERON, Isaac He was the son and scholar of the preceding artist, born at
Antwerp in 1670. When he was only sixteen years of age, he had the misfortune of
losing his father, but he was already sufficiently advanced to be able to dispense with any
other assistance than that of studying after nature. In 1694 he visited Rome, and the
enchanting environs of that city became the object of his admiration and study, parti
cularly the vicinity of Tivoli, of which he made a number of designs ; and after a resi
dence of four years in Italy returned to Holland, with a rich assemblage of drawings,
from the most remarkable views near Rome. He was well versed in perspective and
architecture, with which he embellished his works. On his return to Amsterdam he was
chiefly employed in painting large landscapes for the ornaments of saloons, in which
the figures were generally introduced by Nicholas Vercolie, and others. In the scenery,
as well as the style of his landscapes, he appears to have emulated the grand manner of
Gaspar Poussin. He possessed a prompt and commanding facility, his forms are always
select, and his colouring is fresh and clear.
Isaac Moucheron etched several plates, in a neat spirited style, among which is a set
of nineteen views of Heemstede, in the province of Utrecht, from his own designs.
We have also the following by him :
A set of four Views of Gardens, with Buildings and Figures, inscribed, ./. Moucheron, inv. pinx.
et fee.
Another setof four Views of Gardens and Buildings, inscribed,../. Moucheron, inc. et fee.

102 MOU MOY
Four Landscapes, with Figures ; after Gaspar Poussin; inscribed, Einige Landschapen, geschel-
dert door G. Poussin, b\c.
He died at Amsterdam in 1744, aged 74.
MOUCHY, Martin de. A French engraver, bora at Paris in 1746. He was a pupil of
Augustine de St. Aubine, and engraved several plates for the booksellers; among which
are sixteen prints for the history of Telemachus, after the designs of Monnet and Cochin.
We have also the following by him :
A pair of Views in the environs of Triel ; after Hackert.
A View of Marienberg, near Stockholm ; after the same.
Another View in Sweden; after the same.
MOUZYN, or Mosin, Michael. A Dutch engraver, born at Amsterdam about the year
1630. He endeavoured to unite the point with the graver in the execution of his plates,
but with no great success. His style is laboured and heavy, and his drawing incorrect.
We have, among others, the following prints by him :
PORTRAITS.
Jacob van Wassenaer, Admiral of Holland.
Michael Ruyter, Dutch Admiral; after H. van Aide.
Cornelius de Witte, Pensionary of Holland ; after the same.
John van Galen, Admiral of Holland ; after J. Livius.
SUBJECTS.
Venus sleeping; after J. A. Backer.
The Four Elements under the empire of Venus; after C. Hoist eyn.
A Satyr presenting a Bunch of Grapes to a Woman and Child ; after the same.
MOY A, Pedro de. A Spanish painter, born at Granada in 1610. He was for some time
a disciple of Juan del Castello. A desire to see the works of Rubens, and other distin
guished painters of the Flemish school, induced him to visit Antwerp, where he was
particularly captivated with the works of Vandyck, who was at that time in England.
He resolved on visiting London, for the purpose of becoming his pupil, where he had
not arrived many months, when his intentions were frustrated by the death of Vandyck.
He returned to Granada, where he painted several pictures for the churches, of which
the most esteemed is an altar-piece of the Conception, in the church of Nuestra Sennora
de Gracia. He died at Grenada in 1666, aged 56.
MOYART, Christian Louis. A Dutch painter and engraver, born at Amsterdam about
the year 1600. He engraved a set of emblematical plates of the history of Mary of
Medicis, consisting of eight subjects from his own designs. They are marked with the
cipher (& . M.
MOYREAU, John. A French engraver, born at Paris in 1712. His principal works are
his plates after Philip Wowermans, consisting of eighty-nine prints, which are very
unequal in point of merit. It is indeed to be regretted, that so few of the pictures of
this admirable painter have been engraved by the Visschers, the Danckerts, and the

MUD MUL 103
other able artists of his country ; and that it should have fallen to the lot of the most
exquisite of his works, to be handed down to us by the tame and heavy graver of
Moyreau, so incapable of exhibiting the spirit and elegance of his pencil, and the cor
rectness of his design. He engraved various prints after other masters, among which
are the following :
Rebecca receiving the Presents from the Servant of Abraham; after Paolo Veronese; for the
Crozat collection.
The Resurrection of Lazarus ; after Bon Boulongne.
The Parting of Hector and Andromecha ; after the same.
Bacchus and Ariadne ; after the same.
A Halt of Hunters ; after Van Falens.
The Rendezvous of the Chase ; after the same.
The two last plates were engraved for his reception into the Academy in 1736, and are
amongst his best prints.
A Sea-port; after Claude.
La Partie Quarree; after Watteau.
A Waterfall ; after the same.
Of his best prints after Wowermans, may be mentioned those entitled :
Le Colombier du Marechal.
La grande Chasse a l'oiseau.
La Fontaine du Dauphin.
La Fontaine de Neptune.
MUDO, Juan Fernandez Zimenes de Navarette, called El. This eminent Spanish
artist was born at Logrono in 1526, and was called El Mudo, from his being deaf and
dumb from his infancy. The defects of nature were in some degree compensated to
him by the endowment of a quick and lively imagination, which enabled him to arrive
at a celebrity in the art, which acquired him the honourable appellation of the Titian
of Spain. He received his first instruction in design from Fray Vicente de Santo
Domingo, a monk of the order of the Geronomytes ; and such were the marks of early
genius he displayed, and his progress under that master, that his instructor recommended
his parents to send him to Italy for improvement, and he accordingly visited Rome,
Florence, and Naples, but passed the greater part of his time at Venice, where he formed
his style, by an attentive study of the works of Titian. On his return to Spain, his
talents recommended him to the favour of Philip IL, who appointed him one. of his
painters in the Escurial, where there are many of his principal works. Of these the most
remarkable are his celebrated picture of the Nativity, in which, like the Notte of Co
reggio, the principal light emanates from the infant Saviour ; the Baptism of Christ ;
the Twelve Apostles, on the great pillars of the church, near the principal altar; and his
last work, representing Abraham entertaining the Angels. There are also several of his
works at Valencia and Salamanca. He died in 1579, aged 53.
MULDER, J. A Dutch engraver, who resided at Amsterdam about the year 1720. He
engraved a set of plates of subjects from the Bible, published in that year, entitled,
Figures de la Bible, from the designs of Picart and others. They are executed with the
graver in a stiff tasteless style, and are very incorrectly drawn. We have also by him

104 MUL MUL
several views of churches and public buildings, which are his best performances. He
also engraved a set of small plates, entitled, Vues de Gunterstein, inscribed, J. Mulder
itd vivum del. et fecit.
MUL1ER, See Molyn.
MULINARI, or Molinari, Stefano. An Italian engraver, bora at Florence about the
year 1741. He was a pupil of Andrea Scacciati, who he assisted in the set of forty-one
plates he engraved from the principal drawings in the collection of the Grand Duke of
Tuscany. He engraved a set of fifty plates, after the drawings of the ancient masters,
from Cimabue to Franco Rustico, published at Florence in 1778.
MULLER, Herman. This artist is said by Huber to have been a native of Amsterdam,
though he resided the greater part of his life at Antwerp, where he engraved several
plates, in conjunction with Cornelius Cort, for Jerome Cock. He flourished about the
year 1585, and is supposed to have been a disciple of Henry Goltzius, and to have studied
afterwards in Italy. The plates of Herman Muller are executed entirely with the
graver, in the laboured formal style which distinguished the Flemish school at that
period. His drawing is tolerably correct, and some of his best prints are not devoid of
expression. In conjunction with the Galles, the Sadelers, and others, he engraved
several subjects of the Bible, after John Stradan, Martin de Vos, and other masters. We
have also the following by him :
The Fates ; after Cornelius van Haerlem.
The Four Cardinal Virtues ; after Martin Hemskerk.
The Ten Commandments ; after the same.
A set of seven plates of the Creation ; after H. Goltzius.
The Death of Cleopatra ; after C. van Haerlem.
The Death of Lucretia; after Cornelius Ketel.
MULLER, John. This eminent engraver is supposed to have been of the same family
with the preceding artist. He was bora at Amsterdam about the year 1570, and wasa
disciple of Henry Goltzius, whose vigorous style he followed with an enthusiasm bor
dering on extravagance. John Muller is, perhaps, the artist who has handled the graver
with the most daring facility, and his works are worthy of the admiration of those who
wish to distinguish themselves in the free use of the burin, though it is to be regretted
that his design was not more tasteful and correct. His plates are numerous ; and though
they are inferior to those of Goltzius, they are very estimable and extraordinary produc
tions. Many of his prints are from his own compositions; and they are very creditable
to his talents as a designer. He engraved several portraits, which are highly esteemed.
The following are among his most admired works :
portraits.
Bartholomew Spranger, Pictor celebt-rimus; J. ab Ach, pinx.
Maurice, Prince of Orange ; after Mirevelt.
John Neyeu, of Antwerp, his hand resting on a scull ; after the same.
Ambrose Spinola; after the same.
Albert, Archduke of Austria; after Rubens.
Isabella, Infanta of Spain ; after the same.
Christian IV. King of Denmark ; after P. Isachs.

MULLER. 105

subjects from his own compositions.
The Baptism of Christ.
An Ecce Homo, with angels.
Balthasar's Feast ; fine and rare.
The Adoration of the Magi ; fine and rare.
SUBJECTS AFTER BARTHOLOMEW SPRANGER.
Hagar in the Desert, comforted by an Angel.
Lot and his Daughters.
The Nativity; J. Muller, scul. 1606.
The Holy Family, with two Angels.
Venus and the Graces.
Venus, Bacchus, and Ceres.
A Satyr taking a Thorn from the Foot of a Fawn.
Venus and Mercury.
Perseus armed by Minerva and Mercury; one of his finest plates.
Cupid and Psyche.
The Apotheosis of the Arts.
Fortune distributing her Gifts. SUBJECTS AFTER VARIOUS MASTERS.
The Raising of Lazarus ; after Ab. Bloemaert ; fine.
Cain slaying Abel ; after Cornelius van Haerlem.
The Rape of the Sabines ; after the sculpture of A. de Fries.
Mercury and Pandora ; after the same.
The Martyrdom of St. Sebastian ; after J. van Achen; fine.
MULLER, Solomon. He was probably of the same family, and flourished about the
year 1610. From the style of his engraving, it is probable he was brought up in the
school of the Wierixes, whose neat manner he imitated with some success, though his
drawing is not correct, and his heads are sometimes without expression. He engraved a
set of small prints of sacred subjects, which, as they are without the name of the painter,
are probably from his own designs.
MULLER, Jacob. The name of this artist is affixed to the frontispiece and plans for a
book of gardening, from the designs of George Hatzel, published at Augsbourg by
Jeremiah Wolf. They are neatly executed with the graver, in a dry tasteless style. He
also engraved some landscapes, in the style of Per elk.
MULLER, G. A. This artist was born at Vienna about the year 1700. He was a con
temporary of Andrew and Joseph Schmutzer, and in conjunction with them executed a
part of the plates of the life of Decius, from the designs by Rubens, in the possession of
the Prince of Lichtenstein. We have also, among other prints, the following portraits
by him :
Philip Louis, Count de Sintzendorf, Minister of State.
Jacob van Schuppen, Director of the Academy at Vienna.
The two Children of Rubens ; from a picture by that master, in tlie Lichtenstein collection.
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106 MUL M U N
MULLER, John Sebastian. A German engraver, born at Nuremberg about the year
1720. He resided in London in 1760, and engraved several plates for the collection of
Boydell, which possess great merit. He is generally known in this country by the name
of Miller. We have, among others, the following prints by him :
The Holy Family ; after Federigo Baroccio.
Another Holy Family ; after Murillo.
Nero depositing the Ashes of Britanicus ; after Le Sueur.
A Landscape, with Apollo and Marsias ; after Claude.
A Moonlight; after Vander Neer.
Two Views in Rome ; after Gio. Paolo Panini.
MULLER, John Gothard. A modern German engraver, born at Bernhausen, in the
duchy of Wurtenburg, in 1747- He was favoured with the protection of the Duke,
and was sent to Paris in 1770, where he became a pupil of J. G. Wille. - His progress
under that master was considerable, and his talents procured him a reception into the
Academy at Paris in 1776. He soon afterwards returned to Stutgard, and was appointed
director of the academy of design. We have by him several plates, engraved in the
neat finished style of his instructor, among which are the following:
portraits.
Louis XVI. full-length ; one of his finest plates.
John George Wille, engraver ; after Greuze.
Louis Galloche, Painter ; engraved for his reception into the Academy.
Louis Leramberg, Sculptor to the King ; the same.
Augustus Gottlieb Spanganberg ; A. Graff, pinx.
F. Schiller; after the same.
subjects.
Ceres; after Goltzius.
The Nymph Erigone ; after Jollain.
A Lady playing on the Guitar ; after P. A. Wille.
Lot and his Daughters ; after Gerard Honthorst.
A subject from the Life of Alexander ; after G. Flinck.
MUNARI, Pellegrino. See Modena.
MUNNICKHUYSEN, John. A Flemish engraver, who flourished about the year 1680.
We have several plate3 by him, executed with the graver, which possess considerable
merit, among which are some portraits, engraved in a neat clear style. Among others,
we have the following prints by him: PORTRAITS.
Hendrick Dircksen Spiegel, Burgomaster ; after Limburg.
Francis Burmann, Professor of Theology; after C. Maas.
Henry Vander Graft.
Cornelius Tromp, Admiral of Holland ; after D. Vander Plaas.
Peter van Staveren, of Amsterdam ; after W. Mieris.
Peter Zurendonk, Rector of the Latin School at Amsterdam.

MUN MUR 107
He also engraved an upright plate of two boys, emblematical of Autumn and Winter;
after. Gerard Lairesse. The companion print, of Spring and Summer, was engraved by
H. Bary; after Vandyck.
MUNIER, John. A French engraver on wood, who resided at Toulouse about the year
1553. He executed several wooden cuts, in conjunction with John Perrin. Among
others, we have by these artists the prints for a small octavo volume of emblems, en
titled La Morosophie de Guillaume de la Perriere Tolsain, contenant cent Emblemes, pub
lished at Lyons in 1553.
MUNNOZ, Don Sebastian. This Spanish painter was born at Navalcarnero in 1654,
and was a disciple of Claudio Coello. In 1680 he visited Italy, and studied six years in
the school of Carlo Maratti. On his return to Spain, he first settled at Sarragossa,
where he executed some considerable works, in conjunction with Coello. He visited
Madrid in 1688, and was made painter to the King. He was employed in the royal
palaces, where he painted a series of frescoes of the history of Cupid and Psyche. He
painted in the flimsy style of the modern Italians, in which all is sacrificed to gaudiness
and frivolity, without sobriety in the composition, beauty in the forms, or expression in
the characters. He is said to have died, in consequence of a fall from a scaffold, in
1690, aged 36.
MUNTINCK, Gerard. A Dutch engraver, born at Groninguen, who flourished about
the year 1640. He engraved several portraits, which are executed with the graver in s
neat style, but without much taste.
MURA, Francesco de, called Franceschiello. This painter was a native of Naples, and
flourished about the year 1743. Lie was one of the numerous scholars of Francesco
Solimene, and was much employed, in ornamenting the public edifices in his native city;
but perhaps his most celebrated performances are his frescoes in the royal palace of
Turin, which he painted in competition with Claudio Beaumont, where he represented
the Olympic Games and the Life of Achilles.
MURANO, Natalino da. According to Ridolfi, this painter was a disciple of Titian,
and flourished about the year 1558. He painted historical subjects of an easel size, but
was more celebrated as a portrait painter, in which he particularly excelled. He died

youn

»•

MURANT, Emanuel. This artist was born at Amsterdam, according to Descamps, in
1622 ; this is, however, disputable; it is probable that his birth was at a later date, as
he was the scholar of Philip Wowermans, who was born in 1620. Though he did
not adopt the same subjects as those painted by his master, he acquired somewhat of
the neatness of his pencil, the truth and purity of his colouring, and the correctness of
his design. Instead of horse-fairs and huntings, the usual representations of Wo
wermans, he painted the views of towns and ruined buildings in Holland, which he
finished with a precision and accuracy, which has only been surpassed by the extraordi
nary productions of John Vander Heyden. He visited France, and resided some time
at Paris, where his works were greatly admired for the delicacy of his style. On his
02

108 M U R M U R
return to Holland, he settled at Lewarde, in Friesland, where he died, in 1700. The
works of E. Murant have the rare merit of exhibiting the most exquisite finish, without
the appearance of stiffness or labour, and without the interruption of that harmony of
colour, and union of effect, which are almost exclusively the attributes of a process,
less tedious and precise. His tones are artfully broken, and there is a vagueness and
neutrality in his tints, which are only to be found in the works of the most intelligent
colourists. His pictures are not frequently to be met with, and are highly esteemed.
MURATORI, Domenico Maria. He was born at Bologna in 1662, and was a scholar of
Lorenzo Pasinelli. He resided chiefly at Rome, where he was much employed for the
churches and public edifices. In the church of the SS. Apostoli, the principal altar-piece
is by him, representing tbe Martyrdom of St. Philip and St. James, one of the largest
pictures in Rome, composed and designed in a grand style, with a fine effect of chiar
oscuro, though not equally successful in the colouring. His picture of Christ crowned
with Thorns, in the church of the Stimate, is not less creditable to his talents, which
were of sufficient respectability to procure him the commission to paint one of the
prophets in the Basilica of St. John of Lateran. At the Primaziale, at Pisa, is a fine
picture by him representing S. Ranieri working a Miracle, which is considered by Lanzi
as one of his most esteemed works. We have by him a few etchings, which are exe
cuted in a spirited and masterly style. He died in 1749, aged 87.
MURATORI, Teresa. This lady was bora at Bologna in 1662. She was the daughter
of an eminent physician, and at a very early age discovered an uncommon genius for
drawing and music. She was first instructed in design by Emilio Taruffi, was after
wards a scholar of Lorenzo Pasinelli, and lastly studied under Giovanni Gioseffo dal
Sole. She proved a very reputable paintress of history, and executed several consider
able works for the churches at Bologna, of which the most deserving of notice are S.
Benedetto resuscitating a dead Child, in the church of S. Stefano; the Annunciation,
in S. Trinita; and the Incredulity of St. Thomas, in La Madonna di Galeria. She died in
1708, aged 46.
MURILLO, Bartolome Estevan. With the works of this admirable artist, the Eno-lish
collector is more intimately acquainted, than with those of any painter of the Spanish
school ; and their intrinsic merit amply justifies the admiration which is bestowed on
them. Bartolome Estevan Murillo was born at the small town of Pilas, about five
leagues from Seville, in 16 13. He was descended from an ancient family, who had
formerly held ample possessions in the province of Andalusia. Don Juan del Castillo,
a painter of some eminence, was his uncle by his mother's side, and had established an
academy at Seville, which was in considerable reputation.
The young Murillo having discovered an early inclination for the art, he was placed
under the tuition of his relative, where he received his first instruction. On leavino- the
school of that master, his manner was dark and inky, distinguished by a blackness" and
heaviness in his shadows, by which defects the works of Castillo were characterized, who
was an indifferent colourist, though in all other respects was competent to the profession
of a teacher. The first subjects he painted, were rustics and beggar boys, in which he
discovers a faithful and accurate attention to nature, and a charming simplicity of cha
racter, which is peculiar to him. His pictures of this description are vigorously

MURILLO. 109
coloured, though without the tenderness and suavity which afterwards distinguished his
more important productions in historical painting. Sandrart, with his usual inaccuracy,
has stated that Murillo made a voyage to South America, where he passed some years,
and on his return to Europe travelled to Italy, in search of improvement. Both these
assertions are unfounded.
At the time when Murillo left the school of Castillo, it was customary for the young
artists to expose their works for sale at the fair held annually at Seville, and many of
his earliest productions were purchased in this manner, and exported to Spanish
America, which probably gave rise to the false tradition of his having gone thither
in person. The fallacy of the report that he studied in Italy is completely proved
by all the Spanish biographers, who have satisfactorily ascertained that he never left
Spain. The fame of Don Diego Velasquez, who was then in the height of his reputation,
reached Seville, and Murillo conceived the project of visiting Madrid, and of endeavour
ing to introduce himself to the notice of that distinguished artist. On his arrival in that
capital, he paid his court to Velasquez with success, and he not only admitted him into
his academy, but treated him with the greatest kindness and liberality. He procured
him the best means of improvement, independent of his own instruction, and obtained
for him access to the rich treasures of art deposited in the royal collections. A new
scene was now opened to his view, and his zeal for advancement was increased by the
continued contemplation of such admirable productions. His attention was particu
larly directed to the works of Titian, Rubens, and Vandyck, whose works he studied
and copied, by which he greatly improved his style of colouring. After a few years
passed under such favourable circumstances, and with the advantage of the councils of
Velasquez, Murillo returned to Seville, and resumed the practice of his art with re
doubled alacrity, and with the most flattering success. He was now engaged in his
first great work in fresco, in the convent of San Francisco, or the Capuchins; it consists
of sixteen compartments, among which is his celebrated work of St. Thomas of Villa-"
nueva, distributing alms to a group of poor, which he is said to have distinguished by
the name of his favourite picture. In this subject, the particular bent of his genius
had full scope for the display of its powers, which were peculiarly adapted to the repre
sentation of nature in her most simple and unsophisticated forms. The group of pau
pers who surround the Saint, and are eagerly pressing forward to partake of his charity,
is admirably composed, and the varied character of their wretchedness is pourtrayed
with wonderful art and expression. At the principal altar, in the same church, is a laro-e
picture, representing the Jubilee of the Porciuncula, representing Christ holding his
Cross, and the Virgin interceding for the grant specified in the picture, with a group of
Angels, of extraordinary beauty. He was about this time engaged by the Marquis of
Villamanrique, to paint a series of pictures of the Life of David, in which the back
grounds were to be painted by Ignacio Iriarte, an eminent landscape painter of Seville.
Murillo proposed that the landscapes should be first painted, and that he should after
wards put in the figures, but Iriarte contended that the historical part should be first
finished, to which he would adapt the back-ground. To put an end to the dispute
Murillo undertook to execute the whole, without the assistance of Iriarte, and changing
the history of David to that of Jacob, he produced the famous suite of pictures now in
the possession of the Marquis of Santiago at Madrid, in which the beauty of tbe land
scapes contends with that of the figures, and which remain a monument of his powers

110 MURILLO.
in the different departments of the art. In the same collection are two pictures, which
are said to be among the finest of his works, and superior to those in the royal collection:
one represents Saint Francis Xavier, in a dignified and sublime attitude, his eyes de
voutly raised to heaven, with great fervour and devotion, with a stream of light beaming
on his breast, as if receiving the divine inspiration previous to his entering on his mis
sion to the Indians, a group of which is seen in the distance; the other represents St.
Joseph leading by the hand the young Saviour, apparently of the age of eight or ten
years, over their heads is a glory of beautiful angels, and a fine landscape in the back
ground. He painted for the cathedral at Seville his admired picture of San Antonio,
with the infant Christ, and a glory of angels, with a back-ground of admirable architec
ture ; a Miracalous Conception, and his two portraits of Leandro and Isidore, Arch
bishops of -Seville, which are painted in his finest manner. In the church of the hos
pital of the Charity is one of his highly esteemed works, representing St. John support
ing a poor man, who is aided in his charitable office by an angel, whom the Saint
regards with a look of reverence and gratitude, which is beautifully expressed. In the
same sanctuary are two other fine pictures, representing Moses striking the Rock, and
the Miracle of the Multiplication of the Loaves and Fishes, a composition of a numerous
assemblage of figures, exhibiting a striking variety of character, and grouped with
surprising ability.
Murillo painted several pictures for the churches of Cadiz, Granada, and Cordova.
At Cadiz, in the church of San Philipe Neri, is an altar-piece of the Conception ; and
at the Capuchins, a picture of St. Catherine. In the chapel of the Nuns of the Angel
at Granada, is one of his most interesting productions, representing the good Shepherd.
His works had been hitherto chiefly confined to Seville; but in the year 1670, a picture
by him of the Immaculate Conception, was carried in procession on the great festival of
Corpus Christi, which excited universal surprise and admiration, and was regarded as a
phenomenon. Charles II. directed him to be invited to Madrid, with a promise of
appointing him one of his painters ; but Murillo, whose natural humility, and love of
retirement, with his attachment to his native city, prevailed over every consideration
of advantage or promotion, excused himself from accepting the invitation, on account
of his age. He was at all times equally insensible to the allurements of ambition or
interest; and such was his charitable disposition, that though economical in his habits
constantly employed, and not illiberally remunerated, he is said to have died in nar
row circumstances. His last work was his picture of St. Catherine, in the church of
the Capuchins at Cadiz, and when he was painting it, he fell from the scaffold, which
brought on a complaint that put an end to his life in 1685, in his seventy-second year.
Few painters have a juster claim to the originality of style than Murillo. It is distin
guished by a close and lively imitation of nature. His forms have a national peculiarity
of air, habiliment, and countenance. His pictures of the Virgin, his Saints, and even
his Saviours, are stamped with the features of his country, and a characteristic expres
sion of the eye, which is remarkable. There is little of the academy discernible in his
design or composition ; it is a chaste and faithful representation of what he saw or
conceived ; truth and simplicity are never lost sight of. His colouring is clear, tender
and harmonious; and though it possesses the truth of Titian, and the sweetness of
Vandyck, it has nothing of the servility of imitation. Though he sometimes adopts a
beautiful expression, there is usually a portrait-like simplicity in the airs of his heads
in which there is seldom any thing of the ideal. His style may be said to hold a middle

MUR MUS 111
rank between the unpolished naturality of the Flemish, and the graceful and elegant
taste of the Italian school.
MURRAY, Thomas. This painter was a native of Scotland, born about the year 1666,
and was a scholar of John Riley, at the time he was painter to William and Mary. He
was one of the most eminent artists of his time, and was employed to paint the portraits
of the royal family, and many of the principal nobility. His pictures had the merit of
a faithful resemblance, and were freshly and chastely coloured. The portrait of Murray,
painted bjr himself, is among those of the great artists in the Florentine Gallery. He
died in 1724, agen 58.
MUSCHER, Michael van. A Dutch painter, born at Rotterdam in 1645. He was first
placed under the tuition of Martin Zaagmoolen, an obscure artist, with whom he did
not continue long, and was afterwards successively the scholar of Abraham Vanden
Tempel, Gabriel Metzu, and Adrian van Ostade. He did not, however, exactly follow
the style of any of his instructors, but adopted one more resembling that of Francis
Mieris, without arriving at the harmony of his colouring, or the exquisite polish of his
finishing. He painted conversations and small portraits, which are clearly and agreeably
coloured ; and though his figures are not very correctly drawn, his portraits have the
merit of fidelity and truth. According to M. Descamps, he occasionally attempted
historical subjects, which he presumes were above mediocrity, as he was liberally paid
for them. His works of that description, like those of the other painters of his coun
try, are estimable for the beauty of the colour, and the neatness of the penciling, though
greatly deficient in character, expression, and the propriety of costume, so essential to
the dignity of historical painting. His principal residence was at Amsterdam, where
his pictures are to be met with in the choicest collections. They are little known out
of his own country. He died at Amsterdam in 1705, aged 60.
MUSIS, Agostino de, called Agostino Veneziano. This eminent engraver was born at
Venice, about the year 1490, and was a disciple of Marc Antonio Raimondi, of whose fine
style he was one of the most successful followers. Several of his earliest plates were ex
ecuted in conjunction with Marco da Ravenna, who had been his fellow student under
Marc Antonio. After the death of Raffaelle, in 1520, they separated, and each of them
worked on his own account. On the sacking of Rome in 1527, the artists resident in
that capital sought refuge in the other cities of Italy; and Agostino went to Florence
where he applied to Andrea del Sarto for employment. But having engraved in 1516
a plate from a picture by him, representing a dead Christ, supported by Angels, which
did not meet with the painter's approbation, he would not permit any more of his pic
tures to be engraved. The earliest dated print by Agostino is in 1509; and as none of
his works bear a later date than 1536, it may be presumed, that he did not long survive
that period ; and he is said by Huber to have died at Rome about the year 1540. This
artist claims a distinguished rank among the engravers of his time. His graver is
equally neat and finished with that of Marc Antonio ; but he is very inferior to that
celebrated artist in the purity and correctness of his drawing, and in the tasteful expres
sion of his heads. The prints of Agostino de Musis are extremely scarce, particularly
fine impressions of them. He sometimes marked them with a tablet similar to that used

112 MUSIS.
by Marc Antonio, and more frequently with the initials A. V. with the date. The fol
lowing are his principal plates : PORTRAITS.
Pope Paul HI., in profile ; inscribed, Paulas III. Pon. Max. 1534.
The same Pontiff, with the papal crown ; dated 1536.
Charles V. holding a sword ; after Titian.
Another Portrait of Charles V. ; dated 1536.
Ferdinand, King of the Romans ; inscribed, Proximus a summo Ferdinandus, fyc. 1536.
Francis 1. of France ; dated 1536.
The Emperor Soliman ; dated 1535.
SUBJECTS OF SACRED HISTORY.
The Creation ; engraved in conjunction with Marco da Ravenna ; after Raffaelle.
The Sacrifice of Isaac ; after the same.
The Benediction of Isaac ; dated 1522 ; after the same ; very scarce.
The same subject; dated 1524.
The Israelites passing the Red Sea ; after the same.
The Israelites gathering the Manna ; after the same. This plate is supposed to have been begun
by Marc Antonio.
Samson bound by the Philistines ; circular ; from his own design.
The Nativity; after Giulio Romano. 1531.
The Four Evangelists ; in four plates ; after the same. 1518.
The Murder of the Innocents ; copied from the print by Marc Antonio. A. V. ; very scarce.
The Nativity ; copied from a wooden cut by A. Durer; very scarce.
Christ bound to the Pillar ; the same ; very scarce.
The Last Supper; the same ; 1514.
The dead Christ, with angels ; after A. del Sarto. 1516.
The Archangel Michael; after Raffaelle.
The Virgin and infant Christ, with St. John ; after Francia.
St. Jerome, with the Lion ; after Raffaelle.
HISTORICAL AND MYTHOLOGICAL SUBJECTS.
Diogenes seated by the side of a river; after Baccio Bandinelli.
Tarquin and Lucretia ; after Raffaelle.
The Death of Lucretia ; copied from the print by Marc Antonio ; after Raffaelle.
Cleopatra ; after Baccio Bandinelli. 1518.
Vulcan giving Cupid's Arrows to Venus; after Raffaelle. 1530.
Venus riding on a Dolphin, with Cupid holding a Torch ; after Raffaelle.
Jupiter and Leda.
Apollo and Daphne ; after Raffaelle ; attributed by some to Marc Antonio.
The Fall of Phaeton ; marked A. V. on a tablet.
The Triumph of Silenus; after Raffaelle; the same mark.
The infant Hercules destroying the Serpents ; after Giulio Romano.
Hercules strangling Anteus ; after M. Angelo Buonaroti.
Hercules destroying the Nemean Lion ; after Raffaelle.
VARIOUS SUBJECTS.
The Burying-place, an assemblage of emaciated figures with skeletons, and a figure of Death
holding a book ; after Baccio Bandinelli; inscribed, Augustinus Venetus de Musis faciebat.
1518.

MUS MUZ 113
A large print, called the Climbers ; after the famous cartoon of Pisa, by M. Angelo Buonaroti,
dated 1523. This print is' very different from that of the same subject engraved by Marc
Antonio, which consists of many more figures. It is marked with the name of the painter on
a tablet, and dated 1524.
The Academy of Baccio Bandinelli, in which that artist is represented in the midst of his disci
ples. 1531.
The Battle of the Sabre, so called from a sword which lies on the ground, fallen from the hand
of a warrior, who is represented as dead, on the right-hand side of the print.
An Emperor on horseback, with attendants, called by some the Triumph of Marcus Aurelius.
This print is marked with the tablet used by Marc Antonio, who is supposed to have partly
engraved it.
An old Philosopher, or Magician, seated on the ground, measuring with his compasses a circle,
in which are seen the sun and moon ; dated 1509 ; after Dom. Campagnola.
He also engraved a variety of plates of grotesque subjects, after Raffaelle, and several
busts and antique vases.
MUSIS, Lorenzo and Giulio de. These artists are supposed to have been the sons of
Agostino de Musis. They engraved some plates in the style of their father, but with no
great success. By the former we have a portrait of Barbarossa King of Algiers, in
scribed, Lorenzo de Musi, Faciebat. 1535. By the latter there is a large print length
ways, entitled Antiqua Species Urbium, Portus,par Pyrrhum Ligorium facta, .^c. Julius de
Musis in aes incidit. 1554.
MUSSO, Niccolo. He was a native of Casalmonferrato, and flourished about the year
1618. According to Orlandi, he went to Rome when he was very young, and entered
the school of Michael Angelo Caravaggio. After passing ten years at Rome he returned
to his native city, where he painted several altar-pieces for the churches, of which Lanzi
particularly mentions a picture of St. Francis kneeling before the crucified Saviour in
the church dedicated to that Saint. His style resembles that of Caravaggio, though less
violent in his chiar-oscuro, and more select in his forms, and in the expression of his
heads.
MUZIANO, Girolamo. This reputable artist was born at Aquafredda, in the territory
of Brescia, in 1528. After receiving some instruction in the art in his, native city, under
Girolamo Romanino, he went to Venice, where he studied the works of Titian, and the
other great masters. When he was about twenty years of age he visited Rome, accom
panied by Federigo Zuccaro, where it was not long before his abilities recommended
him to the notice of Gregory XIII. who employed him in the Capella Gregoriana, and
commissioned him to paint two pictures for the church of St. Peter, representing St.
Jerome and St. Basil, which procured him considerable celebrity. Muziano dis
tinguished himself also as a landscape painter, and acquired at Rome the appellation of
II Giovani de paesi. The Cardinal Farnese employed him to decorate his Vigne at
Tivoli, in conjunction with Federigo Zuccaro and Tempesta, where he evinced the supe
riority of his talents over both ,his competitors. He now produced his celebrated pic
ture of the Resurrection of Lazarus, painted for the church of S. Maria Maggiore,
afterwards removed to the pontifical palace of the Quirinal, and now among the spoils
in the gallery of the Louvre. This capital production excited the admiration, and pro-
VOL. II. P

114 MYN.
cured him the esteem of Michael Angelo Buonaroti, who assisted him with his instructio n
and advice. He soon afterwards painted his picture of the Circumcision, for the church
del Gesu ; the Ascension, for Ara Caeli ; and St. Francis receiving the Stigmata, for the
church della Concezione. His other esteemed works at Rome are, the Descent of the
Holy Ghost, in the hall of the Consistory ; a picture of the Nativity, in S. Maria de
Morti; and Christ giving the Keys to St. Peter, in S. Maria degli Angeli. The works
of Muziano exhibit a grandeur of design, and an intimate acquaintance with muscular
anatomy, in which he appears to have emulated the learned design of Buonaroti. His
compositions are copious and ingenious, and the characters of his heads are dignified and
expressive. His colouring partakes of the truth and harmony of the Venetian school,
and the back-grounds of his pictures are frequently embellished with landscapes, which
remind us of the fine style of Titian. Girolamo Muziano was much employed in de
signing after the antique; and it is to him we are indebted for the accomplishment
of the design of the basrreliefs of the Trojan column, which had been begun by
Giulio Romano, and which were afterwards engraved. He died at Rome in 1590,
aged 62.
MYN, Herman, Vander. Herman Vander Myn was born at Amsterdam in 1684. He
was the son of a clergyman, who intended him for the church, and with that project
bestowed on him a suitable education. His love of the arts, however, was more pre
valent than his attention to his studies; and his father, yielding to his natural propensity,
placed him under the tuition of Ernest Stuven, an eminent painter of fruit and flowers,
under whom he continued until he surpassed his master. Aspiring to a higher depart,
ment of the art, he quitted Stuven and flower painting, and devoted his studies to the
more elevated branch of historical subjects. It is not known by whom he was instructed
in his new pursuit; but he acquired sufficient celebrity to be invited to the court of
the Elector Palatine, in 1716, where he passed some time. He returned to Holland,
where he painted a picture of Jupiter and Danae, which excited universal admiration.
The applause bestowed on this performance, instead of contributing to his advantage,
proved extremely prejudicial to his interest, by prompting his avarice to demand so
unreasonable a price for it, that it was left on his hands. He afterwards visited
Antwerp, and from thence, in 1718, went to Paris, where he was patronized by the Duke
of Orleans, and where he painted a picture of Peter denying Christ, which is consi-.
dered as his most capital work. By the recommendation of Lord Cadogan, he came, to
England, about the year 1722, and was employed in painting the portraits of several
of the nobility, in which he carried to excess the laborious minuteness of his country
men ; faithfully imitating the details of lace, embroidery, and fringes, with the most
patient precision. Frederick Prince of Wales, and the Prince of Orange, sat to him;
and he painted a picture of the Duke and Duchess of Chandos, for which he is said to
have received five hundred guineas. Vander Myn died in London in 1741, aged 57. He
had a sister, Agatha Vander Myn, who, according to Lord Orford, came with him to
England, and painted fruit, flowers, and dead game.
MYN, A. Vander. A Dutch engraver, who resided some time in London, by whom we
have a portrait of Richard Leveridge.

MYN MYT 115
MYNDE, J. This artist resided in London, about the year 1760, and engraved several
plates for the booksellers. His prints are very indifferently executed. We have by
him some anatomical figures, and a few portraits ; among which are :
Roger, Earl of Orrery, and William Harris, D. D.
MYRIGINUS, or Myricinus, Peter. A Flemish engraver, who flourished about the
year 1550. He engraved several eccentric and strange compositions, after Jerome Bos,
Breughel, and others. There is also a portrait of Albert Durer at the age of 56, copied
by him from a larger print. He marked his plates with the cipher Ji, .
MYTENS, Arnold. This painter was born at Brussels in 1541. After receiving some
instruction in his native country, he travelled to Italy, in company with Anthony de
Santwort, and studied some years at Rome. He afterwards visited Naples, where he
painted an altar-piece, which gained him great reputation, representing the Assumption
of the Virgin, with the Apostles ; and in the church of S. Lodovico, a picture of the
Miraculous Conception. On his return to Rome he was employed in some considerable
works in the church of St. Peter, and died in that city in 1602, aged 61.
MYTENS, Daniel, the elder. This artist was a native of the Hague, and, according
to Lord Orford, was an admired painter in the reigns of King James and Charles I.
The date of his arrival in England is not certain ; but it was probably in the latter part
of the reign of James. Although he drew several of the court, he was not formally
employed as painter to the King, until the first year of the reign of King Charles. His
patent was dated the 30th of May, 1625. He had studied the works of Rubens previous
to his coming. His landscape, in the back-grounds of his portraits, is evidently in the
style of that school ; and some of his works have been taken for those of Vandyck. At
Hampton Court are several whole lengths of the princes and princesses of the House of
Brunswick Lunenberg, and the portrait of Charles Howard, Earl of Nottingham. At
Kensington is a Head of himself; and at St. James's is a fine picture by My tens, of
Hudson, the dwarf, holding a dog with a string, in a landscape, warmly coloured and
painted freely, like Rubens or Snyders. Mytens remained in great reputation till the ar
rival of Vandyck, who being appointed the King's principal painter, the former, in disgust,
asked his Majesty's leave to retire to his own country; but the King, learning the cause
of his dissatisfaction, treated him with much kindness, and told him that he could find
sufficient employment both for him and Vandyck. Mytens consented to stay, and even
grew intimate with his rival; for the head of Mytens is one of those painted among the
professors by that great master. Whether the same jealousy operated again, or real
decline of business influenced him, or any other cause, Mytens did not stay much longer
in England. We find none of his works here after the year 1630; yet he lived many
years afterwards. Houbraken quotes a register at the Hague, dated in 1656, at which
time Mytens painted part of the ceiling of the town-hall there.
MYTENS, Daniel, the youngrr. He was the son of the preceding artist, born at the
Hague in 1636. After being instructed for some time by his father, he travelled to
Rome, where he studied, in company with his countrymen Doudyns and Vander Schuur.
The works of Carlo Maratti were particularly the objects of his admiration; and he
formed an acquaintance with that master, whose advice and instruction contributed in
P2

116 MYT NAI
no small degree to his advancement. Having inherited a considerable property from
his father, he was not very assiduous in his application, but divided his time between his
amusement and his studies. His abilities were, however, respectable, and he distin
guished himself at Rome, both as a painter of history and portraits. In 1664 he returned
to the Hague, where he continued to exercise his profession with reputation, and was
received into the Academy there, of which he afterwards was appointed director., His
principal work at the Hague is the ceiling in the hall of the painters, which is ingeni
ously composed, and designed in the style of Maratti. Towards the latter part of his
life he sunk into a state of dissipation and intemperance, which degraded his talents and
injured his health. He died in 1683, aged 52.
MYTENS, Martin. A Swedish artist, born at Stockholm, in 1605. He is said to have
distinguished himself as a portrait painter at the different courts of Europe, and to have
died at Vienna in 1755.

- N
NADAT, a German engraver, who flourished about the year 1530. We have by him a
considerable number of prints, marked with a mouse-trap, and his name NA DAT.
Some authors doubt this being his name, from the apparent division between the two
first letters and the three last. The prints thus marked are executed entirely with the
graver, and consist chiefly of small prints, representing processions, and armies on their
march. From the resemblance of the style of this engraver to that afterwards adopted
by Theodore de Brye, it is probable that the latter was his pupil. Among others are the.
following prints by him :
The Virgin and Child, with St. Elizabeth; in an arch to the right is the Angel appearing to St.
Joseph, and to the left an Angel appearing to St. Joachim.
An Army on the march ; dated 1530.
An Army exercising.
NAGEL, Peter. A Flemish engraver, who flourished at Antwerp about the year 1580.
He is said to have been a disciple of Philip Galle, whose style he imitated, but without
much success. His plates are coarsely executed, and his drawing is generally incorrect.
He engraved several sacred subjects after Martin Hemskerk, and other Flemish painters.
He sometimes signed his prints with his name at length, but more frequently marked
them with a cipher composed of a P. and an N. joined thus, pj. FE. or with the initials
P. N., fee. or P. Na. fee. Among other prints by him we have,
The Seven Works of Mercy ; after M. Hemskerk.
NAIWINCK, or Naiwyncx, Henry. A Dutch painter and engraver, born at Utrecht
about the year 1620. He painted landscapes in the style of Anthony Waterloo, which
are little known out of his own country, but he has distinguished himself as an engraver

NAL NAN 117
by some admirable etchings, which are deservedly esteemed by the intelligent collector.
They are executed in a free and original style, and produce a picturesque and charming
effect. They consist of two sets of landscapes, eight in each, one of upright plates, and
the other length-ways. They are both numbered 1 to 8. The plate No. 1. in each set
is inscribed, H. Naiwinck,fe. et inv.
NALDINl, Batista. This painter was bora at Florence in 1537, and was first a scholar
of Jacopo Carucci, called II Pontormo, but afterwards studied under Angioli Bronzino.
According to Baglione he visited Rome in the pontificate of Gregory XIII. where he
painted several altar-pieces for the churches, of which the following are particularly no
ticed by that writer. In la Trinita de Monti, is a picture by him of the Baptism of
Christ, and several subjects in fresco, of the life of St. John; and in the church of S.
Giovanni Decollato, the Martyrdom of St. John the Evangelist. On his return to
Florence he was engaged by Giorgio Vasari, as his coadjutor, in the works in which he
was employed in the Palazzo Vecchio, where he was occupied fourteen years. He is
commended by Vasari as a bold and ready designer, and as possessing uncommon facility
of hand. His pictures of the Purification and Deposition from the Cross, in S. Maria
Novella, at Florence, are extolled by Borghini for their composition and design, as well
as the beauty of his colouring, and the elegance of his attitudes. He was living in
1590.
NANNI, Giovanni da Udine. See Udine.
NANNI, Girolamo. This painter was a native of Rome, and flourished about the year
1642, during the pontificate of Sixtus V. by whom he was employed in several consi
derable works. He was generally known by the name of poco e buono, from the following
circumstance. Being of a very studious disposition, and rather slow in his operation,
he was reproached for his tardiness by Giovanni da Modena, a contemporary artist,
when he replied, faccio poco e buono; and he bore that name ever afterwards. His works
are to be seen in several of the public edifices at Rome. In the church of the Madonna
dell Anima is a picture by this master, representing- the Annunciation ; and in S. Barto
lomeo dell' Isola, two subjects from the Life of S. Bonaventura.
NANTEUIL, Robert. A celebrated French engraver, and painter in crayons, born at
Rheims in 1630. He was the son of a merchant, who gave him a classical education
but a decided inclination for the art of design induced him to adopt it as a profession.
He was instructed in engraving by his brother-in-law, Nicholas Regnesson, and became
one of the most distinguished artists of his country. He acquired considerable reputa
tion as a painter of portraits in crayons, and his talent in that branch recommended him
to the protection of Louis XIV. whose portrait he painted, and was appointed designer
and engraver of the cabinet, with a pension. In his first works, as an engraver, he
appears to have imitated the style of Claude Mellan, in single strokes only, without
being crossed; but he afterwards adopted one infinitely superior, which in clearness and
beauty of effect has never been surpassed. His portraits will ever hold a rank amono-
the most admired productions of the art; and their extraordinary merit will authorize
our giving an ample list of them. Nanteuil died at Paris in 1678, at the age of 48,
and it appears extraordinary, that in so short a life, he could accomplish so many plates,

118 NANTEUIL.
in so finished a style. Mariette possessed two hundred and eighty prints by this artist.
The following are his most esteemed plates :
PORTRAITS.
Anne of Austria, Queen of France; after Mignard.
Several Portraits of Louis XIV. ; from his own designs, Mignard, and others.
Louis, Dauphin ; son of Louis XIV. 1677-
Louis Bourbon, Prince de Cond6; after his own designs. 1662.
Henry Julius de Bourbon, Duke d'Enghien ; after Mignard. 1661.
Christina, Queen of Sweden ; after S. Bourdon. 1654.
Louisa Maria, Queen of Poland; after Juste. 1653.
Charles Emanuel, Duke of Savoy. 1668.
Charles, Duke of Lorrain. 1660.
John Frederick, Duke of Brunswick Lunebourg. 1674.
Charles II. Duke of Mantua. 1652.
William Egon, Prince of Furstenberg, Cardinal. 1671-
N. Duke of Albret. 1649; scarce.
Louis Dony d'Attichy, Bishop of Autun. 1663.
Antonio Barberini, Cardinal, and Archbishop of Rheims. 1663.
Pomponne de Bellievre, President of the Parliament; fine.
Peter de Bonsy, Archbishop of Narboune. 1678.
J. B. Bossuet, Bishop of Meaux. 1674.
Louis de Boucherat, Chancellor of France. 1676.
Emanuel Theodore, Duke de Bouillon, Cardinal. 1670.
Leon le Bouthellier, Minister of State ; after Champagne. 1652.
John Chapelin, the Poet. 1655.
Charles d'Ailly, Duke de Chaulnes. 1676.
Francis de Clermont, Bishop of Noyon. 1655.
Peter du Cambut, Bishop of Orleans, afterwards Cardinal. 1666.
James Nicholas Colbert, Archbishop of Rouen. 1670.
John Baptist Colbert, Minister of State. 1676 ; after Champagne.
Francis de Bonne, Duke de Crequy. 1662.
Ferdinand de Foix de la Valette, Duke d'Espernon. 1650.
Caesar d'Etree, Bishop of Loudon, afterwards Cardinal. 1660.
Francis de Harley de Chanvallon, Archbishop of Paris. 1675.
Louis Hesselin, Counsellor of State ; engraved in the style of C. Mellan.
William de Lamoignon, President of the Parliament. 1659.
Dominick de Ligny, Bishop of Meaux. 1654.
Ren6 de Longueil, Minister of State and President of Parliament.
Henry d'Orleans, Duke of Longueville; after Champagne.
John Loret de Carenton. 1658 ; scarce.
Francis Mallier, Bishop of Troyes ; after Velut.
Leonor de Matignon, Bishop of Lissieux.
Julius Mazarin, Cardinal. 1655.
Edward Mole, President of the Parliament.
Charles de la Porte, Duke de la Melleraye. 1662.
John Francis Paul de Gondy, Cardinal de Retz. 1650.
Armand John du Plessis, Cardinal de Richelieu ; after Champagne.
Henry de Savoye d'Aumale, Archbishop of Rheims. 1651.
Peter Seguier, Chancellor of France ; after Le Brun. 1656.

NAP NAT 119
John Baptist Steenbergen, called the Advocate of Holland; one of his finest portraits. 1668.
Charles Maurice le Tellier, Archbishop of Rheims. 1663.
Michael le Tellier, Chancellor of France. 1662.
Henry de la Tour d'Auvergne, Viscount Turenne. 1665 ; fine.
NAPOLITANO. See Angelo.
NAPPI, Francesco. According to Baglione, this painter was a native of Milan, and
visited Rome, with some proficiency in the art, during the pontificate of Urban VIII.
He was employed for some of tbe public edifices at Rome; but his works do not rank
above mediocrity. His best productions are, his pictures of the Resurrection, and the
Assumption of the Virgin, in the cloister della Minerva; and the Annunciation, in the
Monasterio dell' Umiltd.
NARDI, Angelo. This painter was an Italian; but, according to Palomino, passed the
greater part of his life in Spain, where he was painter to Philip IV. He is said by
that author to have been a scholar of Paolo Veronese, whose style he imitated in all his
works. Of his pictures in the churches of Madrid, the most esteemed are the Nativity
and the Conception, in the church of the Franciscans ; the Archangel St. Michael, and
the Guardian Angel, in the church of the Barefooted Carmelites; and the Annuncia
tion, in the society of San Justo. He died at Madrid in 1660, aged 59.
NASELLI, Francesco. He was born at Ferrara, and flourished about the year 1610.
When young, he studied the works of Caraeci and Guercino, which he copied with sur
prising success, but afterwards devoted himself to the manner of his countryman Gui
seppe Mazzuoli, called Bastoruolo. He became an eminent painter of history, and was
employed for several of the churches in Ferrara. In the cathedral is an altar-piece by
him, representing the Nativity ; in the church of S. Maria de Servi, a large picture of the
Last Supper ; and in the church of S. Francesca, the Assumption of the Virgin. He
died at Ferrara in 1630.
NASIN I, Cavee- Guiseppe. This painter was born at Siena, in 1664. His father, Fran
cesco Nasini, an artist little known, instructed him in the first rudiments of the art; but
he afterwards became one of the ablest disciples of Ciro Ferri. He possessed a fertile
imagination, and a resolute and commanding execution, which particularly qualified
him for the great machinal works in fresco, in which he was chiefly employed, although
he was deficient in correctness of design and dignity of character. By the recommen
dation of Ciro Ferri, he was employed by the Grand Duke of Tuscany, to paint from the
designs of Pietro da Cortona, the Four Ages of Man, in emblematical subjects, in the
Palazzo Pitti, which he executed to the satisfaction of his employer. On his return to
Rome he was commissioned to paint the ceiling of the Capella Bracciana, in the church
de S. S. Apostoli ; and his picture of the Prophet Amos, in the Basilica of St. John of
Lateran. There are many of his works at Siena, Florence, and Foligro. He died in
1736, aged 72.
NATALI, Carlo, called II Guardolino. Bora at Cremona about the year 1590. He
was first a disciple of Andrea Mainardi, but afterwards studied at Bologna, under

120 NAT NAT
Guido Rheni. There are several of his works at Genoa and Cremona, where he also
distinguished himself as an architect. One of his best works, as a painter, is a picture of
S. Francesca Romagna, in the church of S. Gismondo at Cremona, which, according to
Lanzi, if it does not reach excellence, is above the rank of mediocrity. He died in 1683,
aged 94.
NATALI, Giovanni Batista. He was the son of the preceding artist, born at Cremona
about the year 1630, and distinguished himself as a painter and engraver. After re
ceiving some instruction from his father he went to Rome, where he entered the school
of Pietro da Cortona. On his return to Cremona, he painted several pictures for the
churches, and established an academy, in which he cultivated the principles of Cortona,
though without many followers. In the church of the P. P. Predicatori, is a large pic
ture, embellished with architecture, representing S. Patriarca burning the Books of
the Heretics, which Lanzi says is not unworthy of a follower of Pietro da Cortona. He
died about the year 1700.
NATALINO, da Murano. See Murano.
NATALIS, Michael. This artist was bora at Liege about the year 1589, and was in
structed in design by Joachim Sandrart. He afterwards went to Antwerp, where he
learned engraving, under Charles Mallery. From thence he went to Rome, where he
adopted the style of Cornelius Bloemaert, which he followed with some success. In
conjunction with that artist, Theodore Matham, and Regnier Persyn, he engraved part
of the plates from the statues and busts in the Giustiniani Gallery, consisting of one
hundred and fifty prints. He engraved several plates after works of some of the greatest
Italian painters. On his return to Flanders he was invited to Paris, where he resided
some time. The plates of Natalis are executed with the graver, in a free open style, but
without much taste. He handled the burin with great facility ; his strokes are clear and
regular, but the effect is generally cold and heavy, and his drawing is usually incorrect.
He engraved a few portraits, which are among the best of his prints. We have, among
others, the following by him : portraits.
Josephus Justinianus Benedicli Filius; Mich. Natalis, fee.
Jacob Catz, Pensionary of Holland, and Poet.
Eugene d'Alamond, Bishop of Ghent.
Maximilian Emanuel, Elector of Bavaria ; after J. Sandrart.
Frederick, Count of Merode.
Ernestine, Princess de Ligne ; after Vandyck.
The Marquis del Guast, with his mistress represented as Venus; after Titian.
subjects after various masters.
The Holy Family ; after Raffaelle.
The Virgin and infant Jesus, with St. Joseph seated behind, leaning his head upon his hand;
after A. del Sarto.
The Holy Family; after N. Poussin. The first impressions are before the nudity of tbe child
was covered with linen.
St. Paul taken up into Heaven ; after the same.

NAT NEA 121
The Holy Family, with angels presenting flowers ; after S. Bourdon.
The Marriage of St. Catherine ; after the same.
The Virgin holding the infant Christ, who is sleeping, with St. John by her side ; after the same.
The first impressions are before the bosom of the Virgin was covered with linen.
St. Bruno at prayer; after Bertholet Flemael.
The Assembly of ^he Carthusians ; in four sheets ; after the same.
Mary washing the Feet of Christ; after Rubens.
The Last Supper ; after Diepenbeck.
St. Francis with a Lamb ; after the same.
NATOIRE, Charles. A French painter and engraver, born at Nismes in 1700. He was
a scholar of Francis Le Moine, and after the death of that master was employed to finish
the works he left imperfect. His principal works at Paris are the pictures he painted
for the chapel of Les Enfans Trouves, which are now much damaged. He was. appointed
Director of the French Academy at Rome, where he died in 1775, aged 75. We have a
few etchings by Natoire, executed in a free spirited style ; they are from his own de
signs. Among others are the following :
The Crucifixion, with Mary Magdalen at the foot of the Cross.
The Adoration of the Magi.
The Martyrdom of St. Fereol.
Two, of the Sports of Children.
Spring and Winter ; etched by Natoire, and finished with the graver by P. Aveline.
NATTIER, John Mark. A French artist, bora at Paris in 1685. He chiefly distin
guished himself as a portrait painter, 'in which he was much employed, and became a
member of the Academy at Paris. He made the designs for the engravings of the
Luxembourg Gallery, painted by Rubens. He died in 1776, aged 82.
NAVARETTE. See Mcdo El.
NAVARO, Juan. This Spanish engraver is stated by Strutt to have resided at Seville
about the year 1598. He engraved several frontispieces for books, which are executed
with the graver in a very indifferent style.
NAZZARI, Bartolomeo. According to Tassi, this painter was born in the territory of
Clusane, in the Bergamese state, in 1699, and was first a scholar of Angelo Trevisani at
Venice. He afterwards studied at Rome, under Benedetto Luti and Francesco Trevi
sani, and became a reputable painter of history and portraits, but particularly excelled
in the latter, in which he was much employed at the different courts in Germany. One
of the most esteemed of his historical pictures is a Holy Family, with St. Anne, at Pon-
tremoli. He died in 1758, aged 59-
NEALE, Thomas. An English engraver, who flourished about the year 1650. He resided
in London, where he etched the portrait of Bindo Altoviti, after Titian. It is executed in
the style of Gay wood, and possesses considerable merit. Strutt. conjectures that he had
a share in engraving the plates for the octavo edition of Ogilby's Fables. If this should
be the fact, they afford no favourable specimens of his talents.
Vol. II. Q

122 NEB NEE
NEBBIA, Cesari. This painter was born at Orvieto about the year 1536, and was the
ablest scholar of Girolamo Muziano, whose style he adopted, and assisted him in the
considerable works he executed for Gregory XIII. in the Vatican, and in the Capella
Gregoriana. He was himself employed by his successor Sextus V. in superintending
the works undertaken by order of that Pontiff, in the palaces of St. John of Lateran,
and Monte Cavallo, in the library of the Vatican, and in the Scala Santa, in which he
was assisted by Giovanni Guerra da Modena. He painted several pictures for the
churches in Rome, which are particularly noticed by Baglione, of which the most con
siderable are the Resurrection, in S. Giacomo degli Spagnuoli; some subjects of the life
of the Virgin, painted in fresco, in the Capella Borghese, in S. Maria Maggiore ; and
the Crowning of the Virgin, in S. Maria de Monti. Though Cesari Nebbia possessed a
ready invention and uncommon dexterity of hand, he is very inferior to Muziano in the
grandeur of his style and the dignity of his characters. He died at Rome about the
year 1614.
NECK, John van. This painter was born at Naarden in 1636. He was the son of a
physician, who destined him to his own profession, but yielded to the marked disposi
tion his son evinced for the art, and placed him under the tuition of Jacob de Backer,
an eminent painter of history and portraits, whose style he followed with great success.
Houbraken speaks of his talents as an historical painter in the most flattering terms,
and particularly commends a picture by him representing the Presentation in the
Temple, in the French church at Amsterdam, which is finely composed and correctly
drawn. He was still more successful in painting subjects of the Fable, in which he
discovers a perfect acquaintance with the nude, and his female figures are designed with
an elegance and taste unusual in his country. He was also an eminent portrait painter,
in which he was very extensively employed. He resided chiefly at Amsterdam, where
he died in 1714, aged 78.
NEE, Denis. A French engraver, bora at Paris about the year 1732. He was a pupil of
J. P. Le Bas, and has engraved several plates in the neat style of that artist, with con
siderable success. Among others, he executed several vignettes for Ovid's Metamor
phoses, published at Paris, and engraved several landscapes, after A. Vande Velde, and
other Dutch masters. We have also the following by him :
Several Views in Switzerland ; after Chatelet.
The Massacre of St. Bartholomew ; after Gravelot.
Three Views in Martinique ; after the Chevalier d'Epernay.
Benjamin Franklin; after Charmonlel.
A View of the City of Lyons ; after Lallemand.
The Environs of Frascati; after the same.
A View of Tivoli ; after the same.
NEEF, or Neefs, Peter, the elder. This artist was born at Antwerp in 1570, and was a
scholar of Henry Steenwyck the eider. He painted similar subjects to those in which
his instructor had acquired much celebrity, representing the interiors of churches and
temples, which he finished with a precision and a neatness of pencil that is altogether
surprising. His knowledge of perspective was so correct, that he would exhibit in the
small space of a cabinet picture the most vast and magnificent gothic edifices, in which

NEEF. 123
the beholder is deluded into a belief in the reality and immensity of the space the
• building represents. Every ornament of the architecture, and the various decorations
of the churches are designed with the utmost correctness, and touched with a delicacy
that is inimitable. To avoid the monotony almost inseparable from such a subject, in
which the regularity of lines, and the uniformity of tints would appear cold and insipid,
he introduced, with infinite art, a variety of objects, to animate and diversify the scene,
and by a judicious management of the chiar-oscuro, he gave a lively and pleasing effect
to what in less able hands would have been tame and uninteresting. He frequently
represented these objects by torch light, in which the degradation is managed with sin
gular skill, and they are perhaps the most picturesque and the most desirable of his
works. Peter Neefs was not successful in the design of the figure, and some of his
pictures have the additional recommendation of being decorated with those of the elder
Teniers, John Breughel, and others.
NEEF, or Neefs, Peter, the younger. He was the son and scholar of the preceding
artist, born at Antwerp about the year 1600. He painted similar subjects to those of
his father, but they are greatly inferior, both in the neatness of the finishing and the
correctness of the perspective.
NEEF, or Neefs, James. A Flemish engraver, born at Antwerp about the year 1630.
It is probable that he was of the same family with the two preceding artists. He dis
tinguished himself, with several of his contemporaries, by the plates he engraved after
Rubens, Vandyck, and the other celebrated painters of the Flemish school. His plates
are principally executed with the graver, which he handled with great facility. His
drawing, without being incorrect, is stiff and mannered, and the expression of his heads
is occasionally outre and extravagant. His best prints are, however, justly esteemed.
The following are his most esteemed works :
portraits.
Gaspar Nemius, Bishop of Antwerp ; after Gerard Segers.
John Tollenario, Jesuit; after P. Fruy tiers.
Francis Snyders, Painter; after Vandyck.
Anthony de Tassis, Canon of Antwerp ; after the same.
The Marchioness of Barlemont, Countess d'Egmont; after the same.
Josse de Hertoghe ; after the same.
Martin Ryckart, Painter ; after the same.
subjects after various masters.
The Fall of the Angels ; after Rubens.
The Meeting of Abraham and Melchisedec; after the same.
The Crucifixion, with the Virgin and St. John ; after the same.
St. Augustine ; after the same.
The Martyrdom of St. Thomas; after the same.
The Judgment of Paris, and the Triumph of Galatea, called the Ewer of Charles I.; after tlie
same ; scarce.
Christ and the Six Penitents; after Gerard Segers.
Job and his Wife ; after the same.
The Martyrdom of St. Lievin ; after the same.
Q2

124 NEE N E G
Christ appearing to Magdelen ; after Gerard Segers.
Christ brought before Pilate; after J. Jordaens.
The Satyr, with the Peasant blowing Hot and Cold ; after the same.
St. Roch interceding for the Persons attacked by the Plague ; after Erasmus Quellinus.
NEER, Arnold Vander. This eminent painter was born at Amsterdam in 1619- It is
not known by whom he was instructed, but he distinguished himself in a peculiar but
interesting style. He excelled in painting views in Holland by moonlight, representing
groups of cottages or fishermens' huts on the banks of a river or canal with boats and
figures. The moon, " rising in clouded majesty," or from her lustrous height, sheds her
silvery beams on every object, and their light, reflected by the respondent glittering of the
water, produces the most fascinating and picturesque effect. Vander Neer was a perfect
master of the chiar-oscuro. He occasionally painted pictures of sun-set, and in the
glowing richness and harmony of his colouring, he sometimes approaches the excellence
of Rubens and Rembrandt. He was not less successful in painting winter pieces, with
figures amusing themselves on the ice, in which he is only surpassed by the admirable
productions of Albert Cuyp. He died in 1683, aged 64.
NEER, Eglon Hendrick Vander. He was the son of Arnold Vander Neer, bora at
Amsterdam in 1643, and received his first instruction from his father, but his taste lead
ing him to a different branch of the art, he was placed under the care of Jacob van
Loo, a painter of history and portraits at Amsterdam. When he was twenty years of
age he went to Paris, where he passed four years, and painted some small portraits and
domestic subjects, which were generally admired. On his return to Holland he at
tempted some historical and fabulous subjects, which have little to recommend them,
but delicacy of colour and careful finishing. He was more successful in his pictures of
conversations and gallant subjects, which are tastefully composed and correctly drawn, in
which he appears to have imitated the style of Terburg and Netscher. His pictures of
this description are justly held in high estimation ; they are very highly finished, and
though less mellow and harmonious than those of Metzu and Mieris, they are well
coloured, and touched with great delicacy. Eglon Vander Neer has the credit of having
been the instructor of Adrian Vanderwerf, and his portrait by himself is honoured with
a place among the illustrious painters in the Florentine Gallery. He was for some time
employed by the Elector Palatine at Dusseldorf, where he died in 1703, aged 64.
NEGRI, Pier Martire. This painter was a native of Cremona, and flourished about the
year 1600. According to Zaist, he was a disciple of Giovanni Batista Trotti, called II
Malosso, and distinguished himself as a painter of history and portraits. He afterwards
studied at Rome, and was received into the Academy of St. Luke. In the church of the
Hospital, at Cremona, is an admired work by this master, representing Christ restoring
Sight to the Blind; and, according to Lanzi, a finer picture of St. Joseph, at the Certosa
at Pavia.
NEGRONE, Pietro. This artist was a native of Calabria, born about the year 1495.
According to Dominici, he was a disciple of Giovanni Antonio d'Amato, and also studied
under Marco Calabrese. At Naples, in the church of S. Maria Donna Romata, are two
pictures by this master, representing the Adoration of the Magi, and the Scourging of

NEL NET 125
Christ, painted in the year 1541. And in the church of S. Agnello a picture represent
ing the Virgin Mary and infant Christ in the clouds, with a glory of angels, and below
St. Catherine, St. Gerome, and St. Onofrio. He died in 1565, aged about 70.
NELLI, Suor Plautilla. According to Lanzi, this lady was of a noble family, born at
Florence in 1523. Without any other assistance than the study of some designs of
Fra. Bartolomeo di S. Marco, of which she was in possession, she acquired a respectable
talent as a paintress. She became a religious of the Dominican convent of ^Sj;. Cathe
rine at Florence, and painted for their church a Descent from the Cross, which is said
to have been from a design by Andrea del Sarto, and a picture of the Adoration of the
Magi, a work of great merit, of her own composition. She died in 1588, aged 65.
NELLI, Niccolo. This artist was a native of Venice, and flourished about the year 1568.
From the style of his engraving, he is supposed to have been a disciple of Marco da
Ravenna. He engraved an architectural frontispiece, with figures, for a book of plans
and views of the most illustrious cities 'and fortresses in the world, published in 1568. It is
inscribed Nicolo Nelli Veneziano,f. The figures are well drawn, and the print is executed
with considerable ability. Strutt observes, that many of the prints without marks, of
the above date, particularly those which bear a resemblance to the works of Marco da
Ravenna, may be attributed to this engraver.
NERONI, Bartolomeo. This painter was a native of Siena, and flourished about the
year 1573. He was a disciple of Giovanni Antonio Razzi. He painted history, but was
more celebrated for his perspective and architectural views. At the Osservanti at Siena
is a Crucifixion, with a great number of figures; and in the church of the Derelitte, a
Descent from the Cross, which is painted entirely in the style of his master.
NES, or Nees, John Van. He was born at Dort about the year 1 600, and was a scholar
of Michael Mirevelt. By the advice of his instructor he travelled to Italy, and studied
some time at Rome and at Venice. On his return to Holland he painted some histo
rical pictures, which were deservedly admired ; and he would probably have distin
guished himself in that branch of the art, had not the general demand for his portraits,
which he painted in the fine style of Mirevelt, induced him, for the sake of emolument^
to devote himself entirely to portrait painting, in which, to a perfect resemblance, he
added dignity of character, and a chaste and vigorous colouring. He died in 1650.
NETSCHER, Gaspar. According to d'Argenville, this painter was bora at Prague in
1636; but Descamps, who follows the authority of Houbraken, asserts that he was born
at Heildelberg, in 1639. His father was a sculptor, and an engineer in the Polish
service, who died when he was only two years of age, leaving a widow with three chil
dren, of which Gaspar was the youngest. The calamities of war obliged her to fly
from Germany, and make the best of her way towards Holland. Two of her children
perished with hunger on the road, and she arrived at Arnheim in Guelderland in a state
•of the utmost wretchedness. An opulent physician, named Tullekens, compassionated
her miserable situation, took the young Netscher under his protection, and brought him
up as his own son. He educated him with the intention of his following the medical
profession, but his genius strongly inclining to the art of painting, it was judged best to

126 NETSCHER.
give way to it ; he was in consequence placed under a painter of dead game and still-life,
with whom he did not remain long, as these were not subjects in which he was ambitious
of excelling. He became a disciple of Gerard Terburg, whose style, and the beauty of
his pencil, were more congenial to his taste, and his progress under that master was so
extraordinary, that in a few years his pictures were held in nearly as high estimation as
those of his instructor. On leaving the school of Terburg, he determined to visit Italy, and
with that intention embarked at Amsterdam for Bourdeaux, where he was induced to
remain some time, by the encouragement he received on his arrival, as a painter of por
traits. His intended journey was perhaps more effectually interrupted by an attach
ment he conceived for the niece of the person at whose house he lodged, who he mar
ried. This union prevented his proceeding to Italy, and he returned to Holland, where
his talents promised him a more certain establishment. The pictures of Netscher usually
represent domestic subjects and conversations, which are treated with a delicacy of pen
cilling and a lustre of colour, that remind us of the exquisite productions of Francis
Mieris and Terburg. His design is more correct than that of the latter painter, and his
compositions are arranged with more taste. His touch is spirited, yet mellow, and,
like his instructor, he particularly excelled in painting white satin, silk, ermine, &c.
which are represented with a fidelity approaching to illusion. He sometimes painted
historical and fabulous subjects, but they are not the most esteemed of his works ; he
was more successful in portraits of a small size, in which he was much employed. He
is said, in the Anecdotes, to have visited England by the invitation of Sir William
Temple, in the reign of Charles II. but did not remain long here. Among other per
sons of distinction, he painted the portrait of Lord Berkeley of Stratton and his lady,
dated 1676. He died at the Hague in 1684.
NETSCHER, Theodore. He was the son and scholar of the preceding artist, born at
Bourdeaux in 1661. At the age of eighteen he visited Paris, under the protection of
Count Davaux, who had been ambassador from France to Holland, by whom he was
recommended, and received great encouragement as a portrait painter, during a resi
dence of twenty years. The love of his country induced him to return to Holland; he
fixed his residence at the Hague, and was employed by the principal personages of the
court. The states of Holland having determined to send to England six thousand
auxiliary troops at the time of the rebellion in 1715, Netscher had interest enough to be
appointed paymaster, and came to this country in that capacity, where he resided six
years, and met with great encouragement as a portrait painter. This circumstance is
related by M. Descamps with an appearance of precision and plausibility that entitle it
to our credit, although it is remarkable, that his being so long in England, and so ex
tensively employed here, should have escaped the notice of the noble author of the
Anecdotes. He is said to have returned to Holland in 1722, where he died in 1732,
aged 71.
NETSCHER, Constantine. This artist was the younger son of Gaspar Netscher, born
at the Hague in 1670. He learned the first principles of art from his father, but when
he had reached the age of fourteen, death deprived him of the advantage of his instruc
tion. It does not appear that he studied under any other master, but contented himself
with consulting the pictures, sketches, and drawings left by his father, and by an assiduous
and constant imitation of them, he became an expert and successful follower of his style.

NEV NEW 127
He was very extensively employed in painting portraits, and was encouraged by tbe
principal personages of his time. Among his other protectors, were the families of
Wassenaer and Duivenvoorden, whose portraits he painted, with those of the Earl and
Countess of Portland. Descamps reports, that the Earl used every persuasion to prevail
on him to visit England, which he declined, on account of the infirm state of his health.
His talents were not confined to portraits, he occasionally painted domestic subjects
and conversations; but in these he was very inferior to Gaspar. He was received into
the society of painters at the Hague in 1699, of which he was afterwards appointed the
director. His best works are his portraits, in which he possessed a talent infinitely cal
culated to secure success to an artist in that branch. To a faithful resemblance, he
united the most flattering and favourable representation of his model, particularly in his
portraits of women, which are gracefully designed and delicately coloured. He died in
1722, aged 52.
NEVE, Francis de. He was born at Antwerp about the year 1627, and for some time
studied the wqrks of Rubens and Vandyck., He afterwards visited Rome, where he
resided some years, and on his return to his native country gave proof of considerable
ability as a painter of history ; but he afterwards distinguished himself more as a painter
of what are called heroic landscapes, with subjects from history or the fable, in which
he exhibits the fertility of his genius, and the refinement of his taste. We have by this
artist several etchings, executed in a slight, but very masterly style. They are embel
lished with figures, correctly drawn and ingeniously grouped.
NEVEU, Matthew. This painter was born at Leyden in 1647, and was first a scholar of
Abraham Toren Vliet, but he had afterwards the advantage of being instructed by
Gerard Douw. He painted domestic subjects and conversations, in the highly finished
style of that painter, which, though inferior to the extraordinary productions of Douw,
are correctly drawn, and well coloured. Houbraken highly commends a picture by
Neveu at Amsterdam, representing the works of Mercy, a composition of a great number
of figures, ingeniously grouped, the heads full of character and expression. His works
are principally confined to Holland, where they are justly esteemed. He died in 1721,
aged 74.
NEURAUTTER, A. A German engraver, who resided at Prague about the year 1715.
He engraved a set of figures, entitled Statua Pontis Pragensis, published in that year.
They are executed with the graver, in a laboured formal style, with more finish than
taste.
NEWTON, Edward. The name of this engraver is affixed to a portrait of William
Tansur, the musician, published with his Melodia Sacra. It is inscribed E. Newton, j.
advivum,f.
NEWTON, James. This English engraver was probably a relation of the preceding
artist. He resided in London about the year 1778. We have, among others, the fol
lowing prints by him:

128 NIC NIC

PORTRAITS.

Sidney Parkinson, Draftsman on board of the Endeavour, Capt. Cook.
William Newton, Clerk of the Works at Greenwich Hospital.
Edward Sargeant, Secretary to the Protestant Association in 1780.
landscapes.
Two Views in Italy ; after Marco Ricci.
A Landscape, with Cattle passing a River ; after Claude.
The Herdsman, a pastoral Landscape ; after Zuearelli.
NICCOLO, del Abati. See Abati.
NICHOLS, Sutton. An indifferent English engraver, who resided in London about the
year 1710. He was chiefly employed by the booksellers, for whom he executed a consi
derable number of plates. His best prints are slight etchings of shells, and other
trifling subjects ; when he made use of the graver, his productions were miserahjy defi
cient both in execution and drawing.
NICOLAI, G. D. C. This artist resided at Vienna about the year 1760. Conjointly with
A. J. Prenner, he executed part of the plates from the pictures in the grand gallery at
Vienna, which were published in four sets in folio.
NICOLE, D. The name of this artist is affixed to a set of views slightly etched, in the
style of a painter. They are marked with a monogram, composed of a W. and an R.
joined thus ~^a72"> wrncn probably are the initials of the designer.
NICOLET, Benedict Alphonsius. A Swiss engraver, born at St. Imer, in the bishopric
of Basle, in 1740. He went to Paris when he was young, where his first performances
were some plates engraved in conjunction with Ldngueil, after the marines of Vernet.
He also engraved several of the plates which embellished the Voyage Pittoresque du
Royaume de Naples, by the Abbe de St. Non. The following are esteemed his best
prints : portraits.
Noel Halle, Painter to the King. 1775 ; after Cochin.
Thomas Le Sueur, Professor of Mathematics at Rome ; after the same.
Francis de Paul Jacquier, Professor of Mathematics ; after the same.
Nicholas de Monthonon ; after the same.
various subjects.
St. Apollonia; after the picture by Guido ; in the Orlean's collection.
Milo Crotoniate ; after Giorgione ; the same.
Susanna and the Elders ; after Deshais.
A View of Naples ; after Vernet.
A Shipwreck ; after tlie same.
A View of the Interior of the Church of St. Januarius at Naples ; after Depres. ¦

NIE NIM 129
NIEULANT, William van. This painter was born at Antwerp in 1584. After being
instructed in the first principles of the art by Roland Savery, he went to Rome, where
he became the scholar of Paul Bril, under whom he studied three years, and for some
time followed the style of that master; but he afterwards adopted one more bold and
expeditious. On his return to Holland he established himself at Amsterdam, where he
was much employed in painting views of the ruins of ancient architecture in the vici
nity of Rome, from the designs he had made during his residence in Italy. His build
ings are drawn with exactness and precision, and his colouring is bold and effective.
William van Nieulant has etched several plates of landscapes and ruins, from his own
designs, and from those of Paul Bril. They are executed in a free spirited style, and
are occasionally assisted with the graver. Among others, we have the following by him :
A Landscape, with ruins, and figures representing the Merciful Samaritan ; P. Bril, inv. G.
Nieulant, fecit.
A Mountainous Landscape, with Tobit and the Angel ; the same.
Two Views of the Sea Coast; the same.
Three Views of Ruins in and near Rome ; Guil. Nieulant.
A large Print, representing three Bridges on the Tyber, and part of the City of Rome; in three
sheets, inscribed, Guilielmus van Nieulant, fecit et excud. Antverpue. 1600.
NIKKELEN, John van. This artist was born at Haerlem in 1649- His father was an
obscure painter of perspective views, and tbe interiors of churches, who instructed him
in the first principles of design. He did not pursue the same branch of art, but applied
himself to landscape painting, in which he acquired considerable reputation. He passed
some time at the court of the Elector Palatine, for whom he painted several pictures,
and was afterwards made painter to the Prince of Cassel. He died in 1716, aged 67.
NILSON, John Elias. A German miniature painter and engraver, born at Augsburg in
1721. He engraved several portraits of eminent persons, which are executed in a stiff
formal style. Among others are the following: PORTRAITS.
Clemens XIII. Pontif. Max. ; Nilson, inv. etfec.
Petrus III. Russorum Imperator.
Catherina Alexiewna, Russorum Imperatrix.
Stanislaus Augustus, Rex Pol.
NIMECIUS, Balthasar Meneius. He was an indifferent engraver on wood, and is said
to have been a native of Saxony. Professor Christ attributes to him a monogram com
posed of a B. an M. and an N., thus J^[. He sometimes used the initials only.
NIMEGUEN, Elias van. He was born at Nimeguen in 1667, and was taught the first
elements of the art by his. elder brother, who was an indifferent painter of flowers and
portraits ; but on the death of his instructor, when he was little more than fourteen
years of age, he resolved to dispense with further assistance, and applied himself to an
assiduous study of nature. By an indefatigable attention to his profession, he became
a tolerably correct designer of the figure, and acquired a competent acquaintance with
perspective and architecture. He also excelled in painting landscapes and flowers.
His principal occupation was ornamenting the ceilings and saloons of the principal
Vol. II. R

130 NIM NOG
mansions in Holland, with emblematical. and historical, subjects,.. embellished with has?
reliefs and other accessories., His talents recommended him to the patronage of tlie
Princess of. Orange, who employed him in sadoming the apartments of her different
palaces, where he was occupied several years. He possessed, a ready invention, and his
continual practice gave him great promptness and facility in his execution -t his colour
ing is clear and agreeable, and his style was, happily adapted to the decorative depart
ment,- to which he devoted himself. He died in 1745, aged 78.
NIMEGUEN,. Tobias van. He was the younger. brother of the foregoing, artist, born at
, Nimeguen about the, j'ear 167Q.< His technical education was similar to that of Elias
van Nimeguen ; and he pursued the same branch of the art, in which he gained consider
able reputation. Tobias was invited to the court of the Elector Palatine, in whose
service he remained till his death.
NINFE, Cesare. Zanetti mentions this Venetian among the imitators of Tintoretto, of
whom he is supposed to have been a disciple. He possessed the readiness of invention,
¦ and. the facility of hand, for which that painter was remarkable, and was an excellent
colourist, though deficient in design.
NINNO, Juan de Guevara. See Guevara.
NIXON. An English engraver, who flourished about the year 1750. His best prints are
small portraits; which he executed in a surprisingly neat style, in which the faces are
entirely finished with dots. Among others we have the following by himr
portraits.
Frederick, Prince of Wales.
William Augustus, Duke of Cumberland ; two plates.
Archbishop Tillotson.
John, Earl of Granville.
NOBLESSE. According to Basan, this artist was a native of France, and resided at Paris
where he died at an advanced age in 1730. He excelled in drawing with a pen and
appears to have formed his taste by studying the works of Callot. He etched a few
small landscapes, which are executed in the neat and spirited style of that master.
NOBLET. This artist is noticed by Mr. Strutt as an indifferent engraver of vignettes
and other book ornaments, to which his labours were confined.
NOBL1N, H. An indifferent engraver of portraits, who flourished about the year 1680.
Among others, we have by him a head of Cardinal Howard.
NOCHER, J. E. A French engraver who resided at Paris about the year 1760. He was
a pupil of Stephen Fessard, and has engraved several book-prnaments, and a few por
traits ; among which is that of J< J. Rousseau.
NOGARI, Paris- He was born at Rome, and flourished during the pontificate of Gre
gory XIII, He imitated the manner of Raffaello da Reggio, and was employed in the

NOL NOL 131
library of the Vatican. He also painted several pictures for the churches, both in oil
and fresco. In the church della Madonna de Monti, in the chapel della Pieta, is a pic
ture by this master representing Our Saviour bearing his Cross; in S. Spirito in Sassia,
the Circumcision; and in the Trinita de Monti, the taking down from the Cross. He
died at Rome at the age of 65-
NOLLET, Dominick. This painter was born at Bruges in 1640, and was a scholar of
Jacob van Oost the elder. He painted history, but was more distinguished as a painter
of landscapes, battles, and sieges. His talents recommended him to the patronage of
Maximilian, Duke of Bavaria, the governor of the Low Countries, who appointed him
his principal painter. He was made a member of the society of painters at Bruges in
1687. His landscapes are painted in a grand style, and his figures and horses are cor
rectly drawn, and touched with freedom and spirit. There is great similarity between
his pictures and those of Vander Meulen, to which they are little inferior. In the church
of the Carmelites at Bruges is an altar-piece representing St. Louis embarking for the
Holy Land. There are several of his battle pieces and landscapes in the collections in
Flanders. He died in 1736, at the advanced age of 96.
NOLLI, Carlo. An Italian engraver, who resided at Naples about the year 1760- He
was employed in the plates engraved by command of the King of the Two Sicilies, of
the Antiquities discovered at -the Herculaneum.
NOLLIKINS, Joseph Francis. This painter was born at Antwerp in 1706. He came to
England when he was young, and was for some time a scholar of Peter Tillemans. He
painted landscapes and domestic subjects, and was much employed in copying the works
of Watteau, and the architectual views of Giovanni Paolo Panriini. ' Lord Cobham em
ployed him in several ornamental works at Stowe ; and he was also patronised by the
Earl of Tilney. He died in London in 1748, aged 42.
NOLLIN, or Nolin, J. B. A French engraver, who flourished about the year 1687. He
studied in Italy, where he executed some plates after An. Caraeci, Nic. Poussin, and
other masters. He engraved several of the prints in a work entitled, Les vues, plans,
coupes, se elevations de Versailles.
NOLPE, Peter. A Dutch painter and engraver, born at the Hague in 1601. Of the
works of this artist as a painter little is known ; but we have several prints by him
which evince the hand of the master. His plates are usually executed with the point,
and finished with the graver, which he handled with considerable ability. It is to be
regretted that he is not more correct in his drawing, and, that his light and shadow is not
conducted with more intelligence. His best produ&Uons , are his landscapes, which are
engraved in a bold, free, and* masterly style. He usually signed bis prints with his
name at length, joining the initials P and N together, thus, f^i • or ffi ., and in a few
instances with the cipher only. The following are esteemed;his best works -. „
The Portrait of John Adler Salvius, Swedish Minister Plenipotentiary.
A set of eight Cavaliers; etched, scarce.
A set of eighteen etchings of Begglars ; in thcstyle of P. -Quast.
St. Peter delivered from Prison; after J.V. Vucht.
R2

132 NON NOR
Judith and Thamar, in a large landscape; from his own design. The same figures were after
wards introduced into another landscape, of a smaller size.
The broken Dyke; from his own design. The fine impressions of this print are very scarce ;
it is one of his most esteemed plates.
Daniel in the Den of Lions ; after Blancert.
The Departure of King William from Holland to England, in 1660.
An Emblematical Print on the Marriage of the Prince of Orange with the Princess Mary of
England.
A set of six Landscapes ; after Adrian van Nieuland; fine.
A set of six Landscapes ; after R. Rogman; fine.
Eight Months of the Year; Peter Nolpe,fec. et exc; fine.
The Prophet Elias speaking to the Widow of Sarepta.
St. Paul, the Hermit, fed by an Eagle in the Desert; after Peter Potter.
The Cavalcade made in 1638 by the citizens of Amsterdam, on the entry of Mary of Medicis
into that city ; after C. Molyn; a large print, in six sheets.
NON, Richard, Abbe de St. This distinguished author and amateur engraver was born
at Paris in 1730. He has etched a variety of subjects, from his own designs and after
other masters, and has engraved several plates in a style resembling washed drawings.
He was the author of a considerable work published at Paris, in five volumes, folio,
entitled, Voyage pittoresque des Royaumes de Naples et de Sidle, embellished with plates
engraved by several of the most eminent French artists of the time, under his superin-
tendance. Of his own engravings, the following are the most worthy of notice:
etchings from his own designs.
A set of six Landscapes, with rural occupations and amusements ; oval.
A set of seven Landscapes and Cottages.
Six Views in Italy, with figures; in the style of Sal. Rosa.
etchings after various masters.
Six Views in and near Rome ; after Robert.
Six Views near Rome and Tivoli ; after Fragonard.
Two Landscapes, with figures ; after Boucher.
Two, a Village Festival, and a Cattle Market ; after Bernard.
A Landscape, with a figure drawing ; after Berghem.
A variety of Views and other subjects, in aquatinta ; after Boucher, Le Prince, Robert, Fra
gonard, and other artists.
NOOMS, Renier. See Zeeman.
NOORDT, J. V. This engraver is mentioned by Mr. Strutt as an artist of great merit.
He notices a spirited etching by him of a landscape, with ruins, executed in a broad
masterly manner, with the figures designed in a superior style.
NOORDT, Cornelius. By this artist, who was probably a relation of the preceding
engraver, we have his own portrait, executed by himself.
NOR DEN, John. This English artist was an eminent engraver of topographical sub
jects. Anthony Wood conjectures, with great probability, that he was the author of

NOR NUT 133
several tracts, which he enumerates, and thinks he was born in Wiltshire, about the
year 1546. He was a commoner of Hart-hall, Oxford, in 1564, and tooK the degree of
master of arts in 1573. He resided at Hendon, in Middlesex, was patronized by Lord
Burleigh, and his son, Robert Earl of Salisbury, and was surveyor of the King's lands in
1614. His principal work, as an engraver, was his Speculum Britannia, or an Historical
and Chorographical Description of Middlesex and Hertfordshire, with a frontispiece
and maps. He also engraved a View of London, in 1603, with a representation of the
Lord Mayor's Show, with a variety of habits.
NORISINI. See Parasole.
NOTHNAGEL, John Andrew. A German painter and engraver, born at Buch, in the
principality of Saxe Cobourg, in 1729. He resided at Frankfort, where he acquired
considerable reputation as a painter of landscapes, with merry-makings, in the style of
Teniers ; but he is more known as an engraver. His best productions are several heads
and busts, in which he has imitated the style of Rembrandt with great success. The
number of his plates amounts to about sixty, of which a descriptive catalogue was pub
lished at Frankfort in 1790, by H. S. Husgen.
NOTTI, Gherardo Dalle. See Honthorst.
NOUAL. The name of an engraver affixed to the portrait of Thomas Wilson, Bishop of
Sodor and Man.
NOVELLANI, Simone. In conjunction with Francis Hogenbergh, this artist etched, in
a coarse style, twenty-one plates, of The pompous Funeral of Frederick II. King of Den
mark, published in 1592. He also etched several of the plates for Braun's Civitates
Orbis Terrarum, published at Cologne in 1572.
NUNNEZ, Pedro. A Spanish painter, born at Seville in 1614. He visited Rome, and is
said to have been a scholar of Guercino. He was a reputable painter of history and
portraits, and, according to Palomino, was one of the artists employed to paint the por
traits of the kings of Spain, in the saloon of the theatre at Madrid ; and painted some
pictures for the church of the convent of La Merced. He was a correct designer, and a
tolerable colourist, with a firm and vigorous execution. He died at Madrid in 1654,
aged 40.
NUTTING, Joseph. An English engraver, who resided in London about the year 1700.
He was principally employed by the booksellers. His best prints are his portraits, and
they are7 more esteemed on account of their scarcity than for any merit they possess, in
point of execution. Among others are the following:
portraits.
Charles I. with the persons who suffered in his cause.
Mary Capel, Duchess of Beaufort; after Walker.
Matthew Mead, father of Dr. Mead.
Sir John Cheke.

134 'NU;V NUZ
Lucius Cary, Viscount Falkland.
Robert Pierpont, Earl of Kingston.
George St. Loo, Commissioner for the Navy; scarce.
Henry Sachcverel, D. D.
John Locke.
Aaron Hill.
G. Parker, the Almanack maker.
Johannes Jacobus Scheuchzerus ; after Melchior Fusslinus.
William Elder, Engraver; after Faithorne.
NUVOLONE, Panfilo. This painter was a native of Cremona, and flourished about the
year 1608. He was one of the ablest disciples of Gio. Batista Trotti, called II Malosso,
and painted history in the style of that master. In the church of the monastry of S. S.
Dominico and Lazzaro, at Milan, is one of his principal works, representing the Rich
Man and Lazarus : and in the cupola of the church of La Passione, the Assumption of
the Virgin.
NUVOLONE, Carlo Francesco. He was the eldest son of Panfilo Nuvolone, born at
Milan in 1608, and received his first instruction from his father, but was afterwards a
scholar of Giulio Cesare Procaccini. He abandoned the principles of that master to
imitate the works of Guido Rheni, and some of his pictures, particularly those of the
Virgin, approach so near to the elegant and graceful style of that master, that he acquired
the appellation of the Guido of Lombardy. In the church of S. Vittore, at Milan, is a
fine picture by him of St. Peter's Miracle at the Gate of the Temple. There are many
of his pictures in the public edifices at Parma, Cremona, and Piacenza. He also painted
portraits with great success. In the year 1649, when the Queen of Spain visited Milan,
he was selected to paint the portrait of her Majesty. He died in 1661, aged 53.
NUVOLONE, Guiseppe, called II Panfilo. He was the younger brother of the pre
ceding artist, born at Milan in 1619- With the possession of a fervid imagination, and
great facility of hand, his works form a striking contrast with those of his brother.
His compositions are copious, and the opposition of his light and shadow is conducted
with intelligence and vigour. The -pictures of Guiseppe Nuvolone are not confined to
Lombardy. During a long life, he painted many altar-pieces for the churches at Brescia,
and other cities, in the states of Venice. Lanzi mentions, as one of his best performances,
his picture of St. Dominick resuscitating a dead Man, in the church dedicated to that
Saint, at Cremona. The composition is grand, and the figure of the Saint dignified and
expressive. -Towards the latter, part of, his life his powers became languid and feeble,
which is not extraordinary, as he continued to paint till his eighty-fourth year. He
died in 1703,
NUVOLSTELLA, John George. A German engraver on wood, born at Mentz in 1594.
He executed a set of cuts for Virgil's iEneid, and other poetical subjects; and also en
graved some prints of the Holy Fathers, from the designs of Tempesta.
NUZZI, Mario, called Mario di Fiori. This painter was born at Penna, in the diocese
of Fermo, in 1603, and was a scholar of Tommaso Salini, a flower painter of some

O ODD 135
celebrity. He chiefly resided at Rome, where hia pictures of fruit and flowers were
held in the highest estimation, and were purchased at considerable prices. But from
using something of a noxious quality in the preparation of his colours, his works soon
lost their original freshness, and many of them have almost entirely perished. . He died
at Rome in 1673, aged 70.

o
O, Leon Henry Vander. A German engraver, who flourished about the year 1660.
He executed a part of the portraits for Priorata's History of the Emperor Leopold,
- among which are the following :
James, Duke of York.
J. C. de Konigsmarch.
Gualter Leslie, Eq. Aur.
Pietro Strozzi.
OBREGON, Pedro de. A Spanish painter, born at Madrid about the year 1598. He
was a disciple of Vincenzio Carducci, and proved a reputable painter of history, parti
cularly in pictures of an easel size, of which there are several in the private collections
at Madrid. Of his larger works, Palomino particularly notices his picture of the Tri
nity, in the refectory of the convent de la Merced, and the Immaculate Conception, in
the church of Santa Cruz. He died in 1658, aged 60.
OCCHIALI, Gabriello. See Ferrantini.
OCHOA, Francisco. This Spanish painter was born at Seville in 1644, and was brought
up in the school of Murillo, whose style he followed with so much success, that his worjcs
have been mistaken for those of his master, by the most intelligent judges.
ODAZZI, Giovanni. He was bora at Rome in 1663, and studied for some time under
Ciro Ferri, but afterwards was a scholar of Giovanni Batista Gaulli, called Baciccio.
By aiming at the dispatch and celerity of his last instructor, without the possession of
his powers, he proved but a feeble imitator of his style. Of his works at Rome, the
most creditable are his picture of the Prophet Hosea, in St. John of Lateran; St. Bruno,
in S. Maria dell Angeli ; and an altar-piece, representing the Fall of Lucifer, in the church
of the S. Apostoli. He possessed a prompt and commanding facility; buthis design is
occasionally negligent and incorrect. He died in 1731, aged 68.
ODDI, Mauro. This artist was born at Parma in 1639, where he was instructed in the
first principles of the art. He went afterwards to Rome, where he studied six years,

136 ODE O E S
under Pietro da Cortona. On his return to his native city his talents recommended him
to the patronage of the Duchess of Parma, who employed him in ornamenting the
ducal palace, and the villa di Colorno. He also painted some altar-pieces for the
churches at Parma, Piacenza, and Modena. Mr. Strutt attributes to this artist the
etchings marked with the cipher M*o.
ODERICO, Giovanni Paolo. This painter was of a noble family of Genoa, born in
1613. According to Soprani he was a scholar of Domenico Fiasella, and painted history
with some reputation, but was more distinguished for his portraits, in which he particu
larly excelled. He was a correct and tasteful designer, and his colouring possessed
both vigour and harmony. Of his historical works, the most esteemed is his picture of
the Guardian Angel, in the church of the Padri Scolopi at Genoa. He died in 1657,
aged 44.
ODIEUVRE, Michael. A French engraver and printseller, who resided at Paris about
the year 1735. He etched and published in 1738 a set of portraits of illustrious person
ages, entitled, Portraits des Personages illustres de I'un et de V autre Sexe, recueillis et graves
par les soins de Michel Odieuvre, marchand d'estampes a Paris.
OERI, Peter. A Swiss artist, born at Zuric in 1637. He is said by the biographer of
the painters of that country, to have been a correct and tasteful designer, possessing a
ready .invention, and a spirited and graceful execution. After studying six years in
Italy, he returned to Switzerland, where, probably for want of employment, he aban
doned painting, to follow the occupation of a chaser and working goldsmith.
OESER, Frederick. A German painter and engraver, born at Presburg in 1717. He
was sent when young to Vienna, where he frequented the Academy, and at the age of
eighteen gained the principal prize. His talent was noticed and encouraged by an
eminent sculptor, named Raphael Donner, who taught him to model, and acquainted
him with the costume of the ancients. Dresden was at that time the residence of several
artists of eminence, and in 1739 he visited that city, where his abilities procured him
the esteem and friendship of the most distinguished artists and literati. He formed an
intimate acquaintance with the celebrated Winkelman, who makes honourable mention
of him in his first literary work, on the imitation of the works of the Grecian painters
and sculptors. " These reflections," says that writer, " are the result of my conver
sations with my friend Oeser, the successor of the Theban Aristides, who sketches
the soul, and paints to the mind." In 1764, he was appointed director of the Academy
of painting, sculpture, and architecture at Leipsic. He settled in that city, and during a
residence of many years, he painted many considerable works for the public edifices and
the private collections, both in oil and in fresco. Some of his most considerable produc
tions are in the church of St. Nicholas, at Leipsic. F. Oeser has etched a variety of
plates from his own compositions and after other masters, which are executed in a free
spirited style. Among many others are the following :
A variety of vignettes and frontispieces for books, ingeniously composed, designed, and etched
by F. Oeser.
The Circumcision; after G. Vanden Eeckhout.

OES OLI 137
Saul and the Witch of Endor ; after Rembrandt.
The Presentation in the Temple ; after the same.
Cupid and Psyche ; after Guercino.
He died at Leipsic in 1795, aged 78.
OESTEREICH, Matthew. A German designer and engraver, who resided at Dresden
about the year 1750. We have several plates by this artist, etched in a bold, spirited
style. His principal productions are a set of twenty-four caricatures, from the designs
of P. L. Ghezzi, published at Dresden in 1750, entitled, Raccolta de XXIV. Caricature,
disegnate collapenna dal celebre Cavaliere Ghezzi, conservate nel Cabinetto di sua Maesta il Re
di Polonia, Matt. Oestereich. These plates were republished at Potsdam in 1766, with the
addition of eighteen others, from the designs of Giovanni Batista Internari, and others.
He also engraved a set of forty plates from the drawings in the collection of Count de
Bruhl, published at Dresden in 1752. Part of the plates from the pictures in the Dresden
Gallery were engraved by Oestereich. He usually marked his plates with the mono
gram])^.
OGGIONE, Marco da. See Uggione.
OLEN, Van. See Alen.
OLGIATI, Girolamo. An Italian engraver, who flourished about the year 1572. He
formed his style of engraving by studying the works of Cornelius Cort, but his drawing
is incorrect, and his heads want expression. Among other plates by him, is an arched
print representing the Trinity, with a number of saints and angels, after Federigo
Zuccaro, inscribed Hieronymus Olgiatus,f. 1572.
OLIVER, Isaac This eminent miniature painter was a native of England, born in 1556.
He is stated in the Anecdotes to have studied some time under Nicholas Hilliard, and to
have afterwards received some instruction from Federigo Zuccaro. Vertue conjectured,
from the variety of his drawings after the great masters, particularly from Parmigiano,
that he visited Italy. In the particular branch of the art which he adopted, he has
perhaps never been surpassed by any artist of any country, if we except a few of the
smaller works of Holbein. The extraordinary productions of Giulio Clovio in mini
ature, however admirable, will not dispute his claim to that distinction, as he never
painted portraits, and Oliver did little else. In our own country no artist can be said
to compete with him, except Samuel Cooper, who lived in an age of greater facility, and
had the advantage of studying and copying the works of Vandyck ; and yet the bold
ness and freedom of his style scarcely compensates for the delicate fidelity and truth of
nature which distinguish the best pictures of Oliver. His son Peter approached nearer
than any other artist to the beautiful finishing of his father. The miniatures of Isaac
Oliver are preserved with care in the cabinets of the curious. In the collection of Dr.
Meade were some of his finest works, among which were a small portrait of himself; an
admirable head, said to be of Mary Queen of Scots, which Zinck copied in enamel, and
it is engraved in Jebb's collection; Queen Elizabeth; Henry, Prince of Wales; a full-
length of Sir Philip Sydney; Ben Jouson, and others. His portrait of James I. served
Rubens and Vandyck, when they had occasion to paint that monarch after his death.
Vol. II. S

138 OLI OLI
Although he rarely designed historical subjects, a few of his drawings and miniatures of
that description are noticed by Lord Orford, among which is a fine Magdalen, in the
collection of Colonel Sothby; ahead of Christ, formerly in the collection of Dr. Meade ;
and in Queen Caroline's closet at Kensington, are two capital drawings, one of the
Murder of the Innocents, after Raffaelle, and the other the entombing of Christ, a com
position of twenty-six figures. He died at his house in Blackfriars in 1617, aged 61.
OLIVER, Peter. He was the eldest son of the preceding artist, born in London in
1601, and was instructed in miniature painting by his father. He did not confine his
talents to portraits, but was employed in copying in water colours several of the finest
pictures in the collection of Charles I., and it appears by the catalogues of that mo
narch, and of James II. that there were thirteen historical miniatures in the royal collec
tion, several of which are preserved in the palace at Kensington. At Burleigh is a pic
ture by Peter Oliver, of Venus and Adonis, dated in 1631. One of his finest portraits is
a picture of his wife, which was in the collection of the Duchess of Portland ; it is
doubted whether his father ever surpassed this excellent miniature. He died in 1660,
aged 59- Vertue informs us that he etched some small historical subjects, but without
specifying any of them.
OLIVER, John. This artist is said to have been the nephew of Peter Oliver. He was
born in 1616, and was an eminent painter on glass, and practised that art until he was
far advanced in years, as appears from the inscription on a painted window, executed by
him, in Christ Church, Oxford, J. Oliver atat. sua 84, anno 1700, j?*»otY deditque. The sub
ject is the angel delivering St. Peter from prison ; the drawing and execution are good,
hut the colouring in some parts is feeble. He is said to have engraved some plates of
portraits and other subjects, some of which are etched, and others executed in mezzo-
tin to ; among which are the following :

portraits.

King James II. in mezzotinto.
Judge Jefferies, styled Earl of Flint.
Thomas White, Bishop of Peterborough.
John Woremberg, the Dutch Dwarf. subjects.
A Boy sleeping, with a Skull by him; after Art. GentUesehi.
A View of Tangiers ; J. Oliver, fee. 1676.
A View of the Hot Wells at Bath ; J. Oliver, fee. aquaforti. 1676.
OLIVIERI, Domenico. This painter was born at Turin in 1679- According to Delia
Valle, he particularly excelled in painting drolls, fairs, and merry-makings, in imitation
of the style of Peter van Laer, in which he displayed infinite humour and a talent
for caricature, which has seldom been surpassed. In the gallery of the court of Turin
were two of his most capital pictures, in one of which he has represented a fair, with an
immense assemblage of figures, of quack-doctors, and groups of peasants, sporting or
quarrelling, ingeniously composed, with an admirable variety of expression in the heads.
Though chiefly employed in painting what are called Bamiocciate, he was not incapable

ONO OOS 139
of treading in the higher walk of historic painting, as appears in his picture of the
Miracle of the Sacrament, in the sacristy of Corpus Domini, at Turin.
ONOFRIO, Crescenzio di. This artist was born at Rome about the year 1650. He was
a scholar of Gaspar Poussin, and painted landscapes in the charming style of that
master. He chiefly resided at Florence, where he was much employed by the court,
and for private collections. We have several etchings by this painter of heroic land
scapes, with figures, which are executed in a spirited and masterly style.
OORT, Lambrecht van. According to Descamps, this artist was born at Amersfort
about the year 1520. He was a reputable painter of history, but was more celebrated as
an architect. His principal residence was at Antwerp, ivhere he was received into the
Academy in 1547.
OORT, Adam van. This painter was the son of the preceding artist, born at Antwerp in
1557, and was instructed in design by his father. Born with a decided genius for the
art, he would probably have reached an elevated rank among the greatest painters of
his country, had he not become a slave to the most intemperate propensities, by which
he degraded his talents and brutalized his disposition. His academy for some time was
the most frequented at Antwerp, and be counted among his disciples several of the most
eminent artists of the Flemish school ; Rubens, Jardaens, Franck, and Van Balen, were
of the number. His outrageous conduct disgusted, and drove from his seminary all his
pupils, except Jordaens, who was induced to remain with him, notwithstanding the
violence of his temper, and the depravity of his habits, by his attachment to his
daughter, who he married. Van Oort was employed for several of the churches and
public edifices in Flanders and Brabant, and in the early part of his life his compositions
were studied, and his drawing tolerably correct; but his love of the art diminished as
his excesses increased ; and his latter pictures were the production of negligence and
manner. It has been observed by Rubens, that Van Oort would have surpassed all the
artists of his country, at the period at which he lived, if he had visited Rome, and if his
talents had been exercised under more regular habits. He died at Aft'twerp in 1641
aged 84.
OOST, Jacob van, the elder. This eminent artist was of an ancient and opulent family
of Bruges, born about the year 1600. It is not known under whom he studied, but in
1621 he painted an altar-piece for one of the churches in his native city, which excited
the admiration and surprize of the contemporary artists. This flattering success, instead
of inspiring him with ideas of consequence and self-sufficiency, only served to convince
him of the necessity of an arduous prosecution of his studies, and he determined to
visit Italy in search of improvement. On his arrival at Rome he contemplated the
works of the great masters with the most attentive admiration, but those of Annibale
Caraeci were particularly the objects of his imitation ; and during his residence in that
capital he painted some pictures of his own composition, so entirely in the style of that
distinguished artist, that they astonished the most intelligent judges. The love of his
county induced him, though with regret, to leave Rome, after a sojourn of five years ;
and as his talents had given rise to the most sanguine expectation before his departure
for Italy, his fellow citizens were impatient to witness how far they had been cultivated
S2

140 0 0 8 0 0 S
by the advantages of travel-and study. He /was immediately loaded with commissions,
and he was equally successful in altar-pieces, portraits,1 and pictures for private collec
tions. During a long life he continued to be one of the most employed and most popular
painters of his country. The number of altar-pieces he painted for the churches in
Flanders, particularly at Bruges, is almost incredible, and proves the readiness of his in
vention, and the extraordinary facility of his hand. Van Oost is justly ranked among
the ablest artists of the Flemish school. His first studies were the works of Rubens and
Vandyck, and from their principles he acquired a freshness and purity of colouring, by
which his works, both historical and portraits, are particularly distinguished. His com
positions are studied and simple; following the example of the greatest masters, he
avoided crowding them with figures unessential to his subject. In his design, and in the
expression of his heads, he appeared to have always had in view the great style of Anni
bale Caraeci. The back-grounds of his pictures are generally embellished with archi
tecture, which he perfectly understood. Of his numerous works, the following are the
most deserving of notice. In the church of St. Saviour, at Bruges, is a fine picture of
the Nativity; and in the cathedral, one of his best productions, representing the Resur
rection. But his most esteemed work is a taking down from the Cross, in the church
formerly belonging to the Jesuits. He died in 1671, aged 71-
OOST, Jacob van, the younger. He was the son and scholar of the preceding artist,
bora at Bruges in 1637. After studying under his father, until he was twenty, he was
sent to Rome for improvement, where he passed several years, and returned to Flanders
an able and accomplished designer. After painting some pictures for the churches at
Bruges, he established himself at Lisle, where are the greater part of his works. He
painted history and portraits with great reputation, and was so eminent in the latter,
that his partizans ventured to compare his pictures with those of Vandyck. His histo
rical pictures, like those of his father, are admirably composed, and his design partakes
* more of the Roman than the Flemish school. In the church of St. Stephen, at Lisle,
is a fine picture by him of the Martyrdom of St. Barbara ; and in St. Saviour, the prin
cipal altar-piece, representing the Transfiguration, is considered one of his best perform
ances. He died in 1713, aged 76.
OOSTERWYCK, Maria van. A celebrated paintress of flowers and fruit, born at
Nootdorp, a small town near Delft, in 1630. She was the daughter of a clergyman,
who encouraged the disposition she discovered for the art, by placing her under the
tuition of John David de Heem, the most celebrated flower painter of his time. By the
lessons of so able an instructor, and her attentive study of nature, in a few years she
produced some pictures which approached to the beauty and delicacy of the works of
de Heem. Her pictures of fruit, flowers, and still-life, found their way into the choicest
collections; and she received commissions from many of the princes and sovereigns of
Europe. The emperor Leopold engaged her to paint a picture for his collection, which
was so much to his satisfaction, that he sent her the portrait of the Empress and his
own, set with dimonds, as a mark of his approbation. William III. and Louis XIV.
were among the most munificent patrons of this celebrated lady.
Maria van Oosterwyck may be deservedly ranked among the most successful imitators
of nature in the particular branch of art to which she devoted herself. She grouped the
flowers and fruit in her pictures with taste, and finished them with extraordinary neat-

OPIE. 141
ness and delicacy. Her colouring is fresh, clear, and transparent, and though every part
is exquisitely finished, her touch is admirably adapted to the various objects she had to
represent. Although she was indefatigable in the pursuit of her profession, from the
uncommon care and attention with which she finished her works, her pictures are ex
tremely scarce, and are held in high estimation. She died in 1693, aged 63.
OPIE, John. This eminent English painter was born in the village of St. Agnes, about
seven miles from the town of Truro, in Cornwall, in 1761. He was the son of a master
carpenter, who was very desirous of bringing him up to his own business, but the love of
drawing appears to have given an early bent to his inclinations, and as his propensity
was supported by his uncle, who had instructed him in arithmetic, and the elements of
the mathematics, his desire of becoming a painter gained an entire dominion over his
mind, and nothing could divert him from adopting it as a profession. He now pursued
his untutored studies with assiduity, and had already acquired some practice in portrait
painting, when his self-taught talent was accidentally discovered by Doctor Wolcott,
distinguished by the appellation of Peter Pindar, who at that time resided at Truro,
and being himself a lover of the art, possessing a competent judgment, and some re
spectable paintiugs, interested himself in his advancement, encouraged him to pro
ceed, and lent him some of his pictures to study and copy. By his assistance and recom
mendation, the talents of young Opie soon became celebrated through the county, and
he met with considerable employment as a portrait painter. His earliest efforts, though
not distinguished by taste or a graceful disposition of the figure, were extraordinary
productions for an artist, reared in a situation remote and secluded from the advantages
of academic study, or the animating collision produced by the collected emulation of
contending fellow students. About the year 1777 he was introduced to Lord Bateman,
who employed him in painting old men, beggars-, &c. which he designed with uncommon
vigour and great truth of expression. In 1780 he visited London, under the auspices of
Dr. Wolcott, where his merit, and the extraordinary circumstances of his early technical
life, became the objects of universal admiration. Commissions crowded upon him, his
partizans were zealous in. his praise, and for some time he was flattered with the most
encouraging success.
The powers of Opie were not calculated to flatter the frivolity of fashion ; he was not
very attentive to the elegance or the graces of. female attraction ; and his portraits of
men were rather distinguished by identity and truth, than by dignity of character. It
was not long before the curiosity excited on his arrival in the metropolis in a great
degree subsided, but as his talents were not confined to portraiture, he continued to meet
with employment in painting domestic or rustic subjects, in which he was very success
ful. The great undertakings which took place at this time of the Shakspeare, by
Messrs. Boydell ; the illustration of English history, by Mr. Bowyer ; Macklin's Poets
and Biblical Gallerys; and the other enterprizes of the day, gave a new scope to the
abilities of Mr. Opie in the higher department of historical painting. In all these he
was much employed; and the pictures he painted on these occasions were amongst the
most admired productions of the British school. It will not be judged necessary to
particularize all those which were deserving of admiration ; but perhaps his most po
pular performances were his pictures of the Murder of James I. of Scotland, the Death
of Rizzio, Jeptha's Vow, the Presentation in the Temple, and Arthur supplicating
Hubert.

142 OPSTAL.
The works of Mr. Opie are distinguished by a simplicity in the composition, masterly
boldness of effect, uncommon strength though not dignity of character, and a faithful
expression of individual nature. His best pictures possess, in an eminent degree, what
is termed by artists breadth; and though they will be found deficient in elevation of
character and grace of attitude, they invariably exhibit an appearance of truth and
reality, which almost compensate for the absence of the more refined characteristics of
elegance and taste. Few painters have shown so perfect an eye to the purity of colour;
and in some of his works he appears to have emulated the harmonious toning of Rem
brandt and Titian. His conduct of the chiar-oscuro is masterly and intelligent. Nar
rowed in his acquaintance with design, by the want of academic tuition, he was confined
to copy with precision the model before him. He transmitted what he saw with fidelity
to the canvas, and he seldom varied from it. There is little of the ideal to be found in
his works ; and it has been justly observed of him, that he rather bent his subject to the
figure, than the figure to the subject. On Mr. Fuseli's appointment to the office of
keeper to the Royal Academy, in 1806, he became a candidate for the vacant professor
ship of painting, and was elected. In that capacity he read four lectures at Somerset
House, which, though immediately following the learned and luminous effusions of
genius and erudition which had preceded him, bear very reputable testimony of the
extent of his powers, and of his acquaintance with the theory of the art.
The estimable character of Mr. Opie, as an artist and as a man, has been so ably and
so justly drawn by one of his co-academicians, that it is hoped the insertion of it will
not be unacceptable. " Born in a rank of life in which the road to eminence is rendered
infinitely difficult, unassisted by partial patronage, scorning with virtuous pride all
slavery and dependence, he trusted alone for his reward to the force of his natural
powers, and to well directed and unremitting study ; and he demonstrated by his works
how highly he was endowed by nature with a strength of judgment and originality of
conception. H'is thoughts were always new and striking, as they were the genuine off.
spring of his own mind; and it is difficult to say if his conversation gave more amuse
ment or instruction. The toils and difficulties of his profession were by him considered
as matter of honourahle and delightful contest; and it might be said of him, that he
did not so much paint to live as live to paint. He was studious, yet not severe ; he was
eminent, yet not vain ; his disposition so tranquil add forgiving, that it was the reverse
of every tincture of sour or vindictive, and what to some might have the appearance
of roughness of manner, was only the effect of an honest indignation towards that
which he conceived to be error. How greatly have we cause to lament that so much
talent, united to so much industry, perseverance, and knowledge, should have been pre
maturely snatched from the world, which it would have delighted with its powers, and
benefited by its example." He died April 9, 1807, aged 46, and his remains were interred
in St. Paul's cathedral, near those of Sir Joshua Reynolds.
OPSTAL, Gaspar James van. This painter was born at Antwerp in 1660. He painted
history and portraits with considerable reputation, and there are several of his works in
the churches in Flanders and Brabant. In 1704 he was employed by Marshal Villeroy
to copy the celebrated altar-piece by Rubens, formerly in the cathedral at Antwerp,
representing the Descent from the Cross, with the shutters, which he is said to have
executed in a manner very reputable to his talents. He had perfectly imitated the free
dom of touch, and the admirable colouring of the original. In the cathedral church at

ORA ORL 143
St. Omer's is a picture by Van Opstal, representing the fathers of the church. His
portraits are to be found in many of the private collections at Antwerp, and are highly
esteemed.
ORAM, William. He was bred an architect, but taking to landscape painting, arrived
at great merit in that branch, and was made superintendant of the Board of Works, by
the interest of Sir Edward Walpole, who had several of his pictures and drawings.
ORAZZI, Niccolo. An Italian engraver, who flourished about the year I76O. He was
employed to execute part of the plates for the Antiquities of Herculaneum, published by
(he authority of the King of the Two Sicilies.
ORBETTO, L\ See Turchi.
ORCAGNA, Andrea, called di Cione. According to Baldinucci, this old painter was
born at Florence in 1329, and distinguished himself as a painter, a sculptor, and an
architect. He was instructed in painting by his elder brother, Bernardo Oreagna. They
painted in conjunction the frescoes in the Capella Strozzi, in S. Maria Novella, at
Florence, representing Paradise and the infernal Regions. In the Cainpo Santo at Pisa
there is a painting by Andrea Oreagna, representing the Last Judgment, in which, as
was usual at that time, the figures were portraits; and Vasari reports that he placed
his friends among the blessed, and his enemies among the reprobate. He painted in the
dry hard style of the early period at which he lived, and was inferior to Giotto, both ia
his design and colouring. He died in 1389, aged 60.
ORIZONTE. See Bloemen.
ORLEY, Bernard van, or Bernard of Brussels. This painter was born at Brussels
about the year 1490. He was sent to Rome when he was very young, where he entered
the school of Raffaelle, and studied some time under that distinguished master. He was
principally employed, after his return to Brussels, in painting cartoons for tapestry for
the court. In these, Van Orley represented hunting parties of Charles V. and his
nobles, in the forest of Soignes, which were composed and designed in a grand style.
He also painted several altar-pieces for the churches, of which the most deserving of no
tice are a picture of the Nativity, in the church of St. Gery, at Brussels ; and the Last
Judgment, and the Seven Acts of Mercy, in the cathedral at Antwerp. His design, and
the airs of his heads, bear a resemblance to the early works of Raffaelle, and his pictures
are very highly finished. To give brilliancy and transparency to his shadows, he fre-'
quently painted on a gilt ground. He was commissioned by the Prince of Orange to
paint a series of sixteen cartoons, for a suite of tapestry, for the palace at Breda, which
were designed with a greatness of style worthy of the school in which he was educated.
He died in 1560, aged 70.
ORLEY, Richard van. This artist was apparently of the family of Bernard van Orley.
He was born at Brussels in 1652, and was instructed in the first principles of design by
his father, Peter van Orley, an obscure landscape painter. He first applied himself to
painting portraits in miniature; but being ambitious to distinguish himself in a higher

144 ORL ORS
department of the art, he studied the design of the figure with great assiduity, and in a
few years he became celebrated as a painter of historical subjects of a small size, com
posed and designed in a style that partook more of the Italian than the Flemish school.
Richard van Orley also distinguished himself as an engraver, and has etched a variety of
plates, many of which are from his own designs. The following are his principal prints :
The Fall of the Rebel Angels ; after Rubens.
Bacchus inebriated, supported by Satyrs; after the same.
The Marriage of the Virgin and St. Joseph ; after L. Giordano.
Vertumnus and Pomona; from his own design.
Twelve Pastoral subjects from Guarini's Pastor Fido; ihe same.
Part of a set of twenty-eight plates of subjects from the New Testament ; after the designs of
John van Orley, who etched the remainder himself.
ORLEY, John van. He was the younger brother of the preceding artist, born at Brus
sels about the year 1656. He painted history with some success, and was employed for
some of the churches in the Netherlands. In the church of St. Nicholas, at Brussels,
is a picture by him of St. Peter delivered from prison ; and in the parochial church of
Asch, between Brussels and Alost, is an esteemed picture of the Resurrection. In the
Refectory of the Abbey of Diilighem is a large picture of the Adoration of the Magi,
which is considered his best performance. He etched part of the plates of subjects
from the New Testament, designed by himself, as mentioned above.
ORRENTE, Pedro. A Spanish painter, born at Montealegre, in Murcia, about the year
1560. He visited Italy, and was a scholar of Giacomo Bassano. He imitated the ex
cellent colouring of his master, but his style of composing and designing bears no re
semblance to that of Bassano. He was favoured with the protection of the Duke of
Olivarez, who employed him in painting several pictures for the palace of the Bueno
Retire Many of his works are in the churches and convents at Valentia and Cordova.
In the cathedral at Toledo, over the door of the sacristy, is a fine picture by this master,
representing Santa Leocadia coming out of the sepulchre ; and in the chapel of Los
Reyes Nuevos, in the same church, was a Nativity painted by him. The latter has
been since removed into the royal collection : it is a grand composition, and is admi
rably painted. Another picture by this master holds a distinguished place in the King
of Spain's collection, representing Orpheus playing to the brute creation. There are
also in his majesty's possession four landscapes, which are much admired. He died at
Toledo in 1642, aged about 82.
ORSI, Lelio, called Lelio da Novellara. This painter was born at Reggio in 1511.
Having been banished from his native city, for some unknown reason, he established
himself at Novellara, whence he acquired the appellation of Lelio da Novellara. From
the similarity of his style to that of Coreggio, and the graceful airs of his heads, he
has been supposed to have been a disciple of that distinguished artist, with whom he
was a contemporary. That he studied attentively the works of the chief of the Lom
bard school, is evident from his having occasionally copied his pictures, of which one of
the most remarkable is a fine copy of the famous Notte, by Coreggio, in the Casa Gazzola,
at Verona. Others have stated him to have been a scholar of M. A. Buonaroti; but
this tradition is suspected, although Tiraboschi asserts that he resided at Rome in the

O R S OSS 145
time of Michael Angelo, where he painted some pictures for the churches. There were
many of his fresco works in the churches at Reggio, and Novellara, which are now nearly
all perished. He died in 1587, aged 76.
ORSI, Prospero. According to Baglioni, this artist was a native of Rome, and lived
during the pontificate of Sixtus V. who employed him in the palace of St. John of
Lateran, where he painted two of the ceilings, one representing Moses with the Children
of Israel passing the Red Sea, a very considerable composition of many figures ; the
other, Jacob receiving the Blessing from Isaac. He was the particular friend of the
Cavaliere Guiseppe Cesare d'Arpino, whose manner of painting he imitated. He died
at Rome in the time of Urban VIII. aged 75.
ORSOLINI, Carlo. An Italian engraver, born at Venice about the year 1724. He
carried on a considerable commerce in prints, and was employed in engraving some of
the plates for the Museo Fiorentino. Among others, we have the following by him :
St. Jerome in Meditation; after Ant. Balestra.
St. Francis de Sales ; after the same.
The Virgin, with several Saints; after Pietro Riechi.
ORTOLANO. See Benvenuti.
OSORIO, Francisco Menases. This Spanish painter was a native of Seville, and was
brought up in the school of Murillo, of whose style he was one of the most successful
imitators. He flourished about the year 1725, and in, conjunction with Juan Garzan,
who was also a scholar of Murillo, he painted several pictures for the churches and con
vents at Seville.
OSSENBECK, John van. He was a native of Rotterdam, born about the year 1627, and
after having received some instruction in his native city he went to Italy, and distin
guished himself at Rome as a painter of landscapes, with animals, fairs, and huntings,
in the style of Peter van Laer, called Bamboccio, whose works were then greatly ad
mired. Though inferior to those of Van Laer, the pictures by Ossenbeck have the merit
of being ingeniously composed, the figures and animals are correctly designed, and
touched with spirit. He usually embellished his pictures with ruins and architecture,
designed from the remains of antiquity in and near Rome. His works are more fre
quently to be met with in Italy than in Holland, as he resided there the greater part of
his life. He died in 1678, aged 51. We have by this artist several etchings, executed
in a firm and free style. He engraved part of the plates for the collection called the
Gallery of Teniers, among which are :
The Children of Niobe ; after Palma.
The Children of Israel gathering the Manna in the Desart ; after Tintoretto.
Orpheus playing to the Animals ; after Bassano.
The Four Seasons ; after the same.
A set of twelve plates of different Animals ; from his own designs.
A set of four of different subjects ; the same.
Two Views in and near Rome ; the same.
A Boar-hunt ; after Peter van Laer.
Vol. II. T

146 OSTADE.
Six large prints; after Salvator Rosa, Peter van Laer and 5. de Vlieger ; scarce.
A grand Festival given at Vienna, with a great number of figures on horseback and on foot; A.
Lartucci, inv. J. Ossenbeck, sc. ; fine and scarce.
OSTADE, Adrian van. This eminent painter was born at Lubeck in 1610, and came to
Haerlem when very young, to study under Francis Hals, whose works were then in great
repute. He was a fellow student with Brower, and found the means of persuading that
artist to escape from the tyranny of his master, as is mentioned in the life of that
painter. His genius naturally led him to similar subjects to those of Brower, and, like
him, he has acquired a brilliant reputation by his admirable representations of subjects,
which, in less ingenious hands, would have only excited our disgust. The pictures of
Ostade usually represent the interiors of ale-houses or kitchens, with Dutch peasants
smoking and regaling, drunken frolics or quarrels ; but he has treated these grotesque
subjects with such humour and spirit, and has given so lively and natural an expression
to the various characters of his heads, that we forget the low vulgarity of the objects, to
admire the truth and finesse with which he animates the uncouth actors of his scene.
His colouring is rich, clear, and glowing ; and he was perfectly acquainted with the
principles of chiar-oscuro. His pencil is uncommonly light and delicate, and though his
pictures have the appearance of the most polished finishing, his touch is spirited and
free. Adrian van Ostade had exercised his talents for several years at Haerlem, with dis
tinguished reputation and success, when the approach of the French troops, in 1662,
excited the greatest alarm, and he made preparations for leaving Holland and returning
to his native country. With this intention, he sold his pictures and effects, and went to
Amsterdam, with the intention of embarking for Lubeck ; he there was prevailed on to
abandon his fears, and to establish himself in that city, where his works were known, and
purchased with avidity. He consequently settled at Amsterdam, where he continued
his professon with great celebrity till his death, in 1685, at the age of 75. We have by
this estimable artist a number of spirited etchings, amounting to fifty-four, from his own
designs, which are justly admired. Some of them are boldly etched, and printed with
out the assistance of the graver; others are very neatly executed, and finished in the
manner of Rembrandt. He sometimes signed his prints with his name, and sometimes
marked them with one of these ciphers Jsft . or J^/q. The following are his most
esteemed prints :
The Painter seated at his easel. The first impressions of this plate are with the high cap con
siderably above the eyes ; in the second impression a lower bonnet nearly touches the eyes.
An assemblage of Peasants, occupied in killing a pig ; a night-piece, producing a fine effect of
the chiar-oscuro.
A family of Peasants at table saying grace. 1647.
A Mountebank surrounded by several figures.
Several Peasants at the door of a Cottage, with a fair in the back-ground.
Several Peasants fighting with knives.
The Cottage Dinner. 1653.
The Cobler's Shop. 1671.
A Man standing on a bridge angling.
The Interior of a Dutch Ale-house, with figures drinking and dancing.
The Inside of a Cottage, with a Woman suckling a Child.
The Spectacle-seller.

OST OUD 147
A Man, Woman, and Child at the door of a Cottage. 1652.
Several Peasants at a window, one of them is singing a ballad, and another holds the candle.
A Man blowing a horn, leaning over a hatch.
A village Festival, with a great number of figures diverting themselves at the door of an ale
house. His largest plate.
OSTADE, Isaac van. He was the brother and scholar of Adrian Ostade, born at Lubeck
about the year 1617. His earliest pictures were painted in imitation of the style of his
brother, and are very inferior to the works of Adrian ; but he afterwards adopted a
manner of his own, in which he was more successful. He painted several pictures
representing winter scenes and canals frozen, with figures amusing themselves on the ice.
Some of these are faithful and admirable representations of nature, and are deservedly
held in the highest estimation. They approach to the bold and admirable productions
of Albert Cuyp, and it may fairly be presumed, that if this promising artist had been
permitted a longer career, he would have reached an eminent rank among the ablest
painters of the Dutch school. He died young.
OSTERWYCK. See Oosterwyck.
OTHO, Venius. See Venius.
OTTAVIANI, Giovanni. An Italian engraver, born at Rome in 1735. He was a pupil
of Wagner, at Venice ; and on his return to Rome engraved several plates after some cf
the most distinguished masters. Among others we have the following hy him :
St. Jerome, with a Crucifix; after Guercino.
St, Cecilia ; after the same.
Angelica and Medora; after the same.
Mars and Venus ; after the same. *>
Three Women bathing surprised by a young Man ; after the same.
Diana and Acteon ; after the same.
Twenty-three plates, from the paintings by Raffaelle, in the Vatican.
Four plates from the pictures by Raffaelle, in la Farnesnia, representing
Jupiter and Ganymede.
Juno on her Car.
Neptune on the Ocean.
Pluto and Proserpine.
OTTENS, Francis. A Dutch engraver, who flourished about the year 1760. Among
other prints he engraved a portrait of F. Halma.
OTTO, H. F. This artist is said to have been a native of Berlin. He resided at Frankfort
in 1707, and engraved part of the heads for a work entitled, Notitia Universitat.es Franco-
fertana, published in 1707. His plates are very indifferently executed, and consist
chiefly of book ornaments.
OFJDENARDE. See Audenarde.

148 OUD OVE
OUDRY, John Baptist. A French painter and engraver, born at Paris in 1686. He was
a scholar of Nicholas Largilliere, under whom he became an able designer and a re
spectable colourist. For some time he painted historical subjects and portraits, and
gave proof of considerable ability in his picture of the Nativity, in the church of St.
Leu ; and the Adoration of the Magi, in the chapter of St. Martin des Champs. He
afterwards adopted a different branch of the art, in which he acquired considerable
reputation. He painted hunting-pieces and cavalcades with great success, in which
the animals are designed with correctness and spirit, and touched with facility and
vigour. There are many of his works of this description in the royal palaces in France.
We have several etchings by this artist, from his own compositions, executed in a bold
and masterly style. Among others we have the following prints by him :
A Wolf-hunt.
A Fox-hunt.
Dead Game fastened to a tree.
A Fish-market on the Sea strand.
A set of twenty-six prints of subjects from the comical Romance of Scarron.
OVENS, Jurian. A Dutch painter, born at Amsterdam in 1620. He was brought up
in the school of Rembrandt, under whom he became an excellent colourist, and acquired
a competent acquaintance with the chiar-oscuro. He excelled in painting night pieces
and subjects by torch light, and was eminent as a portrait painter. There are some
of his works in the Stadt House at Amsterdam, representing subjects of Batavian his
tory, painted in the vigorous style of his master, which are very creditable to his talents.
His portraits are esteemed for uncommon truth and expression of character, and for the
harmony of the colouring. In 1665 he was invited to the court of the Duke of Holstein,
in whose service he remained till his death.
OVERBECK, Bonaventure van. This artist was born at Amsterdam in 1660. His
parents were in affluent circumstances, and bestowed on him a liberal education. Whilst
at college, he distinguished himself by his application, and the rapid advancement he
made in his studies. On his leaving the university, a strong inclination for the art in
duced him to place himself under the instruction of a master; and Descamps supposes
him to have been the scholar of Gerard de Lairesse. He visited Rome, where he ap
plied himself with great ardour in studying and drawing after the antiquities of that
city. He formed a rich collection of casts and drawings ; and after a residence of some
years in Italy, returned to Holland with his valuable assemblage. On his arrival he
was caressed and visited by all the artists, particularly by his friend and instructor
Lairesse, with whom he formed a close intimacy ; and he profited still further by the
advice and conversation of that eminent painter. He painted some historical subjects,
which were highly esteemed ; but his attention was greatly occupied by a work he in
tended to publish, with plates, engraved by himself, from the designs he had made and
collected at Rome. An unfortunate disposition to dissipation and excess brought on
an illness, of which he died in 1706, at the age of 46. Before his death, he engaged his
nephew to undertake the publication of his work, which he desired should be dedicated
to Queen Anne of England. It was published in 1709, in French, under the title of Les
restes de Vancienne Rome.

OUV OZA 149
OUVRIER, John. A French engraver, born at Paris in 1725. We have by this artist a
variety of vignettes, landscapes, and other subjects, neatly engraved, though sometimes
too dark in the shadows. The following are considered his best prints:
The Villagers of the Appenines; after Pierre.
A View of the Alps ; after Vernet.
A View of the Alpenines ; after the same.
The Magic Lantern ; after Schenau.
The Flemish School ; after Eisen the elder.
The Dutch School; after the same.
The Genius of Design, an emblematical subject ; after Cochin.
OUWATER, Albert. This artist was one of the earliest painters in oil in Holland, soon
after the discovery of John van Eyck. He was born at Haerlem in 1444, and is men
tioned by Van Mander as a reputable painter at the time in which he lived. He parti
cularly commends an altar-piece in the principal church at Haerlem, representing St.
Peter and St. Paul, in which the figures are carefully and correctly designed and richly
coloured, though stiff and laboured in the finishing. He describes another picture, by
Ouwater, of a more extensive composition, representing the Resurrection of Lazarus,
with the Apostles and other figures, designed in a style superior to what was usually
practised at that early period, and with considerable expression in the heads, particu
larly in the women. The draperies were well cast, and the back-ground was embellished
with architecture in the taste of the time. He died in 1515, aged 71.
OZANNE, Nicholas. A French designer and engraver, born at Paris about the year 1724.
He engraved from his own drawings a number of plates of marines and sea-ports, which
are esteemed for their neatness, and the precision with which the vessels are designed.
We have, among others, the following by him :
A set of four Landscapes and Marines ; Ozanne, fee.
Two Views of the Port of Brest.
OZANNE, Jane Frances, and Mary Jane. These ladies were the sisters of the preced
ing artist, and were instructed in engraving by Aliamet. We have by them several prints
of sea-ports, &c. neatly executed, among which are the following :
A View of the Port of Dieppe ; J. F. Ozanne ; after Hackert.
A View of St. Vallery ; the same.
Two Views of the Port of Leghorn; M. J. Ozanne ; after Vernet.
A Calm ; the same; after the same.
Two Pastoral subjects ; after Phil. Wowermans; M. J. Ozanne.

15Q P A C PAD

PACCHIAROTTI, Jacopo. This painter was a native of Siena, and flourished about
the year J535. He formed his first style by an attentive study of the works of Pietro Peri-
gino, which he afterwards improved by contemplating the admirable productions of
Raffaelle. There are many of his works in the churches and private collections at
Siena, of which the most deserving of notice is a fine picture in the church of S. Cristo-
foro, representing St. Catherine visiting the Corpse of St. Agnes, a grand composition, in
which the airs of the heads approach to the beauty of those of his illustrious prototype.
In 1635 he became implicated in a seditious commotion against the government, and
was obliged to take refuge in the monastery of the Osservanti, from whence he escaped
secretly to France, where he worked some time, in conjunction with II Rosso, and where
he is supposed to have died.
PACHECO, Francisco. A Spanish painter and writer on art, born at Seville, according
to Palomino, in 1580. He was a disciple of Louis Fernandez, and is said by the above-
mentioned author to have studied some years in Italy. He was a correct and rigid
designer, his compositions are studied and appropriate, and the airs of his beads are
noble and dignified ; but there is a feebleness in his execution, a poverty of tone, and a
crudity and dryness in his manner, which greatly diminishes the merit of his produc
tions. In competition with Alonso Vasquez, he painted some pictures for the church of
the Barefooted Carmelites, in which he was greatly surpassed by his rival. Mr. Cum
berland has favoured us with a Spanish couplet upon a Crucifix, by Pacheco, which
satirizes this harshness of style with great smartness and neatness of" versification.
Quien os puso assi, Sennor,
Tan desabrido y tan seco,
Vos me direis que el amor,
Mas yo digo, que Pacheco. ,
He derived his greatest celebrity from his having been the instructor of Alonso Cano
and Don Diego Velasquez. He died at Madrid in 1654, aged 74.
PADERNA, Giovanni. He was born at Bologna about the year 1600, and was a scholar
of Giralomo Curti, called II Dentone, under whom he became au eminent painter of
perspective and architecture. After the death of Dentone he was much employed, and
his success was such as to excite the jealousy of Agostino Mitelli, one of the ablest
artists in that branch. Of his numerous works at Bologna, the decorations of the
Capella Zagoni, in the church of la Madonna della Liberia, are considered among his
best performances. He died in 1640.
PADERNA, Paolo Antonio. This painter was born at Bologna in 1649, and for some
time studied under Guercino. On the death of that master he entered the school of
Carlo Cignani. Although he acquired some celebrity as an historical painter, he was
more distinguished for his landscapes, which are designed and painted in the vigorous

PAD PAG 15J
style of his first instructor. His scenery is grand, and his colouring clear and harmo
nious. He djed in 1708, aged 59.
PADOUANINO, Francesco. This artist was born at Padua in 1552. It is not known
by whom he was instructed in the art, but he painted history with considerable reputa
tion. He possessed an- inventive genius, and was a correct and graceful designer. Of
his historical works, one of the most esteemed is a picture representing a Saint interced
ing for two criminals condemned to death, in the church of la Madonna del Carmine,
at Venice. He also was much employed in painting portraits, which were admired for
truth and dignity of character, and an excellent tone of colour. He died in 1617,
aged 65.
PADOUANINO, Ottavio. He was the son of the preceding artist, born at Padua about
the year 1582. After studying some time under his father, he was sent to Rome for
improvement. He acquired some celebrity as an historical painter, but was chiefly
engaged in portrait painting, in which he was more successful. He died in 1634,
aged 52.
PADOUANINO. See Varotari.
PADOUANO, Lauro. In the Venezia Descritta, by Sansovino, this painter is said to have
been a native of Padua, and a scholar of Francesco Squarcione. He was a successful
imitator of the style of Andrea Mantegna, and painted for the church of La Carita, at
Venice, some subjects from the life of St. John, which rank among the most creditable
productions of the time. He flourished about the year 1460.
PADOUANO. See Avibus.
PADTBRUGGE, H. L. This artist was a native of Stockholm, and flourished about the
year 1700. He engraved the greater part of the plates for a work entitled, Suecia Anti-
qua et Hodernia, published in 1712. They consist of bird's eye views and maps, and are
executed in a free spirited style.
PAGANI, Francesco. According to Baldinucci, this painter was bora at Florence in
1531. After learning the first rudiments of art in his native city he went to Rome,
where he studied the works of Polidoro da Caravaggio and Maturino. He returned to
Florence at the age of twenty-one, where he soon produced some works which procured
him great reputation. Pontormo, on seeing one of the first pictures that he produced
at Florence, exclaimed, that it was worthy of Michael Angelo. He was considered one
of the most promising artists of his time, but died in 1561, aged 30, greatly regretted.
PAGANI, Gregorio. He was the son of Francesco Pagani, bora in 1558. His father
dying when he was an infant, he was placed as a disciple of Santo di Titi, and after
wards improved his style by the instruction of Lodovico Cardi, called Cigoli. In imita
tion of the style of that master, he painted a picture of the finding of the Cross, for the
church of the Carmelites, of which we can only judge of the composition by the print,
as the church was destroyed by fire. Some of his fresco works remain in the cloister of

152 PAG PAG
-S. Maria Novella, which, according to Lanzi, are worthy of admiration, though they
were not duly appreciated at the time. Baldinucci dates his death in 1605.
PAGANI, Paolo. This painter was born at Valsolda, in the Milanese state, in l66l. He
formed his manner by studying, at Venice, the works of the best masters, and, according
to Zanetti, established there an academy, where he introduced a style of designing the
naked, which, though occasionally surcharged and extravagant, is bold and effective.
After a residence of some years at Venice, where he painted several pictures for the
churches, he returned to Milan, and was much employed for the public edifices and for
private collections. There are some of his best works in the gallery of Dresden. He
died in 1716, aged 55..
PAGAN IN I, Guglielmo Capodoro. According to Orlandi, this artist was born at
Mantua in 1670, and was a scholar of Antonio Calza. His genius led him to paint
battles and encampments. After studying some time under that master, having seen
some of the pictures of Borgognone at Florence, he attached himself to study and
imate the works of that excellent artist, and became a very reputable painter. His
pictures are composed with ingenuity, and are painted with great spirit.
PAGGI, or Pagi Giovanni Batista. According to Soprani, this painter was born at
Genoa in 1554. He was first a scholar of Luca Cambiasi, and improved himself in
design, by studying the antique statues and bas-reliefs. He had acquired some repu
tation as a painter of history, when he had the misfortune of killing his antagonist in a
quarrel, which obliged him to leave Genoa, and he took refuge at Florence, where he
resided twenty years, and was protected and employed by the court. Florence was at
that time the residence of several artists of distinction, who, with Lodovico Cardi,
called Cigoli, contributed to reform the Florentine school from the languid state into
which it had fallen, by introducing the more vigorous and effective style which was at
that period established in Lombardy. His first productions were rather distinguished
by grace than energy, in which he appears to have imitated the suavity of Baroccio;
such is his picture of the Holy Family in the church Degli Angeli, at Florence. He
afterwards adopted a manner more robust and masculine ; and his large work of the
Transfiguration, in the church of S. Marco, is painted with such vigour and effect, that
it does not appear to be by the same hand. Lanzi mentions as his finest works, three
subjects from the Passion of our Saviour, at the Certosa, at Pavia. In 1600 he was
invited to return to Genoa, where he was much employed for the public edifices and
private collections. His best performances at Genoa are two pictures in the church of
St. Bartholomeo, and the Murder of the Innocents, in the Palazzo Doria, painted in
1606, in competition with Rubens. He died in 1629, aged 75.
PAGLIA, Francesco. This painter was born at Brescia in 1636, and was brought upin
the school of Guercino. He painted some pictures for the public edifices at Brescia, of
which the most distinguished is an altar-piece, in the church of La Carita. His works
are estimable for harmony of colour, an excellent impasto, and an intelligent conduct of
chiar-oscuro, though his drawing is occasionally incorrect, and his figures too long and
meagre. His best productions are his portraits, which are distinguished by dignity and
truth of character, great purity of tone, and uncommon relief. He was living in 1700.

PAG PAL 153
PAGNI, Benedetto. He was a native of Pescia, and was brought up at Rome in the
school of Giulio Romano. He followed that master to Mantua, where he distinguished
himself as a painter of history. In the church of S. Andrea is an altar-piece by him of
the Martyrdom of S. Lorenzo ; and at the Collegiate, a picture of the Marriage of
Cana.
PAIGEOLINE. The name of this engraver is affixed to a slight etching from a picture
by Paolo Veronese, representing the Mother of Moses brought to Pharaoh's Daughter as
a nurse for her son.
PAIOT. A French engraver of little note, who appears to have been chiefly employed by
the booksellers, for whom he engraved a variety of frontispieces, and other book plates,
which are very indifferently executed. Among others, there is a print by him of David;
a half-length figure ; after Vignon.
PALADIN I, Litterio. In the Memorie de Messinesi Pittore, by Hackert, this painter is
said to have been born at Messina in 1691. He studied at Rome, in the school of
Sebastiano Conca, but he derived more advantage from his studies after the antique,
and the works of the great masters, than the lessons of his instructor. On his return to
Messina, he was engaged in several considerable works in fresco, of which the most
esteemed is the ceiling of the church of M onte Vergine. He died of the plague in 1 743,
aged 52.
PALAMEDES. See Staeverts.
PALLADINO, Adriano. According to Orlandi, this artist was bora at Cortona in 1610,
and was a scholar of Pietro Berretini. He painted history in the style of his master,
and executed several works for the public edifices of his native city. He died in 1680,
aged 70.
PALLAVICINI, Leo. According to Professor Christ, this artist resided at Milan, about
the year 1664. He is said to have published some prints marked with the initials L. P. f.
PALMA, Jacopo, il Vecchio. This eminent artist is called II Vecchio, to distinguish him
from his great nephew Jacopo Palma, called II Giovine. He was a native of Serinalta,
in the Valle Brembana, in the Bergamese territory. Until the publication of the Dic-
tionaire Portatif, by M. La Combe, in 1752, who has asserted, that he was born in 1540,
this artist was believed to have been a contemporary and competitor of Lorenzo Lotti,
who flourished from the year 1513 till 1554, which tradition is supported by the authority
of Ridolfi, who states him to have been the instructor of Bonifazio Veneziano, who died
in 1553. By this inconsiderate mistake, which has been followed by M. D'Argenville,
and the other French biographers, they have endeavoured to establish the whimsical
absurdity, that Palma the younger was born in 1544, when his great uncle was only four
years of age. From the character of his style, and from the evidence of Vasari, who
asserts that he died a few years previous to the publication of his work, which was in
1568, it appears satisfactorily confirmed, that the elder Palma was born about the
year 1510. He is said, by Ridolfi, to have embellished his style, which at first partook
Vol, II. U

154 PALMA.
of the formality and dryness of Giovanni Bellini, by studying the works of Giorgione,
and acquired a rich and harmonious tone of colour, a tenderness and impdsto iii his car
nations, in which he approaches the first style of Tiziahd. Such are his pictures of the
Last Supper, in S. Maria Mater Domini, at Venice ; and the Holy Family, in the church
of S. Stefano, at Vicenza. He appears to have attempted a character of more origi
nality in his large picture of the Adoration of the Magi, in the Isola di S. Elena, in
which he discovers a fine choice of nature, a copious composition, and a tasteful ar
rangement of his draperies. One of his most "admired productions is his celebrated
picture of St. Barbara, in the church of S. Maria Formosa, at Venice. The works of
Palma are more estimable for the union and harmony of the colouring, and the careful
style df their finishing, than the boldness and correctness of design, or the energy of
his pencil. Towards the latter part of his life his productions were less vigorous, and
he declined ihto negligence arid maimer.
PALMA, Jacopo, il Giovine. This artist was called Jacopo Palma il Giovine, to distin
guish him 'from his great uncle, the elder Palma, who is the subject of tlie preceding
article. He was born at Venice in 1544, the son of Antonio Palma, an obscure painter,
Who instructed him in the little lie knew of the art, arid encouraged him in his studies
after the works of the principal masters in the Venetian school. The bold and prompt
style of Tintoretto appears to have first attracted his attention; but he afterwards be-
cariie sensible of the suavity of colour, arid the more tasteful design of Titian, Whose
works he studied with admiration and delight. At the age of fifteen, whilst he was
occupied in copying the celebrated Martyrdom of St. Lawrence, by Titian, in the church
of the Jesuits; the Duke d'Urbino, Guido Ubaldo, entered the church, to -attend the
service, when the young Palma took the opportunity of sketching his portrait, which
being drjs'erved by the at'tendarits, they acquainted the Duke with what they had noticed.
The artist was sent for, and the prince was so satisfied with his performance, that he
took him into his protection, and 'sent hhh to Rome for improvement, with letters of
recommendation to his brother the Cardinal. During a residence of eight years at
Rome, his studies were directed to the antique statues, the works of M. Angelo, Raffaelle,
arid, above all, to the classical designs 'of Polidoro da Caravaggio. His abilities were
riot unnoticed at Rome, and he was employed by the Pdpe to decorate one of the apart
ments of the Vatican. On his return to Venice, when he was about twenty-four years
of age, he found the popular favour and enip'loyinent in the possession of Tintoretto
and Paolo Veronese. Lanzi asserts that he Was indebted for his introduction to public
notice to his casual acquaintance with a celebrated architect and sculptor, named
Vittoria, who was then considered the principal 'arbiter and judge of the works of art.
The indignation which ah able' artist feels at his works being submitted to the capri
cious tribunal of a professor, who did not 'even practise painting, had excited some
animosity between Vittoria and the two eminent painters just mentioned, and he em
braced with zeal the party of Palma, and became the trumpet of his fame. Their
well-founded reputation was, however, pi'oof against the intrigues of Vittoria, and Palma
was obliged to content himself with the rank of the third painter in Venice. After
their death, it is observed by X'anzi, that the younger Palma may be considered the. last
painter of the good, and the first painter of the bad epbch of the Venetian -school. He
had occasionally ah opportunity of entering tlie li'sts'with his po'werful antagonists, and
other contemporaries; and he painted in competition with Tintoretto, in-the palace of

PALMEGIANI. m
St. Marie, .and with Guiseppe Cesari d'Arpino, in the Ospitaletto ; where he produced
one of his finest works, representing the Assumption of the Virgin. Loaded with com
missions towards the latter part of his life, his pictures were finished with less study and
attention ; and it is reported that t,he Cavaliere d'Arpiiio, who was himself not remark
able for care or precision^ calling on him, and remarking the slight style in which he
then painted, observed, that he inteqde.d making spme .stay at Venice, to learn of him
how to make such admirable sketches. " I wjll readily ^nstruct you," replied Palma,
" on condition that you will permit me to visit you at Rome, to be instructed how to
finish them." Of his numerous works at Venice, the following are the most deserving of
notice. In the church qf -S. Niccolp dei Frari, a fine picture of the Deposition iijo.in
¦the Cross; .in S. Giacomo del Orio,,the Martyrdom of S. James; in La Trinita, Christ
t^ake^i in tr,e Garden; and in S. ElisjibeUa, the Visitation. The compositions of the
younger Palma are.mpre copious than judicious; and his.de.sign is more bold than cor
rect. His colouring is distinguished by suavity and freshness, and though less lustrous
than that of Paolo Veronese, he approaches nearer to the truth and tenderness of Titian.
We have several etchings by the younger .Palma, executed in a very spirited and pas-
terly style. They are sometimes signed with his name at length, and sometimes marked
.with a monogram cpmpqsed with a P. crossed/with an aim .branch, thps -j1^- Thejojlpw-
ing are his principal plates:
Samson and Dalilah.
Judith putting the Head of Holofernes into a sack, held by an attendant.
The Nativity.
The Holy Family, with St. Jerome and St. Francis.
St. John in. the Wilderness.
The. decollation of St., John.
The Tribute Money.
The Adultress before Christ.
Christ answering the Pharisees, who disputed his authority.
The Incredulity of St. Thomas.
An emblematical subject of Pallas presenting Victory.
St. Jerome in conference with, the. Pope Daiuasius ; scarce.
An Ecclesiastic and a naked Figure, with two Boys.
This eminent artist died in 1628, aged 84._
PALMEGIANI, Marco da Forli. Although this painter is not mentioned by any writer
before Lanzi, except Vasari, who miscalls him Parmegiano, he is worthy of notice as one
of the ablest artists pf his country at the period in which he lived. He was a native of
Forli, and is said to have been a disciple of Francesco Melozzo. He flourished from the
year 1513 till 1537, as appears from the dates on some of his pictures in the collection of
Prince Ercolani, and in the churches, of .Forli. Lanzi attributes to this painter two
styles ; the first dry and formal, seldom venturing on a picture beyond a St. Sebastian or
a St. Jerome, apdlpaded with the. absurd gilded accompaniments usual;at the, time, in
the. second, his, compositions are more copipus, and his, outline bplder. Several of; his
works remain in the churches in,Rpmagna, and in the .Venetian states. In the Palazzo
V.icentiniat Vicenza, is a fine picture by this master, of (a dead, Christ between Nicode-
,mus and, Joseph.
U2

156 PAL PAN
PALMIERl, Gioseffo. This painter was born at Genoa in 1674. Although he acquired
some reputation as a painter of history, he is chiefly celebrated for his pictures of ani
mals, in which he particularly excelled. In his historical pictures, though ingeniously
composed, and coloured with great sweetness and harmony, he usually discovers an
incorrectness of design, which probably was rather occasioned by attention than incom
petency, as some of his works are exempt from this defect. Such is his picture in the
church of S. Domenico, at Genoa, representing the Resurrection. He died in 1740,
aged 66.
PALOMBO, Bartolomeo. He was born at Rome about the year 16 12, and was a scholar
of Pietro da Cortona. He proved a reputable painter of history. In the church of St.
Joseph, at Rome, is an altar-piece by this master, representing the Death of that Saint;
and in the church of the Carmelites of St. Martino de Monti, a picture of Mary Mag
dalen.
PALOMINO, Don Acislo Antonio y Velasco. See Velasco.
PALTRONIERI, Pietro, called II Mirandolese. According to Oretti, this artist was
born at Bologna in 1673. He distinguished himself as a painter of perspective and
architectural views. There are many of his works in the public edifices at Bologna, in
which the figures are frequently painted by Ercole Graziani. He died in 1741, aged 68.
PANCOTTO, Pietro. This artist was a native of Bologna, and flourished about the year
1590. He was brought up in the school of Caraeci, and, according to Malvasia, was one
of the most eccentric and enterprising artists of the Bolognese school. His principal
work is the Last Judgment, painted in fresco, in the church of la Madonna di S. Colom-
bano, at Bologna.
PANDEREN, Egbert van. A Duch engraver, born at Haerlem in 1606. He resided at
Antwerp, where he engraved a considerable number of plates, executed with the graver
in a stiff formal style, with little effect, and deficient in drawing. Among others, we
have the following by him.
The Virgin interceding with Christ, for the salvation of mankind ; after Rubens.
The Four Evangelists ; after Peter de Jode.
St. Louis, with a border, representing his Miracles ; after the same.
Three circular plates of Minerva, Juno, and Venus ; after Spranger.
The Portrait of Maurice, Prince of Orange, on horseback, with a battle in the back-ground ;
after Tempesta.
Four plates of the Sick Man and the Doctor; after Goltzius; scarce.
Part of the Plates for the Academie de l'Esp6e ; by G. Thibault.
PANDOLFI, Giangiacomo. This artist was a native of Pesaro, and flourished about the
year 1630. He was a scholar of Federigo Zuccaro, of whose style he was one of the most
successful followers. He painted in fresco the Oratorio de Nome di Dio, where he re
presented several subjects from the Old and New Testament. His picture of S. Giorgio
and S. Carlo, in the dome of Pesaro, is considered by Lanzi as little inferior to the works
of Zuccaro.

PAN PAN 157
PANDOLFO. SeeREscm.
PANETTl, Domenico. This painter was born at Ferrara in 1460. It is not known under
whom he studied ; but his works were dry and gothic, until Benvenuto da Garofola, who
had been his pupil, returned from Rome to Ferrara, with the modern taste and dig
nified style he had acquired in the school of Raffaelle. The instructor now became the
scholar of his former disciple, and although advanced in years, he so entirely altered his
manner, that he became one of the most eminent artists of that period. Of his nume
rous works in the churches at Ferrara, the following are the most deserving of notice.
In the church of S. Niccolo, the taking down from the Cross, with the Virgin, St. John,
and St. Joseph ; a picture of S. Andrea, at the Agostiniani ; and the Visitation of the
Virgin to St. Elizabeth, in the church of S. Francesco. He died in 1530, aged 70.
PANICALE, Masolino da. This artist was born at Panicale, in the Florentine territory,
in 1378. He was first instructed in design by Lorenzo Ghiberti, and afterwards became
a disciple of Gherardo Starmina, and adopted a style less dry and gothic than that which
had existed before him, in which there appeared a dawning of that grandeur and har
mony, which was afterwards carried to a higher perfection by his scholar Masaccio. His
principal works are in the chapel of S. Pietro al Carmine, at Florence, where he painted
the four Evangelists, the Vocation of St. Peter to the Apostleship, his Denial of Christ,
and his curing the Lame Man at the gate of the Temple. He died at Florence in 1415,
aged 37.
PANICO, Antonio Maria. According to Bellori, this artist was a native of Bologna,
and a disciple of Annibale Caraeci. He accompanied that master to Rome when he
was very young, and was taken under the protection of Signor Mario Farnese, who
employed him in ornamenting his country seats of Castro and Latera. In the Dome at
Farnese he painted his celebrated picture of the Mass, in which he is supposed to have
been assisted by Annibale Caraeci.
PANNINI, Cavaliere Giovanni Paolo. This artist was born at Piacenza in 1691. He
went early to Rome, where he became a scholar of Pietro Lucatelli, an eminent painter
of perspective. He applied himself, with great assiduity, in designing the remaining
monuments of ancient architecture in the vicinity of that capital. These magnificent
vestiges of antiquity he has represented with the utmost precision and correctness. He
was perfectly acquainted with the rules of perspective, and surpassed his instructor in
the neatness and freedom of his touch, and the clearness of his colouring. The merit of
Pannini is not confined to the beauty and grandeur of his buildings; he decorated his
pictures with figures, gracefully and correctly designed, and grouped with taste and
elegance. Although he usually confined himself to pictures of an easel size, he was
not incapable of succeeding in works on a larger scale; and Lanzi speaks in very favour
able terms of a large painting, with figures as large as life, representing Christ driving
the Merchandizes out of the Temple, in the church of the Signori della Missione, at
Piacenza; the architecture is magnificent, and the figures are designed with great spirit
and variety of character. He has been sometimes reproached with drawing his figures
of too large a size for his architecture, and that they destroyed the effect which would
otherwise be produced by the immensity of the buildings ; but this defect is by no

15$ PAN PAO
general. The works of Pannini are to be found in most of the collections in England,
and several of them decorate the palaces at Rome. Two of his finest pictures are in the
gallery of the pontifical palace of Monte Cavallo. He died in 1758, aged 67.
PANN EELS, William. A Flemish painter and engraver, born at Antwerp about the
year 1600. He was a disciple of Rubens, as appears from his inscription on one of his
prints. Of his works as a painter little is known, and from the number of his prints he
appears to have been chiefly employed in etching from the works of Rubens and his
own designs. His plates are executed in a spirited and masterly style, and sometimes
produce a vigorous effect; but his drawing is generally very incorrect, particularly in
the naked. The following are his principal plates :
The Portrait of Rubens, in an octagon border ; after Rtibens.
SUBJECTS AFTER RUBENS.
Esther before Ahasuerus.
The Nativity.
The Adoration of the Magi.
Mary washing the Feet of Christ.
The Assumption of the Virgin.
The Holy Family, with the infant Christ and St. John playing with a Lamb.
St. John baptising Christ.
Sampson killing the Lion, with a companion, David killing the Lion and the Bear.
St. Sebastian.
Jupiter and Antiope.
Jupiter and Juno.
Bacchus drunk, supported by a Faun and a Satyr.
Bacchus supported by Satyrs and Bacchante.
Meleager presenting the Head of the Boar to Atalanta.
PANICCIATI, Jacopo. According to Baruffaldi, this painter was born at Ferrara about
the year 1510. He was a disciple of Dosso Dossi, and painted history in the style of
that master, though his compositions are more copious than those of Dossi, and his pic
tures are painted with more freedom. He died young, in 1540.
PANVINUS, Onulph. This attist was a native of Antwerp, and flourished about the
year 1568. He engraved and published a set of twenty-seven portraits, from his own
designs, entitled, Elogia et Imagines Pont. Max. ad viv delin. 1568. Among other por
traits engraved by him is that of Rubens.
'PANZACCHI, Maria Helena. According to Orlandi, this lady was born at Bologna in
1668. She was instructed in design by Emilio Taruffi, and became a reputable paintress
of landscapes. She embellished her pictures with figures, tolerably correct in the de-
sign,'and disposed with elegance and taste. Several of her works are to be found in the
private collections at Bologna.
PAOLETTI, Paolo. This painter was a native of Padua, and flourished about the year
1725. He excelled in painting flowers, fruit, fish, and dead game. His pictures are
held in considerable estimation throughout Friuli.

P A O PAP 159
PAOLI, Francesco di. Florent le Comte mentions this artist as the engraver of a View
of the City of Rome.
PAOLINI, Pietro. He was born at Lucca in 1603, and was sent to Rome early in his
life, where he entered the school of Angelo Caroselli, under whom he became an able
designer. His style of colouring, however, rather resembles the Venetian than the
Roman school, in which he occasionally approaches the rich and harmonious tinting of
Pordenone or Titian. He painted a fine picture of the Martyrdom of S. Andrea, for the
church of S. Michele, at Lucca ; and his large work in the library of S. Frediano, re
presenting Pope Gregory entertaining the Pilgrims, is described by Lanzi as a magni
ficent production, exhibiting a grandeur of composition, a variety of character, and a
beauty and harmony of colouring, sufficient to immortalize his fame. He also speaks
highly of his talent in painting conversations and village festivals, many of which are in
the private collections at Lucca. He died in 1681, aged 78.
PAOLINI, Pio. This painter was a native of Udine, but studied at Rome under Pietro
da Cortona. He painted history with considerable reputation, and was received into
the Academy at Rome in 1678. There are several of his fresco works in the churches
in that city, particularly a ceiling of one of the chapels in S. Carlo al Corso, which is
highly creditable to his talents.
PAPA, Simone, il Vecchio. He was a Neapolitan, born about the year 1430. The works
of Antonio Solario, called 11 Zingaro, were then held in high -estimation, and he became
his scholar. In the church of S. Niccolo alia Dogana, at Naples, is a picture by this
master, representing the Annunciation; and in S. Lorenzo, the Virgin and infant Sa
viour, with several Saints; but his principal work is in the church of S. Maria la Nuova,
in the chapel of the family of Turbolo, where he has represented St. Michael discom
fiting the rebellious spirits. He died in 1488, aged 58.
PAPA, Simone, il Giovine. This artist was born at Naples in 1506, the son of a gold
smith, who intended to bring him up to that business, but having shown an early incli
nation for the art, he was placed under the instruction of Giovanni Antonio d'Amato
and he became a respectable painter of history. In the church of S. Maria la Nuova are
two pictures by this master, in one he has represented the Assumption of the Virgin,
and in the other the Annunciation. He died in 1569, aged 63.
PAPILLON, John, the elder. An indifferent French engraver on wood, who was a
native of Rouen, in Normandy, and lived about the year 1670. He -was instructed by
Du Bellay, but never arrived at any eminence in the art.
PAPILLON, John, the younger. He was the son of the preceding artist, born at St.
Quintin in 1661. After receiving some instruction in drawing from his father, he was
sent to Paris, where he was placed under the tuition of Noel Cochin. His first pursuit
was drawing with a pen, which he performed with great facility and spirit. He after
wards turned his attention to engraving on wood, and his cuts possess considerable
merit. This artist is said to have been the inventor of printing papers in imitation of

160 PAP PAR
tapestry, for furnishing rooms, about the year 1688. He executed a great variety of
vignettes and book ornaments.
PAPILLON, John Baptist Michael. He was the son of the preceding artist, born at
Paris in 1698, and was instructed by his father in the art of engraving on wood, which
he practised with great success. Among his best performances are the cuts he executed
in conjunction with N. le Sueur, from the designs of J. J. Bachelier, for the fine edition
of Les Fables de la Fontaine, in four volumes folio. This ingenious artist published an
interesting history of the art of engraving on wood, in two volumes, entitled, Traite
Historique et pratique de la Gravure en bois. In this publication are inserted many beau
tiful specimens of engravings on wood, some of which are executed with single strokes,
without cross hatchings, which produce a clear and pleasing effect. Several of his cuts
represent ornamental foliage, flowers, and shells, which give proof of his ability. The
difficulty of executing such long cuts on wood, with such regularity and clearness, will
be obvious to every beholder. In the work above mentioned, he has given us two spe
cimens of figures in chiar-oscuro, executed with four blocks each, one of which> between
the pages 154 and 155 of the second volume, he gives proofs of, from the separate blocks,
followed by the figure complete. There is perhaps no mode by which the sketches and
tinted drawings of the great masters, can be more successfully represented. In his his
torical account of the engravers on wood, he is guilty of many mistakes ; but it ought to
be remembered, that he had very little light to assist him in his researches, which are
extensive. The number of names which he collected together, many of which are con
founded with each other by different authors, may in some measure plead his excuse.
PAPINI, Guiseppe. An Italian engraver, who flourished about the year 1750. He exe
cuted several plates of ceilings, and other decorations from the Tuscan gallery, published
by Ignazio Orsini.
PARASACCHI, Domenico. An Italian designer and engraver, who resided at Rome
about the year 1630. In conjunction with Giovanni Maggi, he engraved a set of plates
of the fountains at Rome, published in 1618. This collection, with additions, was after
wards republished at Rome in 1636, entitled, Racolta delle principale Fontane della Citta
di Roma, disegnate e intagliate da Domenico Parasacchi.
PARASOLE, Leonardo Norsini, called. An Italian engraver on wood, born at Rome
about the year 1570. He chiefly distinguished himself by the cuts he executed of the
plants for the Herbal of Castor Durante, physician to Pope Sixtus V. engraved by order
of that pontiff. He also engraved several prints from the designs of Antonio Tempesta.
PARASOLE, Isabella. This ingenious lady was the wife of the preceding artist. She
executed several cuts of plants for an Herbal, published under the direction of Prince
Cesi, of Aquasparta. She published a book on the method of working lace and em
broidery, with ornamental cuts, which she engraved from her own designs.
PARASOLE, Bernardino. He was the son of Leonardo Parasole, and studied painting
in the school of Guiseppe Cesari. He had begun to distinguish himself as an historical

Par par 161
painter, when he died, in the bloom of life. He executed a few engravings on wood,
from his own designs.
PARASOLE, Hieronima. This lady was of the same family with the preceding artists.
We have by her some engravings on wood ; and, among others, the battle of the Cen
taurs, after Tempesta. It is executed with considerable spirit, but the drawing is very
incorrect.
PARCELLES, John. This artist was born at Leyden about the year 1597, and was a
scholar of Henry Cornelius de Vrooms. He excelled in painting marines, particularly
tempests and agitated waters, with thunder storms, aud all the horrors of shipwreck.
He treated these awful subjects with extraordinary fidelity and effect. His pictures of
calms have also considerable merit, they usually represent views of the coast of Holland,
with fishing boats, and groups of figures on the strand. The pictures of Parcelles are
delicately and carefully finished; and his small figures are correctly drawn, and touched
with neatness and spirit. We have by this artist some etchings of marines and shipping,
as follow :
A set of twelve Sea-pieces, with the figure of a Dutch boor on each.
A set of twelve plates of the different Shipping used in Holland, with a Latin inscription.
PARCELLES, Julius. He was the son and scholar of the preceding artist, born at Ley-
erdorp about the year 1628. He painted similar subjects to those of his father, whose
style he imitated with some success, though inferior to him in delicacy of touch, and the
transparency of his colouring. His works have sometimes been mistaken for those of
the elder Parcelles, as they both marked their pictures with the initials J. P.
PAREJA, Juan de. This artist was a native of Spanish America, born in 1610, the off
spring of a Spaniard and an Indian mother. He became a slave of the celebrated painter
Don Diego Velasquez, and was employed by him in mixing his colours and preparing
his pallet. " From pointing the arrows of Apollo," says Mr. Cumberland, " he became
ambitious of trying the strength of his bow." The servility of his situation for some
time deterred him from making his first effort ; but the impulse of genius at length pre
vailed, and he seized every secret opportunity, in the absence of Velasquez, of endeavour
ing to imitate what he had been employed upon, and by persevering application, and
the force of talents, he became a respectable follower of the style of his master. These
stolen studies were not accomplished without considerable apprehension and dread of
discovery. The disqualifying circumstance of his bondage rendered it dangerous in
the extreme, in a country like Spain, where the ranks of society are so pertinaciously
adhered to, for a slave to presume to aspire to the exercise of an art which ranked its
professors with the great, decorated them with courtly orders, and secured them the
favour and familiarity of majesty itself. Velasquez, of all others, was the least likely
to pardon so insolent an invasion of his graphic honours; and it was with fear and
trembling, that the humble candidate for fame, conceived the project of introducing
his clandestine performances to the notice of the King. It was customary with Philip
to honour the attelier of Velasquez with frequent visits ; and Pareja having observed
that it was usual for the King to order the pictures which were placed with their faces
VpL. II. X

162 PAR PAR
to the wall to be turned for his inspection, he formed the scheme of substituting a pic
ture of his own, and of throwing himself on his Majesty's clemency for forgiveness. : On
Philip's next visit to the apartments of Velasquez, the project succeeded to his utmost
wishes ; the King ordered the picture to be shown him, Pareja eagerly obeyed, and pre
senting his humble performance, threw himself at his Majesty's feet, acknowledged his
guilt and audacity, and implored the royal protection against his master's displeasure.
He could not have appealed to more competent judgment, nor have brought his offences
before a more merciful tribunal. Philip interceded in his behalf, and Velasquez not
only forgave the transgression, but emancipated him from his servitude. The gratitude
of Pareja induced him to continue his voluntary service to Velasquez until his death.
He is said to have been eminent in portrait painting, and to have produced some histo
rical subjects in the style of his master. He died at Madrid in 1670, aged 60,
PARIA. See Perrier.
PARISET, D. P. A French engraver, born at Lyons in 1740. He is supposed to have
been a pupil of Des Marteau, under whom he learned the art of engraving in the chalk
style. In 1767 he came to England, where he was for some time employed by Mr.
Ryland, and engraved some plates for the collection of prints from the drawings of the
great masters, published by Mr. Rogers. We have also several portraits of English
artists, and others, from the designs of Falconet, among which are the following :
Sir Joshua Reynolds ; P. Falconet, del. J 768.
Benjamin West, Esq.
Francis Cotes.
William Ryland.
Paul Sandby.
Ozias Humphrey.
J. Meyer.
PARISINUS, Augustinus. This artist is supposed to have been a native of France, and
to have flourished about the year 1640. He engraved several plates of book ornaments
which are executed with the graver in a very indifferent manner, and his drawing is very
incorrect. Florent le Comte mentions five prints by him from the designs of Florius
Macchius, but without specifying the subjects. He executed several of the plates fora
book of emblems, after the designs of FJorius Macchius. He generally used a cipher,
composed of an A and a small P under it, thus /?\.
PARIZEAU, Philip. A French engraver, born at Paris in 1740. We have by him several
etchings, after Sal Rosa, and other masters, executed in a neat spirited style, among
which are the following :

¦a

An Assembly of Roman Soldiers ; after Sal. Rosa.
Marius seated on the Ruins of Carthage ; after the same.
The Martyrdom of St. Andrew ; after Deshayes.
The Martyrdom of St. Bartholomew ; after the same.
Psyche refusing the Honours of Divinhy ; after Boucher.

PAR PAR 163
PARMENSIS, Baptista. An Italian engraver, born at Parma about the year 1530. He
chiefly resided at Rome, where he engraved several plates after various masters, and from
his own designs. His prints are executed with the graver, in a style resembling that of
Cornelius Cort. Among others, we have the following prints by him :
The Portrait of Philip II. King of Spain. 1589.
The Virgin and Infant appearing to St. John; after Baroccio, Baptista Parmensis,fec. 1588.
The Baptism of Christ. Bapt. Parmensis, del.
The Chastity of Joseph. 1592.
The Crucifixion, in two sheets ; Bapt. Parmensis, formis. 1584.
PARMENSIS, Jacobus. He was probably of the same family with the preceding artist.
We have, among others, a print of the Martyrdom of St. Peter and St. Paul, after Par
migiano. It is executed with the graver in a slight style, somewhat resembling Giovanni
Giacomo Caraglio, to whom it has been sometimes attributed.
PARMENTIER, L. This artist engraved a title for the works of Philip Wowermans,
with the portrait of the painter at the bottom, from a design by J. de la Jove.
PARMENTIER, James. A French painter, born at Paris in 1658. He was a relative of
Sebastian Bourdon, by whom he was instructed in the art. On the death of Bourdon,
he came to England in 1676, and was for some time employed by Charles de la Fosse,
to assist him in the works he was engaged in at Montague House. King William sent
Parrrientier to Holland, to ornament his palace at Loo, but he quarrelled with Marot,
the superintendant of the works, and returned to London. Not finding on his arrival
much employment, he went into Yorkshire, and was engaged in several historical sub
jects, as well as portraits. He painted an altar-piece for the principal church at Hull,
and a picture of Moses receiving the Law, for St. Peter's church at Leeds. His best
performance was the staircase at Worksop. He gave a picture of Diana and Endymion
to Painters-hall. On the death of Laguerre, in 1721, he returned to London, where he
died, in 1730, aged 72.
PARMIGIANO. See Mazzuoli.
PARMIGIANO, Fabrizzio. According to Baglione, this artist flourished at Rome in
the pontificate of Clement VII. He painted landscape with considerable reputation.
In the church of S. Cecilia in Trastevere, are eight large pictures by him, painted in
fresco, in which, like some of the landscapes by the Carracci, there is more of the ideal
than the natural. The subjects are grandly conceived, and they are touched with great
spirit. He died at the age of 45.
PARODI, Domenico. This artist was born at Genoa in 1668. He was the son of Gia
como Filippo Parodi, an eminent sculptor, who observing in him an uncommon quick
ness and vivacity, bestowed on him an excellent education, and his progress in literature
was considerable. He acquired the first elements of design under his father, and for
sometime applied himself to the pursuit of sculpture; but a partiality for painting
prevailed, and, according to Ratti, he was sent to Venice, where he entered the school
of Bombelli, and became an excellent colourist, by studying the works of Tintoretto and
X2

164 PAR PAR
Paolo Veronese. With the intention of improving his style of design, he visited Rome
where he studied with incessant assiduity the works of the most distinguished masters.
Of the moderns, he attached himself to the manner of Carlo Maratti, and in the style of
that master painted his celebrated picture of S. Francesco di Sales, in the church of the
Filippini, at Genoa.
PARODI, Ottavio. This painter was born at Pavia in 1659, and was a scholar of Andrea
Lanzano. He afterwards visited Rome, where he studied some years. ../On his return to
Pavia he executed several works for the public places in that city, which established his
reputation as a respectable painter of history.
PAROLINI, Giacomo. This painter was born at Ferrara in ,1663. His father dying
when he was only five years of age, he was taken under the protection of a maternal
uncle, who perceiving his disposition for the art, placed him as a disciple of Cavaliere
Peruzzini at Turin, under whose tuition he remained until he was eighteen, when he
visited Bologna, and entered the school of Carlo Cignani. He returned to Ferrara a
little time previous to the death of Maurelio Scannavini, who had been his fellow
student under Cignani, and finished some pictures left imperfect by that master.
Though inferior to Cignani in the grandeur of his conception, and his masterly conduct
of the chiar-oscuro, he sustained the credit of his school by the elegance of his design,
and the suavity of his colouring, particularly in his carnations. He was unusually suc
cessful in the design of his female figures and children. His bacchanals and festive
dances remind us of the playful elegance of Albano. His pictures of those subjects are
to be found in almost every collection at Ferrara. Of his historical works, the most
considerable are, the Last Supper, in the cathedral at Ferrara ; and his celebrated fresco,
representing St. Sebastian with a glory of angels, in the church dedicated to that Saint,
at Verona. He was the last eminent painter of his country, and " with him," says
Lanzi, " was buried the glory of the Ferrarese school." He died in 1733, aged 70.
PAROLINI, Pio. According to Ab. Titi, this painter was a native of Udine, though he
chiefly resided at Rome, where he was received into the Academy, in 1678. He painted
the ceiling of one of the chapels in S. Carlo al Corso, representing an allegorical sub
ject, which was ingeniously composed, and well coloured.
PARONE, Francesco. According to Baglione, this painter was bora at Milan, near the
end of the fifteenth century. He was the son of an obscure artist, from whom he learned
the first rudiments of design. At an early age he visited Rome, where he had the good
fortune of being taken under the protection of the Marquis Guistiniani, when he had the
advantage of studying the celebrated works of art in that distinguished collection, and
of contemplating the admirable productions of the great masters at Rome. In the
church of the monastery of S. Romualdo, is an altar-piece by this master, representing
the Martyrdom of a Saint of that order; a grand composition of many figures. He died
at Rome in the prime of life, in the year 1634.
PARR, R. An English engraver, who flourished about the year 1740. He was of little
celebrity, and was chiefly employed by the booksellers in portraits and book plates.
Among others, we have the following portraits by him :

PARROCEL. 165
Maria Louisa, daughter of Charles II.
John Fisher, Bishop of Rochester.
William Becket, prefixed to his Chirurgical Observations. 1740.
PARROCEL, Joseph. An eminent painter of battles, born at Brignoles, in Provence, in
1648. He was the son of Bartholomew Parrocel, a painter of little note, who had in
structed him in the first elements of the art, but he died when his son was only fourteen
years of age. Without the assistance of any other instructor, he went to Paris, where
his lively disposition, and a progress in the art unusual at his age, recommended him to
the notice of some of the most distinguished artists, who aided him with their advice,
and recommended him to visit Italy. On his arrival at Rome, he found the works of
Borgognone in the highest estimation ; and he had the good fortune to be admitted into
the school of that distinguished artist. After a residence of some years at Rome, he
visited Venice, where he improved his system of colouring, which at that time partook
of the dark and cold style of Cortesi, by studying the works of the best Venetian mas
ters. Such was the encouragement he experienced, and the homage paid in that city to
his talents, that he had entertained a project of establishing himself there, when an ex
traordinary rencontre obliged him to alter his purpose. As he was returning to his
apartments, he was assailed on the Rialto by several assassins, posted, as it is believed,
by persons jealous of his merit and success, and was indebted to his courage and per
sonal vigour for his escape from so dangerous a dilemma. In 1675 he returned to Paris,
and immediately met with public favour and encouragement. He was made a member
of the Academy the following year, on which occasion he painted for his picture of
reception the Siege of Maestricht, which greatly increased his reputation. He was com
missioned by the Marquis de Louvois, to decorate one of the four refectories of the
Invalids, with the conquests of Louis XIV. in which he succeeded so much to the satis
faction of that minister, that he was immediately employed in some of the works at
Versailles. He became one of the favourite painters of Louis XIV. in whose service he
remained until his death. The talents of Joseph Parrocel were not limited to the repre
sentation of battles, he was occasionally employed as a painter of history, in which he
acquired no mean reputation. He painted several historical subjects for the Hotel de
Toulouse, and an admirable picture of St. John in the Wilderness, for the church of
Notre Dame, at Paris. His battles pieces are ingeniously and copiously composed, his
design of the figure and horses is correct and spirited, and his touch is marked with a
fire and enthusiasm which are admirably adapted to the subjects he represented. He
died in 1704, aged 56. We have several spirited etchings by this artist, from his own
designs, among which are the following :
The Four Times of the Day ; J. Parrocel, inv. etfec.
Four Battles ; the same inscription.
A set of forty-eight prints of the Life of Christ.
PARROCEL, Charles. He was the son of the foregoing artist, born at Paris in 1689, and
was first instructed by his father, who dying when he was only sixteen years of age, he
was placed under the tuition of Charles de la Fosse, and on leaving that master travelled
to Italy, where he studied some years. On his return to France he acquired considerable
reputation in the branch of painting in which his father had distinguished himself.
Although his battle pieces and huntings are inferior to those of Joseph Parrocel, his

166 PAR PAS
pictures possessed sufficient merit to procure his reception into the Academy at- Paris.
We have by this artist a set of spirited etchings, from his own designs, representing
horse and foot soldiers. He died in 1752, aged 64.
PARROCEL, Ignatius. This artist was the nephew of Joseph Parrocel, born at Paris
about the year 1680. He was apparently his scholar, as he painted similar subjects of
battles and huntings, in a style which bears a strong resemblance to that of his uncle.
He died at Paris in 1722.
PARROCEL, Stephen. A French painter and engraver, who was apparently a relation
of the preceding artists. He was born at Paris about the year 1720. We have several
etchings' by him, executed in a bold free style, among which are the following :
A Bacchanalian subject ; from his own design.
The Triumph of Mordecai ; after J. F. de Troy.
Bacchus and Ariadne ; aftar Subleyras.
PASINELLI, Lorenzo. This painter was born at Bologna in 1629, and was first a
scholar of Simone Cantarini, but afterwards studied under Flaminio Torre, whose school
he left at an early age. He afterwards visited Venice, where the brilliant and orna
mental style of Paolo Veronese induced him to follow him as a prototype. His imita
tion was, however, neither mean nor servile, he adopted his splendour and magnificence,
but the airs of his heads, and the disposition of his colours, he acquired from another
source. His genius naturally led him to rich, copious, and spirited compositions. Such
are his pictures of Christ's Entry into Jerusalem, at the Certosa at Bologna ; and the
history of Coriolanus, in the Palazzo Ranuzzi. These sufficiently establish his claim to
a novel and fervid invention, a spirited execution, and a certain machinal facility,
which is never the portion of mediocrity. It will, however, be acknowledged, that his
attitudes are occasionally strained, and that he sometimes too nearly resembles Paolo in
his pompous and fantastical habiliments, and in his neglect of costume. These defects
are particularly discernible in his picture of St. John preaching in the Wilderness, which
occasioned his rival Taruffi to remark, that instead of a desert in Judea, the scene re
minded him of the Piazza di S. Marco at Venice. He sometimes moderated this fire
according to the subject, as appears in his picture of the Holy Family, in the church of
the Barefooted Carmelites, in which he appears to have imitated the grace and elegance
of Albano. He was more employed for private collections than for the public edifices,
though there are several of his pictures in the churches at Bologna, of which one of the
most esteemed is the Resurrection, in the church of S. Francisco. He died in 1700
aged 71. We have the following etchings by this artist, from his own designs :
St. John preaching in the Wilderness ; fine.
The Martyrdom of several Saints.
PASQUALI, Filippo. This painter was a native of Bologna, and a scholar of Carlo
Cignani. He flourished about the year 1680, and, in conjunction with Marc Antonio
Franceschini, painted several fresco works at Bologna and Rimini. There are some of
his paintings in the portico of the Serviti, at Bologna ; and Lanzi makes more honour
able mention of his pictures in the church of S. Vittore, at Ravenna.

PAS PAS 167
•PASQUALINI, or Pascalini, Giovanni Batista. An Italian painter and engraver, born
at Cento, near Bologna, about the year 1600. He frequented for some time the school
of Ciro Ferri; but it does not appear that he arrived at great eminence as a painter.
We have several etchings by this artist, principally after Guercino, his countryman, in
which he endeavoured to imitate with the point the bold and masterly pen drawings of
that master, but he did not possess a sufficient command of his instrument to accomplish
it with much success. He frequently signed his plates J. B. Centensis. We have,
among others, the following prints by him :
St. Felix kneeling before the Virgin and Infant ; after L. Caraeci.
St. Diego working a Miracle ; after Ann.t Caraeci.
The Death of St. Cecilia ; after Domenichino.
The Aurora ; after Guido. SUBJECTS after GUERCINO.
Christ dictating the Gospel to St. John.
The Resurrection of Lazarus.
Christ giving the Keys to St. Peter.
Christ taken in the Garden.
Angels showing Mary Magdalen the Instruments of the Passion.
Christ with the Disciples at Emaus.
The Incredulity of Thomas.
The Virgin and Infant, with an Angel presenting Fruit.
The Virgin and Infant, to whom St. John presents an Apple.
St. Charles Borromeus.
St. Felix resuscitating a dead Child.
Tancred and Erminia.
Titon and Aurora.
PASQUALINO, da Vicenza. See Rossi.
PASQUIER, John James. A French engraver, born at Paris about the year 1736. He
was a pupil of Lawrence Cars, and has engraved several plates after the French painters,
and a variety of vignettes and other book plates. Among others, we have the following
by him :
Arion upon the Dolphin; after Boucher.
Two Pastoral Subjects ; after the same.
The Graces ; after C. Vanloo.
A set of Twelve Academical Figures ; after Natoire.
PASS, or Passe, Crispin de, the elder. This eminent artist was bora at Utrecht about
the year 1560. He is said to have been instructed in engraving by Theodore Cuernhert.
He was a man of letters, and not only industrious to perfect himself in his art, but fond
of promoting it. This particularly appears from his being at the expence of setting
forth Holland's Heroloogia, which is expressly stated to be published, Impensis Crispini
Passe. He applied himself very early in life to the study of design, as appears from the
preface to his drawing-book, published in 1643 at Amsterdam, in Italian, French, and
Dutch, entitled Delia Luce del dipingere e disegnare, in which he mentions his intimacy

168 PASS,
with the most celebrated masters of the time. Freminet, Rubens, A. Bloemart, P.
Morelson, and P. Vander Berg, were among his friends and encouragers. His talents
recommended him to the notice of Prince Maurice, who sent him to Paris, where he
taught drawing, in the academy of M. Pluvinel, riding-master to Louis XIII. on which
occasion he published his celebrated set of prints, entitled, Instruction du Roi en I'exercise
de monter a~ cheval, par Messire Antoine de Pluvinel. The plates represent the different
exercises of the horses, the manner of tilting at the barriers, &c. In these are intro
duced the portraits of Louis XIII. the Duke de Bellgarde, and many of_the great per
sonages of the court. At what time he came to England is not clearly ascertained, but
as none of his prints, engraved here, are dated later than 1635, it is probable that he
quitted this country soon after that period. The plates of Crispin de Pass are executed
entirely with the graver, in a neat, clear, and original style; and though there occasion
ally appears somewhat of stiffness and formality, his prints, especially his portraits*
possess great merit. Many of them he designed from the life, and the greater part of
his historical, and other subjects, are engraved from his own compositions. He suc
ceeded best in figures of a small size. He usually marked his plates with a cipher com
posed of an S. a V. and a P. joined together thus ¦&. His prints are very numerous. The
following is an ample list of those most esteemed :
ENGLISH PORTRAITS.
Queen Elizabeth, sumptuously atlired, with the Crown, Sceptre, and Globe; after Isaac Oliver.
A Head of the same Queen; oval.
James I. with the Sceptre in his hand.
James I. with a Hat and Ruff; oval.
Anne of Denmark, his consort ; the same.
Henry, Prince of Wales ; oval.
Charles, his brother, afterwards Charles I. ; the same.
Frederick, Count Palatine, consort of Princess Elizabeth.
Elizabeth, daughter of James I. his wife.
Sir Philip Sidney.
The Earl of Essex on horseback.
Thomas Percy, the conspirator ; scarce. FOREIGN PORTRAITS.
Henry IV. King of France.
Mary of Medicis, his queen.
Philip II. King of Spain.
Henry Frederick, Prince of Nassau.
Albert, Archduke of Austria, and Maurice, Prince of Nassau, on horseback.
Louisa Juliana, Countess of Nassau ; circular.
Andrea Doria, Genoese Admiral.
Adolphus, Baron of Schwartzenberg.
Alexander Farnese.
A set of fourteen Portraits of Women, with a frontispiece, entitled, Speculum illustrium femi-
narum. SUBJECTS FROM HIS OWN DESIGNS.
Adam and Eve.
Susanna and the Elders.

PASS. 169
Three small circular plates of Busts, representing Faith, Hope, and Charity ; fine.
Cleopatra.Hercules strangling Anteus.
The Inside of a Tavern, with Men and Women quarrelling; C. van Pass, inv. 1589. One of
his earliest prints.
The Seven Liberal Arts.
The Nine Muses. . SUBJECTS AFTER VARIOUS MASTERS.
The History of Tobit, in six plates ; after M. de Vos.
The Twelve Months, in twelve circular plates ; after the same.
The Four Evangelists, in four plates ; after Geldorp Gorcius; very fine.
The Angels appearing to the Shepherds ; after A. Bloemaert.
The Crucifixion; after Jod. deWinghe.
The Judgment of Paris; after C.vanden Broeck.
The Siege of Trey ; after the same.
A set of four Landscapes, with figures ; after J. Breughel.
PASS, or Passe, Crispin de, the younger. He was the eldest son of the preceding artist,
bora at Utrecht about the year 1585, and was instructed in the principles of drawing and
engraving by his father. Whether he died young, or did not long continue the profes
sion, does not appear, but we have only a few engravings by him, among which are the
following :
portraits.
Frederick, Elector Palatine; inscribed, Crispin Passeus, jun. fig. el sculps ; oval.
Johannes Angelius Werdenhagen; C. de Passefilius,fec. 1600.
SUBJECTS.
Three, of a set of four plates of the History of the Rich Man and Lazarus; the fourth was en
graved by his father.
PASS, or Passe, William de. He was the second son of Crispin de Pass, the elder, born
at Utrecht about the year 1590, and was also instructed by his father, under whom he
became a very eminent artist. It is probable that he came to England with the elder
Pass, where he resided the greater part of his life, and where he engraved his best plates.
His prints are very numerous; the most esteemed of which are his portraits, which are
highly valued, and many of them very Scarce. He sometimes marked his plates with the
cipher -r]B- . The following are his principal works ;
PORTRAITS.
James I. and his Family, inscribed Triumphus Jacobi Regis Augustce que ipsius prolis ; scarce.
James I. with Henry Prince of Wales. After the death of that prince the face was erased, and
that of Charles his brother substituted in its place.
Robert Dudley, Earl of Leicester ; ova!, with the cipher.
George Villiers, Duke of Buckingham on horseback, with shipping in the back-ground ; scarce.
Robert Devereux, Earl of Essex, on horseback ; scarce.
Frances, Duchess of Richmond and Lenox ; very highly finished, inscribed, Anno. 1625. in-
sculptum Guliel. Passeo Londinum.
Vol. II. Y

1*70 PASS.
Sir John Haywood, W.Pass,f.
Sir Henry Rich ; very fine.
Darcy Wentworth. 1624.
The King and Queen of Bohemia, with four of their children, inscribed, Will. Pass, fecit, ad
vivumfigurator. 1621.
The Palatine Family, in which the youngest child is playing with a rabbit ; without the name of
the engraver.
He also engraved some devotional and other subjects, which possess considerable
merit, though inferior to his portraits.
PASS, or Passe, Simon de. This artist was the youngest son of Crispin de Passe the
elder, and received his instruction from his father. He resided about ten years in Eng
land, where he engraved several fine portraits, the earliest of which is dated 1613, and on
leaving this country he entered the service of the King of Denmark. He was employed
by Nicholas Hilliard to engrave counters of the English royal Family. Of his numerous
prints, his portraits are the most estimable, although he engraved several sacred subjects,
frontispieces, and other book ornaments, which are very neatly executed. He some
times marked his plates with the cipher P. The following are his most esteemed prints:
PORTRAITS.
Queen Elizabeth ; whole length.
James I. crowned, sitting in a chair.
The same, with a hat.
Queen Anne, on horseback, with a View of Windsor; scarce.
The same; dated 1617.
Prince Henry with a lance.
Philip III. King of Spain.
Maria of Austria, his daughter, the intended bride of Charles I. ; scarce.
. The same, as sister of. Philip IV.; very fine.
General Edward Cecyll, son to the Earl of Exeter ; very scarce. . .
George Villiers, Duke of Buckingham. 1617, when Earl.
The same, when Marquis. 1620.
Robert Carr, Earl of Somerset.
Frances Howard, Countess of Somerset.
Francis Manners, Earl of Rutland.
Thomas, Earl of Arundel; after Mirevelt.
Sir Walter Raleigh.
Sir Thomas Smith, Ambassador to Russia.
William, Earl of Pembroke ; after Van Somer.
Richard, Earl of Dorset.
Archbishop Abbot, with a View of Lambeth.
Robert Sidney, Viscount Lisle ; scarce.
Charles, Earl of Nottingham.
Mary Sidney, Countess of Pembroke ; scarce.
Henry Wriothesly, Earl of Southampton.
Edward Somerset, Earl of Worcester.
Count Gondomar, Ambassador from Spain ; very fine.
Frederick Henry, Prince of Orange, inscribed, Liberum Belgium ; very fine.
Four whole length Portraits of the Dukes of Burgundy— John the Intrepid, Philip the Bold,
Philip the Good, and Charles the Rash; etchings; scarce.

PAS PAS 171
PASS, or Passe, Magdalen de. This ingenious lady was the daughter of the elder
Crispin de Pass, and learned the art of engraving from her father. She executed some
small plates, in imitation of the neat finished style of Count Goudt, which, though infe
rior to the prints of that nobleman, possess considerable merit; and also engraved a few
portraits. She sometimes used the cipher jg. Among others, we have the following
prints by her : portraits.
Her own Head ; scarce.
Catherine, Duchess of Buckingham, with a feather in her hand.
VARIOUS SUBJECTS.
The Wise and the Foolish Virgins ; after Elsheimer ; fine and scarce.
The Four Seasons; after the designs of her father.
Cephalus and Procris.
Salmacis and Hermaphroditus.
Latona changing the Lycian Peasants into Frogs.
Alpheus and Arethusa.
A pair of Landscapes ; after Roland Savery.
A padr, one a Storm with a Shipwreck, and the other a Landscape with a Windmill ; after A.
Wilier es; fine.
PASSERI, Giovanni Batista. He was born at Rome about the year 16 10, and is re
ported by Lanzi to have been a friend of Domenichino, and a follower of his style. In
the church of S. Giovanni della Malva, at Rome, is a picture by him of the Crucifixion;
but his works are more frequent in private collections than in public edifices. He
sometimes painted pictures of dead game, birds, &c. touched with great spirit, of which
there are several in the Palazzo Mattei. In the Academy of St. Luke is a portrait of Do
menichino, painted by Passeri, and placed thereat the death of his friend, whose funeral
oration he pronounced. Lanzi ranks this artist among the most correct of the Italian
writers on art. His principal work is entitled, Vite de Pittori, Scultori, e Architetti, che
hanno avorato in Roma, echesonmorti.dal, 1641. al 1673. He died in 1679.
PASSERI, Guiseppe. He was the nephew of the preceding artist, born at Rome in 1654,
and, according to Pascoli, was. a favourite disciple of Carlo Maratti, of whose style he
was one of the most successful followers. His principal works at Rome are his picture
of the Conception, in the church of S. Tommaso in Parione ; and one of the laterals to
the picture of the Baptism, by Maratti, in, the Vatican, in which he has represented St.
Peter baptising the Centurion, which has been executed in mosaic, and the original
placed in the church of the Conventuali at Urbino. At Pesaro is one of his most
esteemed works, representing. St. Jerome meditating on the Last Judgment. He died
in 1714, aged 60.
PASSERI, Andrea. This painter was a native of Como, in the Milanese, and flourished
about the year 1505. .Lathe cathedral of his native city is a picture of the Virgin,
surrounded by the Apostles, in which the heads are of a tolerable expression, but the
hands and draperies are dry and .stiff, unworthy of the era in which it was painted, in
1505.
Y2

172 PAS PAS
PASSER O, or Passari, Bernardino: An Italian painter and engraver, who flourished
at Rome about the year 1580/ As a painter j he appears to have adopted the style of
Taddeo Zuccaro. He is, however, more known as an engraver than a painter. We have
a considerable number of prints by him, consisting chiefly of devout subjects, from his
own designs. They prove him to have possessed a ready and fertile invention, but his
design is incorrect, and the airs of his heads are neither beautiful nor expressive. He
sometimes signed his plates with his name at length, and sometimes used the cipher Q>.
Among others, we have the following prints by him :
The Holy Family, in which the Virgin is attired as a Bohemian.
A set of several plates of the Life of St. Bruno.
Several Madonnas, and other subjects.
PASSEROTTI, Bartolomeo. This painter was born at Bologna about the year 1540.
He was first a scholar of Giacomo Baroccio da Vignola, but afterwards he became the
disciple and coadjutor of Taddeo Zucarro. He resided in the early part of his life at
Rome, where he painted some pictures for the public edifices, of which the most
esteemed is the Martyrdom of St. Paul, in the church of S. Paolo alle Tre Fontane. On
his return to Bologna, he painted a great number of altar-pieces for the churches, of
which the most celebrated are the Adoration of the Magi, in S. Pietro; the Annuncia
tion, in S. Martino Maggiore ; and the Virgin on a throne, surrounded by St. John the
Baptist and other Saints, in S. Giacomo Maggiore ; painted in competition with the
Caraeci, and which excited their admiration and applause. His works are very unequal,
as he frequently sacrificed correctness and refinement to his desire of gain, and to the
indulgence of an uncommon facility of hand. He was the founder of a . respectable
academy at Bologna, and counted among his disciples, Francesco Vanni, Agostino
Caraeci, and other distinguished artists. B. Passerotti particularly excelled in portrait
painting, and was considered little inferior to Titian in dignity of character and grace
fulness of attitude. He died in 1595, aged 55. '
PASSEROTTI, Tiburzio. He was the eldest son and the disciple of the preceding artist,
born at Bologna in 1575. He painted history and portraits, in the style of his father.
Of his works in the public edifices at Bologna, the following are the most deserving of
notice. In the church of S. Maria Mascarella, a picture of the Assumption; in S.
Cecilia, St. Francis and St. Jerome kneeling before the Virgin ; in S. Cristina, the An
nunciation ; and in S. Giacomo Maggiore, the Martyrdom of St. Catherine, his most cele
brated performance. He died at Bologna, in the prime of life, in 1612.
PASSIGNANO, Cavaliere Domenico Cresti, called. This painter was born at Passig-
nano, near Florence, in 1558. He was first a scholar of Batista Naldini, but afterwards
studied under Federigo Zuccaro, to whose style his manner is more conformable. He
resided some time at Venice, and was so fascinated with the works of the great masters
of that school, that, according to Boschini, he used to observe, that whoever had not
seen Venice, could not hope to become a painter. Though neither select in his forms,
nor correct in his design, he is ingenious and abundant in his compositions,. and in the
splendour of his habiliments, and the richness of his architecture, resembles more the
style of Paolo Veronese, than any other of the Florentine painters. He sometimes re-

PAS PAT 173
minds us of Tintoretto, in the strained attitudes of his figures, and, like that master,
painted many of his pictures with so thin and oily a substance in colouring, that several
of both their works have already perished. Such has been the fate of his picture of
the Crucifixion of St. Peter, and the Presentation in the Temple, painted for the Basi
lica of St. Peter, in the pontificates of Paul V. and Urban VIII. There are, however,
some of his pictures remaining, which are painted with an excellent impasto of colour.
Of these may be mentioned a dead Christ, in the Capella di Mondragone at Frascati ; a
Descent from the Cross, in the palazzo Borghese, at Rome ; and Christ bearing his
Cross, in the Collegio S. Giovaninno at Florence. He died in 1638, aged 80.
PASTI, Matteo. An old Italian engraver, who flourished about the year 1470. He
executed a set of prints for a folio volume, entitled, De Re Militare, by R. Valturius,
published at Verona in 1472.
PASTILL, J. de. A French engraver, who appears to have been chiefly employed in
copying the prints of other artists, which he did in a very indifferent manner. Among
other plates of that description, we have the Murder of the Innocents, after the engrav
ing by Louis Audran ;from Le Brun.
PASTORIN1, B. A modern Italian engraver, who resided in London about the year
1770. He engraved some plates in imitation of the style of Bartolozzi, assisted by his
instruction. We have among others, the following by him :
L'Allegro; Angel. Kaufman, pinx. B. Pastorini, fee.
II Penseroso ; the companion.
A View of London; from his own design.
Guntherus and Griselda; J. F. Rigaud, pinx. B. Pestorini,fec.
Griselda returning to her father; the companion.
PATAROL, Lawrence. This artist engraved some book plates, and among them a fron
tispiece for a book of coins, published at Venice in 1702.
PATAS, John Baptist. A French designer and engraver, born at Paris in 1744. He has
engraved several small plates after various French painters and from his own designs ;
among which are the following :
The Judgment of Paris ; after Queverdo.
The dangerous Model ; after the same.
Henry IV. permitting Provisions to enter Paris whilst he was besieging it ; after Careme.
An allegorical subject on the Accession of Louis XVI. to the throne of France ; from his own
design.
PATAVINUS. See Avibus.
PATCH, Thomas. An English engraver, who flourished about the year 1770. He en
graved a set of twenty-six plates, from the pictures of Masaccio ; dated in that year.
PATEL. A French landscape painter, who flourished about the year 1680. It is not
known by whom he was instructed in the art, but he appears to have visited Rome,
from the subject of his pictures, which generally represent views in the vicinity of that

174 PAT PAT
city. He had evidently adopted the fine style of Claude Lorraine, and in some of his
works has not been unsuccessful in his imitation. The scenery of his pictures is grand
and striking, and his distances retire with a pleasing degradation. His landscapes are
usually embellished with the ruins of ancient architecture, : and decorated with figures,
correctly drawn, and touched with spirit. His skies are clear and brilliant, and his
verdure is fresh and agreeable, though occasionally too green and monotonous; > though
unequal to his admirable model in the purity of his aerial 'tints, andfthe grandeur of his
compositions, the works of Patel possess sufficient merit to entitle him to an eminent
rank among the landscape painters of his country.
PATENIER, Joachim. This painter was born at Dinant, in the principality of Liege, in
1480. He chiefly resided at Antwerp^ where he acquired considerable reputation as a
landscape painter, and was admitted a member of the Academy there in 1515. His
pictures are usually of a small size, very highly finished, in a laboured style, into which
he generally introduced a great number of small figures, designed with tolerable correct
ness, and neatly touched. He also painted huntings and battles', which, at that early
period, were held in considerable estimation.
PATER, John Baptist. A French painter, born at Valenciennes in 1695. He went
early in his life to Paris, when he became a scholar of Anthony Watteau ; and under the
tuition of that master, distinguished himself as an excellent colourist, though a negligent
and incorrect designer. He painted similar subjects to those of Watteau, representing
balls, gallant assemblies, and pastorals ; but he is very inferior to him in the spirited
touch of his pencil, and in the expression of his heads. He died in 1636, aged 41.
PATIGNY, Giovanni. An Italian engraver, who flourished about the year 1650. He
executed a few plates, in which he appears to have imitated the style of Agostino Ca
raeci, but with little success. Among others, is a print of the Virgin and infant Christ,
with St. John; after Annibale Caraeci. The drawing is not very correct, and the effect
feeble and heavy.
PATON, Richard. An eminent English painter of marines and combats by sea, who
flourished about the year 1758. Several of his sea-fights have been engraved by Canot,
and other celebrated artists ; and we have a few etchings by himself, executed with
taste and spirit. Among others are the following :
The Victory gained by the English over the French, 21 September, 1757.
The Engagement of the Monmouth with the Foudroyant, in which the French ship was taken.
28 February, 1758.
The Engagement between the Buckingham and the Florissant, supported by two Frigates,
3d Nov. 1758.
PATOUR, John Augustine. A French engraver, born at Paris about the year 1760. He
was a pupil of Hall6 and Flipart, and has engraved several plates in a neat style, among
which are the following :
The little Lyar ; after Albert Durer.
Le doux Sommeil; after Halle.
Le doux Repos ; after the same.
Two Views of La Rochelle ; after Lallemand.

PAT PAU 175
PATTE. A French architect, who is stated by Basan to halve engraved several plates of
architectural ornaments.
PAUDITS. This artist was a native of Lower Saxony, about the year 1618. After re
ceiving some instruction in design from an obscure German painter, he visited Am
sterdam, where he entered the school of Rembrandt, of whom he became one of the
ablest disciples. On his return to Germany he was taken into the protection of Albert
Sigismufidy Duke of Bavaria, in whose employment he remained several years, and for
whom he painted some of his finest works. He was also favoured with the patronage of
the Bishop of Ratisbon, and distinguished himself as a painter of history and portraits.
His historical subjects are well composed, his colouring is both vigorous and harmo
nious; and his heads, especially those of old men, are marked with dignity and expres
sion. He particularly excelled in portrait painting, in which he was much employed ;
and his pictures of that description are full of character and life. Sandrart reports, that
hisdeath was occasioned by the unfortunate issue of a contest he had engaged in with
a contemporary artist, who had challenged him to paint a picture in competition with
him. Although the production of Plaudits was greatly superior to that of his rival, the
ignorance of the judges giving the preference to the work of his antagonist, their deci
sion affected him so sensibly, that he did not long survive it.
PAVIA, Giacomo. This painter was born at Bologna in 1655, and was a scholar of An
tonio Crespi. He painted history with some reputation, and was employed in several
works for the churches in his native city ; of which the most esteemed are his picture of
St. Anne teaching the Virgin to read, in S. Silvestro ; and the Nativity, in S. Guiseppe.
Lanzi states, that he visited Spain, where he distinguished himself. He died in 1740
aged 85.
PAUL, or de Paulis Andrew. A Flemish engraver, who flourished about the year 1640.
He engraved several plates, among which are the following :
Peter denying Christ ; after Gerard Segers.
Titian and his Mistress ; after the etching by Vandyck.
The Tooth-drawer; after Theodore Roelants.
PAUL, S. An English mezzotinto engraver, who flourished about the year 1760, and by
whom we have a few portraits, among them that of Mrs. Barry, the actress ; after Kettle.
PAUL, Robert. This artist was probably a native of Scotland. He resided at Glasgow
about the year 1762, when he engraved some views of that city. They are neatly
executed, and bear the above date.
PAULINl, Giacomo. An Italian engraver, who apparently resided at Venice. We have
a few prints by him, among which are the following :
St. Peter; probably from his own design, as he has added the word fecit, to his name.
A View of the Ponte di Rialto, at Venice.

176 PAU PAY
PAULYN, Isaac This artist is called by Lord Orford, Paling. He was born at Amster
dam about the year 1630, and was a scholar of Abraham Vanden Tempel. He was an
eminent portrait painter, and in that capacity visited England, where he resided many
years. In 1682 he, returned to Holland, and established himself at the Hague, where he
met with great encouragement. .,
PAULYN, Horatius. This painter is introduced by M. Descamps among the artists
born about the year 1643. He was a native of Amsterdam, but it is not said under
whom he studied. He excelled in painting conversations and gallant subjects, in which
he occasionally gave way to a culpable breach of decorum and decency. •
PAUTRE, John le. This eminent artist was born at Paris in 1617. In the early part of
his life he was placed with a carpenter and builder, under whom he learned to draw
plans and ornamental designs, in which he discovered an inventive genius, and extraordi
nary facility. He afterwards turned his attention to engraving, both with the point and
the graver, and has executed a prodigious number of plates, consisting of architectural
decorations, friezes, ceilings, vases, and other ornaments, which, except a few prints from
the drawings of Paolo Farinati, are all after his own designs. He also engraved several
historical find devout subjects ; but they are inferior to his other plates. He was made a
member of the Academy at Paris in 1677, and died there in 1682, aged 65. The works
of Le Pautre, as an engraver, are very numerous, and are so well known, that a detailed
account of them will not be deemed necessary. They are usually marked with the ini
tials I. P. or I. le P. The following are his most esteemed prints :
PORTRAITS.
John le Pautre, with a border of flowers, supported by Genii. 1674.
Louis XIV. in a Roman attire. 1684.
John Robert. VARIOUS SUBJECTS.
A set of ten plates of the History of Moses.
Twenty-two of Mythological Subjects.
Twelve of Landscapes, Views of Gardens and Grottos.
Six plates of Italian Fountains.
Six of Friezes, Mythological Subjects.
Twelve of Antique Vases.
Six plates of Sea-ports and Vessels.
The Sacre of Louis XIV., in the cathedral at Rheims ; in three sheets.
The Baptism of the Dauphin.
Two perspective Views of the Canal of Fontainbleau.
PAYNE, John. An English engraver, born about the year 1606. He was a disciple of
Simon de Pass, and is considered as the first artist of this countiy that distinguished
himself by the graver. Had his application been equal to his genius, he would have
ranked among the first of his profession ; but he was indolent and dissipated, and though
recommended to King Charles I. he neglected his fortune and .his fame, and died in
indigence before he was forty, in 1647 or 1648. He engraved portraits, frontispieces

PAZ PEA 177
and other book-plates, as well as a variety of other subjects, such as landscapes, flowers,
fruit, birds, beasts, &c. but his portraits are the most esteemed of his prints. They are
executed entirely with the graver, in a free open style, and produce a very pleasing
effect. In Mr. Evelyn's Scultura, he is commended for his engraving of a ship, which
Vertue informs us was the Royal Sovereign, built in 1637, by Phineas Pett. It was
engraved on two plates, and when joined, was three feet long, by two feet two inches
high. The following are his most esteemed portraits :
Henry VII. prefixed to his Life by Lord Bacon.
Henry VIII.
Robert Devereux, Earl of Essex, with a hat and feather. "
Sir Benjamin Rudyard ; after Mytens.
Doctor Alabaster ; after Cornelius Jansen ; scarce.
Hugh Broughton.
Alderman Leate ; after C. Jansen ; scarce.
Roger Bolton. 1632.
Arthur Lake, Bishop of Chichester.
Sir Edward Coke. 1629.
Algernon Percy, Earl of Northumberland.
George Withers, the Poet, with a hat on.
William Shakspeare.
Ferdinand of Austria; after Vandyek.
Count Ernest de Mansfeld.
PAZZI, Pietro Amtonio. An Italian engraver, bora at Florence about the year 1730.
He engraved several portraits of artists for the Museo Fiorentino, and various subjects
from the pictures in the Florentine Gallery. Among others, we have the following by
him: PORTRAITS.
Francesco Albano, Bolognese Painter; se ipse pinx.
Federigo Baroccio, Painter ; se ipse pinx.
Giacomo Bassano, Painter.
Giovanni Bizelli, Painter; from a picture by himself.
Andrea Boscoli, Painter ; the same.
SUBJECTS AFTER VARIOUS MASTERS.
The Holy Family ; after L. Cambiasi.
The Assumption of the Virgin ; after Raffaelle.
The Virgin and infant Christ; after Vandyck.
St. Zanobi resuscitating a dead Person ; after Betti.
St. Philip refusing the Popedom ; after the same.
A Sibyl ; after Crespi.
PEACHAM, Henry. In the Anecdotes, this gentleman is said to have engraved a por
trait of Sir Thomas Cromwell, afterwards Earl of Essex. He was the author of a book
called the Complete Gentleman.
Vol. II. Z

178 PEA PEL
PEACKE, Edward. An English engraver, who flourished about the year 1640. In con
junction with Robert Peacke, who was probably his brother, he executed some plates of
friezes, and other architectural ornaments, published in 1640.
PEACKE, William. Strutt mentions this artist as the engraver of two portraits of the
Earl of Holland and the Earl of Warwick. As the prints he alludes to are marked
Peacke, exc. it is probable that he was rather the publisher than the engraver of them.
PEAK, James. A modern English engraver, who flourished from about the year 1760
till 1777. We have several plates of landscapes by this artist, some of which were en
graved for Mr. Boydell ; and he also etched a few plates from his own designs. Among
others, the following are by him :
A View of Waltham Abbey, in Essex.
Two Landscapes ; after Pillement.
Two Views of Warwick Hall, in Cumberland, and Ferry Bridge, in Yorkshire; after Belters.
A Landscape, with Mercury and Battus; after Claude.
Morning, a Landscape ; after the same.
A Landscape, with Ruins; after G. Smith.
A Landscape, With a Waterfall ; the companion; after the same.
Four Views ; after R. Wilson.
Banditti in a rocky Landscape ; after Borgognone.
The Beggars ; the companion ; after the same.
PEDRETTI, Guiseppe. This painter was bprn at Bologna in 1694, and was a scholar of
Marc Antonio Franceschini. He resided some time in Poland ; and on his return to
Bologna painted a great number of pictures and altar-pieces for the churches and public
edifices, of which the most esteemed are the Martyrdom of St. Peter, in St. Petronio-
Christ bearing his Cross, in S. Guiseppe ; and S. Margarita, in the Anunziata. He
died in 1778, aged 84.
PEHAM, George. By this artist, who was probably a German, and flourished about the
year 1594, we have a few bold etchings; executed in the style of a painter. He some
times signed them with his name at length, and sometimes with the initials G. P.
Among others are the following :
Neptune rising from the Sea ; with his name.
Hercules and Anteus ; with the initials.
PEINS, G. See Penz.
PEIROLERI, Pietro. An Italian engraver, who was a native of Turin, and flourished
about the year 1760. Among other prints we have Bacchus seated on a Tun; after
Rubens.
PELAIS. The name of this very indifferent engraver is affixed to a wretched print of St.
John preaching in the wilderness. It is signed Palais, fee.

PEL PEL 179
PELHAM, Peter. An English engraver, who flourished about the year 1730. He
engraved several portraits in mezzotinto ; among which are following :
King George I. ; after Kneller.
King George II. ; after the same.
Anne, consort of the Prince of Orange ; after the same,
Oliver Cromwell ; after Walker.
Thomas Holies, Duke of Newcastle.
Robert, Viscount Molesworth ; after Gibson.
John, Lord Carteret; after Kneller.
James Gibbs, Architect ; after Hysing.
PELKIN, Cornelius. A very indifferent Dutch engraver, who lived about the year 1663.
Among other plates which he engraved for the booksellers, is a frontispiece to a book
entitled, Spiegel der Spaensche Tirannie, published at Middleburg in 1663.
PELLEGRINI, Felice. He was born at Perugia in 1567, and was a scholar of Federigo
Baroccio. He painted history, and became an artist of sufficient celebrity to be invited
to Rome by Pope Clement VIII. , who employed him in the Vatican. After having
exercised his talents at Rome with considerable reputation, he returned to Perugia,
where he died, in 1630.
PELLEGRINI, Vincevzio. He was the brother of Felice Pellegrini, born at Perugia in
1575, and was also educated in the school of Baroccio. He painted several pictures for
the public edifices in Perugia, which are to be seen in the churches of S. Antonio, in the
Chiesa Nuova, and in other places.
PELLEGRINI, Francesco. According to Barotti, this painter was a native of Ferrara.
He was a scholar of Giovanni Batista Cozza, and flourished about the year 1740.
There are many of the works of this master in the churches at Ferrara. In the cathedral
is a picture representing St. Bernard ; and in S. Paolo the Last Supper.
PELLEGRINI, Antonio. This painter was born at Venice in 1674. He was a scholar
of Sebastiano Ricci ; and is said to have received some instruction from Paolo Pagani.
He distinguished himself among the modern Venetians, by a ready and ingenious inven
tion, and an unsual facility of execution, though the effect of his works is impoverished
by a feeble and languid colouring, and a total neglect of the principles of the chiar
oscuro. The reputation he had acquired at Venice, recommended him to the notice of
the Duke of Manchester, who invited him to accompany him to England, where he
resided some years. He executed several ornamental works for the mansions of the
nobility.
PELLEGRINO, da Bologna. See Tibaldi.
PELLEGRINO, da Modena. See Munari.
PELLEGRINO, di San Daniello. See Udine.
Z2

180 PEL PEN
PELLET, David. A French engraver, whose name is affixed to a plate representing
Louis XIII. when young, on horseback, with the portraits of Henry IV. and Mary of
Medicis, in small ovals at the top. It is executed with the graver in a neat but formal
style.
PELLETIER, John. A modern French engraver, born at Paris about the year 1736. We
have several plates by him of various subjects, engraved in a neat pleasing style, among
which are the following :
The Watering-place ; after Berghem.
Ruins and Figures ; after the same.
The Fish-Market ; after Pierre.
The Green-Market; after the same.
Diana Reposing ; after Boucher.
The Rape of Europa ; after the same.
Two Pastoral subjects; after the same.
The Union of Design and Painting ; after Natoire.
Young Bacchus ; after C. Vanloo.
The Travellers ; after Wowermans.
Ladies going to the Chase ; after the same.
The Tipplers; after Ostade.
PEN, or Penn, Hispel. Mr. Strutt has been led into an error with respect to this sup
posed artist, by the inaccuracy of the Padre Orlandi, who, in his Abecedario, attributes
to him the same monogram as that used by Hans Sebald Beham. The numerous mis
takes of the Italian authors, respecting the German engravers, are well known; and it
is satisfactorily ascertained, that the prints bearing that cipher, ought to be included in
the works of Beham.
PENCHARD, J. A Dutch engraver, who resided at Leyden about the year 1678. His
plates are chiefly confined to frontispieces, and other book ornaments. He engraved
also the anatomical plates for the works of Reg. de Graaf, with the portrait of the author
published at Leyden in 1678.
PENNENSUS, F. We have by this artist, who was probably a painter, and a native of
Italy, a few slight but spirited etchings, executed in a neat free style. There is a fine
expression in the heads of his figures, though he is negligent and incorrect in the
design of the extremities. The following, among others, are by him :
The Holy Family, with St. Catherine, and an Angel in the air; after Parmigiano.
The Marriage of St. Catherine ; from his own design.
PENNEY, N. A French engraver, by whom we have some plates of devout subjects,
executed with the graver in a very neat style, but without much taste. Among others
is the following, which is apparently from his own design, as he adds fecit to his name:
The Virgin appearing to St. Bartholomew.
PENNI, Giovanni Francesco, called II Fattore. This painter was born at Florence in
1488. He went to Rome when he was very young, and was received into the school of

PEN PEN 181
Raffaelle, of whom he became a favourite disciple ; and being intrusted by that great
artist with the management of his domestic affairs, he acquired the appellation of 11
Fattore. His talents and assiduity induced his master to employ him in many of his
most distinguished works, particularly in painting from his designs the cartoons for the
tapestry, and in the Loggie of the Vatican. Taja informs us that the histories of Abraham
and Isaac, were executed by II Fattore. In these important undertakings, he acquitted
himself so much to the satisfaction of Raffaelle, that he appointed him his joint heir
with Giulio Romano. He was employed by Clement VII. in conjunction with Giulio,
to finish the frescoes of the History of Constantine, which had been begun in the Saloon
now called by bis name. Constantine's Vision of the Cross, and his Battle with Maxen-
tius, were painted by Giulio ; his Baptism, by S. Silvester, and his Donation of Rome
to that pontiff, by G. F. Penni. He had also a principal share in the history of Cupid
and Psyche, in the Farnesina. Of his own compositions, those executed in fresco have
now almost entirely perished ; and he painted so few pictures in oil, that they are rarely
to be met with. He possessed an admirable taste of design, which he had imbibed
from his illustrious instructor, and his execution was graceful and facile. He particu
larly excelled in landscapes, and was well acquainted with the beauties of architecture.
In 1525 he was invited to Naples by the Marquis del Vasto, and took with him an ad
mirable copy he had made of the Transfiguration, by Raffaelle, which he sold to that
nobleman, for whom he executed some considerable works. The air of Naples proving
injurious to his health, he died in 1526, aged 40.
PENNI, Luca. He was the brother of the preceding artist, born at Florence about the
year 1500. He is said to have frequented, for a short time, the school of Raffaelle ; and
after the death of that master attached himself to Perino del Vaga. After painting
some pictures for the churches at Lucca and Genoa, he visited England, in the reign of
Henry VIII. by whom he was for some time employed, and afterwards went to France,
where he painted at Fontainbleau, in conjunction with II Rosso. On his return to Italy
he applied himself to engraving, and executed several plates, both with the point and
the graver. His prints are chiefly from the works of II Rosso and Primaticcio, of which
the following are the principal :
Two Satyrs presenting Wiue to Bacchus; after II Rosso.
Leda drawing out the Arrows from Cupid's Quiver; after the same.
Susanna and the Elders ; after the same.
Abraham sacrificing Isaac; after Primaticcio.
The Marriage of St. Catherine ; after the same.
Penelope at work, surrounded by her Women ; after the same.
He occasionally used the cipher |> or R .
PENOZZ1, B. This artist is mentioned by Papillon as an engrayer on wood, but he has
not particularly specified any of his prints.
PENTZ, or Peins Gregory, called George. This eminent artist was born at Nuremberg
in 1500, and was instructed in design, painting, and engraving, by Albert Durer. His
real name was Peins, as appears from his inscription on his portrait, and that of his
wife, which will be found in the list of his prints. On leaving the school of Albert

182 PENTZ.
Durer, he went to Italy, where he acquired a correct and tasteful design, which distin
guishes him from the contemporary artists of his country. Of his works as a painter
little is known. Huber informs us, that there are some of his cabinet pictures in the
gallery at Vienna, which are highly and deservedly esteemed. In conjunction with
Marc Antonio, he engraved several plates from the works of Raffaelle, and his style of
engraving resembles the best manner of Raimondi. His plates are executed with the
utmost neatness and delicacy, and though they are wrought with great care and preci
sion, they have nothing of the stiffness and formality which distinguishes the produc
tions of the artist of his time. His drawing is correct, and the characters of his heads
are finely expressed. The greater part of his plates are of a small size, on which account
he is ranked among what are called by the collectors, the little masters. He was, how
ever, perfectly competent to accomplish plates on a large scale, as is evident from his
admirable print, after Giulio Romano, described among his works, the greater part of
which are from his own compositions. He usually marked his plates with a cipher, com
posed of a G. and a P. joined together thus JJ. The following are his principal prints:
portraits.
The Artist and his Wife, on the same plate, inscribed, Imago Gregori Peins. Imago Duxore
Gregori Peins.
John Frederick, Elector of Saxony, inscribed, Spes mens in Deo est. 1543; scarce.
BIBLE SUBJECTS FROM HIS OWN DESIGNS.
Two small prints, Job tempted, and Esther before Ahasuerus.
Two, Judith in the Tent of Holofernes, and Judith with his Head.
Two, the Judgment of Solomon, and Solomon's Idolatry.
Two, Lot and his Daughters, and Susanna and the Elders.
Four, of the History of Joseph. 1544.
Seven, of the History of Tobit. 1543.
Two, the Merciful Samaritan, and the Conversion of St. Paul. 1545.
The Four Evangelists.
The seven works of Mercy; circular.
Twenty-five plates, of the Life and Miracles of Christ; very fine.
VARIOUS SUBJECTS.
Two, Tarquin and Lucretia, and the Death of-Lucretia.
Cephalus and Procris.
Medea and Jason.
The Death of Dido.
Thomyris causing the Head of Cyrus to be put in a vessel of blood.
The Death of Virginia.
Mutius Scevola putting his Hand into the Brasier.
Marcus Curtius precipitating himself into the Gulf.
The Death of Regulus.
Sophonisba drinking the Poison.
Artemisa drinking the Ashes of her Husband.
The Triumph of Bacchus.
A set of six plates of the Triumphs of Human Life.
The Five Senses.

PEP PER 183
The Seven Liberal Arts.
The Seven Mortal Sins.
A large plate of a City taken by assault ; after Giulio Romano, inscribed, Georgius Pentz
Pictor Nuremberg faciebat, anno. 1549; an admirable specimen of his great ability.
PEPIN, Martin. This painter was born at Antwerp in 1578. It is not said under whom
he studied, but he went to Italy when he was young, where he remained several years,
and distinguished himself as an artist of extraordinary abilities. Weyermans describes
a picture by this painter, representing the taking down from the Cross, which he greatly
extols ; the composition was in the grandest style, it was designed with the greatest
correctness, and the colouring was rich and harmonious. Such was the reputation
this artist had acquired at Rome, that when Rubens, who was then in the zenith of his
celebrity at Antwerp, heard of Pepin's intention to return to his native country, it occa
sioned that distinguished master considerable uneasiness ; but on finding that he had
married in Italy, and intended to continue his residence there, he was heard to declare,
that as Pepin remained at Rome, he no longer feared a diminution of his fame from the
rivalship of any other painter. He certainly may be regarded as one of the greatest
artists of his country. In the church of the hospital at Antwerp, are two admirable works
by this master; they are two altar-pieces, with folding doors, as was customary at that
time. In the centre picture of one of them, he has represented the Baptism of St.
Augustine, on one of the doors, that Saint giving alms to the poor, on^the other, St.
Augustine curing the Sick. The centre picture of the other represents St. Elizabeth
giving charity to a group of miserable objects, who are struggling to approach her.
This composition is wonderfully ingenious, every figure appears in movement, and it is
drawn in the most correct and grand style. The colouring is no way inferior to the
greatest painter of his time. On one of the doors is the death of that Saint, and on
the other her Ascension to heaven, with a choir of angels. Most of the works of this
excellent artist are in Italy, and the above mentioned are the only productions by him. in
the Low Countries. They are sufficient to warrant the jealousy expressed by Rubens
and to place him on a level with the most able painters of his country.
PERAC, Stephen du. An old French painter and engraver, born at Paris about the year
1540. He went to Italy when he was young, and resided some time at Rome, where he
made many designs from the vestiges of ancient architecture, and views of Tivoli and
Frascati, which he engraved and published at Rome in 1569, 1573, and 1575. On his
return to France, he was appointed architect to the King, and painted some architectural
views for the palace at Fontainbleau. We have a few slight etchings by this artist
after Michael Angelo, Raffaelle, and other masters; among which are,
The Last Judgment; after M. Angelo.
The Capitol; after a drawing by the same.
The Judgment of Paris ; after Raffaelle.
Four- plates, of various sizes of Views and Ruins near Rome.
PERANDA, Santo. This painter was born at Venice in 1566. According to Ridolfi,
he was first a scholar of Giacomo Palma the younger, and afterwards studied under
Leonardo Corona, of Murano. In his first performances he followed the prompt and
hasty manner of Palma; but he afterwards visited Rome, where, by studying and de-

184 PER PER
signing the antique statues, and the works of the great masters, he adopted a style
more finished and correct. He executed several considerable designs for the Ducal
palace at Venice, and for the Dukes of Mirandola and Modena. Lanzi considers, as
his most estimable performance, the Descent from the Cross, in the church of S. Pro-
colo at Venice. He died in 1638, aged 72.
PERCELLES, John. See Parcelles.
PERELLE, Gabriel. An eminent French designer and engraver, born at Paris about the
year 1620. He excelled in drawing and engraving landscapes and views, of which we
have a prodigious number, which prove the fertility of his invention, and an extraorr
dinary facility of execution, rather than an observant study of nature. They are, how
ever, composed in a very pleasing style, and executed with neatness and taste. He
usually enriched them with ruins and other objects, which give an agreeable variety to
his scenery. His principal defect is in the management of his masses, and his lights are
scattered and in spots, by which the general effect of his prints is materially injured.
Although by far the greater part of his plates are from his own compositions, he also
engraved from the designs of several other masters, particularly Paul Brill, Gaspar,
Poussin, Asselyn, and above all, after Silvestre. He was assisted in his numerous works
by his sons, Adam and Nicholas Perelle, who, after his death, engraved a great number
of plates of architectural views, landscapes, &c. but which are inferior to those of their
father. The Perelles worked both with the point and the graver. Their works, especi
ally those from their own designs, are so multifarious, and so frequently to be met with
it will not be thought requisite »o specify them ; the following are the principal plates
they engraved after other artists :
A set of four Views, the Church of St. Michael at Dijon, the Palace in that city, the Bridge of
Grenoble, and the Porte Royale at Marseilles ; after Silvestre.
Four Views in Paris, the Arsenal du Mail, the Pontneuf, the Louvre, the Mail, and surrounding
country; after the same.
A set of four Views, the Baths of Bourbon d'Archambaud, the Castle of Bourbon Lancy, with the
Baths of Julius Caesar, and the great Chartreuse near Grenoble; after the same.
Six Views of the Garden de Ruel ; after Israel Silvestre.
Two Mountainous Landscapes, with biblical subjects; after P. Brill.
Six Views of the Vestiges of Rome and its Environs ; after J. Asselyn.
A View of Ruins, with the Adoration of the Magi ; after Poelemburg.
PERERIETTE. The name of this artist is affixed to a coarse incorrect etching, after
Paolo Veronese, representing the Holy Family, accompanied by two angels.
PERJECOUTER, S. This artist was either a native of Italy, or resided there about the
year 1535. We have some plates by him executed with the graver, in which he appears
to have imitated the style of Marco da Ravenna. He also etched several plates con
sisting of architectural ornaments. He marked his prints with the cipher P.
PERIGNON, Nicholas. A French painter and engraver, bora at Paris about the year
1730. He painted flowers and landscapes in distemper; and has etched some plates
from his own designs, among which are the following :

PER PER 185
A set of six pleasing Landscapes ; etched in the style of a painter.
Four larger Landscapes; inscribed, Perignon, fecit . 1771.
PERINI, Lodovico. An indifferent Italian engraver, by whom we have some prints very
poorly executed with the graver, among which is one representing two men playing at
cards, and a woman overlooking them.
PERINI, Guiseppe. A modern Italian engraver, born at Rome about the year 1748.
He executed some of the plates for the Scuola Italica, of Gavin Hamilton, and engraved
some of the statues in the Clementine Gallery. The following, among others, are by
him :
The Frontispiece to the Scuola Italica, with two figures by M. Angelo.
Jupiter and Antiope ; after Jacopo Palma.
Charity ; after Bartolomeo Schedone.
Christ bearing his Cross ; after Lanfranco.
PERINO del Vaga. See Vaga.
PERISIN, or Persinus, or Perrisim, James. An old French engraver, who flourished
about the year 1570. In conjunction with J. Tortorel, he designed and engraved, partly
on wood and partly on copper, a set of twenty-four large prints, representing subjects
of French history, from the death of Henry II. 1559 to 1570. His copper plates are
etched in a coarse incorrect style; the wooden cuts are executed with more attention.
He sometimes signed his prints J. Perrissim, fecit, or J. Persinus, fecit, and sometimes
marked them with the monogram ^ .
PERNA, Peter. This artist, according to Strutt, was an engraver on wood, to whom the
prints marked P. P. are usually attributed.
PERNET. Mr. Strutt mentions this artist as an obscure engraver, who lived about the
year 1620, and who executed a few indifferent plates of portraits.
PERONI, Guiseppe. According to Abbate Aff6, this painter was born at Parma about
the year 1700. He first studied at Bqlogna, under Felice Torelli and Donato Creti, and
afterwards went to Rome, where he became a scholar of Augustino Masucci. He was a
tolerably correct designer, and, in his best performances, resembles the style of Carlo
Maratti. Such are his pictures in the church of S. Satiro, at Milan ; and the Concep
tion, at the Padri dell' Oratorio, at Turin. In competition with Pompeo Batoni, he
painted in fresco for the church of S. Antonio Abbate, the Crucifixion, whieh ranks him
among the most respectable artists of his time. He died in 1776.
Perret, Pedro. According to Basan, this artist was a native of Flanders, and flourished
about the year 1590. His principal residence was at Madrid, where he was appointed
engraver to Philip III. He worked with the graver in a neat stiff style, in which he
discovers more patience than taste. He engraved several plates of historical subjects,
among which are :
Vol. II. A a

186 PERRIER.
The Woman taken in Adultery ; after Breughel.
The Chastity of Joseph ; after Speckart.
But his chief performance was a set of portraits of the Kings of Portugal, published in
1603, which he inscribed Pedro Perret sculptor Regis, fecit.
PERRIER, Francis. A French painter and engraver, bora at Macon, in Burgundy,
about the year 1590. He was the son of a goldsmith, who had him instructed in the
elements of design ; but opposing his desire of becoming a painter, the young Perrier
secretly left his paternal home, and being without the means of subsistence, he associ
ated himself with a blind mendicant, as his conductor, who was on his way to Italy, and
by those means arrived at Rome. He accidentally became acquainted with Lanfranco,
who encouraged him in his pursuit, and admitted him into his school. After a residence
of several years at Rome, he returned to France, and passed some time at Lyons, where
he painted a set of pictures for the cloister of the Carthusians. Not content with the
reputation he could acquire as a provincial artist, Perrier visited Paris. Simon Vouet,
who was then in possession of every commission of importance, employed him in paint
ing the chapel of the chateau of Chilly, from his design. Finding little employ
ment in Paris, he returned to Rome in 1635, where he applied himself to engraving the
principal antique statues and bas-reliefs, and executed several plates after the Italian
masters, as well as from his own designs. After the death of Simon Vouet, he returned
to Paris in 1645, when he was employed to paint the gallery of the Hotel de la Vrilliere,
and was received into the academy. He died at Paris in 1660, aged 70. We have by
this artist a considerable number of etchings, from his own designs and after other mas
ters. They are executed in a slight hasty style, and the drawing is negligent and incor
rect. He sometimes signed his name Paria, and occasionally used the cipher p\ The
following are his principal plates :
A set of one hundred prints from the antique statues, published at Rome.
A set of fifty, taken from the ancient bas-reliefs.
Ten plates of the Angles in the Farnesina ; after Raffaelle.
Two plates of the Assembly of the Gods, and the Marriage of Cupid and Psyche; from the
paintings by Raffaelle, in the Farnesina.
The Communion of St. Jerome; after Agos. Caraeci.
The Flight into Egypt ; after the same.
The Nativity ; after S. Vouet.
The Portrait of Simon Vouet ; F. Perrier, fecit. 1632.
subjects prom his own designs.
The Holy Family, with St. John playing with a Lamb.
The Crucifixion ; inscribed, Franciscus Perrier, Burgundus, pinx, et scul.
St. Roch curing the People afflicted with the Plague.
The Body of St. Sebastian, supported by two Saints.
Venus and the Graces.
Time clipping the Wings of Love, engraved in chiar-oscuro ; fine.
PERRIER, William. He was the nephew and scholar of Francis Perrier, whose style he
followed. Of his works as a painter the most considerable are his pictures in the sacristy
of theMinimes at Lyons, where he took refuge, having killed his antagonist in a duel.

PER PER 187
We have by this artist several etchings, executed in the style of his uncle. He died in
1655.
PERRIN, John. An obscure engraver on wood, who, conjointly with John Munier,
executed a set of cuts for a work entitled, La Morosophie de Guillaume de la Perriere
Tolsain, contenant cent Emblemes, published in 1553.
PERRISSIM. See Perisin.
PERRONEAU, John Baptist. A French engraver, by whom we have a few prints ;
among others, two of the four elements, air and earth, after Natoire; the companions,
fire and water, are engraved by P. Aveline.
PERSON, Nicholas. A German engraver, who flourished about the year 1696. He
executed a set of indifferent prints, consisting of twenty portraits of the Archbishops of
Germany ; published in 1696.
PERSYN, Regnier de. This artist was a native of Amsterdam, and flourished about the
year 1650. He went to Rome, where, in conjunction with Cornelius Blomaert, Theodore
Mathan, and M. Natalis, he engraved the statues in the Palazzo Giustiniani. He
worked with the graver in a neat clear style. We have also the following plates by
him :
The Portrait of Ariosto ; after Titian.
That of Balthazar, Count Castiglione ; after Raffaelle.
PERUGINO, Pietro. The family name of this painter was Vannucci ; but he is gene
rally distinguished by the appellation; of Pietro Perugino. He was bora at Citta della
Pieve, near Perugia, in 1446. His parents, who were extremely poor, placed him with
an obscure painter at Perugia, by whom he was taught the elements of design. He
has been generally believed to have afterwards studied at Florence, under Andrea Veroc-
chio ; but this is disputed by il Padre Resta, in the Galleria Portatile, who has ascer
tained that Verocchio was never his master. It is asserted, with more probability, by
Mariotti, in his Lettre Pittoriche Perugine, that he received his principal instruction at
Perugia, under Benedetto Bonfigli. He first distinguished himself by a picture he painted
for the church of S. Chiara, at Florence, representing a Deposition from the Cross, with
the Virgin, St. John, and other figures, which was considered one of the finest produc
tions of the art at that early period. The reputation he acquired by this admirable
performance, induced Sixtus IV., who was at that time desirous of ornamenting the
Sistina, to invite him to Rome, where he executed several considerable designs in the
Sistine chapel, of which one of the most admired is Christ giving the keys to St. Peter.
Although the style of Perugino retains somewhat of the dryness and crudity which
prevailed before him, his works claim our esteem for the precision with which he imi
tated nature, the simplicity of his compositions, and a certain grace which distinguishes
his forms from those of his contemporaries, particularly in his female figures, in which
we discover the germ of that transcendent beauty, which afterwards characterised the
productions of Raffaelle, his illustrious disciple. His colouring is equal to any artist of
Aa 2

188 PER PER
his time, though there is a want of gradation in his plans, and too great an uniformity
in his tones. He was little acquainted with aerial perspective, and was ignorant of the
principals of the chiar-oscuro. But these were the defects of the era in which he lived,
when every object was treated with a scrupulous individuality, approaching to servility.
In his altar-pieces there is little variety of invention ; his numerous pictures of the
Ascension of our Saviour, and of the Assumption of the Virgin, in the churches of
Bologna, Florence, Perugia, and at Citta di S. Sepolcro, are nearly of a similar compo
sition. In his frescoes he discovered more fertility of invention, and more delicacy and
harmony in his colouring. Of these, the principal are in the Sala del Cambio, at Pe
rugia, representing subjects from the Old and New Testament. Of his cabinet pictures,
one of the most esteemed, representing the Holy Family, is preserved in the sacristy of
S. Pietro, at Perugia. He died in 1524, aged 78.
PERUGINI, Petruccio. See Montanini.
PERUGINO, Luigi. See Scaramuccia.
PERUNDT, George. This artist was a native of Franconia, and flourished about the
year 1640. According to Sandrart, he engraved a considerable number of architectural
and geographical subjects.
PERUZZI, Baldassare, called Baldassare da Siena. According to Della Valle, in his
Lettere Senesi, this distinguished artist was born at Accajano, in the territory of Siena in
1481. He is counted, by Lanzi, among the many illustrious artists whose merit is not to
be measured by their fortune. After receiving his first instruction in the art from an
unknown master, he went to Rome, in the pontificate of Alexander VI. He formed an
acquaintance with Raffaelle, whose style he admired and imitated, particularly in his
works in fresco. In his Judgment of Paris, in the Castello di Belcaro, and in his picture
of the Sibyl's Prediction to Augustus, at Fonte Giusta, in Siena, he has shown a divine
enthusiasm, which, according to Lanzi, neither Raffaelle himself, in treating the same
subject, nor Guido, nor Guerchino, who have painted so many admirable Sibyls, could
have surpassed. He was not less excellent in large machinal compositions ; such is his
celebrated fresco of the Presentation in the Temple, in la Madonna della Pace, at Rome
in vidiich he has shown himself a perfect master of the delineation of the Passions and
the magnificence of the architecture is hardly to be equalled : this admirable production
was a favourite study of Annibale Caraeci. His altar-pieces in oil are extremely rare.
Lanzi recollects one at Torre Babbiana, near Siena, representing the Virgin, with St.
John Baptist, and S. Jerome, half-length figures. But the branch iu which he particu
larly distinguished himself was in perspective and architectural views, which he repre
sented with such fidelity and precision, and with so judicious a management of the
chiar-oscuro, as to become perfect illusion. He was also celebrated for ornamenting the
exteriors of the palaces at Rome and Siena, with sacrifices, bacchanalian subjects
battles, &c. in imitation of the antique bassi-rilievi, which was afterwards practised by
Polidore Caravaggio, and Maturino, with such success. One of his most admired works
at Rome, is at the Farnesina, in the apartment where is the celebrated Galatea, by
Raffaelle, in which he has represented the History of Perseus, embellished with orna
ments, in imitation of stucco, so admirably executed, that it is reported, that Titian

PER PES 189
himself was deceived by them, and could only be convinced of the deception by chang
ing the point of view. ' He was one of the most eminent architects of his time, and is
said to have received some instructions from Bramante, the friend of Raffaelle.
The life of this estimable artist was acontinued series of misfortune and injustice. The
offspring of indigence and obscurity, he was deprived of the means of prosecuting his
studies with eclat. Insulted by his fellow students, who were insolent and arrogant, in
proportion as he was modest and unassuming; constrained by parsimony, or injustice, to
work for a miserable stipend at Siena and Bologna; plundered of the little he had
saved at the sacking of Rome ; and finally cut off in the prime of life, when his talents
were beginning to be known, by poison, administered by the jealousy of a rival. His
death unveiled the extent of a genius, too little appreciated whilst he was living ; and
his sepulchral eulogy, which almost equals him with the greatest artists of antiquity, has
been resounded by all posterity. He died at Rome in 1536, and was buried in the
Rotunda, near the tomb of Raffaelle.
Baldassare Peruzzi is said to have engraved on wood, and a print is attributed to him
representing Apollo, Minerva, and the Muses, with Hercules driving before him a female
figure, loaded with treasure, supposed to represent Avarice. It is executed in a fine
bold style, on three blocks, and is inscribed Bal. Sen., and at some distance the word
Perugo, Papillon informs us, that he wrote a Treatise on the Antiquities of Rome, and
a Commentary upon Vitruvius, which he intended to embellish with engravings on wood,
but he died before it was ready for publication.
PERUZZINI, Giovanni. This artist was born at Ancona in 1629, and was a scholar of
Simone Cantarini, called da Pesaro. He possessed a lively genius, and became a repu
table painter of history. There are several of his pictures in the churches of his native
city, of which the most esteemed are the Decollation of St. John, at the Spedale ; and a
picture of S. Teresa, at the Carmelitani. He resided some time at Bologna, where there
are some of his works in the public. edifices, particularly the Descent of the Holy Ghost,
in the church of S. S. Vitale ed Agricola; and a picture of St. Cecilia, in the church
dedicated to that saint. He was invited to the court of Turin, where he executed
several works, both in oil and in fresco, so much to the satisfaction of his protector, that
he made him a knight of the order of St. Maurice. He died in 1694, aged 65.
PERRY, Francis. An English engraver, mentioned by Strutt from the authority of
Mr. Grosse. He was born at Abingdon in Berkshire, and was a pupil of one of the
Vanderbanks. He afterwards was, for some time, under Richardson, but made little pro
gress as a painter. He afterwards commenced engraver, and for some time worked for
the magazines. His best plates are coins and medals, which he copied with neatness
and precision. He also engraved some portraits, among which we have the following :
Dr. Ducarrel, affixed to his Anglo-Norman Antiquites.
Matthew Hutton, Bishop of Durham.
Alexander Pope, Poet.
PESARO, Niccolo Trometto, called Niccolo da. This painter was a native of Pesaro,
and visited Rome when young, during the pontificate of Gregory XIII. He became a
scholar of Federigo Zuccaro, and was a successful follower of the style of that master.

190 PES PES
There are many of his works in the public edifices at Rome, of which, according to
Baglione, the following are the most esteemed. In the Basilica of S. Giovanni Late-
rano, the Nativity.; in S. Francesco a Ripa, a Pieta, with two laterals of S. Niccolo,
and S. Antonio ; and in S. Maria d'Aracaeli, two pictures of the Nativity1 and Circum
cision. His most celebrated performance is in the Chiesa del Sacramento, at Pesaro,
representing the Last Supper, one of the most admirable works of art inthat city. To
wards the latter part of his life he sunk into a mannered and feeble style; and his last
works are extremely inferior to his earlier productions. He died at Rome, in the ponti
ficate of Paul V. at the age of 70.
PESARO, Simone da. See Cantarini.
PESELLO, Pesello. This painter was born at Florence in 1404, and was for many years
a scholar of Andrea Castagno. He painted history in the style of his instructor; and at
the time of Vasari there were several of his works in the churches and public edifices at
Florence, of which the most esteemed was a picture of the Adoration of the Magi,
which is preserved in the gallery at Florence. But his principal talent was in painting
animals, in which he surpassed every artist of his time. He is said to have.kept a col
lection of wild beasts, and other curiosities, in his house, for the purpose of painting
them from nature. He died in 1481, aged 77.
PESELLO, Francesco, called Pesellino. He was the son and disciple of the foregoing
artist, born at Florence in 1426. This promising painter had given proof of uncommon
ability, in a series of frescoes, at the Noviziato di S. Croce, representing the lives of
S. S. Cosmo e Damiano, and S. S. Antonio e Francesco, when he died in 1457, at the
age of 31.
PESNE, John. A French engraver, born at Rouen in 1623. It is not ascertained by
whom he was instructed, but he reached an eminent rank as an. artist, particularly as a
designer, in which he arrived at a higher degree of perfection than the generality of
engravers. His, execution is neither dexterous, agreeable, nor picturesque ; but he com
pensates for these deficiencies, by the correctness of his outline, and the fidelity with
which he has rendered the precise character of the different painters, whose works he
engraved. His principal plates are from the pictures of Niccolo Poussin, and a due por
tion of the merit of his prints, after that distinguished master, will be justly attributed
to the perfection of his models. The following are his most esteemed prints :
PORTRAITS.
Two of Niccolo Poussin ; after pictures by himself.
Louis le Comte, Sculptor to the King.
Francis Langlois ; after Vandyck. SUBJECTS after poussin.
Esther before Ahasuerus.
The Adoration of the Shepherds.
The dead Christ, with the Virgin and St. John.
The Entombing.

PETERS. 191
The Death of Ananias.
The Holy Family, with a dedication to Le Brun.
The Vision of St. Paul.
The Triumph of Galatea.
The Testament of Eudamidas ; one of his best prints.
The Seven Sacraments, in seven plates, of two sheets each.
The Labours of Hercules, in nineteen plates ; from the paintings in the Louvre.
SUBJECTS AFTER ITALIAN MASTERS.
The Holy Family; after Raffaelle.
A set of fifteen Landscapes ; after Guercino, and other masters ; fine.
PETERS, Gerard. This artist was born at Amsterdam in 1580. He received his first
instruction in design from an eminent glass painter, named James Lenards, who, per
ceiving in his pupil an uncommon genius for the art, advised him to put himself under a
more able master. He consequently became a disciple of Cornelius Cornelisz, under
whom he studied five years, and, at the recommendation of that master, visited Italy in
search of improvement. After a residence of some years at Rome he returned to Hol
land, where he distinguished himself as one of the ablest artists of his time. Van Mander
extols him as a correct designer of the figure, and commends some of his historical pic
tures ; but he is more celebrated as a painter of gallant assemblies and conversations,
which he composed in a very agreeable style, and finished with great neatness and deli
cacy. He also painted portraits with considerable success.
PETERS, Francis Lucas. This artist was born at Mecklin in 1606. He was the son of
an obscure painter, from whom he learned the elements of design, but he afterwards
entered the school of Gerard Segers. He did not, however, follow the style of that
eminent master, but abandoned historical painting to devote himself to landscapes,
which he painted in a pleasing style, and decorated them with figures, correctly drawn,
and touched with neatness and spirit. He was taken into the service of the Archduke
Leopold, in whose employment he passed the greater part of his life. He died at Brus
sels in 1654, aged 48.
PETERS, Bonaventura. This eminent artist was born at Antwerp in 1 614. It is not
known by whom he was instructed in the art, but he distinguished himself as the most
celebrated painter of marines and sea-storms of the time in which he lived. His pictures
of tempests and hurricanes are faithful and impressive representations of the horrors of
shipwreck. The lowering sky, the awful and terrific agitation of the waters, the light
ning's glare, the alarm and movement of the mariners, the vessels dashed to pieces on
the craggy shore, or swallowed up in the devouring deep, are described with a fidelity
and feeling, which prove that he must have frequently witnessed these disastrous scenes,
to enable him to delineate them with a precision so affecting. He was not less successful
in his representations of the element under a more lucid and tranquil dominion. His
pictures frequently represent the sea in its calm, with fishing boats at anchor, or views
of the Scheldt, with vessels sailing under an easy breeze, in which he exhibits a fresh
ness of atmosphere, and a transparent purity of colour, that is admirable. His best
works are justly held in the highest esteem in Flanders; and if his pictures are not more

192 PET PET
duly appreciated in this country, it is because very inferior productions are continually
attributed to him, which are every way unworthy of his estimable talents. He died in
1652, aged 38.
PETERS, John. He was the brother and scholar of the preceding artist, born at Antwerp
in 1625. He painted similar subjects to those so admirably treated by his brother,
though in general his works are very inferior to those of Bonaventura. He sometimes
painted combats at sea, in which he showed great ingenuity in the composition, and his
small figures are correctly and spiritedly drawn. Though his colouring is clear and
transparent, and his penciling delicate and neat, he is very unequal to his brother in
grandeur of effect, and in his judicious management of the chiar-oscuro.
PETERS, Matthias. This artist, who flourished at Amsterdam about the year 1660, in
conjunction with his brother Nicholas Peters, engraved the plates for the Atlas Major,
published by Bleau, in that city, from drawings by the publisher.
PETERZANO, Simone. This painter was a native of Venice, and was brought up in the
celebrated school of Titian. He flourished about the year 1590. His picture of the
Piet£, in the church of S. Fedele, at Milan, is signed with his name, to which he has
added Titiani discipulus. In the church of S. Barnaba, at Milan, he painted some frescoes
of the life of St. Paul, in which he appears to have been desirous of ingrafting on the
Venetian colouring, the expression, the foreshortening, and perspective of the Milanese
school. There is a fine picture by this master representing the Assumption, in the
Chiesa di Brera, at Milan.
PETHER, William. An English painter and mezzotinto engraver, who flourished about
the year 1770. He engraved several fine plates after Rembrandt and other masters, as
well as a few from his own works. Among others, we have the following prints by him:
PORTRAITS.
The three brothers, Smith, Painters of Chichester; W. Pether,pinx. etfec. 1765.
Benjamin West ; after Lawranson.
Samuel Chandler, D.D.; after Chamberlin.
Francis du Quesnoy, Sculptor; after C. Le Brun.
Carlo Tessarini, Musician ; after Palthe.
Rembrandt's Wife, as the Jew Bride ; after Rembrandt.
Ruben's second Wife; after Rubens.
SUBJECTS AFTER VARIOUS MASTERS.
The Rabbi ; after Rembrandt.
An Officer in Armour ; after the same.
An old Man with a beard ; after the same.
The Lord of the Vineyard ; after the same.
A Village Festival ; after Teniers.
A Warrior ; half-length ; after Giorgione.
The Descent from the Cross; after the picture in King's College, Cambridge; by Daniello da
Volterra.
The Philosopher ; after Jos. Wright.

PET PET 193
The Statuary; after Jos. Wright.
The Ajsademy'; after the same.
The Continence of the Chevalier Bayard; after Penny.
The Hermit; after the same.
The Alchymist ; after the same.
PETIT, GiLi;s Edme. A French engraver, born at Paris in 1696. He was a pupil of J.
Cherreau^ and engraved several plates in the neat style of his instructor, of which the
most esteemed are his portraits. Among others, we have the following prints by him:
PORTRAITS.
Francis I. King of France ; after Titian; for the Crozat collection.
Louis Philip, Regent of France ; after Liotard.
Louis XV. King of France ; after C. Vanloo.
Charles Edward Stuart, the Pretender; after Dupra.
Philibert Papillon, Canon of Dijon.
Ren6, Charles de Maupeon, President of the Parliament.
Peter Bayle, Author of the Historical and Critical Dictionary.
Maria Theresa, Queen of Hungary.
Armand Julius, Prince of Rohan ; after Rigaud.
Henry Charles de Pomponne, Abb6 of St. Medard.
John Frederick Philipeaux, Count of Maurepas. . , .
Joachim Francis Potier, Duke of Gesvres. SUBJECTS.
The Disciples at Emaus ; after J. Andre.
The Visitation ; after the same.
The Virgin of the Rosary; after the same.
St. Catherine of Siena; after the same.
PETITOT, John, the elder. This distinguished enameller and miniature painter was
bora at Geneva in 1607- He was the son of a sculptor and architect, who designed him
for the profession of a jeweller, and having frequent occasion to make use of enamel,
he attained such a tone of colour, that he was advised to apply himself to" portrait paint
ing, which he afterwards carried to a perfection that may be said to be unexampled.
He was patronized by the two monarchs, who, in their time, gave the most liberal en
couragement to art, Charles I. and Louis XIV- ; and his extraordinary ability was de
serving of their protection. In company with Peter Bordier, who afterwards became
his brother-in-law, he visited Italy, where, during a residence of some years, they had
the opportunity of studying the treasures of art, and of frequenting the best chemists,
for improvement in the preparation of their colours. Petitot painted the heads and
hands, and Bordier the hair and back-grounds. In this intercourse of social labour, they
visited England, and had the good fortune of forming an acquaintance with Sir Theodore
Mayerne, physician to the King, an intelligent chemist, who had, by his experi
ments, discovered the principal colours to be used in enamel, and the proper means of
vitrifying them in such a manner, that they surpassed the boasted enamelling of Venice
and Limoges. Mayerne introduced Petitot to King Charles I., who retained him in his
service, and gave him apartments at Whitehall. He painted the portrait of that mo-
Vol. II. B b

194 PET PET
narch, and the Royal Family, several times. lie copied several pictures after Van
dyck who assisted him with his advice, and they are considered the finest of his works.
The beautiful whole length of the Countess of Southampton, in the collection of tbe Duke
of Devonshire, is painted from the original, in oil, by \ andyck, and is considered one of
the most capital works of enamel that exists. It is nine inches three quarters high, by five
inches three quarters wide, and the execution is the boldest, and the colouring the most
rich and beautiful that can be imagined. It is dated 1642. King Charles often went
to see him at work, as he took great pleasure both in painting and chemical experi
ments. The tragical death of his royal protector was a dreadful stroke to Petitot, who
did not quit the exiled family, but followed them in their flight to Paris, where he was
looked upon as one of their most faithful adherents. Charles II. during his abode in
France, took great notice of Petitot, and introduced him to Louis XIV., who appointed
him his painter in enamel, and ordered him apartments in the Louvre. He painted that
monarch several times, Mary Anne of Austria, his mother; and Mary Theresa, his queen.
Being a zealous protestant, and dreading the consequences of the revocation of the edict
of Nantes in l6S5,he solicited the King's permission to retire to Geneva. Louis, unwilling
to part with so favourite an artist, and perhaps supposing that the religion of an en-
ameller was not likely to be " composed of sterner stuff" than that of the great
Turenne, for some time evaded the demand, and employed the celebrated Bossuet, bishop
of Meaux, to endeavour to convert him. This not succeeding, he was at length per
mitted to leave France, after a residence of thirty-six years, and he returned to Switzer
land. He settled at Geneva, but the concourse of his admirers, and the resort of the
curious, who came to see him, was so great, that he was obliged to quit Geneva and
retire to Vevay, a small town in the canton of Berne, where he continued to exercise his
art, till he had reached the advanced age of 84, and died in 1691.
Petitot may be called the inventor of painting in enamel ; or at least he was the first
artist who brought it to complete perfection. He was much assisted in his works by
his relation Bordier, whose fame is almost absorbed in that of his brother-in-law.
Bordier is said, in the Anecdotes, to have remained in England after Petitot left this
country, and was employed by the parliament to paint a memorial of the battle of
Naseby, which they presented to Fairfax, their victorious general. This is the only
work which can with certainty be allotted to Bordier alone.
PETITOT, John, the younger. He was the son of the preceding artist, by whom he was
instructed in enamelling. He settled in London, where he exercised his art with con
siderable success. His works are very inferior to those of his father, though they pos
sess great merit.
PETRAZZI, Astolfo. This painter was a native of Siena, and flourished about the year
1635. He was a scholar of Francesco Vanni, and, according to Baldinucci, painted
some pictures for the public edifices and private collections at Siena, which were justly
esteemed. One of his principal works is the Communion of St. Jerome, at the Agosti-
niani, at Siena, in which he exhibits somewhat of the style of the Caraeci. He ex
celled in painting children, which he introduced very happily into his emblematical
subjects. Such are his Four Seasons in the Villa CQig'> which are admired for the play
fulness and ingenuity of the groups. He died in 1665.

PET PHI 195
PETRI, Pietro de. According to Orlandi, this artist was born at Premia, in the Novarese
state, in 1671. He studied at Rome, in the school of Carlo Maratti. He painted his
tory with some reputation, and united with the style of Maratti somewhat of the taste
of P. da Cortona. One of his principal works at Rome is a picture of the Crucifixion,
in the church of S. S. Vincento ed Anastasio : he also painted some frescoes in the
tribune of S. Clemente. We have a few etchings by this artist from his own designs,
executed in the style of a painter, among which are,
The Assumption of the Virgin.
St. Laurence Justinian.
PEUTEMAN, Peter. This artist was born at Rotterdam in 1650. He excelled in paint
ing objects of still-life, such as musical instruments, books, vases, &c. which he repre
sented with surprising precision. Though the objects he made choice of are in them
selves little interesting, they please by the beauty of his finishing, and his judicious
management of the chiar-oscuro. His death is said to have been occasioned by a sudden
fright brought on by an earthquake, which happened in 1692.
PFEFFEL, John Andrew. A German engraver, who flourished about the year 1720.
He resided at Vienna, where he followed the business of a printseller. His works, as an
engraver, were chiefly confined to architecture and ornamental foliage, which he exe
cuted in a neat style. In conjunction with C. Engelbrecht, he engraved a set of plates
of jewellery ornaments, from the designs of A. Morison ; and executed part of the plates
for the History of Architecture, published at Vienna in 1721, by John Henhard Fischers.
PFENNINGER, Henry. A Swiss painter and engraver, born at Zuric in 1749. He was
a scholar of John Balthasar Bullinger, under whom he passed five years, and afterwards
went to Dresden, where he had access to the Electoral Gallery, and devoted himself to
an assiduous study of the works of the best masters, particularly Vandyck and Rem
brandt, and became a reputable painter of portraits. On his return to Switzerland, he
was engaged by Lavater to make the designs, and engrave part of the plates for his .
work" on Physiognomy. He was much employed as a portrait painter; and has etched
a great number of plates of portraits and views in Switzerland, which are executed with
spirit and taste. He engraved some of the portraits for Fuesslin's Supplement to the
Lives of the Swiss Painters. We have also the following by him :
A set of seventy-five Portraits of Illustrious Personages of Switzerland, accompanied with an
abridged history of their lives by Leonard Meister. 1781.
Thirty-four Portraits of the most celebrated German Poets, with their characters, by L. Meister.
1785.
A set of six Views in Switzerland.
PHILESIUS, Rigman. A German engraver on wood, who, according to Papillon, resided
at Strasburg about the year 1508. He executed a set of twenty-five cuts of the life and
passion of our Saviour, published at Strasburg, by John Knoblouch, in 1508. These
cuts are said to be extremely scarce.
B b 2

196 PHI PIA
PHILIPPE, Peter. A Dutch engraver, who flourished at the Hague about the year
1660. We have by him a few plates of portraits and festivals, among which are the fol
lowing : portraits.
Louis Henry, Prince of Nassau ; P. Philippe, fee.
Henry Charles de la Tremoile, Prince of Tarente ; after Vanderbank.
SUBJECTS.
The Assembly of the States General of Holland ; after Tornoliet.
A grand Festival ; after the same.
A set of Merry-makings ; after Vander Venne. 1660.
PHILLERY. An old engraver on wood, by whom we have a middle sized print repre
senting two Soldiers standing before a Woman, who is seated, holding a dog upon her
lap. It bears the following inscription in old Flemish characters, (EfjjepCftlt t'&tltujECpen
ft? tttj> Pljfllerj Be figttrftlftier, printed at Antwerp, by me Phillery, the figure-cutter. The
cut is neatly executed, and the hatchings are carefully represented. Mr. Heineken sup
poses this print to be very ancient, which it appears to be from the inscription.
PHILLIPS, Charles. An English mezzotinto engraver, who flourished about the year
1765. We have, among others, the following prints by him;
A Boy holding a Pigeon ; after Mola.
A Woman plucking a Fowl ; after Rembrandt.
The Philosopher ; after the same.
The Holy Family ; after Parmigiano.
Venus and Cupid ; after Salviati.
Isaac blessing Jacob ; after Spagnoletto.
PIAGGIA, Teramo. This painter was a native of Zoagli, in the Genoese state, and flou
rished about the year 1547- He was a disciple of Lodovico Brea. In conjunction with
Antonio Semini, he painted several works for the churches at Genoa, of which one of
the most esteemed was the Martyrdom of St. Andrew. In this fine picture, the style of
Brea is discernible, but modernised and embellished; the design is more easy and flow
ing, the airs of the heads are expressive, and the colouring is harmonious.
PIANORO. See Morelli.
PIATTI, Francesco. This artist is said by Fuessli, in the Appendix to his Lives of the
Swiss Painters, to have been born at Teglio, in the Valteline, in 1650. He does not
acquaint us by whom he was instructed, but informs us that he painted a great
number of altar-pieces and pictures for the churches and galleries of the neighbourhood
and highly commends a picture of Cleopatra, by him, in the possession of a noble family
at Delebio.
PIAZZA, Callisto. This painter was a native of Lodi, and flourished, as appears from
the dates on his pictures, from 1524 till 1556. He was one of the most successful fol-

PI A PI A 197
lowers of Titian, as is manifest in his fine picture of the Assumption of the Virgin, at the
Collegiate di Codogna, which Lanzi asserts is worthy of the ablest disciple of his school.
In the church of the Incoronata, at Lodi, he painted three chapels in fresco ; in one he
represented the Mysteries; of the Passion, in another the Life of St. John the Baptist,
and in the third the Life of the Virgin. The extraordinary beauty of these admirable
productions is sufficiently established, by its having been for some time believed that
Titian himself had painted them. He appears to have sometimes imitated the style of
Giorgione ; such is his picture of the Virgin and Infant, surrounded by several saints, in
the church of S. Francesco at Brescia. One of his earliest pictures, signed Calixtus Lau-
densis, 1524, is in the church of S. Clemente, at Brescia ; his Marriage of Cana, in the
refectory of the Padri Cisterciensi, at Milan, bears the date of 1545 ; and in the Monas-
try of S. Maurizio, in the same city, are two large pictures representing the Adoration
of the Magi, and the Baptism of Christ by St. John, inscribed with his name, and dated
1556.
PIAZZA, Padre Cosimo. Paolo Piazza, called Padre Cosimo, was born at Castel Franco,
in the Venetian territory, in 1557. He was a scholar of the younger Palma, although
he did not imitate the style of that master, but formed a manner of his own, which,
though not distinguished by great vigour or energy, was pleasing and agreeable, and he
had acquired considerable reputation as a painter of history, when he became a Capuchin
friar, and took the name of Padre Cosimo. He continued, however, to exercise his
talents as a painter, and visited Rome in the pontificate of Paul V. where he executed
several considerable works for the churches and public edifices, particularly a picture of
the Deposition from the Cross, in the Campidoglio, and in a saloon of the Palazzo
Borghese, the history of Anthony and Cleopatra. He was invited to the court of
Germany by Rodolphus IL, by whom he was employed some years, and on his return to
Venice was patronized by the Doge Antonio Priuli. He died at Venice in 1621,
aged 64.
PIAZZO, Cavaliere Andrea. He was the nephew of the preceding artist, by whom he
was instructed in the art, and he accompanied his uncle to Rome, where he had the ad
vantage of studying after the great masters. He passed some years in the service of the
Duke of Lorraine, and on his return to Venice painted a large picture of the Marriage
of Cana, for the church of S. Maria, which, according to Lanzi, is his most celebrated/
work. He died at Venice in 1670.
PIAZZETTA, Giovanni Batista. According to Zanetti, this artist was born at Venice
in 1682. He was the son of a sculptor in wood, by whom he was taught the rudiments
of design ; nor does it appear that he had the advantage of any other instruction. His
first style was distinguished by a clear and brilliant tone of colouring; but on visiting
Bologna he was so struck with the extraordinary effect of the works of Guercino, that he
adopted the vigorous opposition of light and shadow, and the boldness of relief, which
characterize the pictures of that eminent artist, in which he was not entirely unsuccess
ful ; but his drawing is mannered and incorrect, and the tones of his colouring false and
discordant. One of his best pictures is the Decollation of St. John, in the church dedi
cated to that Saint, at Padua. He died at Venice in 1754, aged 72.

198 PICART.
PICART, John. A French engraver, who resided at Paris about the year 1640. He is
supposed to have been a pupil of Crispin de Passe, as he engraved from the designs of
that master, and imitated his style, though not very successfully. He appears to have
been principally employed in engraving ornaments for books, and a few portraits; We
have by him a portrait of Edward, infant of Portugal, a half-length, with emblems-
That of Erasmus, a whole length, standing in an arch, a frontispiece to part of his wofks,
published at Paris in 1639- Several other bqok plates of monuments, 8cc.
PICART, Stephen, called the Roman. This eminent artist was born at Paris in 1631.
He is said by some to have assumed the appellation of the Roman, on account of his
long residence at Rome; others assert, that it was to distinguish his works from those
of an indifferent engraver of the same name. On his return to Paris^he was employed,
with other celebrated artists, to engrave the pictures in the King of France's collection.
His plates are sometimes executed with the graver only, in the style of Poilly ; but he
also engraved several prints, in which the point is predominant. His drawing is not
very correct, and there is frequently a want of harmony in the effect of his engravings.
His prints are extremely numerous, of which the following are the most deserving of
notice : PORTRAITS.
John Francis Paul Gandy, Cardinal de Retz. 1652.
Bust of Cardinal Fachenettus ; after Morand.
Melchisedeck de Thevenot, famous traveller; after Chctveau.
Francis Tallemant, Abbe de Vlachretien ; after Nanteuil.
Andrew Hameau, Doctor of the Sorbonne.
Nicholas Pavilion, Bishop of Aleth.
Nicholas Choart de Busanval, Bishop of Beauvais.
Claude de Brion, President of the Parliament.
Peter Loisel, Doctor of the Sorbonne.
Frances Athenais de Rochechouart, Marchioness de Montespan.
SUBJECTS AFTER VARIOUS MASTERS.
The Ecce, Homo, with three Angels; after Albano.
The Birth of the Virgin ; after Guido.
The Marriage of St. Catherine ; after Coreggio.
Virtue triumphant over Vice ; after the same.
The Sensualist; after the same.
St. Cecilia ; after Domenichino.
A Concert of Music ; after the same.
The infant Jesus sleeping, with the Virgin holding up her finger to St. John ; called the Silence;
after An. Caraeci.
The Holy Family ; after Palma.
The Separation of St. Peter and St. Paul; after Ltfnfranco.
The Plague among the Philistines ; after N. Poussin.
Christ curing the Blind ; after the same.
The Adoration of the Shepherds ; after the same.
The Martyrdom of St. Gervais and St. Protais ; after Le Sueur.
St. Paul directing the burning the Books of the Ephesians ; after the same.

PICART. 199
The Martyrdom of St. Andrew; after Le Brun.
The Stoning of St. Stephen ; after the same.
The Adoration of the Magi ; after Courtois.
The Virgin and Infant ; after Noel Coypel.
St. Anthony of Padua adoring the infant Jesus; after Vandyck.
He died at Amsterdam in 1721, aged 90.
PICART, Bernard. This ingenious artist was the son of Stephen Picart, born at Paris
in 1663. He was instructed in design and engraving by his father, and at the age of
sixteen gained the prize at the Academy of Paris. He distinguished himself as a de
signer as well as an engraver, ; and the great number of plates he executed from his own
compositions, evince the fertility of his genius and the excellence of his taste. He used
both the point and the graver ; but in his larger plates the execution was not equal to
the drawing. His works chiefly consist of book-plates, and other ornamental engrav"
ings. In 1710 he left Paris, and settled at Amsterdam, where he was greatly employed
by the booksellers, and died there in 1733, aged 60. He engraved a set of seventy-eight
plates, in imitation of the different styles of the old engravers, which were published
after his death, in 1738, in one volume, entitled, Les Impostures Innocentes. The follow
ing are his most esteemed works : PORTRAITS.
Charles I. ; after Vandyck. 1724,
Charles II. ; after Kneller. 1724.
James II. ; after Largilliere. 1 724.
William III.; after Vander Werf.
George I. ; after Kneller.
Edward Hyde, Earl of Clarendon; after Zoust. 1724.
William, Lord Russell ; after Kneller. 1724.
Frederick, Duke of Schomberg ; after the same. 1724.
Gilbert Burnet, Bishop of Salisbury ; after Hoadly. 1724.
Eugene Francis, Prince of Savoy; after Van Schuppen. 1722.
Don Louis, Prince of Asturias.
John de Wit, Pensionary of Holland. 1727.
Francis Peter, Cardinal de Foix. 1713.
Philip, Duke of Orleans, supported by Minerva and Apollo; after A. Coypel. 1706.
Stephen Picart, the Roman, Engraver to the King.
Roger de Piles ; ipse pinx. B. Picart, fee. aqua forti. 1704.
SUBJECTS FROM HIS OWN DESIGNS.
The Murder of the Innocents. The first impressions are before the crown was placed upon the
head of Herod; fine.
A set of twelve Prints, called the Epithalamiums ; fine.
Truth, the Research of Philosophy ; a Thesis in honour of Descartes.
The Triumph of Painting.
The Death of the Infants of Niobe.
The Feast of the Gods and the Caesars.
A set of Prints of the Annals of the Republic of Holland.

200 PIC PIC
The Frontispieces to the Religious Ceremonies.
to the Bible of Vander Marck.
to the Roman Antiquities.
to Gvid's Metamorphosis, by Banier.
to the Historical Dictionary.
SUBJECTS AFTER VARIOUS MASTERS.
Time discovering Truth; after the picture by Poussin, in the Louvre.
An Allegory on human Life ; after the same.
The Arcadian Shepherds ; after the same.
Two Prints of the Muses, Calliope and Terpsichore ; after Le Sueur.
Abraham sending away Hagar ; after Le Brun.
The Discovery of the Pregnancy of Calista ; after Ah. Caraeci.
t^eptune calming the Sea ; after An. Coypel.
PICAULT, Peter. A French engraver, bom at Blois in 1680. It isprpbable that he
was a pupil of Gerard Audran, as he copied, on a smaller scale, the celebrated Battles
of Alexander, from the plates engraved, by that distinguished artist, after Le Brun. He
also engraved some portraits, and the Visitation of the Virgin to St. Elizabeth, after Carlo
Maratti. This promising artist had acquired considerable reputation, when death put a
stop to his career, in 1711, at the age of 31. He usually signed his plates P. Picault,
Blesensis, sculp.
PICCHIANTl, Giovanni Domenico. An Italian designer and engraver, born at Florence
about the year 1670. He was taught the rudiments of drawing by Gio. Batista
Foggini, a sculptor, and applied himself to engraving, both with the point and the
graver. In conjunction with Lorenzini, Mogalli, and other artists, he executed several
plates from the pictures in the Gallery of Florence. We have, among others, the fol
lowing prints by him : portraits.
Sebastiano del Piombo ; after Titian.
Cardinal Bentevoglio ; after Vandyck.
Pope Leo X. with the Cardinals Rossi and Giulio di Medici ; after Raffaelle,
SUBJECTS AFTER VARIOUS MASTERS.
The Madonna della Seggiola ; after Raffaelle.
The Virgin and infant Jesus, with St. John; after An. Caraeci-
The Tribute Money ; after Titian.
The Virgin and Infant; after the same.
Abraham sending away Hagar ; after P. da Cortona.
PICCINI, Giacomo. This artist was born at Venice in 1617, but it is not known by what
master he was instructed in the art of engraving. We have several plates by him, exe
cuted in a stiff disagreeable style. He engraved a set of thirty portraits of the principal
painters of the Venetian school, for the account of their Lives, published by Ridolfi in
1648. We have also the following prints by him :
The Portrait of Alessandro Farnese.
Diogenes, with his Lantern ; after P. Liberi.
The Holy Family; after the same.

PIC PIE 201
Judith, with the Head of Holofernes at her feet; after Titian.
The Holy Family ; after the same.
PICCINI, Guglielmo. He was the brother of the preceding artist, and among other
prints etched a plate of a Pieta, after Rubens. He had a daughter, Isabella Piccini,
who was a nun, and engraved a set of portraits of the illustrious personages of Italy, for
the Conchilia Celeste, of G. B. Fabri.
PICCIONI, Matteo. An Italian painter and engraver, born at Ancona about the year
1630. Of his works as a painter little is known; but he was made a member of the
Academy of St. Luke, in 1655. We have a few spirited etchings by him, among which
are the following :
St. Luke painting the Virgin; after Raffaelle.
The Adoration of the Shepherds ; afteit- P. Veronese.
The Holy Family ; after the same.
The Virgin and infant Jesus, with St. John ; after A. Camassei.
The exposing of Moses in the Waters of the Nile ; after the same.
PICKAERT, P. This artist was apparently a native of Holland. His name is affixed to
a set of coarse incorrect etchings, representing the flight of James II. from England,
which were published in Holland. They are probably from his own designs, as he adds
the word fecit to his name.
PICOT, Victor Maria. A French engraver, bora at Abbeville in 1744. He came to
London about the year 1770, and engraved several plates, some of which were for the
collection of Boydell. We have, among others, the following prints by him :
The Four Evangelists ; after Rubens.
Diana and her Nymphs ; after the same.
The Nurse and Child ; after Schedoni.
A young Man holding a Flute ; after B. Luti.
Apollo holding a Branch of Laurel ; after S. Canlarini.
A Landscape and Figures ; after Zuccarelli.
Two Sea-pieces ; after D. Serres.
Two Landscapes, Morning and Evening ; after Barralett.
Several other Subjects; after the same.
PICOU, or Piquot, Robert. A French engraver, who flourished about the year 1630.
He engraved some plates after pictures by Bassano, in a neat but laboured style.
We have also several frontispieces and other book ornaments by him, from his own
designs.
PIEMONT, Nicholas. He was born at Amsterdam in 1659, and at first passed some
time under Martin Saagmolen, an obscure artist, but he afterwards became a scholar of
Nicholas Molenaer. He visited Italy, and improved his talents for landscape painting,
by designing the beautiful views in that country. After remaining several years at
Rome he returned to Holland, where he painted some views in Italv, which gained him
Vol. II. C c

202 PIE PIG
great reputation. His landscapes bear a strong resemblance to the works of John Both,
and although not equal to that celebrated painter, his pictures are deservedly admired.
PIENE, A. de. A French engraver of little note. He engraved, among other plates, a
portrait of the Duchess of Savoy, after Sacchetti, for a book published in 1672.
PIERRE, John Baptist Maria. This artist was born at Paris in 1715. He went to
Italy when young, and studied some years at Rome. On his return to Paris he distin
guished himself as a painter of history, and was employed for some of the public edifices,
particularly a large ceiling in the chapel of the Virgin, in St. Roch, by which he gained
great reputation. He painted an admired picture of St. Nicholas and St. Francis, for
the church of St. Sulpice, which has been engraved by Nicholas Dupuis. He was made
a member of the Academy at Paris, and was appointed principal painter to the King, in
which capacity he died in 1789, aged 74. We have by this artist several etchings,
among which are the following :
The Village Entertainment ; after his own design.
Several Studies of Heads; made by him in Italy.
Some Plates of subjects from Fontaine's Fables ; after designs by Subleyras.
PIERI, Stefano. This painter was a native of Florence, and a disciple of Batista Naldini.
According to Baglione, he visited Rome in the pontificate of Clement VIII. and was
taken under the protection of Cardinal Alessandro Medici, by whom he was employed
in the church of S. Prassede, where he painted some pictures of the Apostles, and the
Annunciation. In S. Maria in Via, is a picture by him of the Assumption of the Virgin.
He assisted Giorgio Vasari in the Cupola of S. Maria del Fiore,,at Florence, and painted
for the Palazzo Pitti, the Sacrifice of Isaac, one of his best works.
PIERSON, Cheistophek. This artist was born at the Hague in 1631, and was destined
by his parents to mercantile pursuits, but his strong partiality for tbe art induced them
to permit him to indulge his propensity, and he became a scholar of Bartolomeo Mey-
burg, under whom he had studied some time, when he accompanied his instructor to
Germany, and after an absence of three years returned to Holland, and established him
self at Gouda, where he met with immediate employment as a painter of history and
portraits. Notwithstanding the reputation he. had acquired, the encouragement given
to the pictures of Leeinens, a painter of dead game, guns, powder-horns, pouches, &c.
induced him to adopt similar subjects, in which he not only surpassed his model, but has
perhaps scarcely been equalled in that branch. He usually represented those objects on
a white ground, producing a surprising and illusive effect. He died in 1714, aged 83.
PIET. This artist was a native of the Low Countries, and flourished about the year
1608. He engraved the plates for a work entitled, Le Maniement dlArmes de Nassau, fyc.
by Adam V. Brien, published in 1608. They are very indifferently executed.
PIGNE, Nicholas. A French engraver, born at Chalon in 1690, and is said to have been
a pupil of Bernard Picart. We have by this artist a few plates executed with the graver,
among which are the following:

PIG PIN 203
The Virgin, with the Infant sleeping in a cradle, with St. John standing by her side, attended by
four, angels ; after F. Trevisani ; for the Crozat collection.
The Woman of Canaan kneeling at the feet of Christ ; after Ann. Caraeci.
He appears to havebeea in England, as there is a portrait with his name, of Richard
Fiddes, B. D. prefixed to his Divinity, dated 1718.
PIGNONE, Simone. This painter was born at Florence, according to Oretti, in 1614.
After being instructed in the elements of the art by Domenico Cresti, called Passignano,
he became a scholar of Francesco Furini, of whom he was the most distinguished dis
ciple. He afterwards visited Venice, where he improved his style of colouring, by
studying the works of Titian and Tintoretto. On his return to Florence he painted
several pictures for the churches, of which the most admired are the pictures of St.
Michael discomfitting the Evil Spirit, in the church of the Nunziata; and S. Luigi
distributing his Wealth to the Poor, in S. Felicita. He also excelled in painting subjects
of the fable, which he sometimes treated with an unwarrantable licentiousness. He died
in 1698, aged 84.
PILAJA, Paolo. An Italian engraver, who flourished at Rome about the year 1737.
He executed a set of plates for a book entitled, Storia di Volsena, by the Abbate Adami,
with a portrait of the author, published at Rome in 1737. We have also, among others,
the following prints by him :
The Portrait of Pope Benedict XIII. ; after Brughi.
The Martyrdom of St. Fedele; after S. Conca.
A Miracle wrought by S. Thoribio ; after the same.
St. Liberale, with two Children; after the same.
The Statue of the Prophet Elias ; after the sculpture by Ag. Cornachini, in St. Peter's at Rome.
PILOTTO, Girolamo. This artist was a native of Venice, and flourished about the year
1590. He was a scholar of the younger Palma, and, according to Zanotti, a faithful
follower of his style. One of his admired performances is a picture of S. Biagio, at
the great altar of the Fraglia at Rovigo; but his most celebrated work is a large picture
in the grand saloon in the ducal palace at Venice, representing the Ceremony of the
Marriage of the Adriatic by the Doge.
PILSEN, Francis. This artist was born at Ghent in 1676. He studied painting and en
graving under Robert van Audenaerde. We have, among others, the following prints
hy him :
The Virgin and infant Jesus ; after Rubens.
The Conversion of St. Bavon ; after the same.
The Judgment of Midas; after the same.
The Martrydom of St. Blaize; after G. de Crayer.
PINAS, John. A Dutch painter, born at Haerlem, according to Descamps, in 1597- It
is not known under whom he learned the rudiments of the art, but he travelled to Italy,
in company with Peter Eastman, where he studied some years. On his return to Hol
land, he distinguished himself as a painter of history and portraits. Of his historical
Cc2

204 PIN PIN
productions, one of the most esteemed was a picture in the great church at Haerlem, ot
Joseph and his Brethren, which is spoken of as a work of considerable merit.
PINAS, Jacob. He was the younger brother of the foregoing artist, born at Haerlem
about the year 1601. He was instructed in the art by his brother, whose style he imi
tated, but never rose above mediocrity.
PINCHARD, P. This artist is said by Mr. Strutt to have resided at Genoa, about th^ year
1687, where he engraved several book plates.
PINE, John. To this gentleman, who was a native of England, and a man of letters, we
are indebted for several splendid and interesting works, for which he engraved many of
the plates. The principal of them are the ceremonies used at. the revival of the order
of the Bath, by King George I.; the prints from the tapestry in the House of Lords,
representing the Destruction of the Spanish Armada ; a superb edition of Horace, the
text engraved, and illustrated with ancient bas-reliefs and gems. The Pastorals and
Georgics of Virgil were published by his son, after his death, ornamented in a similar
manner, with a printed type. Mr. Pine also engraved a few portraits, among which are
an etching of himself, and a mezzotinto bust of Mr. Garrick, taken from a cast. He died
in 1756. «
PINE, Robert Edge. This artist was born in London about the year 1742. It is not
known by whom he was instructed, but he gained the premium for the best historic
design, given by the Society for the encouragement of Arts, &c. in 1760, and again in
1762. He afterwards practised as a portrait painter, and was considered a respectable
colourist. In 1782 he exhibited a series of pictures of scenes from Shakspeare. He
afterwards went to America, where he died in 1790.
PINEDA, Antonio Perez de. A Spanish painter, born at Seville about the year 1640.
He was a scholar of Murillo, whose style he followed with considerable success. There
are several of his works in the churches and convents at Seville, which bear testimony of
his being an able disciple of that distinguished artist.
PINELLI, Antonia. According to Malvasia, this lady was a native of Bologna, and was
instructed in the art by Lodovico Caraeci. She painted some pictures for the churches •
among others, the Guardian Angel, in S.Tommaso ; and St. Philip and St. James, in the
church dedicated to those Saints. But her most celebrated performance is her picture
of St. John the Evangelist, in the Annunziata, painted from a design of Lodovico Ca
raeci. She died in 1640.
PINO, Marco da. He was born at Siena about the year 1520, and, according to Baglione
received his earliest instruction in the school of Domenico Beccafumi, called Mecherino*
and afterwards studied under Daniello da Volterra. Baldinucci places him among the
disciples of Baldassare Peruzzi. It is, however, universally agreed, that he studied some
time at Rome, where he is stated by Lomazzo to have profited by the lessons of Michael
Angelo Buonaroti. He painted some pictures for the churches at Rome, of which one
of the most esteemed was a dead Christ, with the Virgiii and St. John, in S. Maria di

PIN PIN 205
Aracaeli. But the theatre of his fame is Naples, where he established himself in 1560.
During a residence of twenty -seven years, he decorated the principal churches with
several of his finest works, which are particularly described by Dominici. Of these, the
most celebrated, and which he himself esteemed his best performance, is a Deposition
from the Cross, in the church of S. Giovanni di Fiorentini, painted in 1577. In the
same church is a fine picture of the Annunciation. His Assumption of the Virgin, and
the Adoration of the Magi, in the church of S. Severino, are considered among the
finest works of art in that city. He died in 1587.
PINSSIO. This artist is mentioned by Mr. Strutt as the engraver of a few portraits. He
lived about the year 1 750.
PINTURICCHIO, Bernardino. This painter was born at Perugia in 1454. He was a
scholar of Pietro Perugino, who he assisted in many of his principal works, both at
Rome and Perugia. Vasari, with his usual prejudice and partiality, speaks in less
favourable terms of the talents of this artist than he deserves. Though he had some
what of the dryness of his instructor's design, and retained too much of the taudry style
of gilding in his ornaments and draperies : he is expressive in the airs of his heads, grace
ful in his attitudes, and magnificent in his architecture. He lived in habits of intimacy
with Raffaelle, when that great artist frequented the school of Perugino, who is sup
posed to have assisted him in his most important work, in the library of the Dome at
Siena, where he has represented, in ten compartments, the most memorable events of
the Life of Pope Pius II. Raffaelle is supposed to have designed and prepared the
cartoons for the greater part of them; and there is a grace and elegance discernible
throughout^ which are the characteristics of that illustrious artist. In his picture of
S. Lorenzo, at the Franciscans, at Spello, is a figure of the infant John Baptist, whichis
believed by some to have been designed by Raffaelle. He excelled in perspective and
grotesque ornaments, and decorated one of the loggie of the Vatican with architectural
views of the principal cities of Italy. Some of his most esteemed fresco works are in
the Dome at Spello, where he has represented the Annunciation, the Nativity, and
Christ disputing with the Doctors. This artist was remarkable for his avarice, and his
death is said to have been occasioned by a veiy whimsical circumstance. He was em
ployed to paint an altar-piece for the church of the Franciscans, at Siena, and was ac
commodated by the monks with an apartment to paint in, from which they had, for his
better accommodation, removed every thing, except an old chest, which appeared to be
in so fragile a state that it was not judged safe to displace it. The painter, who was not
less remarkable for peevishness than cupidity, insisted on its being taken away, and on
their endeavouring to move the box, it fell to pieces, when a discovery was made of several
hundred pieces of gold, which had been long concealed in it, unknown to any person.
His chagrin and disappointment at not being himself the finder of the treasure, so
strongly affected him, that he only survived the accident a few months. He died in
1513, aged 59-
PINZ, John George. This artist is supposed by Mr. Strutt to have been a native of
Germany. He is said to have been chiefly employed by the booksellers, for whom he
engraved several prints, in the style of those which ornament the numerous publications

206 PIG PIO
of Vander Aa. He engraved, among others, an emblematical print, in honour ofithe
King of France, after P. Decker.
PIO, Giovanni. See Bonatti.
PIOLA, Pellegro. He was born at Genoa in 1617. It. is nptis&id under whom he
studied; but, although the world was deprived of his talents at the premature age of
23, as Lanzi informs us, by the villany of some one jealous of his extraordinary genius;
a Madonna, painted by him, which was in the collection of the Marchese Brignole,
was judged by Franceschini to have been painted by Andrea del Sarto; and his picture
of S. Elogio, in one of the churches of Genoa, was mistaken by Mengs for a work of
Lodovico Caraeci. He aspired, however, to a higher flight than that of an imitator, and
would have reached a transcendent rank among the ablest artists, if he had beeri peb-
mitted a longer career. He died in 1640.
PIOLA, Domenico. He was the younger brother of Pellegro Piola, born at Genoa in
1628, and received his first education in the art from his brother. After the death of his
instructor he became a scholar of Giovanni Domenico Capellini. In conjunction with
Valerio Castelli, he executed some works for the public edifices in Genoa and the state,
and for some time attached himself to the style of that painter. His ideas, for the most
part, are not without beauty, though he is not very successful in the conduct of the
chiar-oscuro, and the character of his design is occasionally heavy and inelegant. He
emulated the style of P. da Cortona, in the lustre of his colouring, in the splendour of
his compositions, and his uncommon facility. He was particularly happy in the repre
sentation of children, which he designed from the casts of Fiammingo. One of his most
esteemed works is tbe Miracle of St. Peter at the gate of the Temple, at Carignano,
which is not degraded by its vicinity to an admirable picture by Guercino. He died in
1703, aged 75,
PIOMBO, Fra, Sebastiano del. This distinguished artist is called by Vasari, Sebastiano
Veneziano, by which name he was designated, until the Pope bestowed upon him the
office of the keeper of the seal of his chancery, to fill which it was necessary for him to
take the religious habit, and he assumed the title of Fra Sebastiano del Piombo. He
was bora at Venice in 1485, where his first occupation was the study of music. He
afterwards turned his thoughts to painting, and at first was a disciple of Giovanni Bel
lini, who was then far advanced in years ; but preferring the great style of Giorgione, he
became his scholar, and was the most successful imitator of the harmony of his tones
and the breadth of his chiar-oscuro. He first distinguished himself as a portrait
painter, to which his powers were peculiarly adapted. His portraits are boldly designed
and full of character; the heads and hands are admirably drawn, with an exquisite tone
of colouring, and extraordinary relief. The first historical picture which established
his reputation, was the altar-piece in the church of S. Gio. Crisostomo, at Venice, in
which he so nearly approached the rich and harmonious colouring of Giorgione, that it
was for some time supposed to be the work of that master. He had acquired con
siderable celebrity at Venice, when he was invited to Rome by Agostino Chigi, who
employed him in ornamenting his palace of the Farnesina, in conjunction with Baldas
sare Peruzzi, and where Raffaelle had painted his celebrated Galatea, and given the

PIO P I R 207
designs for the history of Cupid and Psyche. In this competition, Sebastiano disco
vered his inferiority in design, and endeavoured to remedy the defect, by studying the
antique, and by the instruction of Michael Angelo Buonaroti. That great artist had
felt some uneasiness at the growing fame of Raffaelle, and he readily availed himself
of the powers of Sebastiano as a colourist, in the hope, that assisted by his designs, he
might be enabled to enter the lists with his illustrious antagonist, if not drive him from
the field. With this view, he furnished him with the designs for the Pieti, in the church
of the Co'nventuali, at Viterbo ; and the Transfiguration and Flagellation, in S. Pietro,
in Montorio, at Rome, which, as he was very tedious in his process, occupied him six
years. The extraordinary beauty of the colouring, and the grandeur of M. Angelo's
composition and design, in these celebrated productions, were the objects of universal
surprise and applause. It was at this juncture that the Cardinal Giulio de Medici com
missioned Raffaelle to paint his immortal picture of the Transfiguration, and being-
desirous of presenting an altar-piece to the cathedral of Narbonne, of which he was
Archbishop, he engaged Sebastiano del Piombo to paint a picture of the same dimen
sions, selecting for the subject the Raising of Lazarus. On this occasion, he was again
assisted by the powers of Buonaroti, by whom it was composed and designed. The
picture was publicly exhibited at Rome, in competition with the Transfiguration; and
it is no mean proof of its extraordinary merit, that, notwithstanding the transcendent
beauty of Raffaelle's chef d'ceuvre, Sebastiano's performance excited universal admira
tion. This celebrated work of art was removed, by the Regent of France, from the
cathedral at Narbonne, into the Orlean's collection, of which it was one of the most
important ornaments. After the death of Raffaelle, he was reputed the most distin
guished artist at Rome. He was particularly favoured by Clement VII. who remune
rated* his services by appointing him to a lucrative benefice, which occasioned him, in
the latter part of his life, to relax in his labours as a painter. His last undertaking was
the chapel of the Chigi family, in S. Maria del Popolo, which he left imperfect, and it
was afterwards finished by Francisco Salviati. He died in 1547, aged 62.
PIORT, V. An obscure artist, mentioned by Mr. Strutt as the engraver of a plate from
Rubens, representing an old Woman holding a pot with fire, from which a Boy is taking
a lighted coal.
PIPPI, Giulio. See Romano.
PIRANESl, Giovanni Batista. An eminent architect and engraver, born at Rome in
1707. The works of this distinguished and laborious artist consist of near twenty large
folio volumes, containing the most remarkable edifices of ancient Rome, and a variety of
architectural compositions from his own designs. The plates are executed in the most
tasteful and picturesque style, and are too well known to require any comment. He
died at Rome in 1778, aged 71.
PIRANESl, Francesco. He was the son of the preceding artist, born at Rome in 1748
and was instructed in design and architecture by his father. We have by him several
plates of architectural views, and also of the antique statues, in which he appears to have
imitated the style of Gio. Marco Pitteri. We have the following, among others, by
him:

208 P I R PIS
Jupiter seated; from the statue in the Clementine Gallery; after a drawing by Piroli.
The Venus of Medicis; after the same.
Cupid and Psyche ; from the Antique Sculpture in the gallery of the Capitol.
Papirius and his Mother ; from the group in the Villa Ludovisi.
PIRANESI, Laura. This lady was the daughter of Giovanni Batista Piranesi, born at
Rome in 1750. She has engraved some views of the remarkable buildings in Rome,
which are executed with taste and delicacy. We have, among others, the following
views by her :
The Capitol.
The Ponte Salario.
The Temple of Peace.
The Arch of Septimus Severus.
PIRINl, Louis des. A French engraver, by whom we have a plate, representing two
Men playing at Cards, and a Woman holding a Mirror behind one of them, to discover
his hand to the other; after Cornelius van Tienen. It is executed with the graver in a
coarse tasteless style.
PIRNRAUM, Alexis. According to Papillon, this artist was an engraver on wood,
and resided at Basle about the year 1545, of which city he was probably a native. That
author supposes him to have been a disciple of Hans Holbein. He does not, however,
specify any of his works.
PISANELLI. See Spisano.
PISANELLO, Vittore. This painter was a native of St. Vito, in the Veronese territory.
As to the precise time of his birth, the biographers of the artists are at unusal variance.
Vasari makes him a scholar of Castagno, and dates his death about the year 1480. Dal
Pozzo, in his Vite de pittori Veronesi, on the contrary, asserts that he possessed a picture
by Vittore, signed with his name, and dated 1406, before Castagno was bora. Whoever
was his instructor, the partiality of his admirers has placed him on an equality with
MasacciO, in the merit of having contributed to the improvement and advancement of
the art. The greater part of his works have perished, and his picture of the Annuncia
tion, in the church of S. Fermo, at Verona, is greatly injured by time. In the sacristy
of S. Francesco, at Perugia, are preserved some small pictures of the Life of S. Bernar
dino, very highly finished, but crude in the colouring, and the figures stiffly designed,
and too long.
PISTOJA, Leonardo da. He was a native of Pistoja, and was a scholar of Giovanni
Francesco Penni, a distinguished disciple of Raffaelle. His family name appears to have
been Grazia, from an inscription on a picture of the Annunciation, by him, in a chapel
of the Canons at Lucca, Leonardos Gratia Pistoriensis. He painted history and por
traits with considerable reputation, but particularly excelled in the latter. His works
are chiefly at Rome, Naples, and Lucca.

PIS PIT 209
PISTOJESE, Fra Paolo. This painter was bora at Pistoja, and flourished about the year
1520. He was the favourite scholar of Fra Bartolomeo di S. Marco, who bequeathed
him the greater part of his designs, and engaged him to finish the works which were
left incomplete at his death. He also painted several pictures for the church of S. Do
menico at Pistoja, from the designs of Fra Bartolomeo, as well as other works of his
own composition.
PITAU, Nicholas. This eminent engraver was born at Antwerp in 1633, and is supposed
to have been a disciple of Francis de Poilly, at Paris, whose style he followed, though
more vigorous and spirited in his execution. His print of the Holy Family, after Raf
faelle, is distinguished by the beauty of the handling, the purity of the drawing, and the
harmony of the effect. He engraved a variety of historical subjects after different
masters, and a considerable number of portraits, which are deservedly esteemed. The
following are his most esteemed prints :
PORTRAITS.
Louis Henry, Duke de Bourbon, supported by Wisdom and Religion.
Oliver Cromwell ; after Vander Werf.
Pope Alexander VII. ; after Jlignai-d.
Louis XIV. King of France ; after Lc Fevre. 1670.
Louis, Dauphin, his son ; after the same.
James Fabier du Bulay, Master of Requests ; after Champagne.
H. L. H. de Montmort, of the French Academy ; after the same.
Theodore Bignon, Master of Requests ; after the same.
Peter Seguier, Chancellor of France. 1668.
Alexander Paul Pitau, Advocate in Parliament.
Gaspar de Fieubet, Chancellor. 1662.
Nicholas Colbert ; after Le Fevre.
SUBJECTS after various masters.
The Holy Family, with St. Elizabeth and St. John; after Raffaelle; very fine.
The Entombing of Christ ; after L. Caraeci.
The Virgin holding the infant Jesus in her arms and reading; after Guercino.
The dead Christ, with Angels weeping over him ; after the same.
The Virgin interceding for St. Bruno and his order ; after Champagne.
Christ and the Woman of Samaria; after the same.
Mary Magdalen, penitent ; after the same.
St. Sulpitius in council ; after the same.
The Holy Family, with the infant Jesus embracing St. John ; after the same.
The Holy Family, with an Angel presenting a Basket of Flowers ; after Villequin.
PITAU, Nicholas, the younger. He was the son of the preceding artist, by whom we
have a few plates of portraits, among which is that of,
Louis Alexander de Bourbon, Count de Toulouse; inscribed, Cobert, pinx. 1701. N. Pitau,
Junior.
PITTERI, Giovanni Marco. An Italian designer and engraver, born at Venice in 1703.
He was a pupil of Gio. Antonio Faldoni, but he did not adopt the style of his instructor.
Vol. II. D d

210 PIT PLA
His plates are executed in a very singular manner, by single strokes, but very different
from tbe method practised by Mellan. His strokes run from the top to the bottom, and
his shadows are produced by strengthening them as the occasion requires. The effect
he produced by this whimsical operation is neither unpleasing nor unharmonious, and
his prints possess considerable merit. He engraved several plates for the collection of
the Dresden Gallery, and others, after various masters ; among which are the following :
portraits.
The Bust of Giovanni Marco Pitteri ; after Piazzetta.
Giovanni Batista Piazzetta, Painter, of Venice ; after the same.
Carlo Goldoni, comic Poet ; after the same.
* Nogari Guiseppe, Painter ; after the same.
Giovanni Mocenigo, noble Venetian ; after the same.
Count Schulenbourg; Field Marshal of Venice ; after Rusca.
Cardinal Quirini.
Marquis Scipione Maffei.
Clara Isabella Fornari.
subjects after various masters.
The Holy Family ; after Pietro Longhi.
The Seven Sacraments ; after the same.
The Crucifixion ; after Piazzetta.
The Twelve Apostles ; after the same.
Religion overthrowing Heresy ; after the same.
St. Peter delivered from Prison ; after Spagnoletto.
The Martyrdom of St. Bartholomew ; after the same.
St. Catherine of Siena ; after Tiepolo.
Mary Magdalen, penitent ; after the same.
A set of six Plates of Huntings, in the environs of Venice ; after Pietro Longhi.
Twelfth-Night; after Teniers.
Two Rustic Subjects ; after the same.
PITTONI, Giovanni Batista. This painter was born at Vicenza in 1690, and received
his first instructions in the art from his uncle Francesco Pittoni ; but his greatest im
provement was derived from an attentive study of the works of the best masters of the
Venetian school, by which he became an excellent colourist; and though his forms are
not distinguished by elegance, his drawing is tolerably correct, and his compositions are
abundant and ingenious. His figures are generally smaller than life; and he was less suc
cessful when he attempted to draw on a larger scale. Two of his finest pictures are the
Martyrdom of St. Thomas, in the church of S. Eustacio, at Venice, .aud the Multiplica
tion of the Loaves, in S. Cosmo della Guidecca. He died at Venice in 1767, aged 77.
We have a few spirited etchings by this artist, which he sometimes marked with his
initials, and sometimes inscribed them Johannes Baptista Pitonus Vicentinum, fecit.
PLAAS, David vander. This eminent portrait painter was born at Amsterdam in 1647.
After learning the principles of design in his native country, he travelled to Italy, and
resided some years at Venice, where the works of Titian were particularly the objects
of his attention, especially his portraits, the most perfect models for the study of an

PL A PL A 211
artist who pursues that branch. On his return to Holland he was very extensively em
ployed, and painted many of the distinguished personages of his time, among which
was a fine picture of Vice-Admiral Tromp. His heads and hands are admirably drawn,
full of truth and nature, and his colouring partakes of the vigour of Rembrandt, and the
truth of Titian. He was employed by Peter Martin to superintend the plates for his
Bible. He died at Amsterdam in 1704, aged 57.
PLACE, Francis. This gentleman was the younger son of Roland Place, of Dimsdale,
in the county of Durham. His father, intending him for the profession of the law,
placed him as a clerk to a solicitor in London, under whom he continued until the year
1665, when he was obliged to quit the metropolis, on account of the plague, which gave
¦him an opportunity of abandoning a pursuit, which was never agreeable to his inclina
tion, and of indulging his propensity for drawing, for which he had shown an early dis
position. He painted, designed, etched, and engraved in mezzotinto ; but, as he practised
the art for his amusement, his works are very scarce. They prove him to have been a man
of genius, and it is regretted that his application was not equal to his abilities. He is
said to have refused a pension of five hundred pounds a year, which was offered him in
the reign of Charles II. to draw the royal navy, as he could not endure confinement or
dependence. Mr. Place died in 1728, and his widow disposed of his paintings, among
which were an admired piece of fowls, others of flowers and fish, and some unfinished
pictures. The following are the principal plates he engraved, all of which are scarce :
PORTRAITS.
Charles I. ; after Vandyck.
Charles II.
General Lambert.
Richard Sterne, Archbishop of York.
Nathanial Crewe, Bishop of Durham ; after Kneller ; fine.
Richard Tompson, Engraver ; after Zoust.
Philip Woolrich, Esq. in armour ; after Greenhill.
Thomas Comber, Dean of Durham ; after the same.
John Moyzer, Esq. of Beverley; after Kneller.
Henry Gyles, Glass-painter. 1687; oval.
VARIOUS SUBJECTS.
Seven etchings, being part of a set of twelve of Birds; after Barlow; the other five were by
Grifftere; very fine.
A View of Tynemouth Castle and the Light-house.
The Cathedral of York.
A Prospect of Leeds.
PLACES, Louis des. See Desplaces.
PLAS, Peter Vander. According to M. Descamps, this painter was a native of Holland
born about the year 1570. He resided many years at Brussels, where he was reputed an
eminent painter of history. Several of his works are in the public places in that city,
where he died.
Dd2

212 PLA PG
PLATTENBERG, or Platten, Matthew van. This artist was born at Antwerp in
1600. Having acquired the first rudiments of the art in his native city, he went to
Italy, and resided some time at Florence, where, in conjunction with his countryman
John Asselyn, called Crabetje, he painted several sea-pieces and landscapes, which were
greatly admired. He afterwards visited Paris, where his works were not less esteemed,
and he met with sufficient encouragement to induce him to settle there for some time.
From a singular caprice, he frenchified his name of Plattenberg into that of Platte Mon-
tagne, with which he sometimes signed his pictures and prints, and sometimes Montague
only. His landscapes are highly finished, and exhibit very pleasing scenery. We have
a few etchings by this artist, executed in a very spirited style. They represent land
scapes and marines, and resemble the works of Fouquieres. They are usually inscribed
M. Montague, in. et f.
PLATTENBERG, Nicholas van. He was the son of the preceding artist, born at Paris
in 1631, and studied painting under Philip de Champagne. He was instructed in en
graving by John Morin, who he surpassed. His principal works, as a painter, are in the
churches of Notre Dame, St. Sacrament, and St. Nicholas des Champs, at Paris. He
was also a reputable portrait painter. In 1681 he became a member of the Academy.
As an engraver, he is entitled to great merit ; his drawing is correct, and his execution
is bold and free. He engraved several portraits, which are generally inscribed Nicholas
de Platte Montague. Among other prints, we have the following by him :
The Portrait of Olivier de Castella, general, killed at the siege of Tarragona in 1644.
St. Genevieve ; after P. de Champagne.
A dead Christ ; after the same ; very fine.
He died at Paris in 1706, aged 75.
PLEGINCK, Martin. A German engraver on wood and on copper, who flourished
about the year 1590. He engraved a set of copper plates representing figures fighting,
entitled, iFecfjter 25uetf)lem ffeOucfit in. m futtftUcfjm gtat otutolt &ac& bet £>tepljan
^ermanllUCffer tlltU <MO0C&mtDt &a &mWtl. They are executed with the graver, in
a style resembling that of Virgilius Solis. His wooden cuts are in the manner of Just.
Amman. He used the cipher ]VP.
PLEYDENWURFF, William. This artist was one of the early engravers on wood.
He was a native of Germany, and flourished about the year 1493. Conjointly with
Michael Wolgemut, he executed the cuts for the Chronicle compiled by Herman
Schedel, and printed at Nuremburg, in 1493, entitled, the Nuremberg Chronicle. They
represent views of towns, &c. and figures of various kinds, which, though drawn in the
stiff and incorrect manner usual at that early period, the prints are spiritedly and boldly
cut, and the heads are not without expression.
PLOOS, Cornelius van Amstel. See Amstel.
PO, Pietro del This artist was born at Palermo in 16IO, and studied under Domeni
chino at Naples, during that celebrated painter's residence in that city. He painted
some pictures for the churches at Palermo, and afterwards visited Rome, where among

PO POD 213
other works, he painted a picture of S. Leone, for la Madonna di Constantinopoli. He
was, however, more successful in easel pictures than those of large dimensions, and is
more distinguished as an engraver than a painter. We have several etchings by this
artist, some of which he has finished with the graver. They are not so correctly de
signed as might have been expected, from the school in which he was educated. Among
others are the following :
St. John in the Wilderness ; after An. Caraeci.
The Woman of Canaan before Christ ; after the same.
The dead Christ on the lap of the Virgin ; after the same.
The Virgin seated on a Throne with the Infant, and a choir of Angels ; after Domenichino.
The four Cardinal Virtues, with their attributes ; after the same.
St. Jerome kneeling, with an Angel ; after the same.
The Annunciation; after N. Poussin.
The Flight into Egypt ; after the same.
This artist died at Naples in 1692, aged 82.
PO, Teresa del. This lady was the daughter of the preceding artist. She is said to
have painted in oil and in miniature, and has etched a few plates in the style of her
father; among which is,
Susanna and the Elders ; after Caraeci.
PO, Giacomo del. He was the son of Pietro del Po, born at Rome in 1654, and was first
instructed in the art by his father, but was afterwards a scholar of N. Poussin. He was
chiefly occupied in ornamenting the saloons and mansions of the nobility at Naples,
with emblematical and allegorical subjects, for which his inventive genius and extraor
dinary facility particularly qualified him. As is usual with the majority of machanists,
dispatch and confidence led him into the negligence and incorrectness of a mannerist.
Rome possesses only two of his pictures, one in the church of S. Angiolo, and the
other in S. Marta ; but his talents are seen to greater advantage in his frescoes in the
gallery of the Marchese di Genzano, and particularly in the palace of the principe di
Avellino, at Naples. He died in 1726, aged 72.
POCCETTI. See Barbatelli.
PODESTA, Andrea. He was born at Genoa about the year 1620, and went early in his
life to Rome, where he became a scholar of Giovanni Andrea Ferrari. It does not ap
pear that he reached any celebrity as a painter ; but we have some very spirited and
masterly etchings by him, which prove him to have been an artist of considerable abi
lity. He usually marked his plates AND. P. or And. P. in. et fee. Among others, the
following are by him :
An Allegorical Subject, representing Boys cultivating the Arts, and a Phenix in the Flames ;
after his own design.
The Triumph of Bacchus ; after Titian.
Bacchus and Ariadne; after the same.
Silenus drunk, supported by Satyrs and Bacchanals ; after the same.
Two subjects from the Life of Diego ; after Caraeci.

214 POE POE
POEHAM, Martin. An old German engraver, to whom the prints marked with the
cipher j&. are attributed by Professor Christ. They chiefly consist of very indifferent
copies from the prints of Aldegraver, Sebald Beham, and others.
POEL, Vander. This painter is not mentioned by any of the writers on art, although
his pictures are frequently met with, and possess considerable merit. He was a native
of Holland, and, from the dates on some of his works, flourished about the year 1660.
His pictures usually represent conflagrations, and buildings on fire ; and he treated those
disastrous subjects with great ability. His pencil is free and firm; his colouring vigo
rous, and he was well acquainted with the principles of the chiar-oscuro.
POELEMBURG, Cornelius. This painter was born at Utrecht in 1586. He received
the first principles of the art from Abraham Bloemaert, and, following the example of
the generality of his countrymen, he travelled to Italy in search of improvement. On
his arrival at Rome, he attached himself at first to the style of Adam Elshiemer, which
he afterwards quitted, we are told by Houbraken, " to study the works of Raffaelle, and
imitated the grace of that incomparable master, particularly in the naked." It would
certainly be a whimsical research, to look for the characteristics of Raffaelle in the
Chinese figures of Poelemburg. He adopted a pleasing style of painting small land
scapes, distinguished by the suavity and delicacy of his colouring, an agreeable choice
of scenery, enriched with architecture, into which he introduced figures as remarkable
for the neatness of his pencil, and the clearness of his carnations, as they are deficient in
design. There is, however, a polished and seductive brilliancy in his finishing which
gratifies the generality of observers ; his works were held in the highest estimation and
he was employed by the principal personages at Rome. This flattering encouragement
did not however subdue his desire of revisiting his native country, and he determined to
pass through Florence, on his return to Holland. He quitted Rome with some reluct
ance, after a sojourn of several years; and on his arrival at Florence, where the reputa
tion of his talents had preceded him, he was received with favour and distinction by the
Orand Duke, for whom he painted several pictures, and who endeavoured in vain to
retain him in his service, by the most marked munificence and liberality. On his return
to Utrecht, the impatience of his countrymen to possess his works, loaded him with
commissions. Charles I. invited him to London, where he remained some time and
painted several pictures for the King and the nobility. He frequently ornamented with
his figures the architectural views of Steenwyck, and the landscapes of Kierings. In
King Charles's catalogue, are mentioned the portraits of his Majesty, and of the chil
dren of the King of Bohemia, by Poelemburg ; and in that of James II. there are sixteen
pictures by him. The success he met with could not induce him to remain in England.
He returned to Utrecht, where he died in 1660, aged 74. Descamps and M. Watelet
assert, that Poelemburg etched some prints from his own designs, and that the plates
being soon afterwards destroyed, they are now extremely scarce. I have never met with
any of them.
POERSON, Charles Francis. A French painter, born at Paris in 1653. He was a
scholar of Noel Coypel, and painted history in the style of his instructor. By the
patronage of M. Mansard, he was introduced to the notice of Louis XIV. and was em
ployed in painting some historical subjects, in the hospital of the Invalids. The under-

POILLY. 215
taking, however, did little credit to his abilities, as they were soon afterwards destroyed,
and replaced by some frescoes by Bon Boullongne. He was afterwards appointed
Director of the French Academy at Rome, where he died in 1725, aged 72.
POILLY, Francis, the elder. A very eminent French engraver, born at Abbeville in
1622, He was the son of a goldsmith and engraver, who instructed him in the rudiments
of the art. He afterwards went to Paris, where he became a pupil of Peter Daret,
Under whom he remained three years, and afterwards visited Rome, where he adopted
the fine style of Cornelius Bloemaert as his model. During a residence of seven years,
he greatly improved his design, and engraved several plates after the works of the great
Italian masters. On his return to Paris, he distinguished himself as one of the most
celebrated engravers of his country. His plates are executed entirely with the graver,
which he handled with uncommon firmness and dexterity. The correctness of his design,
corresponds with the beauty of his burin, and there is a fine expression in his heads.
Though he had the assistance of some able pupils, it is surprising that he could have
finished so many plates in a manner that required both time and patience. The following
are esteemed his best prints : PORTRAITS.
Pope Alexander VII. with accessories.
Louis XIV. when young; after Nocret.
Cardinal Mazarine ; after Mignard.
Henry D'Arnaud, Bishop of Angers.
Jerome Bignon, Counsellor of State ; after Champagne.
Abraham Fabert, Marshal of France ; after Ferdinand.
William de Lamoignon, with Allegorical Figures ; after Mignard.
Bust of William de Lamoignon ; after Le Brun.
SUBJECTS FROM HIS OWN DESIGNS.
The Virgin and Child.
The Holy Family, with St. John embracing the infant Christ.
St. Ignatius of Loyola.
The Death of St. Francis Xavier.
The Crucifixion.
The Triumph of Augustus. SUBJECTS AFTER VARIOUS MASTERS.
The Vision of Ezekiel ; after Raffaelle.
The Holy Family, in which the infant Christ is standing upon the cradle ; after the same.
The Virgin lifting up a veil, to show to St. John the infant Christ sleeping; after the same.
The Flight into Egypt ; after Guido.
The Nativity, or Adoration of the Shepherds, iu an octagonal border; after the same. The first
impressions of this plate are before the two angels which appear above were inserted.
Christ praying in the Garden ; after the same.
The dead Christ on the lap of the Virgin, at the foot of the Cross; after L. Caraeci.
The Repose in Egypt, in which Ihe Virgin is represented sleeping, with two Angels kneeling;
after An. Caraeci.
The Holy Family ; after N. Poussin.
The Marriage of St. Catherine ; after P. Mignard.

216 POILLY.
The Holy Family ; after P. Mignard.
The Baptism of Christ; after the same.
St. Charles Borromeus administering the Communion to the Persons infected with the plague;
after the same.
The Visitation ; after C. Le Brun.
St. John in the Isle of Patmos ; after the same.
The Crucifixion ; after the same.
The Parable of the Wedding Garment; after Champagne.
The Crucifixion; a large print, in three sheets; after the same.
The Trinity ; after the same.
Joseph's Bloody Garment presented to Jacob ; after Antonio Coypel.
Nymphs bathing; after Guilio Romano.
A variety of emblematical and other subjects, from various masters. He died at Paris
in 1693, aged 71.
POILLY, Nicholas. This artist was born at Abbeville in 1626. He was the younger
brother of Francis Poilly, by whom he was instructed in the art of engraving, and exe
cuted several plates, in the style of his brother, which, though inferior to those of
Francis, possess considerable merit. We have several prints by him of portraits and
historical subjects, executed with the graver, in a neat clear manner. The following
are his principal plates : portraits.
Louis XIV., in a frame of laurels, with Children bearing emblems ; after N. Mignard.
Bust of Louis XIV. ; as large as life. 1683.
Maria Theresa, Queen of France ; the same. 1680.
Louis, Dauphin, the son of Louis XIV. ; the same.
Louis Bourbon, called the Great Conde ; the same.
Francis de Coetlogon, Bishop of Rennes.
Ren6 Potier, Duke de Gesvre ; after Le Fevre.
Nicholas Edward Olier ; Counsellor of State.
SUBJECTS AFTER VARIOUS MASTERS.
St. Augustine holding a Crucifix.
The Holy Family, with two Angels holding a Basket of Flowers ; after S. Bourdon.
The Marriage of St. Catherine ; after the same.
The Presentation in the Temple ; after C. Le Brun.
The Holy Family returning from Egypt ; after the same.
The Holy Family, with the infant Jesus sleeping on the knee of the Virgin; after the same.
The Repose in Egypt ; after Chapron.
The Crucifixion ; after N. Poussin.
He died at Paris in 1696, aged 70.
POILLY, John Baptist. He was the son and pupil of the preceding artist, born at
Paris in 1669- Having made some progress in engraving under his father, he went to
Rome, where he studied some years. On his return to Paris he executed several plates,
by which he gained considerable reputation, and was made a member of the Royal Aca
demy in 1714. His style of engraving differs greatly from that of his father or his

POI POI 217
uncle. He forwarded his plates with the point, and finished them with the graver, in a
pleasing and, picturesque style. His drawing is generally correct, and there is a fine
expression in his heads. We have several portraits and historical subjects by him, of
which the following are the most deserving of notice :
PORTRAITS.
Clement XIII. Pontifex Max.
Louis XIV. ; after Mignard.
Charles James Edward Stewart, son of the Pretender; after Dupra.
Francis de Troy, Painter ; from a picture by himself; his reception plate at the Academy.
Cornelius van Cleve, Sculptor ; after Vivien ; the same.
SUBJECTS AFTER VARIOUS MASTERS.
The Nativity ; after Gaudentio Ferrari ; for the Crozat collection.
The Virgin adoring the infant Jesus, who is sleeping ; after Benvenuto Garofala ; for the same
collection.
The Martyrdom of St. Cecilia ; after Domenichino.
The Adoration of the Shepherds ; after C. Maratti.
The Red of Aaron devouring the Rods of the Magicians ; after N. Poussin.
The Israelites worshipping the Golden Calf; after the same.
The Holy Family; after the same.
The Judgment of Solomon; after A. Coypel.
Susanna and the Elders; after the same.
Jupiter and Danae; after Giulio Romano; for the Crozat collection.
Eleven Plates from the paintings by P. Mignard, in the saloon of St. Cloud.
The Four Seasons ; from the paintings in the gallery of St. Cloud ; after the same.
He died at Paris in 1728, aged 59.
POILLY, Francis, the younger. He was the younger son of Nicholas Poilly, born at
Paris in 1671, and was instructed in engraving by his father. He afterwards travelled
to Rome, with his brother, where he engraved a plate representing St. Cecilia distribut
ing her wealth to the poor, after Domenichino, a companion print to the Martyrdom of
that Saint, by John Baptist Poilly.
POILLY, N. B. According to Basan, this artist was the son of John Baptist Poilly, and
was intended by his father for an engraver, who gave him some instruction in the art
but he did not long apply to it. He engraved a few portraits, after Cochin, some of
which are dated 1753.
POINSART, J. A French engraver, who flourished about the year 1630. He was prin
cipally employed by the booksellers, for whom he executed several plates of views of
cities, castles, &c. They are neatly executed, but in an incorrect tasteless style. Among
other prints by him, is the Entry of Charles VII. into Rheims.
POINTE, F. de la. By this artist, who was a native of France, and flourished about the
year 1678, we have a plan of the environs of Paris, on nine parts. He also engraved
some of the views of the palace of Versailles, in conjunction with Israel Silvestre.
Vol. II. E e

21a POL POL
POLANZANI, Francesco. An Italian engraver, born at Andale, near Venice, about the
year 1700. He chiefly resided at Rome, where he engraved a set of twenty-two plates,
representing the Life of the Virgin, from designs which are by some attributed to N.
Poussin ,- but from their resemblance to the style of J. Stella, they are more probably
after the works of that painter. He also engraved the following prints :
The Bust of a Woman; after C. Cignani.
The Bust of a blind Musician; after Marco Benefiali.
The Virgin and infant Christ; after G. Nogari.
An old Man holding a Money-bag ; after the same.
An old Woman warming her hands ; after the same.
POLESTAN US, Andrea. By this artist, who was a native of Italy, and apparently a
painter, we have a slight etching of a Bacchanalian subject, a composition of many
figures from his own design. It is signed with his name, and dated 1640.
POLETNICH. A modern engraver, who resided at Paris about the year 1760. He en
graved several plates after the works of Vandyck, Boucher, La Grenee, and others.
POLIDORO, da Caravaggio. See Caravaggio.
POLIDORO, Veneziano. This painter was born at Venice in 1515, and was one of the
numerous scholars of Titian. Although he had the advantage of studying under that
admirable master, he never rose to great celebrity in the art; and his pictures in the
church of the Servi, and in other public situations at Venice, do not rank his talents
above mediocrity. He died in 1565, aged 50.
POLLAJUOLO, Antonio and Pietro. Antonio, the elder of these brothers, was born at
Florence in 1426. He was brought up to the profession of a goldsmith and designer,
under Bartolucci, and afterwards learned the art of casting figures in metal of Lorenzo
Ghiberti,who he assisted in executing the celebrated gates in the church of S. Giovanni,
at Florence, so much extolled by Michael Angelo. He executed in bronze the tomb of
Sistus IV. and that of Innocent VIII. His younger brother, Pietro, bora in 1428, studied
painting in the school of Andrea Castagna, and having distinguished himself by several
admirable portraits at Florence, Antonio became his disciple. He painted some pic
tures for the public edifices at Florence, which gained him the reputation of one of the
ablest artists of the period at which he lived. One of his most celebrated works is a
picture of the Martyrdom of St. Sebastian, in the chapel of the Marchese Pucci, in the
church of the Servi, at Florence, which is considered by Lanzi one of the ablest produc
tions of the fifteenth century, in respect to composition and design, though not equally
admirable for the colouring. He was perfectly master of the anatomy of the human
figure, in which he showed himself superior to all his contemporaries. Pietro chiefly distin
guished himself in portrait painting. The two brothers died at Rome in the same year,
1498. Antonio Pollajuolo was one of the earliest of the Italian engravers. Contem
porary with Finiguerra, he is supposed to have learned the art from him, and engraved
several plates, executed in a similar style. We have the following prints by him :

POL PON 219
A large plate, representing ten Naked Figures fighting with swords and other Weapons. It is
inscribed, Opus Ant onii Pollqjoli Florentini, without a date. The back-ground is a forest,
very rudely represented. The design shows that he had paid some attention to the figure,
and the heads are not without expression.
The Holy Family, in which the Virgin is seated, with the infant Jesus on her knee ; St. Joseph
appears on the right hand leaning on his staff, on the left is St. Elizabeth with St. John pre
senting a flower to the Child.
Hercules strangling Anteus.
POLONY, Ziaraka. An obscure engraver, who resided at Paris about the year 1615.
Among other prints, we have by him a slight etching, representing Queen Margaret
lying in state, in the Fauxbourg St. Germain at Paris.
POLO, Diego, the elder. According to Palomino, this Spanish painter was born at
Burgos in 1560. He studied at Madrid, under Patricio Caxes, and was a reputable
painter of history. There are some of his works in the Escurial, aud in the palace at
Madrid, which prove him to have been an excellent colourist, and a tolerably correct
designer. He died at Madrid in 1600, aged 40.
POLO, Diego, the younger. He was the nephew of the preceding artist, born at Burgos
in 1620, and was a scholar of Antonio Lanchares. He acquired an admirable style of co
louring, by studying the works of Titian, in the royal collection; and painted several
pictures for the churches at Madrid, of which the most esteemed are the Baptism of
Christ, in the church of the Carmelites ; and the Annunciation, in S. Maria. He died
in 1655, aged 35.
POMARANCE, Cristofano. See Roncalli.
POMARANCE, Niccolo and Antonio. See Circignano.
POMAREDE, Sylvius. This artist is said by Professor Christ to have been a native of
Italy, and to have engraved some plates, which he marked with the initials S. P. F. the
F. for fecit. Mr. Strutt says he flourished in 1620, instead of 1720.
POMPADOUR, the Marchioness of. This celebrated lady amused herself with engrav
ing, and has executed several small plates, after Boucher, Eisen, and others. She also en
graved a set of sixty-three prints after gems, by Gay.
PONGHINO, Giovanni Batista, called il Bozzato. This painter was born at Castel-
franco in 1500. He was a disciple of Titian, and, according to Lanzi, was a reputable
painter of history. His picture of the Limbo, in the church of S. Liberale, at Castel-
franco, is superior to any work of art in that city, except the admirable productions of
Giorgione. He also painted several altar-pieces for the churches of Venice and Vicenza.
POND, Arthur. An English painter and engraver, who resided in London about the
year 1740. He painted portraits both in oil and in crayons, aud contributed greatly to
the encouragement of the arts. In conjunction with George Knapton, he published
Ee2

220 PONTE. : (
the collection of heads of illustrious persons, engraved by Houbraken and Verlue, and
other interesting undertakings. Among others, they engraved a set of ninety-five plates
from the drawings of the great Italian masters, in imitation of the originals, which are
executed with taste and spirit. We have also by him a set of twenty-five caricatures,
after Cavaliere Ghezzi, and other masters. He etched several portraits; in a style re
sembling that of Rembrandt, among which are the following :
His own Portrait.
Lord Bolingbroke.
Alexander Pope, Esq.
Doctor Mead.
Thomas Sadler, Antiquary.
PONTE, Francesco da, the elder. This painter was the head of the family of the Bassans,
and the founder of the school distinguished by their name. He was born at Vicenza
about the year 1475, and after receiving his technical education at Venice, he established
himself at Bassano, a small town situated on the Brenta. If he was not a disciple of
Giovanni Bellini, he was in the early part of his life one of the most precise followers
of his style. Such is his picture of St. Bartholomew, in the cathedral at Bassano,
which retains much of the hard and laboured finishing of Bellini. In the middle of his
life his style became less dry and gothic, as appears in his altar-piece, in the church of
S. Giovanni, and his last works approached to the mellowness and freedom of the mo
dern style, as is evident in his picture of the Descent of the Holy Ghost, in the church
of the village of Oliero, a grand composition, with a rich and harmonious tone of colour,
and a fine expression in the heads. He died at Bassano about the year 1530.
PONTE, Giacomo da, usually called II Bassano. This eminent artist was the son of
Francesco da Ponte the elder, born at Bassano in 1510. He received his first instruc
tion in the art from his father, and afterwards studied at Venice, under Bonifazio Vene
ziano; but his best improvement was derived from contemplating the works of Titian
and copying the designs of Parmigiano. He has been supposed by some to have been
a disciple of the former; and Lanzi asserts, that some of his juvenile works seemed to
promise to the world another Titian, so much had he adopted his style in his Flight into
Egypt, in the church of S. Girolomo; and a Nativity, painted for Signor Larber. At
this period he drew his figures larger than life, and aspired to a greatness of style, of
which he showed himself not incapable, in some paintings still preserved on the exterior
of the Casa Michieli, at Venice, where he represented Samson destroying the Philis
tines, designed with a boldness and enthusiasm that reminds us of the grandeur of
Michael Angelo Buonaroti. But this energy was not of long duration, and he eventu
ally contracted his scale to smaller proportion, as he abandoned the dignity of history
to familiarize his ideas to the meaner and more domestic subjects which afterwards
occupied his pencil. He also distinguished himself as a portrait painter, in which he
followed the style of Titian and Tintoretto, and painted several of the most celebrated
personages of his time; among whom were Sebastiano Venerio, Doge of Venice, Ariosto,
Tasso, and others. He had acquired considerable celebrity at Venice, when the death
of his father made it necessary for him to return to Bassano, where he established him
self for the remainder of his life. The picturesque situation of his family mansion, pn

PONTE. 221
the fertile banks of the Brenta, environed with pasturage and cattle, led him to paint
from nature the rural objects which surrounded him, and he selected such subjects for
his pictures as admitted of the introduction of animals and rustic occupations, which he
'painted with a truth and simplicity which may be truly said to be his own. His scrip
tural pictures usually represent the animals going into the Ark, the history of Jacob, the
Adoration of the Shepherds, and others of a similar kind. His works of this description
were readily disposed of in the neighbouring cities of Vicenza, Brescia, Trevigi, and
Padua. When he did not confine himself to devout subjects, he made choice of those
of a pastoral kind, markets and fairs of cattle, farm-yards, the pursuits of husbandry, &c.
As he possessed an extraordinary facility of execution, and as his compositions are
neither complicate nor much varied, the number of pictures dispatched by him, his sons
and scholars, is astonishing. When his works were not painted by order, and when
he had accumulated a certain number, it was his practice to send them for sale lo the
several fairs held in the neighbouring towns. This will account for the multifarious pro
ductions of the school of Bassano, which are to be met with in every country, and in
every collection. He was invited to the court of Rodolfus II. but his attachment to his
retreat at Bassano induced him to decline the invitation. He painted for the Emperor
the Twelve Months of the year, and the Four Seasons. Of his historical pictures and
altar-pieces, some are deserving of particular attention, and prove that the defects dis
cernible in the generality of his works, are rather to be attributed to negligence and
manner, than want of ability. The Entombing of Christ, in the church of S. Maria in
Vanzo, at Padua, is a grand and solemn scene, represented with great feeling and expres
sion. His picture of the Nativity, now in the gallery of the Louvre, in which the light
emanating from the infant produces a charming effect, is a chaste and studied composi
tion; the airs and attitudes of the shepherds are simple and natural, and there is a dig
nity in the characters of the Virgin and St.'Joseph, seldom to be found in his productions;
the animals are admirably painted. One of his most important works is a large picture
of St. Roch interceding with the Virgin for the persons infected with the plague, in the
church dedicated to that saint at Vicenza. Deprived of the advantage of visiting
Rome, and of studying the antique and the great masters, he was confined in his models
to the works of the best Venetian painters, where he looked in vain for correctness or
elegance of design, sublimity of conception, or the select beauty of forms, but he
availed himself of their most seductive attributes ; his colouring is as harmonious and
captivating as any of the great masters of his country, and his handling evinces the
most decided and commanding facility. His heads, without dignity or beauty, charm
by an indescribable truth and naivete, which is peculiar to himself. The constant repeti
tion of domestic subjects, and representations of ordinary nature, undoubtedly degraded
his ideas, and impoverished his fancy. His contracted acquaintance with the naked,
obliged him to load his figures with draperies, which, even in his historical pictures, are
usually rather the habiliments of peasants, than characterised by the propriety of cos
tume. His compositions are frequently fantastical and incongruous, and his want of
precision in perspective, deteriorates the effect of his landscapes, which in other respects
are deserving of admiration. He died in 1592, aged 82.
PONTE, Francesco da, the younger. Francesco was the eldest of the four sons of
Giacomo da Ponte, born at Bassano, according to Ridolfi, in 1548, and was brought up
in the school of his father. He afterwards established himself at Venice, where he was

222 PON PON
employed by the government to decorate the public palace with a series of pictures,
representing subjects from the history of the republic. It is no slight proof of the emi
nence of his talents, that these ingenious productions sustain their claim to admiration,
in the vicinity of some of the most esteemed works of Tintoretto and Paolo Veronese.
He painted several pictures for the churches at Venice and in the state, which, though
less vigorous and harmonious in the colouring than those of Giacomo, are deservedly
admired. One of his most esteemed works is his picture of S. Apdllonio, in the church
of S. Afra, at Brescia. This able artist was afflicted with occasional attacks of melan
choly, which were probably increased by his assiduous application. In a paroxism of
mental derangement, he precipitated himself from a window and "was killed, in 1591, in
the forty-ninth year of his age.
PONTE, Giovanni Batista da. Gio. Batista, the second son of Giacomo da Ponte, was
born at Bassano in 1553. He was chiefly employed in copying the works of his father,
which he did with a precision that deceived the most experienced. The only picture
noticed, of his own composition, is an altar-piece in the church of Gallio, signed with
his name, which is said, by Lanzi, to be painted in the style of his brother Leahdro. He
died in 1613, aged 60.
PONTE, Leandro da. This artist was the third son of Giacomo da Ponte, born at
Bassano in 1558. He was also educated under his father, whose style he for some time
followed, until some portraits he had painted at Venice were so highly celebrated that
in the latter part of his life, he confined himself almost entirely to portrait painting.
Of his historical pictures the most deserving of notice are, the Birth of the Virgin, in the
church of S. Sofia, at Venice ; and the Raising of Lazarus, formerly in La Carita now
in the gallery of the Louvre. Among other distinguished portraits he painted was the
Doge Grimani, who conferred on him the order of knighthood. He died in 1623
aged 65.
PONTE, Girolamo da. He was the youngest son of Giacomo, bora at Bassano in 1560
and, with his brother Gio. Batista, copied the pictures of his father so perfectly, as to
pass at the time, as they have done since, for the originals. He painted, however, some
pictures from his own designs ; among others, an altar-piece, in the church of s'. Gio
vanni, at Bassano, representing St. Barbara kneeling before the Virgin. He died in
1622, aged 62.
PONTIUS, Paul. A very eminent Flemish engraver, born at Antwerp about the year
1596, and was instructed in the art of engraving by Lucas Vostermans; but he improved
his design by the advice and friendship of Rubens, from whose works he engraved many
admirable plates. Few artists have equalled him in the correct and faithful delineation
of his model ; and in the character and expression of his figures, he appears to have
possessed himself of the mind of Rubens. He was not less successful in the fine por
traits he has engraved after Vandyck, in which he seems to have adapted his style to
the particular character of the person represented. His plates are executed with the
graver in a clear bold style; and, though he did not possess the facility of Bolswert, or
the delicacy of Vostermans, his plates will ever be esteemed among the ablest produc
tions of the Flemish artists. The following is an ample list of his principal works :

PONTIUS. 223

portraits after vandyck.
Paul du Pont, or Pontius, engraver.
Peter Paul Rubens.
James de Breuck, Architect.
John Wildens, Painter, of Antwerp.
John van Ravesteyn, Painter, of the Hague.
Palemedes Palamdessen, Dutch Painter.
Theodore Vanloo, Painter, of Louvain.
Theodore Rombouts, Painter, of Antwerp.
Cornelius vander Gheest, celebrated Connoisseur.
Gerard Honthorst, Painter, of the Hague.
Henry van Balen, Painter, of Antwerp.
Adrian Staloent, Painter, of Antwerp.
Daniel Mytens. Painter, of Holland.
Gerard Seghers, Painter, of Antwerp.
Simon de Vos, Painter, of Antwerp.
Gaspar de Crayer, Painter, of Ghent.
Henry Steenwyck, Painter, of Antwerp.
Gaspar Gevartius, Jurisconsult, of Antwerp.
Nicholas Rockox, Magistrate, of Antwerp.
John van den Wouwer, Counsellor of State.
Caesar Alexander Scaglia, Abbot of Stophard.
Gustavus Adolphus, King of Sweden.
Mary of Medicis, Queen of France.
Francis Thomas, of Savoy, Prince of Carignan.
John, Count of Nassau.
Don Alvarez, Marquis of Santa Cruz.
Don Carlos de Colonna, Spanish General.
Don Diego Philip de Gusman, Marquis de Leganez.
Mary, Princess of Aremberg.
Henry Count de Berghe, in armour.
Sir Balthasar Gerbier, Ambassador from Spain.
Frederick; Henry, Prince of Orange. PORTRAITS AFTER RUBENS,
Philip IV. King of Spain. 1632.
Elizabeth of Bourbon^ his Queen.
Isabella Clara Eugenia,. Infanta of Spain.
Ferdinand, Infant of Spain, on horseback.
Gaspar Gusman, Duke of Olivarez ; very fine.
Chri stoval, Marquis of Castel Rodrigo ; fine and scarce.
Manuel de Moura Cortereal, Marquis of Castel Rodrigo; the same.
The Mother of Manual, Marquis of Castel Rodrigo; the same.
VARIOUS SUBJECTS AFTER RUBENS.
Susanna and the Elders. 1624.
The Adoration of the Shepherds.
The Murder of the Innocents. In two sheets. 1643. ; very fine.
The Presentation in the Temple,

224 PON PON
Christ bearing his Cross ; fine.
The Crucifixion with Angels, one of which is overcoming Sin and Death.
The dead Christ supported by the Virgin, with Mary Magdalen, St. Francis, and other figures ;
very fine.
The Descent of the Holy Ghost.
The Assumption of the Virgin.
The Virgin suckling the Infant.
St. Roch interceding with Christ for the Persons afflicted with the plague; very fine.
Thomyris causing the Head of Cyrus to be put into a Vessel of Blood ; fine.
SUBJECTS AFTER VARIOUS MASTERS.
The Flight into Egypt ; after Jordaens.
Twelfth-Night; after the same ; fine.
The Adoration of the Magi ; after G. Seghers.
The Virgin with the infant Christ and St. Anne ; after the same.
St. Francis Xavier kneeling before the Virgin and Child ; after the same.
St. Sebastian, with an Angel drawing an Arrow from his breast; after the same.
A dead Christ, supported by the Virgin ; after Vandyck.
St. Rosalia receiving a Crown from the infant Jesus ; after the same.
The Holy Family ; after J. van Hoeck.
The Entombing of Christ ; after Titian.
PONTONS, Pablo. A Spanish painter, born at Valencia, in 1606. He was a scholar of
Pedro Orrente, and followed the style of his instructor, who had been a scholar of Bas
sano : his colouring bears the character of the Venetian school. There are several of
his works in the churches and convents of his native city, of which the most consider
able is a series of subjects from the life of San Pedro de Nola, in the church and clois
ters of the convent de la Merced. He also painted some altar-pieces for the monastery
de laCartuja del Puche, and in the church of S. Maria de Morella, are two pictures,
representing the Nativity, and the Adoration of the Magi. He was also a reputable
painter of portraits. He died in 1670, aged 64.
PONTORMO, Jacopo Carrucci, da. This painter was born at Pontormo, in the Floren
tine state, in 1493. His family name was Carrucci, but he is generally called da Pon
tormo, from the place of his nativity. His parents dying before he was thirteen years of
age, he was taken to Florence by a relation, who perceiving his inclination for the art,
placed him in the school of Lionardo da Vinci, under whose tuition he only remained a
short time, and afterwards successively became the scholar of Pietro Cosimo and Ma-
riotto Albertinelli. Whilst he was a disciple of Albertinelli, he painted a picture of the
Annunciation, which excited the greatest admiration, and being shown to Raffaelle, was
considered by that great painter as an uncommon effort of genius, as a juvenile perform
ance. He afterwards became a pupil of Andrea del Sarto ; and some of his early pro
ductions having received the most marked commendation from Michael Angelo Buo
naroti, the illiberal disposition of his instructor conceived an unworthy jealousy of his
powers, and dismissed him from his academy. This ungenerous and unwarrantable
treatment only served as a stimulus to his exertions ; and it was not long before he met
with considerable occupation. One of his first productions, on leaving Andrea delSarto,
was a picture of the Visitation of the Virgin to Saint Elizabeth, for the church of la

PON POO 225
Nunziata, which disputed the preference with many of the works of Andrea. He was
not less successful in his Holy Family with St. John, painted for the church of S.
Michele, at Florence ; and his picture of S. Agostino giving the Benediction, with a
beautiful choir of Angels, in the church of S. Clemente. It is surprising, that with the
possession of such powers, he should vitiate his principles, and degrade his talents, by
stooping to a mean and servile imitation of the dry and meagre style of Albert Durer.
But whether from a diffidence in his own resources, or from the inconstancy of his dis
position, he forsook the path which he had trod with such ability, to wander from one
manner to another, until he found it impossible to return to that from which he had so
indiscreetly departed. The compositions, in the series of pictures he painted for the
cloyster of the Carthusians at Florence, are undisguisedly copied from the prints of
Albert Durer. His last works were the frescoes he painted in the chapel of S. Lorenzo,
representing the Deluge, and the Last Judgment, which from his indecision and want of
energy, had occupied him eleven years. Great expectations had been formed of this
important undertaking; but when they were exposed to public view, they were found
to be totally unworthy of his reputation; and it is perhaps fortunate for his fame, that
they have since been obliterated. He did not long survive this mortifying failure, and
died in 1556, aged 63.
PONZONE, Matteo. This artist was a Venetian, and a scholar of Santo Peranda. He
was a painter of history, and several of his works are in the churches and public places
at Venice, particularly in S. Maria Maggiore, and in the church of the Padri Crociferi.
He surpassed his instructor in the delicacy of his colouring, though inferior in the ele
gance of his design.
POOL, Juriaen. This artist was born at Amsterdam in 1666. He distinguished himself
as a portrait painter, and passed the early part of his life at the court of the Elector
Palatine, by whom his works were much esteemed. After the death of his patron he
returned to Holland, when he abandoned painting, and applied himself to mercantile
pursuits. He was the husband of Rachel Ruysch, the celebrated paintress of flowers
and fruit. He died in 1745, aged 79.
POOL, Rachel. See Ruysch.
POOL, Matthew. A Dutch engraver, born at Amsterdam about the year 1670. He was
instructed in the art at Paris, and on his return to Holland engraved several plates after
various masters, in a style resembling that of Bernard Picart. We have among others
the following prints by him :
The Portrait of Barent Graat, Painter.
The Infancy of Jupiter ; after B. Graat.
Cupid taken in a net by Time ; after Guercino.
A Bacchanalian subject ; after N. Poussin.
A set of twelve subjects ; from designs by Rembrandt.
A set of one hundred and three plates, entitled, The Cabinet of the Art of Sculpture, by Francis
van Bos sue t ; from drawings by B. Graat.
Three burlesque representations of the Ceremonies adopted by the Flemish painters at Rome;
from the same.
Vol. II. Ff

226 POO POR
BOOST, Francis. See; Post.
POPELS, John. This artist was born at Tournay about the year 1630; He engraved
some plates from the pictures in the gallery of the Archduke at Brussels, for the collec
tion of prints called the Cabinet of Teniers ; among which are the following:
Hagar and Ishmael ; after Titian.
St. George and St. Stephen; after Gio. Bellini.
St. John Baptist and St. Roch ; after Palma Vecchio.
The Virgin and infant Christ, with St. John and St. Catherine; after Palma Giovine.
A dead Christ, supported by Joseph of Arimathea; after Schiavone.
He also engraved a plate of the Triumph of Bacchus ; after Rubens.
POPPI. See Morandini.
PORBUS, Peter. This painter was born at Gouda in 1510. He distinguished himself as
a geographer as well as a painter. In the great church at Gouda was a picture by him
representing St. Hubert. He afterwards established himself at Bruges, at that time the
most flourishing city in the Low Countries, where he painted several altar-pieces for the
public edifices, particularly the Crucifixion, still preserved in the church of Notre Dame.
He died at Bruges in 1583, aged 73.
PORBUS, Francis, the elder. He was the son of the preceding artist, bora at Bruges
in 1540, and was first instructed by his father ; but he afterwards had the advantage of
studying under Francis Floris, and eventually surpassed both his instructors. He painted
history, landscapes, and animals, and was one of the most distinguished portrait painters
of his time. There are several of his works in the churches at Antwerp, where he chiefly
resided, and where he was received into the Academy in 1564. In the cathedral is an
altar-piece representing the Circumcision, with two shutters, on which he painted the
portraits of the donors of the picture. One of his most esteemed works is the Adora
tion of the Magi, in the church of the Convent at Oudenarde. Though the productions
of this artist retain somewhat of the dry formal style which preceded him, his colouring
is clear and chaste, particularly in his portraits, which are full of life and character.
He died in 1580, aged 40.
PORBUS, Francis, the younger. He was the son of the foregoing artist, born at Antwerp
in -1570. After receiving some instruction in his native city, he travelled to France with
the intention of visiting Italy, but he met with such encouragement at Paris as a portrait
painter, that he took up his residence in that city for the remainder of his life. He
painted the portraits of the Royal Family, and the most distinguished personages of the
court. His talents were not confined to portraits ; there are several of his pictures in
the churches at Paris, which establish his reputation as an eminent painter of history.
He painted for the church of the Jacobins the Annunciation, and a picture of St. Francis •
but his most esteemed performance is the Last Supper, formerly in the church of St.
Leu, now in the Gallery of the Louvre ; it is a grand and simple composition, the figures
correctly designed, and the colouring rich and harmonious. In the Hotel de Ville are
two pictures by Porbus of the Minority and Majority of Louis XIII., which he has

POR POR 227
treated with great ingenuity, and the portraits he has introduced have an admirable
appearance of truth and nature. The portrait of Henry IV. was formerly in the collec
tion of the King of France, it is now in the French Museum. He died at Paris in 1622,
aged 52.
PORDENONE. See Licinio.
PORPORATI. A modern Italian engraver, born at Turin in 1740. He went to Paris
when he was young, and became a pupil of Beauvarlet, under whom he made great
progress, and acquired considerable celebrity by his first productions, in the neat finished
style of his instructor. In 1773 he was made a member of the Royal Academy at Paris,
and engraved, for his plate of reception, Susanna and the Elders, after Santerre. He had
executed several fine plates at Paris, when he returned to Turin. We have the following
prints by him, some of which are executed in a finished and beautiful style :
Abraham sending away Hagar; after Philip Vandyck.
Tancred and Clorinda; after C. Vanloo.
Herminia asking shelter of a Shepherd ; after the same.
Cupid in Meditation ; after Angelica Kauffman.
The Death of Abel ; after A. vander Werff.
Venus caressing Cupid ; after Pompeo Battoni.
Jupiter and Leda; after Coreggio; very fine.
PORRO, Girolamo. An Italian engraver on wood and on copper, bora at Padua about
the year 1520. He executed the plates for the Orlando Furioso of Ariosto, published at
Venice in 1548. He also engraved in a tasteful and delicate style, the vignettes,
amounting to nearly one hundred, for a book entitled, Impressi degli nomini illustri, by
Camillo Camilli. His last work was a set of wooden cuts for the Funerali degli Antichi,
by Tommaso Partacchi, published at Venice in 1591.
PORTA, Baccio della, called Fra Bartolomeo di S. Marco. This eminent painter was
born in the territory of Savignano, near Florence, in 1469. When he was very young
he became a disciple of Cosimo Roselli, at Florence, whose residence bein°- near the gate
of St. Peter, he acquired the name of Baccio della Porta. After passing some years
under that master, he applied himself to an assiduous study of the works of Lionardo da
Vinci, whose grandeur of relief, and admirable chiar-oscuro, were the particular objects
of his admiration. In company with his friend, Mariotto Albertinelli, he modelled and
copied from the ancient bassi-relievi, by which he acquired a breadth of light and sha
dow, which is one of the most striking characteristics of his style. His first works were
of a small size, and very highly finished, gracefully composed and designed. Such are
his two cabinet pictures in the Florentine Gallery, representing the Nativity and the
Circumcision ; but he afterwards aspired to a grander style, and in his fresco of the Last
Judgment, in a chapel of S. Maria Nuova, evinced powers of a superior cast. He was
tbe particular friend of the celebrated Domenican Savonarola, and is said to have been
urged, by the too rigid scruples of that unfortunate zealot, to destroy all his studies and
designs, on account of their nudity. He was employed in the convent of St. Mark,
when the officers of justice, by order of Alexander VI. broke into the monastery to
seize the person of Savonarola previous to his execution, and the tumult it occasioned,
Ff2

228 PORTA.
by the resistance of the monks, is said to have intimidated him to such a degree, that he
made a vow to devote himself to a monastic life, if he should escape the danger. In 1500
he took the habit of St. Dominick, and was afterwards usually called by the name of
II Frate.
When Raffaelle visited Florence, in 1504, he formed a friendship with Fra Bartolo
meo, from whom he received some instruction in the principles of colouring and the
folding of his drapery; and, in return, taught II Frate the rules of perspective. In a
short time afterwards he visited Rome, where he was so struck with the works of
Michael Angelo and Raffaelle, that, from modesty, he only attempted to paint two
single figures of St. Peter and St. Paul, preserved in the palace of the Quirinal. On his
return to Florence, removed from such formidable competitors, he painted several altar-
pieces for the churches of his order, which proved how much he had strengthened his
style by his journey to Rome. His design approached to that of Raffaelle, in grace and
grandeur, and he surpassed him in the boldness of his relief, and the rich impasto of his
colouring. His compositions, like those of his contemporaries, usually represented the
subjects then mostly in demand for conventual situations, the Virgin with the Infant,
surrounded with Saints; but he diversified the formality of these objects, by embellish
ing them with magnificent architecture and groups of angels, or celestial choristers,
composed and designed with elegance and taste. Some of his rivals had accused him of
being incapable of designing the figure on a large scale, and he refuted the calumny
by painting his celebrated figure of St. Mark, in the Florentine Gallery, regarded as a
prodigy of art, and which occasioned a learned traveller to remark, that it appeared to
him a large Grecian statue metamorphosed into a painting. The jealousy of his oppo
nents charged him with being ignorant of the anatomy of the human body, until he
painted a picture of St. Sebastian, so correctly designed, and of so perfect a form, that
it excited universal admiration, and was judged by the monks to be too beautiful a figure
to be publicly exposed in their church. Several of the principal works of Fra Barto
lomeo were taken by the French from the churches at Florence, and are now amidst the
spoils in the Louvre ; among which are his celebrated picture, formerly in the church of
S. Marco, representing the Virgin sitting on a throne, accompanied by St. Peter St.
Bartholomew, and other saints, presiding at the mystical marriage of St. Catherine
with the infant Christ; the Four Evangelists, taken from the church of the Nunziata
and others. This distinguished painter died in 1517, aged 48.
PORTA, Guiseppe, called Salviati. This painter was bora at Castel Nuovo, in the
Grafagnana, in 1535. He was sent to Rome when he was young, and was placed in the
school of Francesco Salviati, a Florentine painter, whose character of design he fol
lowed, and acquired the name of the younger Salviati, by which he is more generally
known than his own. He had already arrived at considerable proficiency, when his
instructor was invited to Venice, whither he was accompanied by his pupil, and havino-
combined somewhat of the design of the Roman school, with the Venetian colouring,
his works were sufficiently admired in that capital, to induce him to establish himself
there, where he met with the most flattering encouragement. He was employed by the
senate, in conjunction with some of the most distinguished artists of his time, in orna
menting the palace and library of St. Mark, where he painted the Sybils, the Prophets
and the Cardinal Virtues ; and for the chapel, the dead Christ with the Mary's. His
reputation reached Rome, whither he was invited by Pius IV. where he was employed

POR P O S 229
in the Sala Reale, and painted the Emperor Frederick I. doing homage to Alexander III.
Having finished these, and other considerable works for that Pontiff, for which he was
munificently rewarded, he returned to Venice, where he painted several pictures for the
churches and public edifices, particularly an Assumption, for the church of the Padri
Servi ; and the Annunciation, in the chapel of the lncurabili. In the church degli
Angeli, at Murano, is one of his finest works, representing a Descent from the Cross,
with the Virgin, Mary Magdalen, and St. John. His compositions show the fertility of
his genius, and his design is characterised by the energy of the Florentine school;
though, like many of those who have emulated the daring contour of Buonaroti, without
possessing his learning and taste, he is occasionally strained and extravagant in the
delineation of the muscles : his colouring is often tender and harmonious; but towards
the latter part of his life was occasionally languid and monotonous. He died in 1585,
aged 50.
Papillon mentions this artist as an excellent engraver on wood. That writer asserts,
that he had seen, in the possession of M. Villayer, at Paris, about a dozen wooden cuts
by him, representing prophets and Sibyls, and a print of Cupid and Psyche. He pos
sessed himself a print of the Crucifixion, with the Virgin, Mary Magdalen, and St.
John, signed Guiseppe Salviati, executed in an admirable style, with a fine expression in
the heads; and another representing the Academy of Arts and Sciences, signed Joseph
Porta Grafagninus.
PORTIO. An obscure engraver, who lived about the year 1700. His name is affixed to a
few portraits and other book plates.
PORTUCAL. According to Mr. Strutt, this artist was the engraver of a small upright
plate, representing a female figure weeping, and pouring water from a cup. It is very
indifferently engraved, in imitation of the style of Aldegrever.
PORZEL, Elias. A German engraver on wood, who resided at Nuremberg about the
year 1700. Professor Christ, without specifying any of his works, gives the following as
the marks usually found upon his prints <$ . g .
POSSENTl, Benedetto. According to Malvasia, this artist was a native of Bologna,
and was brought up in the school of the Caraeci. He excelled in painting landscapes,
sea-ports, embarkations, and battle-pieces, which were held in considerable estimation.
POSSENTl, Giovanni Pietro. He was the son and scholar of Benedetto Possenti, born
at Bologna in 1618. His genius led him to paint battles and attacks of cavalry, in
which he not only surpassed his father, but was regarded as the ablest painter of his
time, in that branch of the art. His talents were not confined to those subjects, and he
acquired no mean reputation by some altar-pieces he painted for the churches at
Bologna and Padua. One of his most esteemed productions is a picture in the church
of S. Lorenzo, in the latter city, representing the Martyrdom of that Saint.
POST, or Poost, Francis. This painter was born at Haerlem about the year 1620. He
was the son of John Post, a glass-stainer of some celebrity, who taught him the rudi
ments of design. It is not known whether he had the advantage of any other instruc-

230 PLA POT
tion, but before he was twenty years of age he discovered sufficient ability to recommend
him to the protection of Prince Maurice, who engaged him in his service, and he ac
companied that prince in the voyage he undertook to the West Indies and South
America. During a residence of two years, he made numerous drawings of the most
interesting views in that country, from which, on his return to Holland, he painted
several large pictures for the palace of Ryksdorp, near Wassenaer. Houbraken speaks
in very favourable terms of the talents of this artist as a landscape painter. His pencil
is light, yet firm; his colouring clear and agreeable; and his trees and plants are touched
with neatness and spirit. He died at Haerlem in 1680, aged about 60. We have several
spirited etchingsby this artist, among which are the following:
A set of Views in Brasil ; from designs made by himself.
A View of the Gulf of All Saints; Fr. Poost,fec. 1645.
A View of Cape St. Augustine ; the same inscription.
A View of the Isle of Thamaraca ; the same.
POT, Henry. According to Descamps, this artist was born at Haerlem about the year
1600. It is not said under whom he studied, but he was a reputable painter of history.
Houbraken celebrates a picture by this master, representing Judith with the Head of
Holofernes; and mentions in very favourable terms a large picture of a Triumphal Car
of one of the Princes of Orange, in the Princenhof at Haerlem. He was also a distin
guished portrait painter, of which he has given proof in a large picture in the hall of the
archers, at Haerlem, in which he has represented the principal officers of that society.
POTMA, James. He was a native of Workum, in Friesland, born about the year 1610,
and was a scholar of Wybrant de Gheest. He painted history and portraits, but was
particularly eminent in the latter. The greater part of his life was passed at the dif
ferent courts in Germany, where he was much employed as a portrait painter. He died
at Vienna in 1684, aged about 74.
POTTER, Peter. He was born at Enkhuysen about the year 1595. Little more is
known of this artist, than that he painted landscapes, with scriptural and other subjects,
which, if we may judge from the prints engraved from them by Peter Nolpe, must have
possessed considerable merit. They representthe Four Seasons and the Four Elements,
the Prophet Elias speaking to the Woman of Sarepta, and St. Paul the Hermit nourished
in the desert by an eagle.
POTTER, Paul. This admirable painter of animals was the son of the preceding artist,
born at Enkhuysen in 1625, and was instructed in the art by his father. Before he had
attained his fifteenth year, his works were held in the highest estimation, and he was
regarded as the most promising artist of his time. He established himself at the
Hague, where his pictures were so much sought after, that, with more than common
assiduity, he could with difficulty keep pace with the demand for his works. Maurice,
Prince of Orange, was one of his most zealous admirers, for whom he painted some of
his finest pictures. The landscapes of Potter are usually subordinate to his cattle, and
seldom extend beyond a pasture, with a stump of a tree, a farm house, or a hovel ; but
these are represented with uncommon fidelity, and his animals are designed with a cor
rectness that is beyond all praise. He chiefly excelled in painting cows, sheep, goats,

POU POU 231
&c. which he grouped in a most picturesque manner. His pictures usually exhibit a
brilliant effect of sunshine; and there is a lustrous glitter in his colouring, which is pe
culiar to himself. His touch is firm and free, and his pencil unusually full and flowing,
although his pictures are highly finished. Though he generally painted on a small scale,
he was not incapable of more energetic exertions. There was formerly in the collection
of the Prince of Orange, a picture of a herdsman and cattle, as large as life, designed
and painted with surprising truth and character ; it is now in the gallery of the Louvre.
His cabinet pictures are, however, preferable to those of a large size. He designed
every object from nature; and it was his constant practice, in his walks in the fields,
the only recreation he allowed himself from constant application, to sketch in a book
every object that attracted his attention. An unremitting and laborious attention to his
art had a fatal influence upon a consitution naturally weak and delicate, and he fell a
victim to his assiduity in the bloom of life, in 1654, in the twenty -ninth year of his age.
We have some charming etchings by this celebrated artist, drawn with great spirit and
correctness, and executed in a very masterly style ; they are as follow :
A set of eight plates of Cows, Oxen, and other animals, with a Bull on the title ; Paulus Pot
ter, f.
A set of five plates of Horses ; the same inscription.
A Mountainous Landscape, with cattle and a herdsman ; Paulus Potter, in et.f. 1649.
A Landscape, with a shepherd playing on a pipe, and a flock of sheep and goats.
A great number of the designs of Paul Potter have been spiritedly etched by Mark de
Bye.
POULLEAU. A modern French engraver, born at Paris in 1749- He has engraved
several plates of ruins and architecture ; among which are the following ;
Ruins of a Temple; after de Machy.
A View of the Interior of the Church of the Magdalen, at Ville PEveque ; after Contau
d'lvry.
POURBUS. See Porbus.
POUSSIN, Nicholas. This distinguished painter was born at Andely, in Normandy, in
1594. He was descended from a noble family, originally of Soissons, whose fortunes
had been ruined by the civil wars in the time of Charles IX. and Henry III. and his
father, John Poussin, with a small inheritance, served in the army under Henry IV.
Preferring the cultivation of science to military pursuits, the young Poussin had already
distinguished himself by the solidity of his judgment, and his progress in literature,
when a fondness for drawing, and an acquaintance formed with Quintin Varin, an artist
of some eminence, induced him to solicit the permission of his father to adopt painting
as a profession.
After receiving the incipient principles of the art from Varin, in 1612, when he was
eighteen, he visited Paris, in search of improvement. The arts were at that period at a
very low ebb in the capital of France, and the only assistance he appears to have re
ceived was from a Flemish portrait painter, named Ferdinand Elle. Such an instructor
was little qualified to forward the sublime ideas he had formed of the art, and he quitted
him in a few months. Having procured some prints from the works of Raffelle and

232 POUSSIN.
Giulio Romano, he studied them with admiration and delight; and he improved his
design, by drawing after casts from the ancient statues. Some of his first essays in
painting were the pictures in the church of the Capuchins at Blois, arid some bacchana
lian subjects for the chateau of Chiverny. His talents, and the endowments of his mind,
procured him a ready admission into the society of men of letters ; and the Cavaliere
Marino, the celebrated Italian poet, being at that time at Paris, conceived so favourable
an opinion of his genius, that he invited him to accompany him to Rome. Nothing
could have been more agreeable to his inclination than such a proposal, as he had long
felt the most ardent desire of seeing the metropolis of art; and it would have been
particularly gratifying to him to have visited it in company so congenial with his taste;
but he was at that time engaged on his picture of the Death of the Virgin, for the church
of Notre Dame, and other works; and he was under the necessity of reluctantly decli
ning the invitation, promising to follow him to Italy as soon as circumstances would
permit him. In 1624 he found himself at liberty to indulge his inclination, and on his
arrival at Rome was kindly received by his friend, who introduced him to the protection
of Cardinal Barberini. This patronage, however, was of no immediate advantage to
him, as the Cardinal soon after left Rome, on his legation to France and Spain ; and the
Cavaliere Marino dying soon after his arrival, he was reduced to very embarrassed cir.
cumstances. A stranger, and unfriended, in a large city, where his growing abilities
were not known, it was with difficulty he could maintain himself by the produce of his
works, which he was under the necessity of disposing of at miserable prices, hardly more
than the expence of his canvas and colours. Reduced to a state of indio-ence and ob
scurity, which would have sunk a less courageous lover of the art into disgust and des
pondency, he comforted himself with the reflection that he could subsist on little that
he was still at Rome, where he could console himself with the study of Raffaelle and the
antique. As he lodged in the same house with Francis du Quesnoy, called il Fiam-
mingo, whose finances were at that time not more flourishing than his own he lived in
habits of intimacy with that eminent sculptor, with whom he studied, and modelled
after the most celebrated statues and bas reliefs. His genius had too great a confor
mity with that of Raffaelle, for him not to distinguish the works of that illustrious
painter above those of any other artist; and he contemplated his principal productions
with an enthusiasm bordering on adoration. The admirable expression and purity of
design which characterise the best pictures of Domenichino, rendered the works of that
painter particularly interesting to him, and he regarded his Communion of St. Jerome
as the second picture at Rome.
The Cardinal Barberini having returned from his embassy, engaged Poussin to exe
cute some works for him; and if the patronage of that prelate did not load him with
riches, it at least rescued him from poverty. He painted for his protector his celebrated
picture of the Death of Germanicus, and the Taking of Jerusalem by the Emperor
Titus, so much to the satisfaction of his employer, that he procured for him the com
mission to paint a large picture for St. Peter's, representing the Martyrdom of St
Erasmus, now in the pontifical palace of Monte Cavallo. These productions established
his reputation, and recommended him to the friendship of the Cavaliere del Pozzo for
whom he painted his first series of the Seven Sacraments, which were afterwards
brought to this country, and are now in the possession of the Duke of Rutland. He
afterwards painted another set of the Sacraments, with variations, for M. de Chan'telou
which were among the principal ornaments of the Orleans' collection, and now form a

POUSSIN. 233
part of the rich collection of the Marquis of Stafford. The celebrity he had now
acquired at Rome reached France; and in 1639 he was invited to return to Paris by M.
deNoyers, minister, and superintendant of the buildings to Louis XIII. at the instance
of the King, who honoured him on the occasion with a letter, written by himself,
assuring him of his favour and protection. Wedded to the great objects of art with
which he was surrounded, and happy in the tranquillity with which he prosecuted
his studies, in the sojourn of taste and science, he received this flattering invitation with
regret. The urgency of his friends at length prevailed, and he arrived at Paris in 1640,
where he was received with distinction, appointed principal painter to the King, and
accommodated with apartments in the Thuilleries. He was commissioned to paint an
altar-piece for the chapel of St. Germain en Laye, where he produced his admirable
work of the Last Supper, and was engaged to decorate the gallery of the Louvre, for
which he had prepared the designs and some of the cartoons, representing the Labours
of Hercules, when he was assailed by the machinations of Vouet and his adherents;
and even the landscape painter Fouquieres, presumed to criticise his works, and to de
tract from his merit. Disgusted with these cabals, he turned a longing eye to the quiet
felicity he had abandoned at Rome, and having obtained permission of the King to
return to Italy, for the pretended purpose of settling his domestic concerns and bringing
his wife to France, he quitted the residence of tumult and intrigue, with a firm resolu
tion never to return. After his arrival at Rome he confined himself chiefly to pictures
of an easel size, for which he had a continued demand, and although he was constantly
employed, such was the modest and moderate price he required for them, which it was
his constant practice to mark on the back of his canvass, that he did not amass any
considerable fortune. He always preferred a state of tranquil mediocrity to ostentation;
and it is reported by Felibien, that the Cardinal Mancini, who frequently visited him,
having staid with him in the evening later than usual, Poussin lighted him to his car
riage, with the lamp in his hand ; " I pity you, Poussin," said the Cardinal, " that you
have not one domestic for such an office." — " And I," replied Poussin, " pity your ex
cellency much more, that you are obliged to keep so many." He continued to lead the
same retired and studious life till he reached his seventy-first year, and died in 1665.
During a period of twenty-three years after his return to Rome from Paris, he conti
nued to enrich the different cabinets of Europe with a great number of his pictures,
which will ever be regarded amongst their most interesting ornaments. Although it is
easy to distinguish the works of Nicholas Poussin from those of any other master, he
nevertheless was attentive to vary his style, and the tone of his colour, distinguishing
them by a firmer or more delicate touch, a tint more cheerful or austere, a site more
cultivated or wild, according to the character of his subject, and the impression he
designed it to make. In one of his letters to M. de Chantelou, he observes, that he had
applied to painting the theory which the Greeks had introduced into their music ; the
Dorian for the grave and serious, the Phrygian for the' vehement and passionate, the
Lydian for the soft and tender, and the Ionian for the riotous festivity of his bacchanals.
His study of the antique inspired him with an attachment, which partook of the fervour
of devotion ; his veneration for the ancient statues and bas reliefs was such, that from
his constant study of them, he became as intimately acquainted with the rites and cere
monies of the ancients, as with those of his own time; and in regarding his favourite
pictures representing subjects of the fable, or of the Heathen Mythology, the mind is
carried back into antiquity, and nothing is seen to disturb the illusion. It was the
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234 POUSSIN.
opinion of Sir Joshua Reynolds, that he even wished to give to his works the air of the
paintings of antiquity, and it is certain that he studied with attention, and copied the
celebrated relique of those remote ages, the Nozze, in the Villa Aldobrandini. This fine
copy is in the gallery of the Palazzo Doria. Of the moderns, Raffaelle was the model he
most followed, to whom he can hardly be said to be inferior in the sublimity of his con
ceptions, the select beauty of his forms, the grace and dignity of his attitudes, and his
just and animated expression of the passions. His compositions, the result of a learned
and profound meditation, are simple, grand, and judicious; and it will not be denied,
that his works are distinguished by a refined and classical observance of the propriety of
costume. N. Poussin has been accused by his countryman De Piles with being cold and
feeble in his colouring, but it did not occur to that critic, that brilliancy of tints, and
splendour of colour, would ill accord with the solidity and simplicity of effect, so essen
tial to heroic subjects ; and that the sublime and majestic would be degraded by a
union with the florid and the gay. The elevation of his mind is conspicuous in every
thing he undertook ; and we are not less impressed with the beauty and grandeur of the
scenery he displays in his landscapes, than with the dignified characteristics that distin
guish his historical works.
POUSSIN, Gaspar Dughet, called Gaspar. This eminent artist was born at Rome in
1613. His family was originally of France, of the name of Dughet, but his father had
settled at Rome, and Nicholas Poussin having married his sister, he acquired the appel
lation of Gaspar Poussin. He became a scholar of his brother-in-law, who, perceiving
his decided genius for landscape painting, advised him to devote his studies to that par
ticular pursuit. Aided by the counsels of Nicholas, and under the direction of his
judgment and taste, Gaspar became one of the most celebrated painters of landscape
that the art has produced. His first manner was rather dry and hard, but when he had
seen some of the pictures of Claude Lorraine, he adopted one more mellow and a°ree-
able. He at length acquired an almost incredible facility of execution, and he is said
to have sometimes finished a large picture in a day. His touch is firm and vigorous,
and the foliage of each tree and plant bears the peculiar character of its species. His
pictures represent the most interesting prospects in the vicinity of Rome, Tivoli, and
Frascati; views which appear to have been selected from whatever the most beautiful
nature and the most cultured art can produce to fascinate and delight. The gentle
sloping of the mountains, their sides decked with the sequestered villa or the ruined
castle; the immense campania intersected with limpid lakes; the murmuring waterfall
gushing through rifted rocks, form the features of his enchanting scenery. We some
times look on this delicious country under the tranquil influence of a serene atmosphere
where the gentle breeze of morning scarcely stirs the leaves, or the evening sun, length
ening the shadow of each tower or tree, augments the grandeur of the classic scene.
At other times, we view it agitated by the most terrific convulsions of nature ; the low
ering tempest blackens all the sky ; the forked lightning rives the towering pine, or
crumbles the mouldering turret; the impetuous whirlwind, rushing from the hills
sweeps flocks, and herds, and herdsmen, from the plain. Every thing in his works
breathes elegance or grandeur. Such are the admirable landscapes by Gaspar, for
merly in the Colonna palace at Rome, several of which have been brought to this coun
try. His. pictures are sometimes embellished with figures by Nicholas Poussin, usually

POU P O Z 235
representing some subject of history, or the fable. We have a few slight but masterly
etchings by this great artist, they consist of the following :
A set of four circular Landscapes.
A set of four Landscapes, lengthways.
He died at Rome in 1675, aged 62.
POUSSIN, John Dughet, called. He was the younger brother of the preceding artist,
born at Rome about the year 1615, and was taught the elements of design by his relative
Nicholas Poussin. His first pursuit was painting, but not succeeding to his expecta
tion, he afterwards devoted himself to engraving, in which he never reached any great
degree of perfection. His best prints are engraved after the works of Nicholas Poussin,
of which the following are the most worthy of notice :
The seven Sacraments ; from the pictures painted by Nicholas Poussin, for the Cavaliere del
Pozzo, different from those formerly in the Orleans' collection.
Mount Parnassus; after the same.
The Birth of Bacchus ; after the same.
The Judgment of Solomon ; after the same.
POWLE, George. A modern English engraver, who flourished about the year 1776.
He was a pupil of Worlidge, and has engraved some portraits in his style, among which
is that of
Sir Robert Berkeley, Chief lustice of the King's Bench.
POZZI, Rocco. This artist was a native of Italy, and flourished about the year 1750. He
engraved several of the plates for the Museo Fiorentino, and executed some of the prints
for the Antiquities of Herculaneum, published at Naples.
POZZI, Francesco. An Italian engraver, born at Rome in 1750. In conjunction- with
Coppa and Perini, he engraved some of the plates from the statues in the Clementine
Gallery. We have also the following prints by him :
The Portrait of Pius VI. Pont. Max. Fr. Pozzi, sc.
The Aurora ; after the painting by Guercino in the Villa Ludovisi ; F. Pozzi. 1780.
POZZI, Giovanni Batista. According to Baglione, this artist was a native of Milan, but
went to Rome when young, and was employed by Sixtus V. in the palace of St. John of
Lateran, and in the library of the Vatican. In the Sistine chapel in S. Maria Maggiore,
he painted the Visitation of the Virgin, and the Angel appearing to St. Joseph in his
dream. This promising artist died at the premature age of 28 years, much regretted
by his contemporaries.
POZZI, Stefano. He was a native of Rome, and was first a scholar of Carlo Maratti,
and afterwards studied under Agostino Masucci. There are several of his works in the
public edifices at Rome, which place him at least on an equality with his contempora
ries His design is grander than that of Masucci, and his colouring is more vigorous
Gg2

236 POZ PRA
and more chaste. In the pontifical palace of Monte Cavallo, is a picture by him of S.
Gregorio; and in the church of il Nome S. S. di Maria, an altar-piece representing the
Death of St. Joseph. He died at Rome in 1768.
POZZO, Andrea. This painter was born at Trent in 1642. Without the assistance of a
master, he became an eminent architect and painter, by the strength of his own genius,
supported by the most assiduous application. By studying the works of the most dis
tinguished artists of the Venetian school, he became an excellent eolourist, and during
a residence of several years at Rome he improved his style of design, by contemplating
the best works of art in that metropolis. At an early period of his life he became a
religious of the society of the Jesuits, and was afterwards chiefly occupied in ornament
ing the churches of his order. He resided some time at Genoa, where he painted for
the Congregazione de Mercanti, four pictures of the Life of our Saviour, in which he
emulated the style of Rubens, which he had studied from the celebrated works that
distinguished painter had executed during a long residence at Turin. Of his works in
oil, one of the most esteemed is his picture of S. Francesco Borgia, in the church del
Gesu at Rome. He was more eminent in fresco, in which he greatly distinguished him
self. The ceiling of the church of St. Ignatius at Rome, is regarded as one of the most
able productions of his time, for the ingenuity and copiousness of the composition, the
brilliancy of the colouring, and the animated freedom of the execution. Such was his
extraordinary facility, that Ciro Ferri was accustomed to say, that the horses of other
painters moved at a foot's pace, but those of Pozzo were always on the gallop; and
Lanzi reports, that he painted the portrait of a cardinal in four hours. He was invited to
Vienna by the Emperor Leopold, where he executed some works for the public edifices,
and died there in 1709, aged 67.
POZZO, Isabella dal. In the Nuova Guida di Torino, this lady is mentioned as the
paintress of a picture in the church of S. Francesco at Turin, representing the Virgin
and Infant, with S. Biagio and other saints, signed with her name, and dated 1666. Ac
cording to Lanzi, few of her contemporaries in that city could have produced a more
creditable performance.
POZZOSERRATO, Lodovico, called da Trevigi. According to Ridolfi, this painter was
called da Trevigi, from his long residence in that city, though he was a native of
Flanders. He painted landscapes, and was a contemporary of Paul Brill, with whose
works his pictures were often put in competition, and were sometimes preferred to them.
He excelled in representing the rising and setting of the sun, with a fine degradation of
tint in his skies and distances. He also painted land-storms and tempests with an un
common grandeur of effect.
PRADO, Blas de. A Spanish painter, who, according to Palomino, was born in the
vicinity of Toledo, in 1497, and was a scholar of Alonso Berrugete. There are some of
his works in the chapel of St. Bias at Toledo, but they are much injured by time and
the dampness of the situation. At Madrid there are also some pictures by this artist
particularly an altar-piece, in the church of San Pedro, representing the taking down
from the Cross, whieh is evidently the work of a great master. In the early part of his

P R A PRE 237
life he was invited to visit the court of the Emperor of Morocco, to paint a portrait of
his daughter, and returned to Spain amply rewarded for his commission. He died at
Madrid in 1557, aged 60.
PRAET, Stephen de. A Dutch engraver, of no great merit, by whom we have a print
of the head of a Jew Rabbi, after G. Hondius. It is neatly executed, but in a stiff formal
style. He appears to have confined himself to portraits.
PRANKER. Mr. Strutt notices this artist as a modern English engraver, who was much
employed by the booksellers. He does not specify any of his works.
PRECIADO, or Preziado, Don Francisco. According to Lanzi, this Spanish painter
was born at Seville in 1713. He was a scholar of Domingo Martinez, but he visited
Rome in 1733, where he entered the school of Sebastiano Conca. On leaving the aca
demy of that master, he painted some pictures for the public edifices at Rome, particu
larly a Holy Family for the church of the Forty Saints, which is entirely in the style of
his instructor. He was appointed painter of the chamber to Ferdinand VI. and director
of the Spanish Academy at Rome. There are few of his works in his native country,
as he resided the greater part of his life at Rome, where he died in 1789, aged 76.
PREISLER, John Justin. A German painter and engraver, born at Nuremberg in 1698.
He was instructed in design by his father, John Daniel Preisler, an artist little known,
and afterwards visited Italy, where he resided eight years. On his return to Germany,
he gave proof of considerable ability in a picture representing the Entombing of Christ,
for one of the churches at Nuremberg. He is, however, more known as an engraver
than a painter. We have the following prints by him :
The Four Elements ; after Bouehardon*
The Four Quarters of the World ; after the same.
A set of fifty plates from the designs of Bouchardon ; after the principal antique statues at
Rome.. '
Part of the plates from the ceilings painted by Rubens, in the church of the Jesuits at Antwerp,
¦with the frontispiece, containing the Portraits of Rubens and Vandyck.
PREISLER, George Martin. He was the second son of John Daniel Preisler, born at
Nuremberg in 1700, and followed his brother John Justin Preisler to Italy, where he
resided some years. Huber speaks of him as a painter of portraits; but he is most
worthy of notice as an engraver. Besides some plates after the statues in the Dresden
Gallery, we have the following prints by him :
portraits.
Giovanni Dom. Ferretti, Painter ; after a picture by himself.
Giovanni Dom. Campiglia, Painter ; Gio. D. Campiglia, del.
Eglon vander Neer ; after his portrait by himself, in the Florentine Gallery.
He also engraved a set of twenty-one plates from designs made by John Justin
Priesler, after the antique aDd modern statues at Rome and Florence.

238 PRE PRE
PREISLER, John Martin. The younger brother of the preceding artist, born at
Nuremberg in 1715. He was instructed in engraving by his brother, under whom he
made considerable progress; but in 1739 he visited Paris, where he received some les
sons from George Frederick Schmidt. In 1744 he was invited to the court of Denmark,
and was appointed engraver to the king, and a member of the Academy at Copenhagen,
where he died in 1794, aged 79- We have several plates by this artist, executed in a
clear neat style; among which are the following :
PORTRAITS.
Frederick V. King of Denmark and Norway ; Tilo, pinx.
Christian VI. King of Denmark ; Wahl, pinx.
Jacobus Benzelius, Episcopus Upsal. 1751.
Otto, Count de Thot ; after Krafft.
John Wiedewelt, Sculptor to the King; P. Alst,pinx. 1772.
Klopstock ; Juel, pinx. Preisler, sc. 1782.
Equestrian Statue of Frederick V. ; after a bronze by J. Saly.
The Cardinal de Bouillion ; after Rigaud.
SUBJECTS AFTER VARIOUS MASTERS.
David and Abigail ; after Guido.
Semiramis putting the Crown of Ninus on her head ; after the same.
Christ bearing his Cross ; after P. Veronese. These two prints were for the collection of the
Dresden Gallery.
Ganymede taken up by the Eagle of Jupiter; after Pierre.
A Bacchanalian subject; after the same.
Laban seeking for his Gods ; after Cazes.
The Triumph of David ; after Trevisani.
Jonas preaching to the Ninevites ; after Sal. Rosa.
The Madonna della Seggia ; after Raffaelle.
PREISLER, Valentine Daniel. He was the youngest son of John Daniel Preisler
born at Nuremberg in 1717- We have by him some mezzotinto portraits of the Burgo
masters of Zurich, after the designs of J. C. Fuesslin, which, from some caprice he
signed with the name of 5. Walch. He also scraped some plates of portraits and other
subjects, after pictures in the collection of the King of Denmark. They are very indif
ferently executed.
PREISLER, John George. This artist was the son of John Martin Preisler. After
receiving some instruction in engraving from his father, he went to Paris, where he
became a pupil of John George Wille. He has engraved several plates in the neat
finished style of his instructor, and in 1787 was made a member of the Academy at
Paris. His plate of reception represented Icarus, engraved from a picture by Vien.
PRENNER, Anthony Joseph. A German engraver, born at Vienna about the year 1698.
After the death of Jacob Mannl, conjointly with Andrew Altamont, Francis Stampart,
John Adam Schmutzer, and other artists, he undertook to engrave all the pictures in the
imperial collection. The plates, consisting of one hundred and sixty, were published at

PRE PRE 239
Vienna in four volumes, each containing forty prints, in the years 1728, 1729, 1731, and
1733. He has scraped a few plates in mezzotinto, but they are inferior to his other
works. He also engraved some portraits, among which are the following :
John Gottfried Auerbach, Painter to the Emperor Charles VI,
Count D'Odt, Governor of Vienna; after J. G. Auerbach,
PRENNER, Gaspar. He was the son of the preceding artist, born at Vienna about the
year 1722. He went young to Italy, and studied painting at Rome for several years.
In the church of S. Dorotea, there is an altar-piece by this artist. We have a few etch
ings by this master, some of which are neatly finished with the graver.
PRENNER, John Joseph. He was the younger son of Joseph Anthony Prenner, and
was instructed in engraving by his father. He resided some years in Italy, where he
executed some plates for the Museo Fiorentino. He also engraved a set of forty-five
prints from the paintings by Taddeo Zuccaro, in the Castle of Caprarolla, representing
the most memorable actions of the Farnese family.
PRESTEL, John Gotlieb. A German painter and engraver, born at Grunebach, in
Suabia, in 1739. After learning the rudiments of design in his native country he went
to Venice, where he studied painting under Guiseppe Nogari, and was instructed in en
graving by Joseph Wagner. On his return to Germany he resided chiefly at Nurem
berg, where he devoted himself almost entirely to engraving. He worked in various
styles ; and we have a great number of plates by him, most of which are spiritedly
etched, and finished in aquatinta. He also engraved several plates in the crayon manner.
Among others, we have the followings prints by him :
The Portrait of John Gotlieb Prestel, sitting at an easel ; from a picture by himself.
The Descent from the Cross ; after Raffaelle ; in chiar-oscuro.
The Virgin with the dead Christ ; after Vandyck.
The Holy Family ; copied from Albert Durer.
He also engraved several views and landscapes, in which he was assisted by his wife,
Maria Catherine Prestel.
PRESTEL, Maria Catherine. This ingenious lady was the wife of the preceding artist,
and aided him in some of his best plates, particularly in landscape. On account of some
disagreement, she separated from him, and came to England in 1786, where sheen-
graved some prints, which have not been surpassed in the particular style in which they
are executed. They are very spiritedly etched, and finished in a delicate and pic
turesque manner in aquatinta. She died in London in 1794. Among others, we have
the following prints by her :
Ceres ; an oval ; after Cipriani.
Four Views, from the designs made by Webber, in his voyage with Captain Cook.
Two other Views ; from the same.
Two Landscapes, with horses ; after Wowermans.
A pair of Views, with horses and figures ; after Casanova.
Hobbema's Village ; after Hobbema.

240 PRE PRE
Evening, with cattle reposing ; after Rosa di Tivoli.
Two Landscapes; after Gainsborough.
A View of a Tin Mine ; after Loutherbourg.
PRESTON, Thomas. An English engraver, who flourished about the year 1730. He
was an artist of little celebrity, whose name is affixed to a bust of Mr. Pope, a slight
etching, very indifferently executed. There is also by him a portrait of Admiral
Blake, with shipping below.
PRETE, Genoese. See Galantino.
PRETI, Cavalier Mattia, called II Calabrese. This painter was born at Taverna, in
Calabria, in 1613. After passing some time at Parma and Modena, he went to Rome,
and was for a short time a scholar of Giovanni Lanfranco. The reputation Guercino
had acquired by the novelty and grandeur of his style, induced him to visit Cento,
where he became his disciple, and studied under him several years. He afterwards went
to Venice and Bologna, where he painted some pictures for the public edifices, by which
he acquired considerable reputation. He returned to Rome about the year 1657, where
he was employed to paint three pictures for the church of S. Andrea della Valle, repre
senting subjects from the life of that Saint, and which, unfortunately for his fame, were
placed immediately under the Four Evangelists, in the angles, so admirably painted by
Domenechino. It is not perhaps very derogatory to his talents, to allow that his works
are unequal to such a competition. His celebrity reached Malta, whither he was in
vited by the grand master, Cotoner, who commissioned him to ornament the cathedral
with some frescoes, representing subjects from the life of St. John the Baptist, which
he executed so much to the satisfaction of his employer, that he conferred on him the
knighthood of the order. He afterwards passed some time at Naples, where he painted
some considerable works in fresco, in the church of the Carthusians. He possessed a
rich and fertile invention, and his compositions are copious and grand ; his design is
more bold than correct, and his conduct of the chiar-oscuro is characterised by the
vigorous contrast that distinguishes the works of Guercino, though generally dark in his
shadows. He usually made choice of the most terrific and gloomy subjects • and his
pictures frequently represent martyrdoms and scenes of death, to which his sombre
style of colouring was particularly appropriate. Disgusted by the admiration bestowed
on the works of Luca Giordano, he left Naples, and returned to Malta, where he died in
1699, aged 86.
PREVITALE, Andrea. This artist was a native of Bergamo, and, according to the dates
od his pictures, mentioned by Tassi, flourished from the year 1506 until 1528. He was
one of the most distinguished scholars of Giovanni Bellini, and painted history with
great reputation. His early works retained somewhat of the gothic character of the
works of his instructor, in composition and design, and in the minute precision with
which he finished the accessorial ornaments. But in the latter part of his life he ap
proached nearly to the modern style ; such are his pictures of St. John preaching, in the
church of S. Spirito ; and his S. Benedetto, in the cathedral at Bergamo. Ridolfi men
tions as one of his finest works his Annunciation, at Ceneda, which Titian regarded as
one of the ablest productions of the period at which he lived.

PRE PRI 241
PREVOST, Nicholas. This artist was a native of France, and is mentioned by Florent
le Comte as a painter, and a scholar of Claude Vignon. He flourished about the year
1700, and is said by that author to have etched six small plates.; but he has not specified
the subjects.
PREVOST, Benoit Louis. A French engraver, born at Paris about the year 1747. He
was a pupil of John Ouvrier, and has engraved a variety of vignettes and other book
plates, in a clear neat style. We have, among others, the following prints by him :
PORTRAITS.
Louis XV. with ornaments, oval ; after Cochin.
A. T. Hue, Sculptor; after the same. BOOK PLATES.
The Frontispiece to the French Encyclopedia ; after the same.
A set of twelve plates for the Abrege chronologique du President Henault.
PREZ, F. des. A French engraver on wood, who resided at Paris about the year 1573.
He executed a large plan of the town of Rochelle, with the additional fortifications,
made at the time it was besieged in the civil wars in 1573. It is inscribed, A Paris, par
F. des Prez, rue Montorgueil au bon pasteur.
PRICE. An obscure English engraver, by whom we have, among other prints, a very in
different one of Duncan Campbell.
PRICKE, Robert. This artist is mentioned by Vertue among the pupils of Wenceslaus
Hollar, whose style he endeavoured to imitate. He engraved the plates for a book of
architecture, by Pierre le Meurs.
PRIEST, Thomas. An English landscape painter, who resided at Chelsea about the year
1738. He chiefly painted views of the Thames, and published a set of eight etchings of
views of Chelsea, Mortlake, and other places on the banks of the river. They are exe
cuted in a coarse, but spirited style.
PRIMATICCIO, Francesco. This distinguished painter was born at Bologna in 1490.
He was of a noble family, who, perceiving his strong inclination for the art, first placed
him as a disciple under Innocenzio da Imola; but he afterwards studied under Barto
lomeo Ramenghi, called II Bagnacavallo. The fame of Giulio Romano drew him to
Mantua, where he entered the school of that celebrated painter, with whom he passed
six years, and assisted him in his great works in the Palazzo del Te. Francis I. of
France, having requested the Duke of Mantua to recommend him an artist to ornament
the Chateau at Fontainbleau, Primaticcio was selected on the occasion, and on his
arrival in France, found II Rosso engaged in the King's service, and invested with the
office of superintendant of the buildings. A violent animosity took place between
these eminent artists ; and to put an end to their differences, the King sent Primaticcio
to Italy, to collect antique statues, and other works of art. During his absence, Maitre
Roux died, and on his return to France he succeeded him in his employment. He now
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242 P R I PRO
formed his great plan for ornamenting the gallery and apartments in the palace of Fon
tainbleau. In the ceiling of the great gallery, he represented, in fifteen compartments,
the Gods of Homer, and on the sides, in fifty-eight smaller compartments, the Adven
tures of Ulysses, taken from the Odyssey. This prodigious machine was executed
entirely from the designs of Primaticcio, and was principally painted in fresco by
Nicollo Abati, as is mentioned in his life. To the regret of every person of taste and
judgment, this admirable work, the most magnificent monument of art, of which
France could boast, was by the ignorance or barbarism of the superintendant of the
works, entirely destroyed in 1738, to make way for some paltry alteration in the Cha
teau ; and all that remains of the works of this sublime artist at Fontainbleau, are the
frescoes in the saloon of the guards, now called the apartment of Madame d'Estampes,
representing the history of Alexander the Great. There are few of the works of Prima
ticcio in Italy, as the greatest part of his life was passed in France; and previous to his
going thither he was chiefly employed in assisting Giulio Romano, in the Palazzo de
Te. France is indebted to Primaticcio, II Rosso, and Nicollo Abati, for the introduc
tion of a more genuine taste, both in painting and sculpture; and Francis I. was so sen
sible of the merit of this great artist, that he remunerated his services by bestowing on
him the lucrative revenue of the Abbey of St. Martin, at Troyes, in Champagne. After
the death of his benefactor, he continued in the service of his successors, Henry 11.
Francis II. and Charles IX. and died at Paris in 1570, aged 80.
PRIMO. See Gentile.
PRINCE, John Baptist le. A French painter and engraver, bom at Paris in 1733. He
studied painting under J. M. Vien and Francis Boucher ; and after having acquired
some reputation at Paris, he went to Russia, where he resided several years, and visited
various parts of that vast empire, designing their different costume, and the most re
markable views in the countries through which he passed. He returned to Paris with
an extensive collection of drawings, from which he painted pictures, which were much
admired, and executed several plates, both in etching and in aquatinta, which were
very favourably received by the public. He also engraved several fancy subjects and
domestic scenes from his own designs. The number of the plates engraved by himself
exceeds one hundred and sixty ; and many ingenious engravers of his country have ex
ercised their talents after his designs.
PROBST, John Balthazar. A German engraver, who flourished about the year 1734.
He worked chiefly with the graver in a neat formal style. Among other prints, he en
graved part of the plates after the antique statues in the Dresden Gallery. We have
also by him some prints after Luca Giordano, Bernardino Poccetti, and other masters.
He also engraved several plates of birds and beasts, in the menagerie of Prince Euo-ene
published in 1734. s '
PROCACCINI, Ercole. This painter was bora at Bologna in 1520. The Padre Orlandi,
on the authority of Malvasia, asserts, that finding himself unable to contend with his
contemporary artists at Bologna, he established himself at Milan, where he was more
successful, and founded the school which was for some time distinguished by his name.
Lomazzo, on the contrary, in his Tempio della Pittura, extols him as a successful fol-

PROCACCINI. 243
lower of the graceful design and admirable colouring of Coreggio. His principal
works are at Bologna, of which the following are the most worthy of notice. In the
church of S. Benedetto, is a picture of the Annunciation ; in S. Giacomo Maggiore, the
Conversion of St. Paul, and Christ praying in the Garden ; in S. Bernardo, St. Michael
discomfiting the rebel Angels; and in St. Stefano, a Deposition from the Cross. Al
though his design is occasionally minute, and his colouring languid, defects which he
possessed in common with his contemporaries, his forms are graceful and correct, and
there is an exactness and precision in his style, which rendered him peculiarly competent
to the duties of a preceptor. His academy became the most celebrated of his time,
and besides»his sons, he produced some of the most distinguished artists of the Milanese
school. He was living in 1591.
PROCACCINI, Camillo. He was the son of the preceding artist, born at Bologna in
1546, and was first instructed by his father; but he afterwards visited Rome, where he
particularly applied himself to study the works of Michael Angelo. To the attention he
paid to the great style of Buonaroti, may be attributed the peculiar character discern
ible in many of his works, which frequently partake of the terrible and gigantesque-
The graces of Parmigiano were also the objects of his imitation, particularly in the airs
of his heads and the turn of his figures, which, like those of that master, are occasion
ally too long. Some of his esteemed works are at Milan, of which the most remarkable
are his pictures of the Martyrdom of St. Agnes, painted in fresco, in the sacristy of the
Cathedral; and the ceiling of the church of the Padri Zoccolanti, representing the
Assumption of the Virgin. But his most celebrated performances are his Last Judg
ment, in the church of S. Procolo, at Riggio, which is considered by Malvasia one of
the finest frescoes in Lombardy ; and his picture of St. Roch administering the Sacra
ment to the person afflicted with the plague, an admirable work, of which Annibale
Caraeci has established the reputation, by the apprehension he expressed on being coin-
missioned to paint a companion picture to it, representing St. Roch distributing alms
to the poor. He was commissioned by the Duke of Parma to execute some frescoes in
the dome at Piacenza, in competition with Lodovico Caraeci, where he painted the
Coronation of the Virgin, with a beautiful choir of angels ; and though on this occasion
his production was not equal to that of his powerful antagonist, it is no mean proof of
his abilities, that his picture possessess a distinguished attraction, even in the neighbour
hood of so dangerous a competitor. Of his works at Bologna, the most considerable
are the Adoration of the Shepherds, in the church of S. Francesco ; and the Annuncia
tion, in S. Clemente. Camillo Procaccini possessed a fertile invention, and a command
ing facility of hand. His colouring, particularly in fresco, is clear and vigorous, and
his draperies are cast with judgment and taste; but his promptness and dispatch led
him sometimes into extravagance and incorrectness ; and he may be occasionally con
victed of the vices of a mannerist. He died at Milan in 1626, aged 80. We have
several etchings by this eminent artist, among which are the following :
The Holy Family reposing, in which St. Joseph is represented lying on the ground, resting on
the saddle of the ass.
Another Holy Family, in which St. Joseph is presenting an orange to the Infant.
The Virgin suckling the Infant.
The Transfiguration.
St. Francis receiving the Stigmata. 1592.
Hh2

244 PROCACCINI.
PROCACCINI, Giulio Cesare. He was the younger brother of the preceding, artist,
born at Bologna in 1548. He was taught the rudiments of design by his father, and
for some time applied himself to the study of sculpture, in which he had made some
progress, when the reputation his brother Camillo had acquired as a painter, induced
him to change the chisel for the pencil. He has been stated by some of the biographers
of the artists, to have been brought up in the school of the Caraeci ; and M. d'Argen-
ville asserts, that on account of a quarrel between him and Annibale, which happened
in 1609, he quitted Bologna, and settled at Milan. It will be found difficult to recon
cile these facts with the order of chronology, as Annibale, who was twelve years younger
than G. C. Procaccini, died in 1609, at the age of 49, and at that period our artist not
only had established his reputation at Milan, but was already in the decline of life. It
is more probable, that, like the Caraeci, he formed his style from the great principles of
Coreggio, which are discernible in all his works. He passed some time at Rome; where
the admirable productions of Raffaelle were particularly the objects of his attention.
The public edifices at Milan abound with his works, of which the most considerable are
the Transfiguration, in the church of S. Celso ; the Adoration of the Magi, and St.
Francis receiving the Stigmata, at the Padri Zoccolanti; and the Annunciation, in the
church of S. Antonio. At Rome, in the French church of S. Luigi, is a picture of the Virgin
and Infant, so much in the style of Coreggio, that it has been engraved as a work of that
master. Less capricious and less prompt than Camillo, the compositions of Giulio Cesare
are studied and judicious, and his design is dignified and correct. His colouring is rich
and harmonious, and the disposition of his masses broad and masterly. In imitating the
graces of Coreggio, he sometimes attempted a tenderness of expression which occa
sionally approaches to affectation. Such are his pictures of the Madonna and Infant,
surrounded by saints, with a choir of angels, in the church of S. Afra, at Brescia ; and the
Marriage of St. Catherine, in la Steccata, at Parma. He died at Milan in 1626, aged 78.
We have by the hand of this artist an etching representing the Virgin with the infant
Jesus.
PROCACCINI, Carlo Antonio. He was the third son of Ercole Procaccini, and the
brother of the two preceding artists, born at Bologna about the year 1555, and is said
to have been instructed in the art by his father, though his genius led him to a different
department of the art. He excelled in painting landscapes, flowers, and fruit, and his
pictures possessed sufficient merit to secure them a place in the best collections at
Milan, and in the state; and he was much employed in commissions for Spain, where
his works were highly esteemed.
PROCACCINI, Ercole Juniore. This painter was the son of Carlo Antonio Procaccini
born at Milan in 1596, and was educated in the school of his uncle Giulio Cesare. He
followed with success the style of his instructor, and painted several pictures for the
public edifices and private collections at Milan. One of his most esteemed works is an
altar-piece representing the Assumption of the Virgin, in the church of S. Maria Mag
giore at Bergamo, in which he has imitated the grandeur of Coreggio. On the death
of Giulio Cesare, he became the director of the academy established by the Procaccini,
and died in 1676, aged 80.
PROCACCINI, Andrea. According to Pascoli, this painter was born at Rome in 1671,
and was brought up in the school of Carlo Maratti. He painted history in the style of

PRO PRU 245
his master, and among his other works in the public edifices at Rome, is his picture of
Daniel, one of the twelve prophets, painted by order of Clement XL in S. Giovanni
Laterano. He was invited to the court of Spain, where he resided fourteen years, and
executed several considerable works. He died in 1734, aged 63.
PRONCK, C. A Dutch engraver, mentioned by Mr. Strutt as having executed several
plates of views of various sizes.
PRONTI, Padre Cesare. This painter was born at Rimino in 1626, and was brought up
at Bologna, under Guercino. He painted history with considerable reputation, and was
much employed for the churches at Rimino and Ravenna. At an early period of his life
he became a monk of the order of St. Augustine, and was afterwards principally engaged
in painting altar-pieces for the churches of his fraternity, of which one of the most cele
brated is a picture of S. Tommaso da Villanova, at the Augustines at Pesaro, which he
embellished with a back-ground of admirable architecture. He died at Ravenna in
1708, aged 82.
PROU, James. A French painter and engraver, born at Paris about the year 1639. He
was a scholar of Sebastian Bourdon, and painted landscapes in the style of that master.
Of his works as an engraver, the following are the most worthy of notice:
A set of twelve Landscapes and Views ; after his own designs.
A set of six large Landscapes ; after Seb. Bourdon.
The Baptism of Christ by St. John ; after the same.
The Flight into Egypt ; after Agost. Caraeci.
PROUD. An obscure engraver, mentioned by Mr. Strutt as having resided in England
about the year 1760, and engraved a few book-plates and portraits, among which was
that of Sarah Philips, prefixed to The Lady's Handmaid. 1758.
PROVENZALE, Marcello. This artist was born at Cento in 1575. He was a scholar
of Paolo Rossetti, and is chiefly distinguished in the art for his talents as a mosaicist.
Baglione describes several of his works at Rome, executed under the direction of
Paul V. among which is the portrait of that pontiff, wrought with surprising neatness
and beauty. In conjunction with Rossetti, he executed several mosaics in the capella
Clementina, in St. Peter's, from the cartoons of Cavaliere Cristofano Roncalli ; and for
the Cardinal Scipione Borghese, he finished some smaller works, among which is
Orpheus playing on the Lyre, surrounded by animals, in the Borghese palace. He died at
Rome in 1639, aged 64.
PRUNEAU, Noel. A French engraver, born at Paris in 1751. He was a pupil of Au
gustin de St. Aubin, in whose style he has engraved several plates, chiefly portraits,
among which are the following :

PORTRAITS.

Rosalia le Vasseur ; after his own design.
Herman Boerhave; the same.
Albert de Haller; the same.

246 P U C PUL
Gerard, Baron van Swieten, Architect ; after A. de St. Aubin.
John Joseph Sue ; after A. Pujos.
Francis de la Peyronie, principal surgeon to Louis XV.
PUCHLER, Michael. A German engraver, by whom we have a few portraits, among
which are those of,
Leopold, Emperor of Germany.
Eleonora Magdalena Theresa, his Empress.
PUGET, Peter Paul. A French painter, sculptor, and architect, born at Marseilles in
1623. Although he was principally employed as an architect and a sculptor, he occa
sionally practised painting. In the cathedral at Aix, is a picture by him of the Annun
ciation, a graceful and elegant design, though cold and languid in the colouring ; and in
the church of the Jacobins, at Toulon, is an altar-piece, representing the same subject,
differently composed, iu which he appears to have imitated the style ol Pietro da Cor
tona. He died at Marseilles in 1695, aged 72.
PUGLIA, Guiseppe, called II Bastaro. According to Baglione, this artist was a native of
Rome, and flourished in the pontificate of Urban VIII. He executed several works for
the public edifices at Rome, of which the most deserving of notice are a picture of the
Presentation in the Temple, in the cloister of the Padri della Minerva; and an altar-
piece, representing the Assumption of the Virgin, in the Basilica of S. Maria Maggiore.
He died young at Rome.
PUIS, du. See Dupuis.
PULIGO, Domenico. This painter was born at Florence in 1475, and was brought up in
the school of Domenico Corradi, called del Ghirlandaio. On the death of that master
in 1495, when he was twenty years of age, it does not appear that he made choice of
another instructor, but he acquired considerable reputation as a portrait painter, and
by some easel pictures representing Madonnas, and Holy Families, which were grace
fully designed, and were coloured with great sweetness and harmony. He formed an
intimate acquaintance with Andrea del Sarto, and though several years older than that
distinguished painter, he improved his style by an attentive study of his works, and is
said by Lanzi to have painted some pictures from the designs of Andrea, which were
mistaken for the productions of that great artist. He died in 1527, aged 52.
PULZONE, Scipione, called Gaetano. He was born at Gaeta in 1550, and was a dis
ciple of Jacopino del Conte. Though he painted history with considerable reputation
he was more distinguished as a painter of portraits, and drew those of the most illus
trious persons of his time; among whom were Gregory XIII., Cardinal de Medici the
Archduke Ferdinand, and others. His attitudes are elegant and graceful, and the heads
expressive and full of life. Lanzi asserts, that his celebrity in this branch of the art
acquired him the title of the Roman Vandyck. This is not consistent with the usual
accuracy of that estimable writer, as he died several years before Vandyck was born.
Of his historical works, the most deserving of notice are, his picture of the Assumption,
with the Apostles, in S. Silvestro, in Monte Cavallo ; a Pieta, in the church del Gesu;

PUN PYN 247
and the Crucifixion, in S. Maria, in Vallicella. In the Palazzo Borghese is a fine pic
ture by him of the Holy Family. Though his style is elaborate and minute, his design
is correct, and there is much suavity and harmony in his colouring. He died at Rome
in the prime of life, in 1588, aged 38.
PUNT, John. A Dutch engraver, who flourished about the year 1750. He was an artist
of no great note ; his principal work was a set of thirty-six plates, after the designs
made by Jacob de Wit, from the ceiling of the church of the Jesuits, at Antwerp, painted
by Rubens, which are the more interesting, as the originals were destroj'ed by light
ning. He also engraved a plate of the Ascension, after Seb. Ricci, for the Dresden col
lection.
PUNTORMO. See Pontormo.
PUPINI, Biagio. This painter was a native of Bologna, and flourished about the year
1530. He was a disciple of Francesco Francia, whose style he followed, though with a
more modern air. Of his works in the public edifices at Bologna, the following are the
most worthy of notice. In the church of S. Giuliano, the Crowning of the Virgin; in
S. Giacomo Maggiore, the Virgin and infant Christ, with S. Orsola ; in S. Maria della
Baroncella, St. John preaching in the Wilderness ; and at the Institute, a picture of the
Nativity.
PURCELL, Richard. An English mezzotinto engraver, who flourished about the year
1760. We have by him several prints of portraits, among which are the following :
John Manners, Marquis of Granby ; after Reynolds.
Lady Fenhoulet, afterwards Countess of Essex ; after the same.
Elizabeth, Countess of Berkeley ; after the same.
The Children of Charles I. ; after Vandyck.
John Wilkes, Esq. ; after Pine.
PUSCHNER, J. G. A German engraver, supposed to have been a native of Nuremberg.
He flourished about the year 1670, when he engraved a set of portraits for a folio
volume, entitled Icones virorum omnium ordinum eruditione, fyc. published at Nuremberg.
PYNAKER, Adam. This painter was born at the small town of Pynaker, between Delft
and Schiedam, in 1621. It is not known from whom he received his first instruction in
the art, but he visited Italy when he was very young, and resided some years at Rome,
where he studied the works of the most distinguished landscape painters, and made
designs of the most picturesque objects in the environs of that capital. On his return
to Holland, he soon gave proof how much he had profited by his travels, and became
one of the most admired and most employed artists of his country. It was at that time
the mode to ornament the apartments of the principal mansions with the works of the
most eminent landscape painters ; and Pynaker was much engaged in works of that
description. His pictures of a small size are, however, more esteemed, and they possess
sufficient merit to entitle them to a place in the choicest collections. The landscapes
of Pynaker exhibit very pleasing scenery. He frequently represents the sunny light of

248 QUA QUA
the morning breaking out from behind the woods or mountains, and diffusing a brilliant
glow over the whole face of nature. His skies are clear, light, and floating, and the
foliage of his trees and plants is touched with uncommon freedom and spirit. His
pencil is firm and flowing, and evinces an extraordinary facility of hand. He embel
lished his pictures with the ruins of ancient architecture, and decorated them with
figures and cattle, correctly drawn, and grouped with taste and elegance. Some of his
pictures have been objected to as too green, but this is not the case with the generality
of his works. He died in 1673, aged 52.

Q
QUADRATA. This artist is mentioned by Papillon as an engraver on wood. He asserts
that he had seen some of his works, though he has not specified them.
QUAG LI A, Giulio. This painter was a native of Como, and flourished about the year
1693. Lanzi conjectures from his style, and the period at which he lived, that he was
brought up in the school of the Recchi. He established himself at Friuli, about the
end of the seventeenth century, where he executed several considerable works in fresco.
His most esteemed productions are in the chapel of the Monte di Pieta, at Udine, in
which he evinces a fecundity of invention, a grandeur of composition, and a freedom of
pencil, which were not surpassed by any of his contemporaries.
QUAINI, Francesco. He was born at Bologna in 1611, and was a scholar of Agostino
Mitelli, under whom he became an eminent painter of perspective and architectural
views. There are several of his works in the public edifices at Bologna, of which the
most esteemed are the architectural ornaments in the Sala Farnese, in the Palazzo Pub
lico. He died at Bologna in 1680, aged 69.
QUAINI, Luigi. He was the son of the preceding artist, born at Bologna in 1643.
After learning the first principles of perspective under his father, he became a disciple
of Guercino, but afterwards entered the school of Carlo Cignani, to whom he was nearly
related, at the time when Marc Antonio Franceschini was also a disciple of that master.
Conjointly with Franceschini, he assisted Cignani in several of his principal works.
After the death of their instructor they continued to work in conjunction, Franceschini
painting the figures and Quaini the landscapes, architecture, and other accessories.
Their united talents were successively employed at Bologna, Modena, Piacenza, Genoa
and at Rome, where they painted the cartoons for a cupola in St. Peter's, which has
since been executed in mosaic. He also painted several historical subjects from his own
compositions, which were entirely finished by himself. In the church of S. Guiseppe at
Bologna, is a picture representing the Visitation ; in la Carita, the dead Christ sup
ported by the Virgin ; and in the church of S. Niccolo, the principal altar-piece is by

QUA QUE 249
Quaini, representing that saint in prison, visited by the Virgin and an angel, of which
Lanzi speaks in favourable terms. He died in 1717, aged 74.
QUAST, Peter. A Dutch painter and engraver, born at the Hague in 1602. His pic
tures usually represent drolls, beggars, and assemblies of boors merrymaking, which
he treated with a great deal of humour, and not less vulgarity. We have several spirited
etchings by him from his own designs, as well as after other masters, some of which are
executed in the style of Callot, though incorrect in the design. He generally marked
his prints with a cipher composed of a P. and a Q. joined together, ^. ^ftfa. ffy. We
have, among others, the following prints by him :
The Five Senses ; P. Quasi, fee. 1638.
The Four Seasons, in grotesque figures.
A set of twenty-six plates of beggars, boors, &c.
A set of twelve Grotesque Figures.
A set often plates of Beggars, &c. S. Savery, exc.
A set of twelve fancy subjects, in imitation of Callot.
QUATREPOMME, Isabella. This lady is mentioned by Papillon as an engraver on
wood. She is said to have been a native of Rouen, and to have flourished about the
year 1521, as appears from a frontispiece to an old calendar, executed in a neat style by
her, representing a figure of Janus. It is marked with an apple, on which is the fio-ure
of 4, in allusion to her name.
QUEBOORN, or Queboren, Crispin vanden. A Dutch engraver, who resided at the
Hague about the year 1630. He chiefly confined himself to the engraving of portraits
which possess considerable merit. He also executed a part of the plates for Thibault's
Academie de I'Epee, published at Antwerp inl628 ; and a print of the Nativity, after Henry
van Balen. We have, among others, the following portraits by him :
Queen Elizabeth. 1625.
Charles I. 1626.
William I. Prince of Orange; after Vischer.
Mary, daughter of Charles I. consort of the Prince of Orange,
Frederick V. Elector Palatine.
Elizabeth, daughter of James I. his consort.
Juliana, Princess of Hesse.
Frederick Henry, Prince of Nassau. 1630.
QUELLINUS, Erasmus. This painter was bora at Antwerp in 1609. The early part of
his life was devoted to the study of the Belles Lettres, in which he so far distinguished
himself, that Sandrart asserts that he was for some time professor of pliilosophy. His
intimacy with Rubens, whose house was the resort of the learned, as well as the most
distinguished artists, inspired him with a love for painting, which induced him to
abandon his professor's chair, and he became the disciple of his friend. With a mind
richly endowed with the store of literature, and aided in his studies by the counsels of
Rubens, his progress in the art was extraordinary, and in a few years he distinguished
himself among the able artists of his country, at a period when Antwerp was the resi
dence of the most celebrated painters of the Flemish school. The vivacity of his genius,
Vol. II. 1 i

250 QUELLINUS.
polished by the result of his studies, appeared in all his compositions. His design,
though tinctured with the taste of his country, is tolerably correct, and his colouring,
brilliant and vigorous, is worthy of the school in which he was educated. He was well
acquainted with perspective and architecture, with which he embellished the back
grounds of his historical pictures, and his landscapes are treated in a very pleasing style.
He was not less eminent as a portrait painter, and following the example of Vandyck,
painted those of many of the most distinguished artists of his time. In the church of
St. Peter, at Mechlin, is an admirable picture by Erasmus Quellinus, representing the
Nativity, which has been sometimes mistaken for a work of Vandyck. In the church
of St. Andrew at Antwerp, is a fine picture of the Guardian Angel ; and in the church
of St. Saviour at Ghent, is an altar-piece representing the Holy Family reposing in
Egypt. He died at Antwerp in 1678, aged 71. We have a few etchings by Erasmus
Quellinus, among which are the following :
Samson killing the Lion ; after Rubens.
A Landscape, with a dance of children and young satyrs ; E. Quellinus, fee. ; rare.
The Virgin and infant Jesus; after Rubens.
QUELLINUS, John Erasmus. He was the son and scholar of Erasmus Quellinus, born
at Antwerp in 1629. At the age of twenty-one he visited Italy, and resided some years
at Venice, where the works of Paolo Veronese particularly attracted his attention. He
adopted the ornamental style of that master, which is visible in all his works, and had
acquired considerable reputation at Venice, Naples, and Rome, when, at the desire of
his father, he returned to his native country. The expectation his countrymen had
formed from the report of his talents, furnished him with numerous commissions, and
iis altar-pieces are to be found in most of the churches of the Low Countries. His most
important work is in the church of the abbey of St. Michael at Antwerp. This stu-
penduous machine extends the whole height of the church, and is painted entirely in
the style of Paolo Veronese, representing Christ healing the sick. It is an immense
composition, and though it comprises an infinite multitude of figures, he has ingeni
ously avoided the least appearance of confusion. In imitation of his splendid proto
type, he has embellished the back-ground with admirable architecture. In the refectory
of the abbey there are four large pictures, representing the four repasts mentioned in
the Scriptures, which were also the favourite subjects of P. Veronese. In the cathedral
at Antwerp is a fine picture of the Adoration of the Magi ; and in the church of Notre
Dame at Mechlin, one of his most esteemed works, representing the Last Supper. The
younger Quellinus is justly ranked among the ablest artists of his country, who suc
ceeded the golden era of Flemish art, under Rubens and Vandyck. He possessed an
unusual fertility of invention, and arranged his compositions with solidity and judg
ment. His design is more tasteful and correct than the generality of his countrymen,
and his colouring, partaking of the Venetian and Flemish style, is brilliant and clear.
He died at Antwerp in 1715, aged 86.
QUELLINUS, Hubert. This artist was the brother of Artus Quellinus, an eminent
sculptor, and was born at Antwerp about the year 1608. He engraved a set of plates
after designs made by John Bennokel, from the marble statues executed by Artus
Quellinus, in the Stadthouse at Amsterdam, and are marked with the initials of both the
artists, A. Q. H. Q. They form a volume in folio, and were published in 1655. He

QUE QUI 251
also engraved some portraits. His plates are etched in a singular style, resembling that
of Peter Soutman, and neatly finished with the graver. Among others we have the
following portraits by him :
Artus Quellinus, Statuary of Antwerp; H. Quellinus, del. et. sc.
Philip IV. seated on his throne, with the Prince Royal, and several allegorical figures ; H. Quel
linus. 1665.
QUEWELLERIE, William de la." He was a native of France, and was probably a
goldsmith. He engraved a set of very small plates, representing ornamental crosses,
and other designs for jewellery. They are neatly executed with dark back-grounds.
On the frontispiece is inscribed his name, Guilhelmies de la Quewellerie, fecit, An. Dni.
1680. On the other plates are the initials G. D. L. Q.
QUEVERDO, F. M.J. A French engraver, born in Brittany in 1740. He has engraved
several plates, as well from his own designs as after other masters. He executed part
of the plates for the Voyage pittoresque d'ltalie, by the Abb6 de St. Non. We have also,
among others, the following prints by him :
The Portrait of Henry IV.; after his own design.
A set of four subjects of Children; oval.
A Landscape, with a peasant's family at the door of a cottage; Quever do, fecit.
QU1LLART, Peter Anthony. A French painter and engraver, born at Paris in 1711.
He was a scholar of Anthony Watteau, and soon after leaving the school of that master,
he was invited to the court of Portugal, where he was made painter to the Queen, and
a member of the Academy at Lisbon. His principal work as a painter is a ceiling in
the Queen's bed chamber. He engraved from his own designs the plates for a book
entitled, The Funeral Pomp of Duke Don Nuno Olivares Pereira, published at Lisbon in
1730. He died at Lisbon in the flower of his age.
QUINTILIEN. This artist is mentioned by Florent le Comte as the engraver of some
plates after Callot, to which he did not affix his name.
QUITER, Har Hind. A Dutch mezzotinto engraver, by whom we have a few English
portraits, which are very poorly executed. Among others are,
Queen Catherine, consort of Charles II. ; after Lely.
Sir Leoline Jenkins; from his own design.

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252 R A B K A D

R
xvABEL, John. This artist was a native of France, and flourished about the year 1588.
He is said to have been a painter, but his works are little known. According to Pro
fessor Christ, he published several of his designs, engraved on wood. He does not,
however, specify the subjects, nor does he inform us whether they were executed by
himself. There is a copper-plate by him representing the Martyrdom of St. Lawrence,
copied from the print of the same subject engraved by Marc Antonio, after Baccio Ban
dinelli. It is less than the original, and on a stone at the bottom of the print is inscribed
lo. Rabel Bellonacus lute Parisii.
RABEL, Daniel. He was the son of the preceding artist, and was probably instructed
by him in the principles of the art. He painted landscapes, some of which have been
engraved by the contemporary artists. He etched a considerable number of plates in a
style resembling that of Israel Sylvestre, which chiefly consist of views and landscapes,
with figures neatly drawn.
RACCHETTI, Bernardo. This painter was the nephew and scholar of Giovanni
Ghisolfi, born at Milan in 1639. He painted architecture and perspective views, in the
style of his instructor, and his pictures are not unfrequently mistaken for those of his
uncle. They usually represent sea-ports, embellished with magnificent buildings, which
are precisely designed, and are touched with taste and spirit. There are many of his
works in the private collections at Milan. He died in 1702, aged 63.
RACINE, John Baptist. A modern French engraver, born at Paris about the year 1750.
He was a pupil of Francis Aliamet, and has engraved several vignettes and other book
plates, after Cochin. We have also some prints of landscapes after different masters,
and a few subjects from the pictures in the Orleans' Gallery. Among others, the follow
ing are by him :
Hagar and Ishmael; after P. F. Mola.
A Pastoral Subject; after B. Breemberg.
A pair of Landscapes; after Pillement.
RADEMACKER, Gerard. According to Descamps, this artist was born at Amsterdam
in 1672. He was the son of an architect, who taught him the first rudiments of drawing
and perspective, with an intention of bringing him up to his own profession; but per
ceiving his son's inclination for painting, he placed him under the tuition of A. van
Goor, a portrait painter of some reputation. He had made some progress in his studies
when the death of his master deprived him of his assistance; but he was sufficiently
advanced in the art to give lessons in design ; and he was engaged by the bishop of
Sebasto to teach his niece drawing. That prelate being soon afterwards obliged to
visit Rome, Rademacker was invited to accompany him, and had the advantage of
improving his talent by studying the most interesting objects in that capital. His
genius led him to represent views of the principal ruins and other monuments in that

R A D RAF 253
city and vicinity, which he designed with accuracy and precision. On his return to
Holland he met with the most flattering encouragement. He did not, however, confine
himself to architectural views, but painted historical and .emblematical subjects with
considerable success, which adorn the public edifices at Amsterdam, and the other cities
of Holland. In the Stadthouse at Amsterdam is an allegorical subject painted by
Rademacker, representing the regency of the city; and in the collection of the family
of Walraaven, there is a view of the interior of St. Peter's at Rome, designed with great
accuracy. He died at Amsterdam in 1711, in the prime of life, having scarcely com
pleted his thirty-ninth year.
RADEMACKER, Abraham. This artist was probably the younger brother of Gerard
Rademacker. He was bom at Amsterdam in 1675, and is said to have reached an emi
nent rank in the art as a landscape painter, without the assistance of an instructor.
His first productions were painted in water-colours, and were very highly finished ; but
he afterwards practised oil painting, with no less success. He was well acquainted with
the rules of architecture, and embellished his landscapes with buildings and ruins, in a
very picturesque manner. He engraved from his own designs a set of plates of the most
interesting views of ancient monuments, &c. in Holland and the Netherlands. They
are executed in a masterly style, and amount to near three hundred prints, which were
published at Amsterdam in 1731.
RADI, Bernardino. An Italian designer and engraver, whose name is affixed to a set
of architectural ornaments, monuments, &c. published at Rome in 1618. They are
slight hasty etchings, and bear the title Varie invenzioni per depositi di Bernardino Radi
Cortonese.
RADIGUES, Anthony. A French engraver, born at Rheims in 1719. Basan states, that
he visited England, from whence he went through Holland to Russia, and resided
several years at St. Petersburg, where he engraved the portraits of tbe Prince and
Princess of Galletzin, and other persons of distinction. He also engraved a plate for
the collection of the Dresden Gallery, representing Angelica and Medoro> after Ales
sandro Tiarini.
RAEFUS, or Raefe, P. This artist is mentioned by Papillon as an engraver on wood.
He is said to have been a native of Paris, and to have flourished about the year 1575.
He executed part of the cuts for a cosmographical work by Andre Thevet. His prints
are very neatly finished, and are usually marked with the initials P. R.
RAFFAELLE, Raffaelle Sanzio, di Urbino, called. This illustrious artist has, by the
general approbation of mankind, been styled the prince of painters, and is universally
acknowledged to have possessed a greater combination of the higher excellencies of the
art than has fallen to the lot of any other individual. He was the son of Giovanni
Sanzio, a painter of little celebrity, bora at Urbino, on Good Friday, in 1483. After
being instructed in the first elements of design by his father he was sent to Perugia,
where he became a disciple of Pietro Vanucci, called Perugino, whose works were at
that time held in high estimation. Mengs considers it fortunate for the fame of Raffa
elle, that he was bora at an era, which he ingeniously denominates, " tbe innocence of

254 RAFFAELLE.
the art," and before it had been debauched by affectation and manner. As the powers
of this sublime artist did not, like those of Michael Angelo Buonaroti, blaze forth at
once, to the astonishment of the world, his progress, from his commencement, under
Pietro Perugino, to the pinnacle of greatness to which he subsequently soared, cannot
but be interesting, and calls for a more than usually minute detail of hfs earliest per
formances. Among his first productions, after leaving the schdol of Vanucci, were a picture of
S. Niccola da Tolentino, crowned by the Virgin and S. Agostino, in the church of the
Eremitani ; and the Crucifixion, with the Virgin, Mary Magdalen, and St. John, in the
church of S. Domenico, at Citta di Castello. These were entirely in the style of Perugino,
though with a finer expression in the heads, particularly in that of the^Virgin. Vasari
asserts that he had previously painted his picture of the Assumption, in the church of
the Conventuali, at Perugia; but that is extremely improbable, as it exhibits a perfec
tion which he did not attain until a more advanced age. One of his earliest works, of
which the date has been ascertained, is a picture noticed by Lanzi, formerly in the pos
session of Sig. Annibale Maggiori at Fermo, representing the Holy Family, in which
the Virgin is lifting a veil from the infant Jesus, who is sleeping in a cradle. It bears
the inscription R. S. V. A. A. XVII. P. Raphael Sanctius Urbinas an. aetatis 17, pinxit.
This was probably painted soon after the two pictures above mentioned. The growth
of his genius, and his superiority to his instructor, were more visible in his next per
formance, the Marriage of the Virgin, in the church of S. Francesco, at Citta di Cas
tello. The composition is not very different from a picture of the same subject by
Perugino, in one of the churches at Perugia; but it is designed in a manner so modern
ized, that it may be regarded as the first fruits of the new style. The Virgin, of celes
tial beauty, is accompanied by a group of females, in bridal vestments, in which elegance
disputes with magnificence. Amidst this lovely group, the principal figure is distin
guished, not by the " foreign aid of ornament," but by her own attractions, dignity,
beauty, modesty, grace, captivate the eye at the first glance. The band of youths,
attendant on St. Joseph, are not less remarkable for the select nobleness of their form
and character. In this picture we find nothing of the scantiness of drapery, of the
mannered minuteness and cold precision which characterise the works of Perugino.
Every visage, every attitude, is animated by the most appropriate expression.
It was about this time that Bernardino Pinturicchio was commissioned by Cardinal
Francesco Piccolomini to decorate the great library at Siena, and finding the enterprise
beyond his faculties, had recourse to Raffaelle, to assist him in so important a work. He
had to represent the principal events of the life of iEneas Sylvius Piccolomini, after-
ward$g||9pe -Pius II. No undertaking of equal importance had hitherto been intrusted
to any Individual artist, and the art itself had not yet ventured beyond a very limited
flight. Raffaelle was at this time a perfect novice in subjects of this nature, and being
yet a stranger to the splendour of a metropolis, must have found great difficulty in
executing the designs for a work, which called for a description of the particular cus
toms of each court, or rather of the luxury and splendour of Europe. Notwithstanding
the arduousness of such a task, Raffaelle made the sketches and cartoons for the whole of
the compartments. These were completed in 1504, and confer great honour on our
artist, who had not then completed his twenty-first year; as no work bo extensive and
multiform had as yet been attempted. He had scarcely accomplished this great under
taking, when the fame acquired by Lionardo da Vinci and Michael Angelo, inspired

RAFFAELLE. 255
him with the most ardent desire of visiting Florence. He arrived in that city in 1504,
and as Buonaroti had not yet painted his famous cartoon of Pisa, the works of Masaccio
and Lionardo da Vinci were the principal objects of his admiration. He formed an
intimacy with Fra Bartolomeo di S. Marco, who he instructed in perspective, and in
return profited by the lessons of that artist in colouring. His residence at Florence on
his first visit was of short duration, as the death of his parents obliged him to return to
Urbino; and in 1505 we find him engaged at Perugia, in painting the chapel in S.
Severo, and the Crucifixion preserved at the Padri Camaldolensi. By these perform
ances may be measured the progress he had made in his first visit to Florence. That he
had not materially increased his acquaintance with anatomy is evident, from his not
having discovered any particular excellence of design in the body of Christ on the
Cross, in the picture just mentioned, in which he might have displayed his knowledge
of it with so much propriety. His advancement in the study of the beautiful, is still
less apparent in these productions, as he had exhibited more admirable specimens of it
previous to his going thither. With respect to expression, he could find at Florence no
heads more animated or expressive than he had already produced. His principal im
provement was in colouring, in the arrangement of his groups, and in his acquaintance
with fore-shortening. He returned to Florence, where he remained until his departure
for Rome, in the commencement of 1508. During these four years were painted the
pictures, which, according to Lanzi, form the second style of Raffaelle. Vasari includes
in this epoch the Holy Family, in the Rinuccini Gallery, though it is dated 1516.
With more accuracy may be classed among his works of that period, the Virgin with
the infant Jesus and St. John, in the tribune of the Florentine Gallery ; and the Entomb
ing of Christ, formerly in the church of S. Francesco, at Perugia, now in the Palazzo
Borghese. Vasari styles it Tavola Divinissma; the composition does not consist of many
figures, but each is occupied in the most appropriate manner, and the arrangement is
admirable. The heads, full of the most impressive piety, may be regarded as the first,
since the restoration of the art, in which the expression of extreme sorrow does not di
minish their beauty.
In 1508, Raffaelle was invited to Rome by Julius II. to whom he was recommended
by Bramante, his uncle, who was architect to that pontiff, to assist in the ornaments of
the Vatican. His first undertaking at Rome was the decoration of one of the apart
ments then called La Segnatura, where he has represented, in the most learned and sub
lime manner, a Personification of Theology, Philosophy, Poetry, and Jurisprudence.
The first compartment he painted represents Theology, in which, in imitation of
Petrarch, he has adopted the privilege of assembling in the same work, personages
essential to his subject, though they lived at different periods. He has introduced the
Evangelists, whose writings form the foundation of theology ; St. Ambrose, St. Augus
tine, St. Gregory, and St. Jerome, the doctors of the church, who continued the tradi
tion ; and the fathers, St. Thomas Aquinas, St. Bonaventura, and other theologians.
In the upper part of the picture is the Trinity, surrounded by the blessed ; and on an
altar beneath is placed the Eucharist. This has since been denominated the Dispute on
the Sacrament. In this compartment, his first production at Rome, there still remained
somewhat of the minuteness he had acquired under Perugino. He still continued the
gilded glories round the heads of his saints, and other similar ornaments, and the com
position was more formal and restrained than in his future productions. Julius 1 1. was
so satisfied with this performance, that he directed all the paintings, which had already

256 JRAIFAELLE.
been finished in the other apartments by Bramantino, Pier della Francesco, and otheu;,
to be defaced, that the whole might be decorated by the hand of Raffaelle.
In 1509, he commenced his second picture, on the opposite side of the apartment,
representing Philosophy, which has been styled the school of Athens. In this he had
taken leave of every vestige of the antique style, and had adopted a grander manner,
which from that time he continued to embellish. The* scene represents a portico of
superb architecture, containing four gradations. In the upper part of the composition
he has introduced Plato and Aristotle, surrounded by their disciples, expounding their
systems; in another group, Socrates is seen reasoning with Alcibiades; and below
Pythagoras in the midst of his scholars, one of whom holds a tablet, on which are graved
the harmonic consonances. In another part of the picture Archimedes is seen instruct
ing his pupils in geometry ; Zoroaster is represented with a globe in his hand • and on
one side Diogenes with a book. In this magnificent work, consisting of fifty-two figures,
the immortal Raffaelle, in representing the school of philosophy, has given to the world
a school of painting which has ever been regarded as one of the most sublime produc
tions of the art, for the grandeur of the composition, the boldness of the invention and
the perfection of the design.
The third compartment represents Jurisprudence ; on one side he has introduced
Justinian presenting to Trebonianus the code of the civil law, who receives it with an
expression of humility and submission which is indescribable; and on the other Gre
gory IX. giving the decretals to a consistorial advocate. In the upper part of the pic
ture are personified Prudence, Temperance, and Fortitude.
His fourth picture in the apartment represents Poetry, where he has introduced
Apollo and the Muses on Mount Parnassus, with. the most celebrated Greek, Latin and
Tuscan poets. Homer is placed between Virgil and Dante, and is the most impressive
figure of the group. He seems possessed of a character almost super-human, and ap
pears to speak and prophesy at the same time. This extraordinary apartment, with the
accompanying ornaments, executed from the designs of Raffaelle by his disciples Polidoro
di Caravaggio, and others, was finished in 1511, the date inscribed on the Parnassus.
It may be proper in this place to notice the flagrant partiality of the Florentine wri
ters on art, who have attempted to disparage the transcendent powers of Raffaelle by
insinuating that he was indebted for the greatness of style which distinguishes these
admirable performances, to his having surreptitiously obtained a sight of the works of
Michael Angelo, in the Sistina ; and Vasari asserts, that although he had constantly
studied the antique, he had not yet given to his figures that air of grandeur and majestu
which he afterwards displayed. He reports, that Michael Angelo being obliged to fly
from Rome and take refuge at Florence, to avoid the displeasure of Julius IL, Bramante
who was entrusted with the keys of the Sistine chapel, as superintendant of the works
clandestinely introduced Raffaelle to a sight of it, who from that time immediately
changed his style, and produced his celebrated frescoes of the Prophet Isaiah in the
church of S. Agostino, and the Sibyls, in la Pace. Fortunately for the fame of
Raffaelle, it is not difficult to prove the falsehood and malignity of these assertions by
a plain and simple detail of facts and dates. This has been very satisfactorily accom
plished by Bellori, in his treatise entitled, Se Raffaelle ingrandi e miglior6 la maniera per
aver vedute Vopere di Michel Angiolo; and Crespi has successfully answered the calumny
in three letters, inserted in the Latere Pittoriche. It is necessary to observe, that the
life of Michael Angelo was written by two of his own disciples, Vasari and Condivi, after

RAFFAELLE. 257
the death of Raffaelle, and previous to that of Buonaroti. Had Raffaelle been living
when these attacks were made on the originality of his style, he would not have remained
silent. He could easily have demonstrated, that when Michael Angelo fled from the
resentment of the Pope, which was in 1506, Raffaelle had not yet been at Rome, and
was not invited thither until two years afterwards. That from the year 1508, when
Michael Angelo had not yet commenced the Sistine chapel, until 1511, at which time
it was only partly finished, Raffaelle had evinced a grandeur, which he perhaps never
afterwards surpassed, in his great works in the Vatican. He would probably have de
manded of Vasari in what consists the grandeur and majesty of style, and, supported by
the evidence of the best Greek statues, and by reason itself, he might have instructed
him, that the grand does not consist in a gigantic and muscular display of the members,
or in fierce and daring attitudes given to every figure, but in an elevated choice of the
great and beautiful, in the absence of every thing that approaches to meanness and
mediocrity, and in a chaste and decorous combination of whatever can ennoble and
embellish the subject. These faculties he had before amply discovered in the school of
Athens, and in other works in the Vatican, in the impressive dignity of his heads and
attitudes, whose beauty may easily be traced to their genuine source, his study of the
antique. It would be difficult to produce a more sublime effort of art than his Isaiah,
which, as a complete refutation of the calumny of Vasari, was painted before 1511, and
soon after the School of Athens. It will not be denied, that the works of Michael
Angelo might inspire him with a bolder character in his forms, and that he might occa
sionally have imitated the athletic daring of his design. But how did he imitate it?
By tempering its fierceness with beauty and majesty. In defence of Raffaelle, it is
justly remarked by Lanzi, that whoever wishes to discover what is wanting in the Sibyls
of Michael Angelo, let him examine those of Raffaelle; and in admiring the Isaiah of
Raffaelle, will be found what is deficient in the Prophets of Michael Angelo.
In 1512, Buonaroti finished his great work in the Sistine chapel, and Raffaelle was
engaged in the same year in ornamenting the second apartment in the Vatican. In one
of the compartments he has represented the History of Heliodorus, who having been
sent by Antiochus to plunder the temple of Jerusalem, is driven from his purpose by a
supernatural apparition, sent at the invocation of the High Priest Onias, to punish his
sacrilege. This is considered one of his most distinguished performances. The surprise
and consternation of Heliodorus, and the terror of his attendants, are expressed in the
most admirable manner. His picture of the Miracle of the Mass at Bolsena, in the same
apartment, was also executed in the life-time of Julius II. It was supposed that the
death of that Pontiff, in 1513, would have interrupted the progress of this important
work; but his successor, Leo X. was not less a patron of the art, and was equally sen
sible of the extraordinary talents of Raffaelle. By his -direction, the ornaments in the
Vatican were continued, and to the two pictures last mentioned, he next added his
celebrated work of St. Peter delivered from Prison, in allusion to the imprisonment of
Leo X. at Ravenna. In this representation he has given a proof of his ability in con
ducting the effect of different lights. The soldiers placed near the door of the prison
are illuminated by moonlight, and partly by a torch held by one of the guards, pro
ducing a different effect. From the figure of the angel emanates a splendour that rivals
the light of the sun. His fourth picture in the second apartment represents S. Leone
Magno stopping the progress of Atilla and his army, in their attack on Rome, who,
intimidated at the appearance of St. Peter and St. Paul, retire in confusion and dismay.
Vol. II. K k

258 RAFFAELLE.
In the third apartment he executed four frescoes, which entitle him to the crown of epic
poetry. In one compartment he has represented the victory gained by Leo IV. over the
Saracens, in the port of Ostia, in which he has described, with all the feeling of a poet,
the military pomp and parade of the contending warriors, the various weapons of the
combatants, the fury of the battle, and the shame and grief of the vanquished and the
prisoners. Another represents the burning of the Borgo Vecchio, miraculously extin
guished by the same pontiff. The horrors of the conflagation are portrayed with all the
truth and effect that the art is capable of. The terror of the scene is increased by the
darkness of the midnight hour ; the raging flames, infuriated by the violence of the wind,
are devouring every thing in their way. The misery and alarm of the citizens is carried
to the highest pitch. Some are active in carrying water, and are baffled and dispersed
by the fury of the wind and smoke ; others seek safety in flight, and are hurrying away
in all directions, half naked and dishevelled. Women are supplicating the pontiff;
mothers, more alarmed for their offspring than themselves, are solely intent in sheltering
them from the danger ; amidst the confusion is seen an admirable group, of a young
man carrying his aged father on his shoulders, in which Raffaelle appears to have had
in mind JEneas saving Anchises from the burning of Troy. The third picture represents
the Coronation of Charlemagne, by Leo III. and the fourth, the same pontiff protesting
on the Evangelists, before that monarch, his innocence of the charges imputed to him.
These important works were finished in 1517, and had occupied him nine years.
Having thus decorated the three principal apartments, his attention was next turned
to the embellishment of the loggie of the Vatican, of which the architecture had been
begun by Bramante, and was finished by Raffaelle. These were chiefly executed from
his designs by his disciples, Giulio Romano, Giovanni Francesco Penni, Perino del
Vaga, Pelegrino da Modena, Polidoro di Caravaggio, &c. The objects most deserving
attention are the thirteen small ceilings, each containing four subjects of sacred history,
the first of which, representing the Creation, was painted by himself, as the model to be
followed, by his scholars; and the whole was retouched and harmonised by Raffaelle, as
was his custom. This series of subjects from the Scriptures has been frequently en
graved, and is generally denominated Raffaelle's Bible. It was about this time that he
designed the famous Cartoons for the tapestry for the Papal chapel, representing the
principal subjects of the Evangelists, and the Acts of the Apostles, which, after bein°-
wrought in Haiders, fortunately found their way to this country, where they have been
and will ever be regarded as one of the most exalted monuments of his fame. The
subjects of these divine performances, and their extraordinary beauty, are so generally
known, that a particular description of them here might be deemed superfluous.
His immense works in the Vatican did not prevent him from engaging in other under
takings, and satisfying the desire of several individuals to possess his works. Among
these,, his frescoes in the Farnesina, painted for Agostino Chigi, are the most prominent.
The most celebrated picture, representing the so much admired Triumph of Galatea, was
painted by himself; and in another apartment were executed by his disciples, from his
designs, a series of pictures of the Loves of Cupid and Psyche, their Marriage, and the
Assembly of the Gods, which he has treated with so much taste and learning, that they
may be compared with the best works of antiquity. Of his pictures in oil, the following
are the most remarkable. His St. Cecilia, formerly in the church of S. Giovanni in
Monte, at Bologna, now in the gallery of the Louvre ; his inimitable picture in the
royal collection at Madrid, called Lo Spasimo de Sicilia, in which the subject is treated

RAFFAELLE. 259
with a feeling and pathos which are beyond all praise. It represents Christ bearing his
Cross; the action of our Savitfur is undescribably affecting and impressive ; he embraces
with his right hand the cross, under which he is sinking; his left is stretched out with
infinite grandeur and expression, as if in the act of prophesying the destruction of
Jerusalem. The Virgin Mary, in a supplicating attitude, is interceding with the sol
diers and populace for pity for her son, who, exhausted with fatigue and anguish, has
sunk under the weight of the instrument of torture, which he is bearing to the scene of
his sacrifice and death. The holy women and St. John are endeavouring to console the
mother of Christ. Mary Magdalen is solely absorbed with grief for the sufferings of her
divine instructor. The expression in the countenance of the Saviour is such, as could
only result from the most pathetic imagination, and the most perfect execution; it ex
hibits all that divinity which sacred story designates in the person of the Redeemer; no
sorrow was ever more deeply delineated, the eyes are suffused with tears, the forehead
is stained with blood, yet the divine beauty of the visage is not disturbed, nor its
majesty impaired ; meekness and resignation are truly characterised, but it-is a meek
ness that does not detract from dignity, and a resignation that has no connection with
despair. A look of celestial complacency and benevolence, which seem to triumph over
pain and sorrow, illumines the whole visage, and affects the beholder with the snost
irresistible emotions.
It bas been stated in the Life of Fr& Sebastino del Piombo, that Michael Angelo,
desirous of checking the great reputation of Raffaelle, had furnished that painter with
the designs for his most considerable works ; and that when Raffaelle was commissioned
by Cardinal de Medici to paint his famous picture of the Transfiguration, he engaged
Sebastiano to undertake an altar-piece of the same size for the cathedral of Narbonne,
of which he was archbishop, which gave rise to a rivalship that ended in a public exhibi
tion of their works. That Sebastiano del Piombo might enter the lists with a greater
prospect of success, Buonaroti composed and designed the subject, which was the
Resurrection of Lazarus. Whatever was the extraordinary merit of that celebrated
picture, and it is allowed to possess a distinguished claim to our admiration, it was
unable to contend with the inimitable production of Raffaelle. This extraordinary
picture is generally considered his most distinguished work in oil. He has represented
the mystery of the Transfiguration of Christ on Mount Tabor. At the foot of the
mountain is assembled a group of the disciples, to whom a youth is brought, who is
possessed of an evil spirit. He is agitated by the most horrible convulsions, and is with
difficulty supported by his father, who looks with faith and confidence towards the
Apostles for the relief of his son, whilst a female figure, of the most beautiful form, is
kneeling, and seems to implore the interference of their power in favour of the pos
sessed. The varied expression of the Apostles, who appear dubious of their ability to
effect the miracle, is admirable. But whatever is the merit of this part of the picture,
it is eclipsed by the beauty and grandeur with which Raffaelle has represented, in the
upper part of the mountain, Christ in his Transfiguration, between Moses and Elias.
He appears invested with a robe of celestial light, which dazzles the prophets, and the
three well-beloved disciples, who are kneeling, in a lower part of the mountain. The
head and attitude of the Saviour are distinguished by a divine majesty and sublimity,
which are inconceivable.
This immortal production was the last work of Raffaelle. He- was attacked by a
fever in 1520, and having, as it is supposed, been improperly treated by his physicians,
Kk2

260 RAFFAELLE.
he died in that year, on Good Friday, which was his birth-day, at the age of 37. His
corpse was laid in state in the apartment in which he was accustomed to paint, and his
last picture of the Transfiguration was exposed near the body, previous to its interment
in the church of the Rotonda. Never was a spectacle more affecting; never was an
artist so universally deplored. The gentleness of his nature had attached to him every
heart. Respectful to the memory of Perugino, and grateful for the. instruction he had
received from him, he exerted all his influence with the Pope, that the works of his
master, in one of the ceilings in the Vatican, might be spared, when the other paintings
were destroyed, to make way for his embellishments. Just and generous to his contem
poraries, though not ignorant of their intrigues, it was his custom to thank heaven that
he was permitted to live at the same time with Michael Angelo. Gracious and mild to
his disciples, whom he loved and instructed as his children ; courteous even to those
v/ho were unknown to him, he constantly assisted with his counsel all who applied to
him for advice and instruction; and he was not only incapable of refusing them that
favour, but of delaying it. The remembrance of such affability and beneficence was
strongly excited by his too early death, by which the young artists of his time had to
lament that, with Raffaelle, was so untimely cut off, the source of that enlightened
intelligence he had expanded over the art. Leo X. was not less sensible to his loss,
which he regarded as a public disaster to Italy, and to the graphic world. At the re
quest of the Pope, Cardinal Bembo composed the following brief but expressive epitaph,
to be inscribed on his tomb :
Ille hie est Raphael, timuit quo sospite vinci
Rerum magna parens, et moriente mori.
Though the premature death of Raffaelle was the subject of universal regret, it will
be recollected with satisfaction, that, by leaving the world at that particular period, he
was spared the affliction of beholding the calamities that soon after befel Rome, cala
mities of which the horrors would have made death desirable to him. He did not live
to witness the sacrilegious murder of his patron and pontiff Leo X. the guardian of
learning, the protector of the arts, who was treacherously poisoned the year after his
death ; nor to see Clement VII. seized by furious banditti, and imprisoned in the Castle
of St. Angelo ; and escaping from them, after encountering the dangers and degradation
of a fugitive, at length constrained to purchase his safety from those who ought to have
been the defenders of his dignity and his life. He did not survive to see the cruel sack
ing of Rome, when the nobles were assailed and plundered in their palaces, the prelates
hurried to the gibbet, the priests torn from their altars, which they in vain embraced for
protection, barbarously put to the sword, and their bodies thrown to the dogs. He
escaped the grief of seeing that city exposed to pillage and conflagration, which his
exalted genius had so much contributed to adorn, and of which his matchless talents
had been the admiration and delight.
It has already been observed, that Raffaelle possessed the most essential excellencies
of the art in a more exalted degree than any other painter; and it may not be improper
in support of his claim to that distinction, to endeavour to point out his superiority in
those faculties which constitute the higher characteristics of painting.
His other endowments would not have been sufficient to have raised him to so ele
vated a rank, if he had not possessed, in a transcendent degree, the powers of invention.
If it is allowed that the noblest object of the art is not to accomplish that which merely
pleases the eye, but that which satisfies the mind, and secures the approbation of the

RAFFAELLE. 261
intelligent, Raffaelle must be regarded as the greatest artist with whose works we are
acquainted, as he may be said to have surpassed in this branch every thing he could
have seen, either ancient or modern, and as nothing has appeared since, that can dispute
his title to that pre-eminence. The invention and disposition of his pictures point out
at the first glance the particular action he was desirous of presenting to the mind of the
spectator. Hence the scenes in his drama, whether tranquil or tumultuous, pleasing or
terrible, gay or melancholy, exhibit nothing incongruous with the character of the sub
ject. In every picture, like the discourse of an accomplished speaker, he instructs,
affects, and delights. The first is not difficult to be effected by the orator, as he can
dwell at will on an illustration of his subject; whereas the painter, on the contrary, has
but a fixed moment to make himself understood, and his great skill consists in present
ing to the comprehension of the spectator, not only that which is doing, but that which
is about to be done, and, which is more difficult, that which has been done. In this
arduous science, the genius of Raffaelle is distinguishedly triumphant; it is this that
forms the magic of his art, and he has carried it to the highest possible pitch.
In composition, so nearly connected with invention, Raffaelle is entitled to the highest
praise; and it has been observed by Mengs, that he would have gone beyond the limits
of humanity, if he had possessed every part of the art in the same degree. In all his
compositions, the principal figure presents itself to the beholder at once; there is never
a necessity to search for it. The different groups are reunited by the principal action ;
his oppositions, and his conduct of the masses of light and shadow, are not directed bj'
affectation or caprice, but are regulated by reason and truth. His School of Athens
may be cited as one of the most admirable examples of composition that can be found.
Those who have practised the art since Raffaelle, and have adopted opposite principles
in this branch, may have been able to seduce the artificial observer, but they have not
been successful in satisfying the expectations of the judicious. Paolo Veronese is
splendid and multifarious in his figures and ornaments ; and Lanfranco, and other emi
nent machinists, have introduced contrasts of the chiar-oscuro more striking and
vigorous ; but these afford a poor compensation for the absence of that decorous urbanity
and dignified nobleness which characterise the works of Raffaelle.
In design he considered the art as something more than a simple and precise imitation
of his model ; and it was his prevalent maxim, that objects should be represented not as
they are, but as they ought to be. By consulting the works of the ancient sculptors, with
out abandoning nature, he learned how her beauties were to be selected and studied.
He found that the Greeks had not followed her in detail, that they had only availed
themselves of what was most essentia] and most beautiful, and that their greatest perfec
tion consisted in the regularity of the proportions; he therefore particularly attached
himself to that part of the art. In the delicacy and purity of his contours, it has been
attempted to equal him to the sculptors of antiquity; but this, without injury to his
reputation, may be allowed to be strained ; and his admirers will not be unwilling to
admit that he is still inferior to them in his ideas of perfect beauty. Agostino Caraeci
proposes him as a model for symmetry ; and in this, more than in any other respect, he
has approached to the perfection of the antique. His style of design is rather Roman
than Grecian, as it was principally from the bassi-relievi that he studied the ancients.
From them he formed his habit of expressing strongly the construction of the human
frame, the action and articulation of the bones and muscles ;- and he has excelled in that
respect, without, however, giving generally to his figures that ease and elegance remark-

262 RAFFAELLINO.
able in the best Grecian statues, and without expressing that flexibility which we dis
cover in the Laocoon, the Apollo of Belvedere, and in the Gladiator. If he did not reach
the ideal beauty of the ancients, it may be attributed to the taste and manners of the
age in which he lived, and the subjects he was called upon to treat. Having rarely
occasion to represent figures entirely ideal, he devoted himself to a pure and sensible
expression of the passions of the mind. He particularly excelled in the delineation
of philosophers, the apostles, and other similar characters; and his heads of that
description are said by Vasari to be something more than human. If he was less
successful in his attemps to personify divinity, it will be allowed that, as Mengs ex
presses it, if the Greeks hovered between earth and heaven, Raffaelle moved with dig
nity as a terrestrial.
In expression, no less than in the branches just mentioned, Raffaelle may be said to be
unrivalled. There is not an emotion of the mind, nor a passion implanted in the human
heart, that he was not capable of expressing with the most characteristical propriety.
Nature had endowed him with an imagination so faithful and correct, that he was able
to give to each figure the precise shade of feeling, whether impassioned or tranquil, that
the situation required. Every figure in his pictures exhibits its genuine character, and
cannot be mistaken for any other passion. The pensive, the sad, the gay, the furious •
all are represented with the same explicit correctness. He not only gave the expression
suitable to each figure, but to the entire subject; and its different episodes are stamped
with correspondent consistency. The spirit of Raffaelle is seen in every group, in every
figure, in every member, in every articulation; and is even evident in the disposition of
the hair, and in the folding of the drapery. If his figure is speaking, it is seen at once
if his mind is calm, or if he is talking with vehemence. One of his most surprising
faculties is the variety he has given to the same expression. He offers these varieties,
without having recourse to affected contrasts, and exhibits the most violent passions
without vulgarity or grimace. No artist was so well acquainted with the just and pre
cise effect which the emotion of the mind produces on the movement of the body.
Every thing speaks in silence, and each actor on the scene, as Petrarch expresses it,
II cor tiegli occhi, e nellaf route ha scritto.
In Raffaelle we never discover what is constantly found in the works of other eminent
artists, who, when they had to represent a strongly animated passion, run into the extre
mity of phrensy and extravagance ; or when called on for the tranquil and sedate, present
us with coldness and insipidity. In this classic discrimination, others have in vain
attempted to imitate him ; his figures appear to be put in motion by the sentiments of
the mind; those of other artists, with the exception of N. Poussin, Domenichino and
a few others, seem to be the puppets of the theatre. Such is the variety with which he
has depicted the passions of the mind, and as expression is considered the most difficult
the most philosophical, and the most essential accomplishment of the art, his preten
tions to superiority will scarcely be disputed. Such are the attributes which the sublime
genius of Raffaelle created and established in the art, during the short period of his
abridged existence ; who can venture to ascertain to what point of perfection he might
have raised it, if he had been permitted a length of years equal to that of Titian or
Michael Angelo ?
RAFFAELLINO, del Garbo. See Garbo.

RAF R A I 263
RAFFAELLINO, del Colle. This artist was a native of Citta S. Sepolcro, and flou
rished about the year 1546. He was first a disciple of Raffaelle, but after the death of
that master he became the scholar of Giulio Romano, who he assisted in his principal
works at Rome, and in the Palazzo del Te, at Mantua. Of his own compositions, the
principal are two pictures at Citta di S. Sepoloro^one of which, representing the Resur
rection, in the church of S. Rocco, exhibits a grandeur not unworthy of the great school
in which he had been educated. The figure of Christ is dignified and majestic, and the
terror of the guards of the sepulchre is admirably expressed. The other is in the church
of the Conventuali, and represents the Assumption of the Virgin. It is a graceful and
impressive composition ; and being placed near one of the best pictures of Giorgio
Vasari, establishes its merit by its decided superiority.
RAFFAELLINO da Reggio. See Reggio.
RAGGI, Pietro Paolo. According to Tassi, this painter was born at Vienna about the
year 1650; but his parents removing from thence to Genoa when he was young, he
received his first education in the art in that city, though it is not known by whom he
was instructed. His picture in the Nunziata del Guastato, at Genoa, representing S.
Bonaventura, is in the style of the Caraeci, and is mentioned by Ratti as a production
of great merit. After visiting Turin and Savona, he established himself at Bergamo,
where he painted several pictures for the churches and private collections. In the
church of S. Lorenzo is an admired picture of the Annunciation ; and in S. Marta, Mary
Magdalen taken up into heaven. He also distinguished himself as a painter of land
scapes, which he embellished with figures representing pastoral or bacchanalian subjects,
which he painted in the style of Benedetto Castiglione and Giulio Carpioni. He died
at Bergamo in 1724.
RAGOT, Francis. A French engraver, born at Bagnolet in 1641. He engraved some
plates after Simon Vouet and Charles Le Brun; but he is chiefly distinguished for his
ability in copying the prints engraved by Bolswert, Pontius, and Vorstermans, after the
works of Rubens and Vandyck. He executed about forty of these copies with such
accuracy and precision, that they have been mistaken for the originals by inexperienced
collectors. He is also said to have engraved a few portraits.
RAIBOLINI, Francesco, sometimes called Francesco Francia. This artist was born
at Bologna in 1450. In the early part of his life he followed the business of a gold
smith and medallist; and Vasari informs us, that some of his coins were equal to those
of the celebrated Caradosso of Milan. At what precise period he commenced the study
of painting is not known; but he is said to have received his instruction in the art from
Marco Zoppo, when he had already reached the age of virility, and in a few years made
such progress, that he was able to compete with the ablest painters of Ferrara and
Modena. It is probable that he continued the profession of a goldsmith for some years
after he began the practice of painting, as we find several of his works in the churches
at Bologna, inscribed Franciscus Francia Aurifex, particularly a picture of the Crucifixion,
with the Virgin, S. Girolamo, and S. Francesco, in the church of the Annunziata, and the
altar-piece of the chapel of the noble family of Bentivogli, in S. Giacomo Maggiore,
representing the Virgin^and Infant, with several saints, which was painted in 1490. His

264 RAIMONDI.
first style resembled that of Pietro Perugino, in the arrangement of his compositions,
the airs of his heads, and the tones of his colouring; and some of his pictures have been
ascribed to that master. He afterwards aggrandized his style by studying the works of
Andrea Mantegna.
Cavazzoni, who has written a treatise on the pictures at Bologna, would have us to be
lieve that Raffaelle himself had profited by the works of Francia, which enabled him to
quit the dry manner he had acquired under Perugino; but it is scarcely necessary to
remark, in answer to this assertion, that the juvenile performances of Raffaelle in S.
Severo, at Perugia, already surpassed the best productions of Francesco Francia, as well
as those of Pietro Perugino. Vasari reports, that Raffaelle having painted his celebrated
picture of St. Cecilia, for the church of S. Giovanni in Monte, at Bologna, addressed it,
in 1518, to the care of F. Francia, requesting him to correct any defect he might dis
cover in it, previous to its being fixed in the place for which it was intended; and attri
butes the death of Francia in that year to the mortification and chagrin he felt at the
sight of a performance so superior to everything he had seen. Malvasia detects the
falsity of this statement, by proving that he lived several years after that period, and,
in 1522, painted his most celebrated picture of St. Sebastian, which became the model
of study to the Caraeci, and their school. The precise time of his death is not known.
RAIMONDI, Marc Antonio. This eminent engraver was born at Bologna in 1487 or
14S8, and is generally known in the art by the name of Marc Antonio. He was in
structed in design by Francesco Raibolini, called Francia, and probably learned en.
graving from a goldsmith, as his first attempts in that art were the embellishments of
the silver ornaments worn at the time. One of his earliest engravings on copper was a
plate from a picture by Francia, representing Pyramus and Thisbe, dated in 1502.
Vasari reports, that on a visit he made to Venice in search of improvement, he met with
the set of thirty-six wooden cuts by Albert Durer, representing the Life and Passion of
Christ; and was so much pleased with them, that he copied them with great precision
on copper, and having affixed the cipher of Albert Durer to them, the prints were sold
in Italy as the originals. The deception having reached the ears of Albert, he com
plained to the senate of the plagiarism, but could only obtain an order that Marc
Antonio should not in future put the monogram of Albert Durer on the copies he mio-ht
afterwards make from his works. It is most probable that Vasari, with his usual inac
curacy, has mistaken the life of our Saviour for the life of the Virgin ; as Marc Antonio
copied both the sets, from the cuts of Albert Durer, to the latter of which he affixed the
mark of Albert, and not to the former, as asserted. Marc Antonio soon afterwards
quitted Venice and went to Rome, where his talents were not long unnoticed by Raffa
elle, who not only employed him in engraving from his designs, but is said to have
traced the outlines himself on the plates, that the correctness of the drawing might be
more perfectly preserved. The first plate he engraved from the design of Raffaelle was
the Death of Lucretia, which is neatly engraved, but n6t among his best performances.
His next print after that master was the Judgment of Paris, executed in a more bold and
spirited style. These were followed by several other plates, which firmly established
his reputation; and Raffaelle was so perfectly satisfied with the works of this able artist
that he sent several of them as presents to Albert Durer, to whom they were particularly
acceptable. During the life of Raffaelle, Giulio Romano, from respect for his master, did not

RAIMONDI. 265
employ the graver of Marc Antonio; but after his death, in 1520, he engaged him to
engrave from his designs, and unfortunately for our artist, he was prevailed on to exe
cute the set of indecent subjects for which Aretin composed the verses, which excited
the indignation of Pope Clement VII. to such a degree, that he ordered Marc Antonio to
be arrested and thrown into prison ; and it was with great difficulty the intercession of
some of the cardinals, and that of Baccio Bandinelli, procured his liberation. On reco
vering his liberty, he was desirous of expressing his acknowledgments to Bandinelli for
the good offices he had rendered him, and for that purpose he engraved his celebrated
print of the Martyrdom of St. Lawrence, after a picture by that painter. In the execu
tion of this fine plate he exerted all his ability, and on its being shown to the Pope, he
not only pardoned his offence, but took him under his protection. He was now in full
possession of the public esteem, and favoured with the patronage of the great, when he
was suddenly deprived of these advantages, by the dreadful sacking of Rome by the
Spaniards in 1527, in which he was plundered of all he had acquired, and obliged to fly
from Rome, and take refuge at Bologna, where he continued occasionally to engrave,
until the year 1539, the date of his last print of the Battle of the Lapithae, after Giulio
Romano. He is said by Malvasia to have been assassinated by a Roman nobleman, for
having, contrary to his engagement, engraved a second plate from a design by Raffaelle,
representing the Murder of the Innocents.
Marc Antonio may be regarded as one of the most extraordinary engravers that has
appeared in the art. The purity of his outlines, the beautiful character and expression
of his heads, and the correct drawing of the extremities, establish his merit as a perfect
master of design. In the prints of this eminent artist, which are extremely numerous,
great attention should be paid to the different impressions of the plates, which have been
greatly retouched and altered, by the different printsellers through whose hands they
have passed. The best impressions are without the name of any publisher. After the
plates were taken from the stock of Tommaso Barlacchi, they came into the possession
of Antonio Salamanca ; afterwards they passed through the hands of Antonio Lafreri,
from thence to Nicholas van Aelst, and, lastly, became the property of Rossi, or de
Rubeis, at which time they were almost worn out. The most complete catalogue of
the prints of this great artist, which has hitherto appeared, is that of Baron Heineken,
to which we refer the reader for more particular information than can be looked for in a
work of this nature. The following is as copious a list of his most esteemed prints as
our limit will admit of. Several of his plates are»without any mark; on others will be
found one of the following ciphers, or the tablet. M. M\ M. M". fS.
PORTRAITS.
Aretin, the poet ; inscribed Petrus Aretinus accerimus, &c.
A Man wrapped in a cloak, seated near a table, and on the left a pallet with colours. Malvasia
calls this the portrait of Raffaelle.
Charles V. when young ; a medallion.
Pope Clement VII. ; the same.
SUBJECTS OF THE OLD AND NEW TESTAMENT.
Adam and Eve; after Raffaelle. This print has been copied by Mr. Strutt, and is placed as the
title to the second volume of his Dictionary of Engravers.
Adam and Eve driven from Paradise; after the painting by M. Angelo in the Sistine chapel.
Noah sacrificing after leaving the Ark; after Raffaelle.
Vol. II. L 1

266 RAIMONDI.
God appearing to Noah ; after Raffaelle.
God appearing to Isaac; after the same.
Joseph and Potiphar's wife ; after the same.
David cutting off the Head of Goliah ; after the same.
David taking up the head of Goliah ; after the same ; very scarce.
The Nativity, or Adoration of the Shepherds; after Francia.
The Murder of the Innocents ; after Raffaelle. He engraved this subject a second time, and
has added in the second plate, towards the right of the print, a small pointed tree, resembling
a yew tree, called in Italian la felcetta, and in French lafougere, or le chicot. The latter is
considered the better print, and it is scarce.
The Holy Family. The Virgin is seated, holding the infant Jesus on her lap, with St. John be
fore him, and St. Joseph appearing behind ; after the same. This print is usually called The
Virgin with the long thigh.
The Virgin seated, with St. Elizabeth and St. John, to whom the infant Christ is giving the
benediction. A large palm tree is seen in the back-ground, on which account the print is
known by the appellation of The Virgin of the Palm ; after the same.
The Virgin seated near a cradle, presenting the infant Jesus to St. Anne. Behind is an old
woman with her arms extended, as if in admiration; after the same; called The Virgin of the
Cradle.
The Virgin seated on a chair, embracing the infant Jesus ; after the same.
The Virgin holding the infant, and reading ; after the same.
The Holy Family ; after the painting by M. Angelo ; in the Sistine chapel.
The Virgin and infant Jesus, to whom Tobit, accompanied by an Angel, is presenting a fish. On
the other side is St. Joseph reading in a book ; after Raffaelle.
The Virgin in the Clouds, holding the infant Jesus ; after the same. Agostino Caraeci having
got possession of this plate, retouched it, and added two beautiful heads of cherubim.
A set of seventeen plates of the Life of the Virgin ; copied from the wooden cuts by Albert
Durer, with the monogram of that artist ; and on the last plate the cipher of Marc Antonio.
Thirty-six plates of the Life and Passion of our Saviour, copied in imitation of the wooden cuts
by Albert Durer, but without the mark of that master.
Christ seated between two columns, upon the steps, with the Virgin and Mary Magdalen ; after
Raffaelle ; called The Virgin with the Steps.
Mary Magdalen at the feet of Christ, in the house of Simon the Pharisee ; after the same.
The Last Supper ; after the same ; called La piece des pieds.
The taking down from the Cross ; after the same.
The dead Christ laid on the Sepulchre, with the Virgin with her arms extended, and in the
deepest affliction ; after the same.
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 and two of the
disciples, with Nicodemus; after the same.
Jesus Christ, with a glory, between the Virgin and St. John, and below, St. Paul and St. Cathe
rine ; after the same. This print is called The Five Saints.
The Death of Ananias ; after the same.
Elymas, the Sorcerer, struck blind ; after the same.
St. Paul preaching at Athens; after the same.
The three last are the subjects of three of the cartoons.
St. Cecilia, with Mary Magdalen, St. Paul, and two other Saints ; after the same. The best im
pressions of this plate have a strong shadow on the neck of St. Cecilia, lesembling a neck-

RAINIERI. 267
lace, on which account it is called The St. Cecilia with the Necklace. In the inferior impres
sions the shadow is more feeble.
The Martyrdom of St. Felicita ; after Raffaelle.
St. Catherine holding the Palm of Martyrdom; after Francia.
St. Catherine and St. Lucia ; after the same.
St. Martha holding the Palm of Martyrdom ; after the same.
The Martyrdom of St. Lawrence ; called by the Italians, La graticola di S. Lorenzo ; after
Baccio Bandinelli.
A set of thirteen plates of Christ and the Apostles ; after Raffaelle.
HISTORICAL AND OTHER SUBJECTS.
The four heroes, Curtius, Horatius, Scipio Africanus, and Titus Vespasian; supposed to have
been among his first attempts on copper.
The books of the Sibyls put into the tomb of Numa Pompilius ; after Raffaelle.
The Rape of Helen ; after the same.
iEneas saving his father Ahchises from the burning of Troy, preceded by Ascanius; after the.
same.
Venus appearing to iEneas in the form of a Huntress ; after the same.
The Death of Dido ; after the same.
The Death of Lucretia; after the same.
The Battle of the Sabre ; after the same. The same subject was engraved by Agostino Vene
ziano, called de Musis. SUBJECTS OF THE FABLE.
Three of the Angels of the Farnesina ; after Raffalle ; representing Jupiter caressing Cupid,
Cupid and the Graces, and Mercury descending to earth from Olympus.
The Judgment of Paris; after the same.
Mars, Venus, and Cupid ; after Montegna.
Vulcan, Venus, and Cupid ; after Raffaelle.
Apollo resting on the shepherd Hyacinth, accompanied by Cupid ; inscribed 1506. Ae. 19.
The Triumph of Galatea ; after the same; fine. The best impressions are without any name,
the worst have the names of Van Aelst and Rossi.
Mount Parnassus ; after the same.
Hercules strangling Anteus ; after a design by some attributed to Raffaelle, by others to M.
Angelo.
The Battle of the Lapithae ; after Giulio Romano. 1539.
Pyramus and Thisbe ; after F. Francia, supposed to be his first engraving ou copper.
The two Sibyls ; after Raffaelle.
Neptune rising from the Sea, to calm the tempest in which iEneas and his companions were
shipwrecked. It is surrounded by a border, in which are nine compartments, containing
subjects taken from the iEneid.
The Pest, called II Morbetto; after Raffaelle.
RAINIERI, Francesco. This artist was born at Mantua about the year 1680. He was
a scholar of Giovanni Canti, and painted similar subjects, representing landscapes and
battle-pieces. His pictures are little inferior to those of his instructor ; if thev are Jess
vigorously coloured, his figures are usually better drawn. He died in 1758, aged
about 78. L12

268 RAM RAN
RAMBALDI, Carlo. This painter was horn at Bologna in 1680, and was a scholar of
Domenico Viani. He painted history with some reputation, and there are several of his
pictures in the churches at Bologna, which are not without considerable merit. The
most worthy of notice are the death of St. Joseph, in the church of S. Gregorio ; the
Visitation, in S. Guiseppi ; and his picture of St. Francis Xavier, in S. Lucia. He died
in 1717, aged 37.
RAMELLI, Padre Felice. According to Orlandi, this artist was born at Asti, in the
Piedmontese, in 1666, and was a scholar of Padre Danese Rho. He became a celebrated
painter of historical subjects and portraits in miniature, and resided the greater part of
his life at Rome, where he became an ecclesiastic, and was made a canon of S. Giovanni
Laterano. The King of Sardinia invited him to his court, where he was for some time
employed in painting the portraits of the most celebrated painters, many of which he
copied from the originals, painted by themselves in the Florentine Gallery. He died in
1740, aged 74.
RAMENGHI, Bartolomeo. See Bagnacavallo.
RAMIREZ, Josef. A Spanish painter, born at Valencia about the year 1626. He was a
scholar of Geronimo de Espinosa, and painted history in the style of his master. Palo
mino mentions as his most esteemed performances his works in the convent of San
Phelipe Neri, particularly his picture of Nuestra Sennora de la Luz. He died at Va
lencia in 1686, aged about 60.
RAMSAY, Allan. This artist was the son of Allan Ramsay, the author of the admired
pastoral drama of the Gentle Shepherd, and was born at Edinburgh in 1709. After
learning the elements of design he went to Italy, where he was first a scholar of Soli-
mene, and afterwards of Imperiale. He did not, however, Jong prosecute his studies in
historical painting, but devoted himself entirely to portraits. On his return from Italy
he established himself for some time at Edinburgh, but afterwards settled in London
where he met with very flattering success. He was introduced by Lord Bute to his
present Majesty, then Prince of Wales, whose portrait he twice painted ; and on the
death of Mr. Shakelton, in 1767, was appointed principal painter to the crown. With
out reaching the highest rank in his profession, he painted portraits with considerable
reputation. In a pamphlet, entitled, The present State of the Arts in England, published in
1755, this gentleman is thus mentioned: " Ramsay is an able painter, who, acknowledg
ing no other guide than nature, brought a rational taste with him from Italy: he showed '
even in his portraits that just steady spirit which he so agreeably displays in his coversa-
tion." He died in 1784, aged about 75.
RANC, John. A French portrait painter, born at Montpellier in 1674. He was a scholar
of Hyacinth Rigaud, whose style he followed with considerable success. M. D'Argenville
relates the following anecdote respecting this artist, which places, in a whimsical point
of view, the mortification which artists practising that branch are too often condemned
to experience, from the ignorance and caprice of pretended judges. Having painted
the portrait of a gentleman, in which he had exerted all his art ; the friends of the party
persisted in declaring that it was no way like him. Piqued at their obstinate condem-

RAN RAT 269
nation of his performance, Ranc promised to alter it, and having prevailed on his sitter
to co-operate with him in the stratagem, he prepared a similar cloth, and having cut a
hole to admit the head, he requested his model to place himself behind the canvas. The
critics were sent for to examine the amended portrait, which they persevered in declar
ing was not yet like him, when the head answered, " You must be mistaken, gentlemen,
'tis I myself." M. de la Motte has introduced this adventure into his fables. In 1724
he was invited to the court of Spain, and was appointed principal, painter to the King.
He painted the Royal Family, and also the King and Queen of Portugal, and died at
Madrid in 1735, aged 6l.
RANDA, Antonio. He was a native of Bologna, and was first a scholar of Guido, but
afterwards studied under Lucio Massari. He became of sufficient celebrity to be taken
under the protection of the Duke of Modena, who appointed him his painter in the
year 1614. His works are chiefly to be seen in the churches at Bologna and Ferrara.
In the latter city, in the church of S. Stefano, is a picture by him representing S.
Filippo Neri, and the great altar-piece of the church of S. Libera is by this master,
representing the Virgin Mary, with the infant Saviour and St. Francis.
RANDON, John. By this engraver, who resided at Rome about the year 1710, we
have several plates of the antique and modern statues, for the collection published by
Rossi ; with several other subjects, after Passebon, and other masters.
RANSONETTE, Nicholas. A modern French engraver, born at Paris in 1753. He
has engraved several fabulous subjects, after Gabriel de St. Aubin, and other masters.
We have also the following prints by him :
The new Palais-Royal at Paris.
A View of the new Palace of Justice.
The Rival Seducer ; from his own design.
The Lover revenged ; from the same.
Cupid and Psyche ; after Raffaelle.
Italian Amusements ; after Watteau.
RAOUX, John. A French painter, born at Montpellier in 1677. He was a scholar of
Bon Boulongne, and having obtained the prize at the Academy, was sent to Italy with
the King's pension. Although his studies were directed to historical painting, and he
was on his return from Italy received into the Academy in that character, he afterwards
attached himself principally to fancy subjects and portraits. He is said to have been in
England, where he was patronised by Sir Andrew Fontaine. His historical works are
his picture of Telemachus in the Island of Calipso, which has been engraved by Beau-
vorlet, and Venus reposing, of which there is a print by J. Daulle. He died at Paris in
1734, aged 57.
RAPHAEL. See Raffaelle.
RATTI, Gio. Agostino. This painter was born at Savona in 1699. He went early in
life to Rome, where he frequented the school of Benedetto Luti. He occasionally
painted historical subjects, of which the most deserving of notice are his pictures of the

270 RAVENET.
life of St. John the Baptist, in the church' of S. Giovanni, at S'avona, of which the de
collation is much admired. But his principal merit was in painting theatrical decora
tions and caricatures, in which he discovered great ingenuity and invention, and in that
branch nearly equalled the celebrated Ghezzi. He died at Genoa in 1775, aged 76.
RAVENET, Simon Francis. A French engraver, born at Paris in 1706. After practising
the art with considerable reputation in his native country, he came to England, and
settled in London about the year 1750, and engraved several plates, which justly entitle
him to the rank of an eminent artist. He gave both colour and brilliancy to his engrav
ings, and finished them with great precision. He engraved a variety of historical sub
jects and portraits, among which are the following:
PORTRAITS.
George I.
George II. ; after Mercier.
Lord Camden ; after Reynolds.
Alexander Pope, Poet.
James Thomson, Poet.
David Hume, Historian.
Mr. Garrick and Miss Bellamy, in Romeo and Juliet ; after B. Wilson.
VARIOUS SUBJECTS.
The Emblem of Human Life ; after Titian ; Crozat collection.
Venus and Adonis ; after P. Veronese ; the same.
The Adoration of the Shepherds; after D. Feti ; the same.
Painting and Design ; after Guido.
The Virgin, with the infant Jesus sleeping ; after the same.
Charity; after Carlo Cignani.
The Arcadian Shepherds; after N. Poussin.
Sophonisba receiving the Nuptial Present; after L. Gim-dano.
The Death of Seneca; after the same.
Tobias's Nuptial Night ; after Le Sueur.
Tobit anointing his Father's Eyes ; after Ag. Caraeci.
The Lord of the Vineyard ; after Rembrandt.
The Prodigal Son ; after Sal. Rosa.
Phryne tempting Xenocrates ; after the same.
The Return of the Prodigal Son ; after Guercino.
Lucretia deploring her fate ; after Cazali.
Gunhilda, Empress of Germany, acquitted of a charge of adultery ; after the same.
He died in 1774, aged 68.
RAVENET, Simon. He was the son of the preceding artist, born in London about the
year 1755, and was instructed by his father in the art of engraving. He afterwards
visited Paris, where he studied painting for a short time under Francis Boucher. On
leaving that master he went to Italy, and settled at Parma, where he undertook the
hardy enterprise of engraving, and publishing plates from all the works of .Coreggio,
which were in that city. This arduous undertaking occupied him from 1779 till 1785*
in which time he engraved the following prints :

RAVENNA. 271
A set of twelve plates of the Cupola of the Cathedral.
A set of plates of the Dome of S. Giovanni.
The Madonna della Scodella.
The Madonna della Scala.
La Santissima Nonziata.
The Madonna Incoronata.
Christ bearing his Cross.
The Descent from the Cross.
The celebrated St. Jerome.
The Martyrdom of St. Placido.
We have also by him the two following prints :
Jupiter and Antiope ; after Rubens.
Theseus lifting the Stone; after N. Poussin.
RAVENNA, Marco da. An eminent Italian engraver, born at Ravenna about the year
1496. The reputation which Marc Antonio Raimondi acquired at Rome, drew many
young artists thither, to study under him ; and of the number was Marco da Ravenna,
who was his disciple at the same time with Agostino de Musis, called Veneziano. Ra
venna imitated with precision the bolder style of engraving practised by his master, but
was not equally successful when he attempted to follow him in his neatest and most finished
works. He handled the graver with more freedom than his fellow student Veneziano,
though he was inferior to him in clearness and accuracy. The usual mark of this artist
is a cipher, composed of an R. and S. joined together thus, $,, which has been the occa
sion of several mistakes, not only with respect to his works, but with respect to himself,
and has led several authors to suppose, that there were two Ravennas, the one named
Marco, and the other Silvestro ; and they have been confirmed in this opinion by the
declaration of Vasari, who tells us, that Marco da Ravignano, for so he writes the name
marked his plates with an M. and an R. which in some few instances he did. Those
who do not suppose there were two Ravennas, have imagined that these two letters were
designed for Raffaelle Sanzio, and placed upon the plate, to denote that it was taken
from a design by that master. This opinion, however, is easily confuted, for the same
mark is found on the print of the Murder of the Innocents, after Baccio Bandinelli
which, of course, cannot refer to Raffaelle. It should certainly be interpreted Ravenna
or, as Vasari writes his name, Ravignano, sculpsit. He sometimes marked his plates with
an R. without the S. and sometimes with a monogram formed of an M. and an R. thus
Ml- The following are his principal prints :
SACRED SUBJECTS.
A set of twelve plates of subjects from the Bible; after the paintings in the Vatican, from the
designs of Raffaelle.
The Murder of the Innocents; after Baccio Bandinelli.
The Transfiguration ; after Raffaelle.
The Last Supper; after the same. The same is engraved by M. Antonio.
The Holy Family; after the same; engraved also by M. Antonio; called The Virgin with the
long thigh.
The Virgin Mary holding the infant Jesus, seated on a pedestal, with St. Joseph ; after Polidoro
di Caravaggio,

272 RAVESTEYN.
A set of thirteen plates of Christ and the Apostles ; after Raffaelle. The same were engraved
by M. Antonio.
St. Michael discomfiting the Evil Spirit ; after the same.
SUBJECTS AFTER VARIOUS MASTERS.
The Remembrance of Death ; an emblematical subject, in which a figure of Death is repre
sented holding a book, surrounded by several emaciated figures ; after Baccio Bandinelli.
The same subject, with variations, was engraved by Agostino Veneziano.
A Bacchanal subject, represented by children ; after Giulio Romano.
The Rape of Helen ; after Raffaelle.
Venus quitting Juno and Ceres ; after the same.
Two plates, the Interview between Scipio and Hannibal, and the Victory of Scipio; after Giulio
Romano.
The Triumph of Galatea; after Raffaelle. Engraved also by M. Antonio.
The Assembly of the Gods ; after the same.
Venus on the water, seated on a shell; after the same.
Venus seated under a tree, taking a thorn from her foot, called The Venus with the Rabbit.
Polyphemus pursuing Galatea; after Raffaelle.
Galatea seated on a shell, flying from Polyphemus ; after the. same.
Jupiter and Antiope; without the name of the painter.
The Laocoon; after the antique statue. To this plate he has affixed his name nearly at length,
MRCUS RAVEN AS.
RAVESTEYN, John van. A celebrated portrait painter, born at the Hague about the
year 1580. It is not known by whom he was instructed ; but he has not been surpassed
in the particular branch of the art which he practised, by any of his countrymen, if we
except Rembrandt and Vander Heist. Independent of the individual portraits by this
painter, which are found in the private collections in Holland, there are two large pic
tures by him in the hall of the Company of Archers at the Hague, which establish his
reputation as one of the ablest artists of the Dutch school. In one of them he has
represented the portraits of the officers and principal members of the society, as large
as life. The figures, as well as the heads, are correctly drawn and finely coloured. It
is dated in 1616. The other represents an assembly of the magistrates of the Hague
seated at a table ; the figures consisting of twenty-six, are admirably grouped, and the
accessories which accompany them are drawn and painted with great spirit and effect.
The heads are full of dignity and expression, and the whole exhibits an appearance of
truth and nature that have seldom been surpassed. It was painted in 1618. In the
town-house is another picture by Ravesteyn, representing the burgomasters in office, in
1636. He must have lived to an advanced age, as he was at the head of the forty-eight
artists, who in 1655, presented a petition to be separated as a society from the company
of house painters.
RAVESTEYN, Arnold van. This artist was the son of John van Ravesteyn, and was
born at the Hague in 1615. He was instructed in the art by his father, and became a
reputable painter of portraits. Although his merit in that branch did not equal that of
his father, he was considered superior to any other portrait painter of his time, and was
chosen chief of the society of artists at the Hague in 1661.

RAV RAZ 273
RAVESTEYN, Hubert van. This artist was born at Dort in 1647. It is to be regretted,
that his talents were not employed in subjects more worthy of his uncommon ability.
His pictures generally represent the interiors of slaughter-houses, butchers'-shops, and
objects even more disgusting. He sometimes represented the insides of peasants'
kitchens, and stables, which he treated with a captivating intelligence of the chiar
oscuro, and in which every object is designed and touched with infinite nature and effect.
Some of his pictures, in point of colour and light and shadow, remind us of the admi
rable production of his fellow citizen Albert Cuyp.
RAVESTEYN, Nicholas van. This painter was born at Bommel in 1661. He was the
son of Henry Ravesteyn, a painter little known, who intended him for one of the learned
professions, but his father dying before he had finished his studies, he turned his
thoughts to painting, having already been instructed in the rudiments of design. He
was first a scholar of William Doudyns, at the Hague, but his genius leading him to
portrait painting, he became a disciple of John de Baan, who was at that time in high
repute ; on leaving that master he established himself in his native town, where he
immediately fell into very extensive practice. The principal persons of the neighbour
hood sat to him. In 1694 he was invited to the court of Kuilenberg, to paint the por
trait of the Prince of Waldeck. He also occasionally painted historical and emblema
tical subjects, of which M. Descamps particularly notices four pictures representing
the four quarters of the world. He died in 1750, aged 89.
RAWLINS, J. This artist is mentioned by Mr. Strutt as an engraver of portraits and
frontispieces for books. He flourished about the year 1760.
RAYMOND, John. A French engraver, born at Paris about the year 1695. He exe
cuted a few plates with the graver, in a bold, clear style, for the Crozat collection. His
drawing is tolerably correct, though formal and stiff; among others, we have the follow
ing prints by him:
The Holy Family ; a circular plate ; after Raffaelle.
The Entombing of Christ ; after Taddeo Zuccaro.
The Miracle of the Manna; after Romanelli.
RAZZI, Cavaliere Giovanni Antonio, called II Sodoma. This painter was born at
Vercelli, in the Piedmontese, about the year 1479- According to Vasari, he was in
structed in design by Giacomo dalle Fonte, but he chiefly formed his principles by an
attentive study of the works of Lionardo da Vinci, whose style is discernible in all his
productions. Among his earliest performances were the pictures he painted in 1502, at
Monte Oliveto, representing the history of S. Benedetto. He visited Rome in the pon
tificate of Julius II. and was employed in the Vatican; but his works, with those of
several other artists, were defaced, to make way for the frescoes of Raffaelle. He was
also engaged by Agostino Chigi to ornament the apartments of the Farnesina, where he
painted in fresco some pictures of the History of Alexander of Macedon, of which the
most admired is his Marriage with Roxana. Though inferior to Lionardo in the beauty
of his heads, and in the elegance and nobleness of his forms, he exhibits much of the
breadth of his chiar-oscuro, and nearly equals him in perspective. His best works are
Vol. II. M m

274 R E C RED
those he painted at Siena, after his return from Rome, in which he evinced the advan
tage he had derived from his studies in that capital. His picture of the Adoration of
the Magi, in the church of S. Agostino, approaches to the dignity and expression of da
Vinci. His Flagellation, at the Franciscans, partakes of the grandeur of M. Angelo
Buonaroti, and he appears to have imitated the grace and beauty of Raffaelle, in his
picture of S.- Caterina di Siena, in a chapel in the church of S. Domenico. He died in
1554, aged about 75.
RECCO, Cavaliere Guiseppe. This painter was born at Naples in 1634, and was a
scholar of Aniello Falcone. He particularly excelled in painting huntings, dead game,
fish, and similar subjects. His pictures are found in the best collections at Naples.
He was invited to the court of Madrid, at the time when Luca Giordano flourished
there, where his pictures were held in the highest estimation. He died at Naples in
1695, aged 61.
RECLAM, Frederick. This artist was born at Magdeburg in 1734. After learning the
rudiments of design in his native country, he went to Paris, where he became a pupil
of J. B. Pierre. In 1755, he visited Rome, and after a residence of seven years in that
capital, during which time he was occupied in designing the most interesting views,
he established himself at Berlin. He painted landscapes and portraits with considerable
success, and died in 1774, aged 40. We have the following etchings by him :
A set of eight Views in Italy. 1755.
A Landscape, Morning; after Moucheron.
The Companion, Evening ; after Dubois.
Two Views in the environs of Paris; from his own designs.
A View near Rome, with a Waterfall ; the same.
REDER, Christian. He was born in Saxony in 1656, and, according to Pascoli, visited
Rome about the year 1686, the year in which Buda was taken, and acquired consider
able reputation by the pictures he painted of the battles between the Christians and
Ottomans, which were well composed and touched with great spirit. He died in 1729
aged 43.
REDI, Tommaso. This painter was born at Florence in 1665, and after receiving some
instruction in his native city he went to Rome, where he frequented the Academy esta
blished in that city by the Grand Duke Cosimo III. which was at that time under the
direction of Carlo Maratti and Ciro Ferri. His studies at Rome were prosecuted with
considerable success, and on his return to Florence he was employed by the Grand Duke
in several works for the Palazzo Pitti. He also painted some pictures for the churches
and other public edifices, and is spoken of as an eminent portrait painter. When the
Czar Peter visited Florence, he was particularly struck with the works of Redi and
being desirous of establishing an academy for the promotion of the fine arts at Moscow
made very liberal proposals to that master to prevail on him to undertake the superin-
tendance of it, but his engagements at Florence prevented his accepting the offer. He
has the character of being a correct and elegant designer; and his colouring partakes
of the suavity of Carlo Maratti. He died at Florence in 1726, aged 61.

REG REM 275
REGGIO, Luca da. See Ferrari.
REGILLO, da Pordenone. See Licinio.
REGNARD, Valerian. A French engraver, who flourished at Rome about the year
1630. Among other things, he engraved several of the plates for the collection of prints
from the antique statutes, &c. in Justiniani Gallery. He also engraved some plates
after the works of Gio Antonio Lelli, Antonio Pomerance, Agostino Ciampelli, fyc.
REICH, Wendel. According to Professor Christ, this artist was an engraver on wood,
and'flourished at Lyons about the year 1515, where he published several cuts, marked
with a W. and an R. joined together. He does not, however, specify any of them.
REINER, Wenceslaus Laurent. This painter was bora at Prague in 1686. His father,
Joseph Reiner, was a sculptor of little note, by whom he was instructed in the»rudiments
of design: but he was more advantaged by the lessons of Peter B'randel, a painter of
some reputation. By the assistance of this master, and his studies after nature, he be
came a painter of some celebrity. His talents were not confined to any particular branch,
and he painted with considerable success historical subjects, landscapes and battles.
His best productions, however, were landscapes with cattle, and battle-pieces, in which
he resembles the works of Peter van Bloemen. His figures and animals are correctly
drawn, and touched with great freedom and spirit. His works are chiefly confined to his
own country, where they are found in the best collections. He died in 1743, aged 57.
REINSPERGER, J. C. A German painter and engraver, who flourished about the year
1760. He painted portraits, some of which he has engraved in a coarse, heavy style,
nearly as large as life, among which are,
The Empress Dowager, Elizabeth Christiana.
Joseph II. Emperor of Germany.
The Archduke Leopold.
He also engraved a plate of a man playing on the lute, after Bernardo Strozzi, called
Prete Genovese.

TZ, E. This artist was a native of Sweden, and flourished about the year 1700. He
graved several plates of coins and architectural views for a work, entitled, Suecia An-

REITZ, E.
en
tiqua et Hodierna

REMBRANDT, van ryn. The family name of this eminent artist was Gerretz, but he
acquired the appellation of Rembrandt van Ryn, from his being the son of a miller who
resided on the banks of the Rhine, between Leyderdorp and Leyden, where he was born
in 1606. His father, who was in easy circumstances, was desirous of giving him a clas
sical education, preparatory to his pursuing one of the learned professions. But as the
genius of his son led him to drawing rather than the study of the classics, he permitted
him to follow the bent of his inclination, and placed him as a disciple with Jacob van
Zwaanenburg, at Amsterdam, under whom he studied three years, and his progress in
that time was the astonishment of his master. He is said to have afterwards passed
Mm 2

276 REMBRANDT.
some time with Peter Lastman and Jacob Pinas. But he was indebted for his best im
provement to the vivacity of his genius, and his attentive observation of nature. She
was the oracle he most consulted, his father's mill was his attelier, the peasants which fre
quented it, his models, and their manners and conversation, the extent of his ideas. He
studied the grotesque figure of a Dutch boor, or the rotund contour of the bar-maid of an
alehouse, with as much precision as the great artists of Italy have imitated the Apollo of
Belvidere, or the Venus of Medicis. These studies were not likely to conduct him to the
noble conceptions of Raffaelle, but they were still the road to simplicity and nature,
which will always lead to certain popularity. Celebrity, sometimes so difficult to ac
quire, and which is too often refused to merit, unless accompanied by intrigue, made
her way to Rembrandt in the obscurity of his mill, and led him to fortune and to fame.
He was employed to paint the portraits of the most distinguished personages at Am
sterdam ; and he at length established himself in that city, where he was immediately
loaded with commissions, and his academy was frequented, by students of the first re
spectability. This change of residence and circumstances did not, however, induce him
to take leave of the singularity of his habits. He sought for recreation among the
lowest orders of the people, and in the amusements of the cabaret. Hence his ideas
were not more elevated than in the humble retreat from whence they had originated.
He still attached himself to an imitation of the lowest nature, with which it was his
pleasure to be surrounded, and the capricious fantasy of his mind supplied the place of
the beautiful ideal. In the early part of his life he finished his pictures nearly as highly
as those of Gerard Douw, but with a more spirited pencil, and a richer tone of colour
ing. Such are his pictures of the Boat of St. Peter, formerly in the collection of M.
Kinloopen ; Esther before Ahasuerus; St. John preaching in the Wilderness, and others.
He afterwards adopted a greater breadth of light and shadow, and a more commanding
facility of touch. It has been asserted, by Mr. de Piles, that Rembrandt visited Venice
about the year 1635 or 1636 ; but he has probably been led into the error, by having
seen some of the prints of that artist with the name of Venice, and the above dates,
which was one of the many subterfuges practised by Rembrandt, to enhance the value
of his copper-plates. It is satisfactorily ascertained by the Dutch biographers, that he
never left Amsterdam after his first settling in that city in 1630. Nor is it likely that
he would have quitted so advantageous an establishment, for the purpose of travelling
for the improvement of his style ; as no painter ever so decidedly set at nought the
higher characteristics of the art, which distinguish the Italian school, and of which he
only spoke in derision. He had collected a great variety of old armour, sabres, flags,
and fantastical vestments, which he ironically exhibited to his disciples as his antiques.
He now became the most distinguished and the most employed artist of his country,
and was not less celebrated for his extraordinary productions as a painter, than for his
ingenious and interesting engravings, which were also held in the highest admiration.
He continued to practise his art with the most flattering encouragement and success,
until the year 1674, when he died at Amsterdam, aged 68.
Though Rembrandt acquired a distinguished reputation by his historical works, he
is more deserving of our admiration as a painter of portraits. In the former, his com
positions are ignoble, though full of nature and expression; and though he possessed
genius and fire, they were never elevated by sentiment or taste. His untutored mind
was divested of the resources of history and the fable, and the whimsicality of his habi
liments resembled rather the personages of a masquerade, than the characters appro-

REMBRANDT. i7
priate to the subject. His figures are remarkable for deformity rather than beauty ;
and he seems to have courted vulgarity instead of the graces. But the seductive simpli
city of his arrangements, the glowing beauty of his colour, and the magic charm of his
light and shadow, make us almost lose sight of the mishapen grossness of his forms,
and his outrageous invasion of the propriety of costume. Although Rembrandt cannot
claim a high rank as a designer, particularly of the naked, his pretensions as a colourist
place him among the greatest masters of the art ; and in the region of the chiar-oscuro,
none will dispute his unrivalled dominion. He perfectly understood the different colours
which were friendly or inimical to each other; and in the harmony of his tones, perhaps
with the exception of Titian, no painter has equalled him. His portraits are faithful
transcripts of his models, which he never attempted to dignify or embellish ; but they
exhibit so much nature and animation, such truth and force of colouring, that it may
be fairly said he has never been surpassed in that particular branch.
Rembrandt van Rhyn holds a distinguished place among the most popular engravers
of his country. This extraordinary artist, who owed every thing to nature, has esta
blished an epoch in engraving more than any other master. He was the inventor of a
process, for which he was indebted entirely to his genius, and which has thrown a
charm over his prints that is undescribable. His plates are partly etched, frequently
much assisted with the dry point, and occasionally, though rarely, finished with the
graver. They evince the most extraordinary facility of hand, and display the most
consummate intelligence of the effect of light and shadow. His point, playful and free,
sports, if the expression may be allowed, in picturesque disorder, and, by an enchanting
negligence, produces, as if by accident, the most surprising effects, which are, however,
always regulated by his perfect acquaintance with the principles of the chiar-oscuro.
As an engraver, as well as a painter, his most admirable productions are his portraits,
which are executed with a finesse and expression that are unexampled. For the parti
cular description of the different impressions and variations of his plates, their respec
tive rarity, and consequent value, we cannot do better than refer the collector to the
catalogue of his works, first published by Gersaint, at Paris, and P. Yver, at Amsterdam,
which was afterwards considerably enlarged by our countryman, Mr. Daulby, and has
since been added to in a publication by Adam Bartsch, printed at Vienna, in 1797. Our
limits will oblige us to confine our list of his prints to those which are esteemed the
most interesting : PORTRAITS OF REMBRANDT, BV HIMSELF.
Rembrandt, with the mouth open. 1630.
The Busts of Rembrandt and his Wife. 1636.
A Bust of Rembrandt ; highly finished. 1638.
His Portrait, with a crayon in his hand.
His Portrait, in a Persian habit. 1654.
There are no less than twenty-seven portraits of Rembrandt by himself.
SUBJECTS OF THE OLD TESTAMENT.
Adam and Eve in Paradise. 1638.
Abraham sending away Hagar. 1637.
Abraham and Isaac. 1645.
Joseph relating his Dream. 1638.

278 REMBRANDT.
^> Jacob lamenting the Death of Joseph.
Joseph and Potiphar's Wife. 1634.
The Triumph of Mordecai.
Tobit and the Angel. 1641. SUBJECTS OF THE NEW TESTAMENT.
3 The Annunciation to the Shepherds. 1634.
The Adoration of the Shepherds. There are three different impressions of this plate.
The Circumcision ; fine.
The Presentation in the Temple. 1630.
The Flight into Egypt. 1658.
Another Flight into Egypt; in the manner of mezzotinto.
The Flight into Egypt ; in the style of Elsheimer.
The Holy Family. 1654.
The little Tomb.
•^The Tribute Money.
Christ driving the Money-changers out of the Temple.
Christ and the Samaritan Woman.
The same subject, with the city of Samaria in the distance. 1634.
"^The Resurrection of Lazarus. 1642.
The great Resurrection of Lazarus. In the first impressions of this print, which are scarce
the figure running away affrighted is with his head uncovered; in the second, he wears a cap.
-^Christ healing the Sick ; known by the name of the Hundred Guilders print.
The great Ecce Homo. 1636.
The Descent from the Cross. 1633.
Christ presented to the People. 1655.
The Crucifixion. 1658.
The Entombing of Christ.
Christ with the Disciples at Eniaus. 1634.
The Good Samaritan. In the first impressions of this plate the tail of the horse is white.
St. Peter and St. John at the Gate of the Temple.
The Baptism of the Eunuch. 1641.
The Death of the Virgin. 1639. DEVOUT SUBJECTS.
The Stoning of Stephen. 1635.
St. Jerome sitting near the trunk of a Tree. 1654.
St. Jerome kneeling. 1634.
St. Jerome writing in a book. 1648.
St. Jerome; an unfinished plate.
St. Francis praying. 1657 ; very scarce.
VARIOUS SUBJECTS.
The Hour of Death.
Youth surprised by Death. 1639.
The Marriage of Jason and Creusa. 1648.
The Star of the Kings.
A Lion Hunt.
Another Lion Hunt.
The Blind Bagpiper.

REMBRANDT. 279

The Spanish Gipsy.
The Rat-killer. 1632.
The Goldsmith.
The Pancake Woman. 1635.
The Jewish Synagogue. 1648.
The Corn-cutter.
The Schoolmaster. 1641.
The Mountebank, 1635.
The Travelling Peasants.
The Jew with the high cap. 1639.
The Astrologer.
The Philosopher.
The Persian. 1632.
The Skater.

BEGGARS.

Several small plates of Beggars, men and women ; some of which are scarce.
A group of Beggars at the door of a house. 1648.

ACADEMICAL SUBJECTS.
A Student drawing from the model, called the Statue of Pigmalion.
The Bathers. 1631.
The Woman before the Stove. There are four different impressions of this plate.
A Woman with her feet in the water. LANDSCAPES.
The Bridge of the Burgomaster Six. 1643.
A View of Amsterdam.
The Sportsman.
The three Trees. 1642.
A Landscape, called the Milk Pails.
The Coach Landscape.
View of a Village near the high-road, arched. 1650.
Village with a square Tower, arched. 1650.
A large Landscape, with a Cottage and Barn. 1641.
The companion, a Village is seen in the distance. 1641.
An arched Landscape, with cattle.
An arched Landscape, with an obelisk.
Rembrandt's Father's Mill. 1641.
The Goldweigher's Field. 1651.
A Landscape, with a Cow drinking. PORTRAITS OF MEN.
An old Man with a large beard,
A Man with a Crucifix and a chain. 1641.
J. Antonides Vander Linden, the Professor of Physic.
Janus Silvius, Minister of Amsterdam.
A young Man meditating, 1637.
Manasseh Ben Israel. 1636.
Doctor Faustus.

280 REM REN
Renier Hansloo, Minister of the Anabaptists. 1641.
Clement de Jonge, Printseller. 1651.
Abraham France.
The old Haaring.
The young Haaring. 1655.
John Lutma, Goldsmith. 1656.
John Asselyn, Painter.
Ephraim Bonus, a Jewish physician.
Wtenbogardus ; oval. 1635.
John Cornelius Sylvius.
The Banker, or Goldweigher. 1639.
The little Coppenol, the Writing-master.
The great Coppenol. There are impressions of this plate with the back-ground white, or unfi
nished, which are very scarce.
The Advocate Tolling.
"-^The Burgomaster Six. 1647. FANCY HEADS OF MEN.
Three Oriental Heads, inscribed Rembrandt Venetiis. 1635.
An old Man with a large beard.
An old Man bald headed. 1630.
A young Man, half-length ; in profile.
Bust of an old Man, with a square beard and a velvet cap. 1637.
The Turkish Slave.
The Philosopher, with the hour-glass. PORTRAITS OF WOMEN.
The great Jewish Bride.
The little Jewish Bride. 1638.
Two Portraits of old Women.
A young Woman reading. 1634.
An old Woman with a book. 1634.
An old Woman in an Oriental dress. 1631 .
Rembrandt's Mother. 1631.
Rembrandt's Wife.
An old Woman sleeping.
An old Woman with spectacles.
A variety of studies and sketches, some of which are scarce, and executed in a charm
ing style.
REMSHARD, Charles. According to Professor Christ, this engraver resided at Augs
bourg in 1700, when he published his dictionary of monograms. He marked his plates
with the initials C. R.
RENANTO, J. This artist is mentioned by Mr. Strutt as the engraver of a wooden cut
representing the Wise Men's Offering. It is very indifferently executed.
RENARD, J. A French engraver, who resided at Paris about the year 1710. He exe.
cuted part of the plates for the collection of views of the palace and park at Versailles.

REN REN 281
RENARD, Simon de st. Andre. A French painter and engraver, born at Paris in 1614.
He was a scholar of Louis Bobrun, and painted portraits with some success. We have
several etchings by this artist, among which are the following :
A set of forty-six plates of the Sculpture, and the Paintings by C. le Brun ; in the gallery of
Apollo in the Louvre.
The Crucifixion ; after the same.
An Allegorical Subject of Peace; after the same.
The infant Jesus holding the Cross ; from his own design.
Louis XIV. conducted by Fame to the car of Victory; after the same.
RENI, Guido. This admired painter was born at Bologna in 1574. He was the son of a
professor of music, and had himself made some progress in the study of that science,
when he turned his thoughts to painting, as less exposed to the variations of fashion,
and the caprices of taste. He became a scholar of Denis Calvart, where his progress
was such, that in a few years, his instructor, after slightly retouching his pictures, dis
posed of them as his own. He continued in the school of Calvart until he had reached
his twentieth year, when the great reputation of the Caraeci induced him to enter their
academy, and he was for some time the favourite disciple of Lodovico. He had already
given proof of uncommon ability in some juvenile performances in the Palazzo Bonfig-
liuoli, when some of the pictures of Michael Angelo Caravaggio found their way to
Bologna. The novelty of the style, and the vigorous opposition of his light and
shadow, both astonished and pleased. At Bologna, as at Rome, they excited the
greatest admiration ; and Guido was for some time induced to adopt the singularity of
his principles. The applause bestowed on the works of Caravaggio was extremely
mortifying to the Caraeci. Lodovico, familiarised with the graces of Coreggio, could
not witness, without disgust, the praises lavished on productions divested of dignity or
grandeur, and whose attractions were chiefly confined to a striking, though unnatural,
contrast of the chiar-oscuro. In a conference held on the subject, Annibale Caraeci
proposed, as the means of putting an end to the popularity of the new style, the adopt
ing one entirely in opposition to it. " To the crudeness and violence of his tones,''
said Annibale, " I would oppose tenderness and suavity. Instead of darkness and ob
scurity, I would represent my figures in the open day. Far from avoiding the difficul
ties of the art, under the disguise of powerful shadows, I would court them, by display
ing every part in the clearest light. For the vulgar nature which Caravaggio is content
to imitate, I would substitute the most select forms, and the most beautiful ideal." Guido
was present at this discourse, and the principles it inculcated made a more lasting im
pression on his mind, than was perhaps intended by the speaker, and led him eventually
to a path which conducted him to an immortal celebrity. It was not long before he
carried these principles into practice; but whether from jealousy, or the backwardness
frequently shown to acknowledge excellence which has not received the sanction of time,
he had no sooner exhibited some pictures painted from the principles furnished him by
Annibale, than he had to encounter the most violent animosity from his fellow disciples,
and even from the Caraeci themselves. They upbraided him with his insolence, in
attempting to establish a new system, and aspiring to singularity ; and even Lodovico,
who had hitherto treated him with the most tender affection, spoke of his new produc
tions with harshness and severity, and at length dismissed him from his academy. The
unkindness of Lodovico afflicted him severely; but finding himself thus freed from his
Vol. II. N n

282 RENI.
obligations to that master, by the injustice of such a proceeding, he had the less diffi
culty in offering himself in the character of a competitor.
There are several pictures by Lodovico in the cloister of S. Michele in Bosco, at
Bologna, and they are regarded as the finest of his works. For the same church, Guido
painted a picture of S. Benedetto in the desert, to whom a number of persons are
offering presents. The composition consists of a variety of figures of every age. This
production excited universal admiration, the public, astonished at the beauty of the
performance, declared Lodovico had found a rival in his scholar ; and that painter is
said to have had the liberality of adding his applause to that of the popular opinion.
Guido had not yet seen Rome, but his works were not unknown in that capital, and
they were highly esteemed. He was invited thither by Guiseppino Cesari, with the
intention of producing a rivalship between Guido and Caravaggio. Another induce
ment was to visit Annibale Caraeci, who was then employed on the Farnesian Gallery,
for whose great talents he always had the highest respect, and whose unkindness he had
forgotten. Albano, his friend and fellow student, accompanied him on his journey.
His first production at Rome was the Martyrdom of St. Cecilia, for the church dedi
cated to that saint. Such was the infatuation then prevalent at Rome, in favour of the
works of Caravaggio, that when he obtained the commission from the Cardinal
Borghese, to paint a picture of the Crucifixion of St. Peter, he was under the necessity
of submitting to the predominant taste, and was obliged to stipulate that it should be
painted in the style of that master. Without departing from his engagement, he
evinced his superiority over the model he condescended to imitate, by exhibiting in the
design and composition of that celebrated picture, a grandeur and dignity to which.
Caravaggio was totally a stranger. This production is now in the gallery of the Louvre.
The flattering encouragement he met with at Rome occasioned him many enemies, the
most furious of which was Caravaggio, but the most dangerous was Annibale, as his
invectives, repeated and remembered, were calculated to injure with posterity talents to
which he was not disposed to do justice. Even Albano became an enemy of Guido, his
friend, when he found that, in the public opinion, that friend was his superior. He was
chosen by Paul V. to decorate the private chapel of the palace of Monte Cavallo ; and
the reputation he acquired on that occasion was a new triumph over his adversaries.
Being disgusted with the treasurer of the Pope, for some difficulty he had experienced
in the payment of his appointments, he left Rome, and returned to Bologna, where he
painted his famous picture of the Murder of the Innocents, for the church of S. Dome
nico; and the repentance of St. Peter, one of his most esteemed works, for the Palazzo
Sampieri. These distinguished performances augmented his reputation, and the reoret
of Paul V. at being deprived of his talents. He employed his legate at Bologna to
prevail on him to return to Rome, in which his efforts were not ineffectual. On his
arrival, he was received with favour and distinction, and was immediately employed by
the Pope in ornamenting his chapel in St. Maria Maggiore. His most celebrated
works in the palaces at Rome, are his fresco of the Aurora, in the Palazzo Rospigliosi
whieh has been admirably engraved by Raphael Morghen ; his Fortune, in the gallery
of the Campidogli ; the Rape of Helen, in the Spada palace; and his Magdalen, in the
Barberini collection. After finishing his works in S. Maria Maggiore, he returned to
Bologna, where he continued the exercise of his extraordinary abilities, and received so
many commissions, from different parts of Italy, that he was under the necessity of re
fusing many of them. It was at this time that he painted his admired picture of the

RENI. 283
Assumption, for the church of S. Ambrogio, at Genoa ; regarded as one of his happiest
productions; the Purification, for the cathedral at Modena; and his famous St.
Michael, for the Cappuccini, at Rome. On sending the picture to the place for which
it was destined, he accompanied it with a letter to Sig. Massano, maestro di Casa, to
Urban VIII. in which he expresses himself in the following manner : " I wish I had
had the wings of an angel, to have ascended into Paradise, and there to have beheld the
forms of those beatified spirits, from which I might have copied my Archangel ; but
not being able to mount so high, it was in vain for me to search for his resemblance here
below ; so that I was forced to make an introspection into my own mind, and into that
idea of beauty, which I have formed in my own imagination."
The exalted faculties of this great artist were degraded by his fatal passion for
gaming ; and such was the extent of his infatuation, that, though his gains were con
siderable, he was reduced, by his indulgence of it, to a state of continual indigence ; and
towards the latter part of his life, to raise funds, of which he was constantly in need, he
sent into the world works executed with such negligence and haste, as to be totally
unworthy of the character he had established. His distresses at length brought on a
fever, of which he died at Bologna in 1642, aged 68.
Guido Reni is regarded as the most distinguished disciple of the Caraeci, with the
exception of Domenichino. The Italians report of him, that grace and beauty dwelled
upon his pencil, to animate his figures. An exquisite touch, a singular facility of exe
cution, great suavity of colour, a general accord, the sweetest harmony, are the distin
guishing characteristics of the style of Guido. His design is generally correct ; and
when it does not entirely satisfy the rigid expectations of the anatomist, he still capti
vates by the grace and elegance of his contour. If his figures of men occasionally want
vigour and strength, those of his women always enchant us by the softness and delicacy
of their forms. The airs of his heads are peculiarly impressive, particularly those that
are looking upwards ; and he appears to have taken this fine expression from the Niobe
of the antique. His Madonnas and Magdalens are distinguished by a noble simplicity,
which may be said to be peculiar to him, and the correct folding of his drapery does not
interfere with the bland graces of their forms. He possessed an extraordinary faculty
of being able to express grief; sadness, or terror, without detriment to the beauty of his
heads ; and it may be truly said of this charming painter,
Illam quicquid agat, quoquo vestigia vertat
Componit furtim, subsequiturque Decor. Tibul.
This great artist appears to have been fond of amusing himself with the point, as we
have a considerable number of charming etchings by his hand. They are executed with
great freedom and boldness, in a very masterly style. They exhibit the same beautiful
expression in the heads, and correctness in the design of the extremities, which we
admire in his pictures. Simone Cantarini, called II Pesarese, imitated the etchings of
Guido, with such precision, as sometimes to mislead the unwary; but the experienced
collector will, without much difficulty, discover their deficiency in that correctness and
taste which distinguish the etchings of Guido. He sometimes marked his plates with
the initials G. R. and sometimes with the cipher Qfc. The following are his principal
plates :
N n2

284 REN RES
plates from his own designs.
The Bust of Pope Paul V. inscribed, Paulus V. Pont. opt. max.
The Holy Family, in which the Virgin is seated, with her face towards the infant Christ.
The Virgin, with the infant Jesus sleeping on her breast. He has engraved this subject in three
different manners.
The Virgin embracing the Infant Christ, and holding a book in her hand.
The Virgin, and Infant Jesus giving his hand to St. John.
The Holy Family, with two angels scattering flowers. He engrared this subject four times, with
variations.
St. Christopher carrying the infant Jesus on his shoulders.
St. Jerome praying in a cave, with a book and a crucifix.
The Virgin seated in the clouds, with St. George, St. Francis, St. Lawrence, and others.
plates after various masters,
A Glory of Angels; after Luca Gambia so.
The Entombing of Christ ; after Parmigiano.
The Holy Family, with St. Clara; after A. Caraeci.
The Virgin suckling the infant Jesus ; after the same.
The Charity of St. Roch; after the same. 1610.
RENOU, Louisa. This lady was born at Paris in 1754. We have by her a few plates
engraved after the modern French painters ; among which is,
Alexander and his Physician ; after Colin de Vermont.
RENTER, Bart. This artist is mentioned by Mr. Strutt as the engraver of a spirited and
correct etching, representing Christ shown to the Jews by Pilate. It is a small plate,
lengthways, inscribed, Bartt. Renter pictorfigur. Manachii. 1612.
RESAN I, Arcangelo. He was born at Rome in 1670, and was a scholar of Gio. Baptista
Boncuore. He chiefly excelled in painting animals and huntings. His works were
highly esteemed at Siena, Bologna, and Venice. His portrait, with dead game in the
back-ground, is in the Florentine Gallery.
RESCHI, Pandolfo. This painter was born at Dantzic in 1643. He went to Italy
when he was young, and became one of the ablest scholars of Giacomo Borgognone.
He painted battle-pieces with considerable reputation, and imitated with success the
landscapes of Salvator Rosa. He also excelled in painting perspective and architec
tural views, of which there are several in the collections at Florence. He died in 1699
aged 56.
RESTOUT, John. A French painter, bora at Rouen in 1692. He studied at Paris
under Jouvenet, who was his uncle, and followed with considerable success the style of
that master. If he was unequal to his instructor, he was at least the painter of his time
who approached nearest to him in merit. He was a member of the Academy at Paris,
and painted for his picture of reception Arethusa flying into the arms of Diana to escape
from the pursuit of Alpheus. His principal works at Paris are the Death of Ananias,
and the Pool of Bethseda, in the church of St. Martin des Champs, and the ceiling of
the library of St. Genevieve. He died at Paris in 1768, aged 76.

REV RRY 285
REVERDINUS, C. An Italian engraver, who flourished about the year 1570. He was
probably a disciple of JEneas Vico, as he has imitated his style of engraving with great
exactness. His figures are, however, very indifferently drawn, and his plates have little
to recommend them, except their neatness. According to Florent le Comte, he en
graved several obscene subjects, which have probably been destroyed. He sometimes
marked his plates with the monogram (^p . Among others, we have the following prints
by him, apparently from his own designs :
Moses striking the Rock.
The Wise Mens' Offering.
A small Frieze, representing a Bacchanalian subject ; marked with his name. 1564.
Venus coming to Vulcan for the arms of iEneas; marked also with his name, and dated 1602.
REUVEN, Peter. This artist was bora at Leyden in 1650, but studied at Antwerp in
the school of Jacob Jordaens. He painted history and allegorical subjects, and was
employed to design the triumphal arches for the reception of William III. at the Hague,
by which he acquired some celebrity; and he was afterwards engaged to ornament some
of the principal apartments in the palace at Loo, in which he showed a fertile invention,
and great facility of execution. One of his best performances was a ceiling in the hotel
of M. de la Court Vandervoort, at Leyden; it is an ingenious composition, and the
colouring possesses all the brilliancy which is found in the productions of the best
painters of the Flemish school. He died in 1718, aged 68.
REYN, John de. Mr. Pilkington has been led into an error respecting this artist by
M. d'Argenville, and calls him Lang Jan, the appellation which belongs to John
Bockhorst. He was born at Dunkirk about the year 1610, and went when he was young
to Antwerp, where he became a scholar of Vandyck. Such was his progress under that
master, that he was invited by him to accompany him to England, where he continued
to assist him as a coadjutor, until the death of his illustrious instructor. He afterwards
established himself in his native town, where he met with very flattering encouragement,
and painted several admirable pictures for the churches, and was much employed as a
portrait painter. " If the works of de Reyn," says M. Descamps, " are not more uni
versally known, it is because the greater part of his pictures are mistaken for those of
Vandyck." His pictures exhibit the same correctness of design, the same purity and
delicacy of colouring, and the same facility and animation in his touch. His composi
tions are ingenious and copious, and his conduct of the light and shadow masterly and
effective. His principal works in the churches at Dunkirk are the Death of the four
Royal Martyrs, in the church of St. Eloi; and the Baptism of Totila, in the church of
the English convent. There are many of his portraits in the private collections, which
are little inferior to those of Vandyck. The principal altar-piece in the parochial
church of St. Martin, at Bergues St. Vinox, near Dunkirk, is by this master, represent
ing Herodias bringing the Head of St. John to Herod. He died in 1678, aged 68.
REYNA, Francisco de. This Spanish painter was a native of Seville, and was a disciple
of Francisco de Herrera, the elder. He had given proof of most promising talents, in
a picture of the Blessed Spirits, in the church of All Saints, at Seville, when he died, in
the bloom of life, in 1659.

286 REYNOLDS.
R.EYNOLDS, Sir Joshua. This illustrious artist, the great luminary of the English
school, was born at Plympton, in Devonshire, the 16th of July, 1723. He was the son
of the Reverend Samuel Reynolds, the master of the grammar school of that town, by
whom he was for some time instructed in the classics, with the intention of being
brought up to the practice of physic. It has been erroneously stated, that he was in
tended by his father for the church, and that he took a degree in one of the universities
with that view. This mistake, probably, was occasioned by his having, at a later period
of his life, received an honorary degree of doctor of civil law, in the university of Ox
ford. His inclination for the art, of which he afterwards became so eminent a professor,
discovered itself at an early age, in his attempting to copy the prints he occasionally
met with in his father's books; and he found a fund of materials for imitation in Jacob
Catt's Emblems, a copy of which had been brought by his great grandmother from
Holland. Before he had completed his eighth year, he met with a copy of the Jesuit's
Perspective, which he read with avidity and delight ; and Mr. Malone informs us, that he
made himself so completely master of it, that he never afterwards had occasion to study
any other treatise on that subject. He soon afterwards exemplified the knowledge he
had acquired by his perusal of that book, by a drawing he made of the school at
Plympton, according to the rules it established, and it was done with such precision,
that it excited his father's astonishment. From these attempts he next proceeded to
draw likenesses of the friends and relations of his family, with a success beyond his ex
pectation. The admiration he excited, and the applause he obtained by these juvenile
efforts, naturally strengthened the propensity he had shown for the art ; but what con
firmed him in his attachment was the perusal of Richardson's Theory of Painting, which
at this time came into his hands, in which the enthusiastic raptures bestowed on that
great painter Raffaelle, so animated and inflamed his mind, that he considered him the
most illustrious character that had appeared in ancient or modern times, a notion in
which he loved to indulge all the rest of his life. His father was at length induced to
permit him to gratify this growing propensity, and in 1740, when he was seventeen
years of age, he was sent to London, and placed under the tuition of Mr. Hudson, who
was then the most eminent portrait painter of his time. Such was tbe rapidity of his
progress under this barren source of instruction, that when he had not been more than
two years with Hudson, he painted the portrait of an elderly female servant of the
family, in which he discovered a taste so superior to that of his contemporaries, that
even the self-sufficiency of his instructor discovered an ability which excited no little
jealousy and alarm, that in his pupil he would probably encounter a most formidable
rival. This apprehension was increased, when the portrait just mentioned having been
seen in his master's gallery, obtained so decided a preference, that he sought every
opportunity of rendering Mr. Reynolds's situation unpleasant, and he left him in 1743,
and returned to Devonshire, where he pursued the practice of portrait painting; and in
the course of three years, not only gained employment, but improvement, and painted
many portraits in a style much superior to the artists of that time. He established him
self at Plymouth Dock, where he met with encouragement beyond his expectation; and
in a letter to his father, informed him, with some exultation, that he had painted the por
trait of the greatest man in the place, the Commissioner of the Plymouth Dock Yard.
It was at this time that he became known to Lord Mount Edgecumbe, who warmly
patronised him, and not only employed him, but recommended him to Captain, after
wards Lord Keppell, who, being appointed to the Mediterranean station, requested Mr.

REYNOLDS. 287
Reynolds to accompany him thither; an invitation so flattering to his prospects, which
would give him an opportunity of visiting Italy, could not fail of being peculiarly agree
able to a young artist of his sensibility. He sailed from Plymouth the 11th of May,
1749, and on his arrival at Leghorn proceeded to Rome. Of his particular practice and
habit of study in the great temple of the arts, the most particular account is furnished
us by the late publication of the Memoirs of Sir Joshua Reynolds by Mr. Northcote,
who was his pupil, and had the best opportunity of being acquainted with them.
His time was most diligently and judiciously employed. He contemplated, with
unwearied attention, the various beauties which marked the styles of the different
ao-es. He sought for truth, taste, and beauty, at the fountain head. It was with no
common eye, that he beheld the productions of the great masters. He copied and
sketched in the Vatican such parts of the works of Raffaelle and Michael Angelo, as he
thought would be most conducive to his future excellence ; and by his well directed
study, acquired, whilst he contemplated the best works of the best masters, that grace
of thinking to which he was principally indebted for his subsequent reputation. Of his
feelings when he was first shown the works of Raffaelle in the Vatican, Sir Joshua has
given us the following ingenuous account.
" It has frequently happened," says this great painter, " as I was informed by the
keeper of the Vatican, that many of those whom he had conducted through the various
apartments of that edifice, when about to be dismissed, have asked for the works of
Raffaelle, and would not believe that they had already passed through the rooms where
they are preserved, so little impression had those performances made on them. One of
the first painters now in France once told me, that this circumstance happened to him
self, though he now looks upon Raffaelle with that veneration which he deserves from
all painters and lovers of the art. I remember very well my own disappointment when I
first visited the Vatican, but on confessing my feelings to a brother-student, of whose
ingenuousness I had a high opinion, he acknowledged that the works of Raffaelle had
the same effect upon him, or rather that they did not produce the effect which he ex
pected. This was a great relief to my mind, and on inquiring further of other students,
I found that those persons only who from natural imbecility appeared to be incapable of
ever relishing those divine performances, made pretensions to instantaneous raptures on
first beholding them. In justice to myself, however, I must add, that though disap
pointed and mortified at not finding myself enraptured with the works of this great
master, I did not for a moment conceive or suppose that the name of Raffaelle, and
those admirable paintings in particular, owed their reputation to the ignorance and
prejudice of mankind; on the contrary, my not relishing them as I was conscious I
ought to" have done, was one of the most humiliating circumstances that ever happened
tome. I found myself in the midst of works executed upon principles with which I was
unacquainted : I felt my ignorance, and stood abashed. All the indigested notions of
painting which I had brought with me from England, where the art was in the lowest
state it had ever been in, (it could not indeed be lower) were to be totally done away
with, and eradicated from my mind. It was necessary, as it is expressed on a very
solemn occasion, that I should become as a little child. Notwithstanding my disappoint
ment, I proceeded to copy some of those excellent works. I viewed them again and
again ; 1 even affected to feel their merit, and to admire them more than I really did.
In a short time, a new taste and new perceptions began to dawn upon me, and 1 was
convinced that I had originally formed a false opinion of the perfection of the art, and

288 REYNOLDS.
that this great painter was well entitled to the high rank which he holds in the estima
tion of the world. The truth is, that if these works had really been what I expected,
they would have contained beauties superficial and alluring, but by no means such as
would have entitled them to the great reputation which they have so long and so justly
obtained. " Having since that period frequently revolved this subject in my mind, I am now
clearly of opinion, that a relish for the higher excellencies of the art is an acquired taste,
which no man ever possessed without long cultivation, and great labour and attention.
On such occasions as that which I have mentioned, we are often ashamed of our appa
rent dulness; as if it were to be expected that our minds, like tinder, should instantly
catch fire from the divine spark of Raffaelle's genius. I flatter myself that now it would
be so, and that I have a just and lively perception of his great powers; but let it be
always remembered, that the excellence of his style is not on the surface, but lies deep,
and at first view is seen but mistily. It is the florid style which strikes at once, and
captivates the eye for a time, without ever satisfying the judgment. Nor does painting
in this respect differ from other arts. A just poetical taste, and the acquisition of a nice
discriminative musical ear, are equally the work of time. Even the eye, however per
fect in itself, is often unable to distinguish between the brilliancy of two diamonds,
though the experienced jeweller will be amazed at its blindness, not considering that
there was a time when he himself could not have been able to pronounce which of the
two was the most perfect, and that his own power of discrimination was acquired by slow
and imperceptible degrees.
" The man of true genius, instead of spending all his hours, as many artists do while
they are at Rome, in measuring statues and copying pictures, soon begins to think for
himself, and endeavours to do something like what he sees. I consider general copy
ing," he adds, " as a delusive kind of industry; the student satisfies himself with the
appearance of doing something ; he falls into the dangerous habit of imitating, without
selecting, and of labouring, without any determinate object; as it requires no effort of
the mind, he sleeps over his work, and those powers of invention and disposition, which
ought particularly to be called out and put in action, lie torpid, and lose their energy,
for want of exercise. How incapable of producing any thing of their own those are who
have spent their time in making finished copies, is an observation well known to all who
are conversant with our art."
He appears to have very rarely copied the whole of a picture by any master, except
the St. Michael, by Guido; and a small copy of the school of Athens, after Raffaelle.
He rather employed his time in examining, and fixing in his mind, their peculiar and
characteristic excellencies ; and w as more intenton aspiring to their conceptions, than
on imitating their particular handling.
On leaving Rome, he visited the other cities of Italy, and passed two months at
Florence, where he painted some portraits; and during a residence of about six weeks
at Venice, he paid a particular attention to the works of the great masters of colouring ¦
and in his 39th note on Du Fresnoy's Poem, be describes an ingenious experiment he
practised, to find out their management of their lights and shadows.
Mr. Reynolds had now been absent from England about three years, when he began
to think of returning home, and arrived in London in October 1752. He resided for
some years after his arrival from Italy in Newport Street, and it was not long before his
great talents attracted public attention. He soon afterwards' painted a whole length
portrait of his friend and patron, Admiral Keppell, in which he exhibited such powers

REYNOLDS. 289
that he was universally acknowledged to be at the head of his profession, and the
greatest painter that England had seen since Vandyck. The whole interval between
the time of Charles I. and the conclusion of the reign of George II. though distinguished
by the performances of Sir Peter Lely, Riley, and Sir Godfrey Kneller, seemed to be
annihilated, and the only question was, whether the new painter or Vandyck was the
more excellent.
It has been observed, that the art of painting was at that time in England at the
lowest state that it had ever been. This impoverishmenthas been justly attributed to the
rapacity of Sir Godfrey Kneller, who, the better to enable him to wade through the
flood of business with which he was surrounded, struck out a slight broad manner of
marking his portraits, which gave him little trouble, though it satisfied his employers.
For several years previous to the period we are now speaking of, the portrait painters
were satisfied with producing as exact a likeness as they could ; but they appear to have
entirely .neglected to give, or were incapable of giving, that interesting air of history to
portraiture in which Reynolds was so eminently successful. Instead of confining him
self to mere likenesses, in which however he was eminently happy, he dived, as it were,
into the mind, habits, and manner of those who sat to him, and accordingly the majo
rity of his portraits are so appropriated and characteristic, that the many illustrious
persons whom he has delineated, will be almost as well known to posterity, as if they
had seen and conversed with them. With the possession of such faculties, and endowed
with more than usual industry and perseverance, it is not to be wondered at that the
success of Mr. Reynolds was rapid and distinguished, and that he continued to rise in
reputation and in excellence, during a brilliant career of upwards of thirty years.
Soon after his return from Italy, he had formed an intimacy with Dr. Johnson,
which continued uninterrupted to the time of the death of that celebrated writer;
and it was to his connexion with him, that we are indebted for Mr. Reynolds's first
literary productions, in three Essays on Painting, which appeared in the Idler in
1759- He was now in the zenith of his fame, when the Royal Academy was instituted,
in 1768, and as he unquestionably held the first rank in his profession, he was nominated
their President, and the King soon afterwards bestowed on him the honour of knight
hood. Although it was no part of the prescribed duty of the distinguished situation to
which he was appointed, to read lectures to the Academy, Sir Joshua's zeal for the pros
perity of the institution, led him, from the most praiseworthy motive, to impose this
important task upon himself, for reasons which he has assigned, in the most delicate
manner, in his fifteenth discourse. " In the honourable rank of professors, I have not
presumed to class myself, though in the discourses which I have had the honour of
delivering from this place, while in one respect 1 may be considered as a volunteer, in
another view it seems as if I was involuntarily pressed into this service. If prizes were
to be given, it appeared not only proper, but almost indispensably necessary, that some
thing should be said by the President on the delivery of those prizes; and the President,
for his own credit, would wish to say something more than mere words of compliment,
which, by being frequently repeated, would soon become flat and uninteresting, and by
being uttered to many, would at last become a distinction to none : I thought, therefore,
if I were to preface this compliment with some instructive observations on the art,
when we crowned merit in the artists whom we rewarded, I might do something to
animate and guide them in their future attempts." To this laudable consideration, the
world was indebted for the admirable discourses delivered by Sir Joshua, between the
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290 REYNOLDS.
opening of the Academy on the 2d of January, 1769, and the 10th of December, 1790,
when he took his leave. " A work, as his briographer justly observes, " containing such
a body of just criticism on an extremely difficult subject, clothed in such perspicuous,
elegant, and nervous language, that it is no exaggerated panegyric to assert, that it will
last as long as the English tongue, and contribute, not less than the productions of his
pencil, to render his name immortal." Soon after the publication of the first edition of
the works of Sir Joshua, a report was attempted to be circulated, that the discourses
delivered by him to the Academy, were not written by himself, but by his friend Doctor
Johnson. This not meeting with a ready belief, it was attempted, after the death of
Mr. Burke, to be established, that they were written by that eminent genius. In a note
to the second edition, the editor has thought proper to notice these flagitious attacks on
the literary reputation of our great artist, by the following satisfactory refutation of
them. " Such insinuations, however agreeable to the envious and malignant, who
may give them a temporary currency, can have but little weight with the judicious and
ingenuous part of mankind, and therefore, in general, merit only silent contempt. But
that Mr. Burke was the author of all such parts of these discourses as do not relate to
painting and sculpture, (what these are, the discoverer of this pretended secret has not
informed us) has lately been so peremptorily asserted, and so particular an appeal has
been made on this occasion to their editor, that I think it my duty to refute this inju
rious calumny, lest posterity should be deceived and misled by the minuteness of uncon
tradicted misrepresentation, delivered to the world with all the confidence of truth.
Fortunately, I am able to give a more decisive testimony on this subject, than could
reasonably be expected from any one man concerning the writings of another."
" To the question then, whether I have not found among my late friend's papers
several of his discourses in the hand-writing of Mr. Burke, or of some other unnamed
person, I answer, that I never saw any one of his discourses in the hand-writing of that
illustrious statesman, or of any other person whatsoever, except Sir Joshua Reynolds :
and, secondly, I say, that [ am as firmly persuaded that the whole body of these admi
rable works was composed by Sir Joshua Reynolds, as I am certain at this moment I
am employing my pen in vindication of his fame. I do not mean to assert, that he did
not avail himself of the judgment of his critical friends, to render them as perfect as he
could ; or that he was above receiving from them that species of literary assistance
which every candid literary man is willing to receive, and which even that transcendent
genius, Mr. Burke, in some instances did not disdain to accept. Of the early discourses
therefore, I have no doubt that some were submitted to Dr. Johnson and some to Mr.
Burke, for their examination and revision ; and probably each of those persons sug
gested to their author some minute verbal improvements. Four of the latter discourses
in his own hand-writing, and warm from the brain, the author did me the honour to
submit to my perusal, and with great freedom I suggested to him some verbal altera
tions, and some new arrangements in each of them, which he very readily adopted. Of
one, I well remember, he gave me the general outline, in conversation, as we returned
together from an excursion to the country, and before it was yet committed to paper.
He soon afterwards composed that Discourse, conformably to the plan which he had
crayoned out, and sent it to me for such remarks on the language of it as should occur
to me. When he wrote his last discoure I was not in London ; and that discourse I
know, was submitted to the critical examination of another friend, and that friend was
not Mr. Burke. Such was the mighty aid that our author received from those whom

REYNOLDS. 291
he honoured with his confidence and esteem. Let this plain tale, therefore, for ever seal
up the lips of those who have presumed most unjustly to sully and depreciate the literary
reputation of a man, who is acknowledged by the unanimous voice of his contempora
ries, to have been a signal ornament of the age in which he lived ; who was not less
profound in the theory than excellent in the practice of his art; and whose admirable
works, of each kind, will transmit his name with unfading lustre to the latest posterity."
To this clear and satisfactory refutation of these scandalous attempts, it may be
proper to add the convincing testimony of Mr. Northcote, at that time a pupil and in
mate of Sir Joshua, which will unquestionably convince the most sceptical. " I can only
say, that at the period when it was expected he should have composed them, I have heard
him walking at intervals in his room, as if in meditation, till one or two o'clock in the
morning ; and I have on the following morning, at an early hour, seen the papers on the
subject of his art, which had been written the preceding night. I have had the rude
manuscript from himself in his own handwriting, in order to make a fair copy from it for
him to read in public. I have seen the manuscript also when it had been revised by Dr.
Johnson, who has some times altered it to a wrong meaning, from his total ignorance of
the subject and of art; hut never saw the marks of Burke's pen on any of the manuscripts."
To the success of the Academy, and the improvement of art, Sir Joshua contributed
not less by the splendid works with which he embellished its exhibitions, than by the
learned and judicious principles inculcated by his lectures. From the opening of the
first exhibition in 1769, until the year 1790, inclusive, he sent no less than two hundred
and forty-four pictures to the various exhibitions. The constant engagements of his
profession through his active life, did not permit him to make many excursions from
the metropolis ; nor was he at all attached to the amusements of a country life.
In 1780, he completed his design for the great window in the New College chapel at
Oxford. In seven compartments in the lower range of the composition, he has repre
sented the emblematical figures of the four cardinal and the three christian virtues, of
Temperance, Fortitude, Justice, Prudence, Faith, Hope, and Charity. Each figure is
accompanied by its appropriate attribute, and they are all single figures, except the
centre one, where Charity is represented by an admirable group. Above this is repre
sented, on a grand scale, the Nativity, a composition of thirteen figures, in which, as in
the Notte of Coreggio, the light emanates from the infant Saviour.
In 1781, Sir Joshua, in company with his friend Mr. Metcalfe, made a tour to the
Netherlands and Holland, for the purpose of visiting the best productions of the Flemish
and Dutch schools; and on his return wrote a very interesting account of their journey
with excellent critical observations on the various pictures they met with in the churches
and private collections, together with a character of Rubens, drawn with the hand of a
great master. Soon after his return from this tour, he remarked to his companion, Mr.
Metcalfe, that he thought his own pictures seemed to want force ; and the portraits which
he painted after that period were observed to have still more animation, power, and
brilliancy of colouring, than had appeared in his former works. In consequence of the
suppression of some of the convents in Flanders, in 1783, by the Emperor Joseph II.
Sir Joshua again visited Brussels and Antwerp, where he purchased several pictures by
the most eminent Flemish painters.
In 1782, Mr. Mason published his translation of Du Fresnoy's Art of Painting, with
very ample and ingenious annotations by Sir Joshua Reynolds, which, together with
the poem, were published with his other works by Mr. Malone. Upon the death of
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292 REYNOLDS.
Mr. Ramsay, in 1784, he was appointed principal painter in ordinary to the King. In
the exhibition of this year, Sir Joshua had a pre-eminence of pictures, among which was
his celebrated portrait of Mrs. Siddons as the Tragic Muse, the Fortune-Teller, and
others. Sir Joshua soon afterwards received a commission from the Empress Catherine of
Russia, to paint an historical picture, leaving him at liberty to choose the subject, and
fix the size and price; and in consequence of his time being much occupied by this
undertaking, he did not exhibit any historical piece or fancy subject in the year 1786.
On this occasion, the subject he made choice of was the infant Hercules strangling the
Serpent, probably in allusion to the difficulties the Empress had to encounter in the
civilization of her vast empire, from the state of barbarism iu which she found it, when
she first filled the imperial throne. If the composition of this picture could not be com
pared with some of the works of the great artists who had preceded him, in respect to
colour and effect, it was one of the finest productions of the art. The group in the
middle of the picture, which receives the principal light, is exquisitely beautiful. On
the arrival of the picture at Petersburg the Empress wrote a letter to Count Woronzow,
her ambassador at the court of London, accompanying it with a gold box, with a basso-
relievo of her imperial majesty in the lid, set with diamonds, inclosing a note, written
with her own hand, containing these words : Pour le Chevalier Reynolds, en temoignage
du contentment que J'ai ressentie a la lectm e de ses excellens discours sur la peinture, which
were presented to Sir Joshua by the Count, with a copy of the Empress's letter to his
excellency, which was as follows: " I have read, and I may say, with the greatest
avidity, those discourses pronounced at the Royal Academy of London, by Sir Joshua
Reynolds, which that illustrious artist sent to me, with his large picture. In both pro
ductions one may trace a most elevated genius. I recommend you to give my thanks
to Sir Joshua, and to remit him the box I send as a testimony of the great satisfaction
the perusal of his discourses has given me, and which I look upon as perhaps the best
work that ever was wrote on the subject."
When Alderman Boydell projected the plan of his magnificent edition of Shakspeare,
embellished with plates from the works of English painters, Sir Joshua undertook three
pictures, the Death of Cardinal Beaufort, Macbeth with the Witches in the cauldron
scene, and Puck, or Robin Goodfellow. in the first, he may be said to have united the
colouring of Titian with the chiar-oscuro of Rembrandt; and the last, in point of fan
ciful expression and animation, is unparalleled, and is one of the happiest efforts of Sir
Joshua's pencil. Notwithstanding his constant application to his art, Sir Joshua en
joyed an almost uninterrupted state of good health until 1782, when he experienced a
slight shock of what was apprehended to be a paralytic affection, for which he visited
Bath, and returned in a short time perfectly recovered. He did not experience any
other infirmity until the year 1789, when he found his sight so much affected, whilst
painting the portrait of the present Marchioness of Hertford, that he found it difficult
to finish it, and in a few months afterwards, in spite of the most skilful aid, he was en
tirely deprived of the sight of his left eye. Under the apprehension of the total loss of
sight, he, with much difficulty, determined to paint no more. A resolution to relinquish
for ever a favourite pursuit, which had been so long to him a source of amusement as
well as reputation, must have cost him infinite concern. For some time, however, he
preserved his spirits, and partook of the society of his numerous friends with his usual
complacency, until the latter part of the year 1191, when he felt some painful symptoms.

REYNOLDS. 293
under which his spirits sunk, and he considered them as the signs of approaching disso
lution. During this period of affliction, his friends were willing to suppose that his
spirits were unnecessarily depressed, and that his malady was in a great degree imagi
nary. But after lingering under a painful illness of about three months, which he bore
with great fortitude and resignation, and which a little time before his death was disco
vered to be a diseased liver, he expired on the 23d of February, 1792. On Saturday, the
Srd of March following, the remains of Sir Joshua Reynolds, after lying in state at the
Royal Academy, were interred in the crypt of St. Paul's, near the tomb of Sir Chris
topher Wren, the architect of that superb edifice. The funeral was conducted with all
the honours that could be bestowed upon exalted genius by an admiring and enlightened
nation. To the extraordinary ability of Sir Joshua as a portrait painter, his friend Dr.
Johnson pays the following tribute: " Genius," says that learned writer, "is chiefly
exerted in historical pictures, and the art of the painter of portraits is often lost in the
obscurity of his subject. But it is in painting as in life, what is greatest is not always
best. I should grieve to see Reynolds transfer to heroes and to goddesses, to empty
splendour, and to airy fiction, that art, which is now employed in diffusing friendship,
in renewing tenderness, in quickening the affections of the absent, and continuing the
presence of the dead." To the dignity and truth of Titian, he added the force of Rem
brandt, and the purity of Vandyck. The airs and attitudes of his portraits are distin
guished by elegance and grace, and, as Mr. Northcote justly observes, " no painter ever
gave,so completely ashimself, that captivating charm which accompanies and denotes the
Cynthia of the minute." Above all things, he excelled in colour and harmony of effect.
In his historical pictures, though he is occasionally deficient in design, and defective in
composition, he always exhibits an extraordinary breadth, a feeling and taste peculiar
to himself, and frequently an admirable expression. We cannot close this account of
the great founder of the British school better, than by adding the following character of
him as a man and an artist, which was written by his illustrious friend Mr. Burke, a few
hours after the melancholy event of his death.
" His illness was long, but borne with a mild and cheerful fortitude, without the least
mixture of any thing irritable or querulous, agreeably to the placid and even tenour of
his whole life. He had, from the beginning of his malady, a distinct view of his disso
lution, and he contemplated it with that entire composure, which nothing but the inno
cence, integrity, and usefulness of his life, and an unaffected submission to the will of
Providence, could bestow. In this situation, he had every consolation from family ten
derness which his own kindness had indeed well deserved.
" Sir Joshua Reynolds was, on very many accounts, one of the most memorable men
of his time. He was the first Englishman who added the praise of the elegant arts to
the other glories of his country. In taste, in grace, in facility, in happy invention, and
in the richness and harmony of colouring, he was equal to the great masters of the re
nowned ages. In portrait he went beyond them ; for he communicated to that descrip
tion of the art, in which English artists a>re the most engaged, a variety, a fancy, and a
dignity, derived from the highest branches, which even those who professed them in a
superior manner, did not always preserve, when they delineated individual nature. His
portraits remind the spectator of the invention of history, and the amenity of landscape.
In painting portraits, he appeared not to be raised upon that platform but to descend

294 REY RIB
to it from a higher sphere. His paintings illustrate his lessons, and his lessons seem
to be derived from his paintings.
" He possessed the theory as perfectly as the practice of his art. To be such a painter
he was a profound and penetrating philosopher.
" 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 cele
brated by distinguished poets, his native humility, modesty, and candour, never forsook
him, even on surprise or provocation ; nor was the least degree of arrogance or assump
tion visible to the most scrutinizing eye, in any part of his conduct or discourse.
" His talents of every kind, powerful from nature, and not meanly cultivated by
letters, his social virtues, in all the relations and all the habitudes of life, rendered him
the centre of a very great and unparalleled variety of agreeable societies, which will
be dissipated by his death. He had too much merit not to excite some jealousy, too
much innocence, to provoke any enmity."
" The loss of no man of his time can be felt with more sincere, general, and unmixed
sorrow." " hail! and farewell!"
REYNOSO, don Antonio Garcia. A Spanish painter, born at Cabra, in Andalusia, in
1623. He studied under Sebastian Martinez, an artist of some eminence at Jaen. He
painted history and landscapes ; and there are several of his works noticed by Palomino,
particularly an altar-piece in the church of the Capuchins, at Andujar, representing
the Trinity, with several saints. There are also some of his pictures in the churches
and private collections at Cordova, in which city he died in 1677, aged 54.
RHELINGER, Welser. This artist was a native of Germany. According to Papillon
he executed a hundred and twenty wooden cuts, for a German book entitled Patricium
Stirpium Augustanarum Vindelicum, et earundem sodalitatis insignia. The principal fio-ures
are all represented on horseback, completely armed, with the arms of their respective
families on their shields.
RIBALTA, Francisco. A Spanish painter, born at Castellon de la Plana, in the kingdom
of Valencia, in 1551. In some of his pictures he appears to have formed his style by
studying the works of Juan Bautista Juanes, which are in the churches at Valencia. He
is said to have afterwards travelled to Italy, where he resided some years. One of his
best performances is an altar-piece in the church of the Patriarch, at Valencia, repre
senting the Last Supper. He made copies from the pictures by Sebastiano del Piombo,
which are in the royal collection at Madrid, three of which are in the convent of the
Carmelites, in that city. He died at Valencia in 1628, aged 77.
RIBALTA, Juan. He was the son of Francisco Ribalta, born at Valencia in 1597. At
the age of eighteen he gave proof of extraordinary ability, in a picture he painted of
the Crucifixion, and would have probably become one of the most distinguished painters
of his country, but he died young.
RIBERA, Guiseppe, called Lo Spagnoletto. See Spagnoletto.

R I C R I C 295
RICCHI, Pietro, called II Lucchese. According to Baldinucci, this painter was born
at Lucca in 1606, and was first a scholar of Passignano, but afterwards studied under
Guido Reni. He imitated the graceful forms of the latter, though his colouring re
sembles that of Passignano. In the church of St. Francesco, at Lucca, are two altar-
pieces, which evince the fertility of his invention, and his readiness of hand. He also
painted several pictures for the churches at Udine, in which city he died in 1675,
aged 69-
RICCHIEDEO, Marco. He was born at Brescia, but it is not said in what year, nor
under whom he studied. He was, however, a very reputable painter of history. In the
church of St. Thomas, at Brescia, there is a fine picture by this master, representing the
Incredulity of that Saint.
RICCI, Antonio. See Barbalunga.
RICCI, Camillo. This painter was born at Ferrara in 1580, and was the most celebrated
disciple of Ippolito Scarsella, called Lo Scarcellino. Such was his progress under that
able instructor, that Baruffaldi reports, that Scarcellino not only declared that he sur
passed his master, but that if Camillo had preceded him in the art, he would have
chosen him for his instructor. His style so nearly approaches to that of Ippolito, that
the most experienced eye may be mistaken in their works. If he exhibits less freedom
and breadth, he has perhaps surpassed him in the tenderness of his carnations and the
general harmony of his colouring. The churches of Ferrara abound with his works, of
which Barotti gives a particular account in his Pitture di Ferrara. His most admired
productions are his pictures of S. Vincenzo e S.Margherita,in the cathedral ; the Annun
ciation, in Spirito Santo ; and his celebrated ceiling in the church of S. Niccolo, repre
senting, in eighty-four compartments, the life and miracles of that saint. He died at
Ferrara in 1618, aged 38.
RICCI, Giovanni Batista, called da Novabra. This painter was born at Novarra in
1545. He went to Rome when young, and became a scholar and imitator of Raffaellino
da Reggio. According to Baglione, he was employed by Sistus V. in the palace of
St. John of Lateran, and in the library of the Vatican. He was afterwards appointed
by that pontiff superintendant of the paintings he had directed in the palace of Monte
Cavallo. He was also much employed in the pontificate of Clement VIII. Of his own
productions in the public edifices of Rome, the following are the most considerable :
In the nave of the church of S. Maria Maggiore, he painted in fresco the Visitation
the Ascension, and the Assumption of the Virgin ; in S. Marcello, a series of frescoes of
the Life of the Virgin, and the Passion of our Saviour ; but his most admired work is
in S. Giovanni Laterano, representing the Consecration of that Basilica by S. Silvestro.
This artist is mentioned in the Abecedario by Orlandi, as an engraver, but he does not
specify any of his works. He died in 1620, aged 75.
RICCI, Sebastiano. He was born at Belluno, in the Venetian state, in 1659, and was
placed when he was young under the tuition of Federigo CerVelli, at Venice, with whom
he studied till he was twenty years of age. On leaving that master he went to Bologna,
where he resided a short time, and was taken under the protection of the Duke of

296 R I C R I C
Parma, who employed him for some time at Piacenza, and sent him to Rome for the
purpose of improvement. On the death of his patron he left Rome, and visited
Florence, Modena, and Parma, contemplating the works of the great masters of the
Lombard school. He was soon afterwards invited to the court of Vienna by the King
of the Romans, where he was employed in decorating the imperial palace of Schoen-
brun. On his return to Venice from Germany, his nephew, Marco Ricci, who was at
that time in London, encouraged him to visit England, in the reign of Queen Anne, and
he met with the most flattering encouragement. He painted the chapel at Bulstrode,
for the Duke of Portland ; and with that inconsistency frequently found in the works of
the Venetian painters, in the altar-piece, representing the Last Supper, he has intro
duced his own portrait, in a modern habit. The hall of Burlington House, and some of
the ceilings, were painted by this master. He also painted the altar-piece of the chapel
of Chelsea College. During a residence of ten years in this country, he executed
several other considerable works for the mansions of the nobility, and is said to have
left England in disgust, on finding that it was determined that Sir James Thornhill should
paint the cupola of St. Paul's. He possessed a similar talent to that which is recorded
of Luca Giordano, of being able to imitate the styleof the great masters who had pre
ceded him, with a precision which sometimes deceived even the intelligent. His picture
of the Apostles adoring the Sacrament, in the church of S. Giustina, at Padua, is painted
in imitation of the cupola of S. Giovanni, at Parma, by Coreggio; and his S. Gregorio,
in S. Alessandro, at Bergamo, reminds us of the works of Guercino at Bologna. But
his most successful imitations were those of the works of Paolo Veronese, many of which
he disposed of as original pictures, and is said to have once deceived the French painter
La Fosse, who avenged himself for the imposition, by the following sarcastic rebuke.
" For the future," said he, " take my advice, paint nothing but Paul Veronese's, and no
more Ricci's." Sebastiano Ricci possessed a fertile invention, and a commanding faci
lity of execution. Although his design is not scrupulously correct, the forms of his
figures are graceful, and his colouring, though sometimes feeble and cold, is often silvery
and agreeable. Like most painters of decorations, he consulted his imagination more
than nature, and frequently discovers the repetition and the weakness of a mannerist.
He died at Venice in 1734, aged 75.
RICCI, Marco. He was the nephew of Sebastiano Ricci, and was bora at Belluno in
1680. After receiving his first instructiqn in the art from his uncle, he visited Rome,
where he was for some years occupied in designing the most picturesque views in the
vicinity of that city, and the most remarkable vestiges of ancient architecture. From
these designs he painted perpective views, which were greatly admired. In 1710 he
came to England, and his talents soon excited the public attention. He was much
employed in painting landscapes, with ruins and architecture, both in oil and distemper;
and his works are still found in many of the principal collections. He died at Venice in
1730, aged 50. M. Ricci has etched several plates from his own designs, consisting of
views and landscapes, with ruins and figures, of which the most deserving notice is a
set of twenty-three prints, entitled, Tana Marci Ricci Pictoris prastantissimi \xperimenta
ah ipsomet auctore inventa, delineata atque incisa, et a me Carolo Orsolini Veneto incisore in
unum cdllecta, fyc. Anno 1730, Venetiis.
RICCIARELLI, Daniele. See Volterra.

RIC RIC 297
RICCIO, Domenico, called Brusasorci. This painter was born at Verona in 1494.
According to Ridolfi, he was a disciple of Giovanni Francesco Caroto; but Lanzi ranks
him as a scholar of Niccolo Giolfino. His greatest improvement was, however, derived
from an attentive study of the works of Giorgione and Titian, at Venice. His picture
of S. Rocco, in the church of the Padri Agostiniani at Verona, is entirely in the style of
the latter, as well as some pictures of fabulous subjects in the private collections. His
genius did not confine itself to the style of any individual master; aud his works at
Mantua partake of the depth of colouring of Giorgione, and of the graceful design of
Parmigiano. His picture of Phaeton, in the Ducal palace, though somewhat damaged
by time, still charms by the ingenuity of the composition, the harmony of the colour,
and the admirable fore-shortening. His greatest merit was in fresco painting, and in the
many admirable works with which he embellished the public edifices and palaces, he
united the erudition of the poet to the talents of a great painter. Of his historical
works, the chef d'ceuvre was the Cavalcade of Clement VIII. and Charles V. on their
entry into Bologna, in a saloon in the Casa Ridolfi, a grand and copious composition,
which is spoken of by Lanzi in terms of the highest praise. He died in 1567, aged 73.
RICCIO, Felice, called Brusasorci the younger. He was the son of the preceding
artist, bora at Verona about the year 1550, and was first instructed by his father. On
the death of Domenico Riccio, when he was in his seventeenth year, he continued his
studies at Florence, under Jacopo Ligozzi, and brought back with him to Verona a
correct and elegant design. He painted several pictures for the private collections at
Verona, of Holy Families and Madonnas, with angels, which were admired for a grace
ful air of the heads, and a beautiful expression. He was, however, capable of greater
powers when the subject required them. Such is his picture of the Forge of Vulcan
with the Cyclops, in the collection of the Conte Gazzola, which is designed in the best
style of the Florentine school, and vigorously coloured. There are some altar-pieces by
him in the churches at Verona, of which the most admired is his picture of S. Elena, in
the church dedicated to that saint. He died in 1605, aged 55.
RICCIOLINO, Michelangiolo. This artist was born at Rome in 1654, and is noticed
by Abate Titi, who mentions some of his works in the public places at Rome, particu
larly in the church of S. Lorenzo in piscibus, and a ceiling, in S. Maria in Campitelli.
His portrait, painted by himself, is in the Florentine Gallery. He died at Rome in 1715,
aged 61.
RICHARDSON, Jonathan. This eminent portrait painter was born about the year
1665. His father dying when he was only five years of age, his mother married a
second husband, and he was, contrary to his inclination, articled by his father-in-law to a
scrivener; but as his master died in the sixth year of his apprenticeship, he indulged au
inclination he had long felt for painting, and became a pupil of John Riley, under whom
he studied four years. Having made sufficient progress in the art to offer himself to the
public attention, he married the niece of his instructor, and established himself as a
portrait painter. Though Sir Godfrey Kneller and Dahl were then in great reputation,
Mr. Richardson possessed sufficient merit to secure a share of the public favour during
their lives, and after their death he was considered at the head of his profession. He
continued in possession of considerable employment for many years, and was enabled to
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298 RIC R I C
retire from business long before his death, which happened the,,28th of May, 1745, when
he was upwards of eighty years of age. He left one son and four daughters, one of
whom was married to Mr. Hudson, his pupil.
Mr. Richardson published the following works on art: 1. " The Theory of Paint.
ing." 2. " The Connoisseur, an Essay on the whole Art of Criticism, as it relates to
Painting." And 3. " An Account of some of the Statues, Bas-reliefs, Drawings, and
Pictures, in Italy, &c. with remarks by Mr. Richardson, sen. and jun." The son made
the journey, and from his notes, letters, and observations, they both, at his return, com
piled this valuable work. In 1734 they also published "Explanatory Notes and Re
marks on Milton's Paradise Lost, with the Life of the Author, and a Discourse on the
Poem." The father having said, in an apology for being little conversant in the clas
sics, " that he had looked into them through his son," Hogarth, whom a quibble
could furnish, with wit, drew the father peeping through a telescope, with which the son
was perforated, at a Virgil above on a shelf.
For the following character of Richardson, we are indebted to the noble author of the
Anecdotes. " Jonathan Richardson was undoubtedly one of the best English painters of
a head that had appeared "in this country. There is strength, roundness, and boldness
in his colouring; but his men want dignity, and his women grace. The good sense of
the nation is characterised in his portraits. You see he lived in an age when neither
enthusiasm nor servility were predominant : yet with a pencil so firm, possessed of a
numerous and excellent collection of drawings, full of the theory, and profound in re
flections on his art, he drew nothing well below the head, and was void of imagination.
His attitudes, draperies, and backgrounds, are totally insipid and unmeaning ; so ill did
he apply to his own practice the sagacious rules and hints he bestowed on others.
Though he wrote with fire and judgment, his paintings owed little to either. No man
dived deeper into the inexhaustible stores of Raffaelle, or was more smitten with the
native lustre of Vandyck. Yet though capable of tasting the elevation of the one, and
the elegance of the other, he could never contrive to see with their eyes when he was
to copy nature himself. One wonders that he could comment on their works so well
and imitate them so little." Mr. Richardson has etched a few portraits; among which
are, His own Portrait.
Alexander Pope, Esq. ; two plates, one of them a profile.
John Milton.
Dr. Mead.
RICHER, P. According to Florent le Comte, this artist, in conjunction with Francis
Chaveau, engraved eleven plates of philosophical tables by Louis Lesclaches.
RICHIERI, Antonio. This artist was a native of Ferrara, and was brought up in the
school of Giovanni Lanfranco. According to Passeri, he followed that master to Naples
and Rome, and painted some frescoes at the Teatini from the designs of Lanfranco.
He is said to have etched some plates from the designs of his master. Mr. Strutt calls
him A. Richer.
RICHMANS. See Ryckmans.

RIC RID 299
RICHTER, Christian. He was a native of Stockholm, and came to England in 1702,
where he painted portraits both in oil and in miniature; chiefly studying the works of
Michael Dahl, from which he learned a strong manner of colouring. In the latter part
of his life he applied to enamelling, but died before he had made much progress in that
branch, in 1732, aged about 50.
RICKE, Bernard de. He was born at Courtray, about the year 1520. It is not known
by whom he was instructed, but he was an eminent painter of history. In the church of
St. Martin, at Courtray, there are two pictures by this master, one of which is much
esteemed, representing Christ bearing his Cross ; the other is the Decollation of St.
Matthew. He afterwards fixed his residence at Antwerp, and was received into the
academy there in 1561.
RIDINGER, John Elias. According to Huber, this artist was born at Ulm, in Suabia,
in 1695, and received his instruction in the art from Christopher Rescb. He established
himself at Augsbourg, where he became an eminent designer and painter of animals
and huntings. His works as a painter are few, and are little known, except in his own
country; but in his numerous etchings, from his own designs, he discovers an ability
which has seldom been surpassed. His compositions are ingenious and animated, and
he has given to each animal its peculiar character and attitude with surprising expres
sion and exactness. The pardonable partiality of his countryman and biographer,' Mr.
Fuessli, does not hesitate to assert, that though " he has perhaps been excelled by
Rubens, in the ideal grandeur of the lion, he has far surpassed him, and the rest of his
predecessors, in the wide extent of his powers over every species of the brute creation.''
The just value of this eulogy, the unbiassed judgment of the public will have little
difficulty in ascertaining. The number of his prints is very considerable, and there is a
great inequality in his works. The following are among the most esteemed :
A set of twelve plates of the Creation.
A set of Heads of Wolves and Foxes.
Four plates of Boar-huntings.
A set of sixteen plates representing the mode of hunting different animals in Germany, with
inscriptions in German and French.
Eighteen plates of Horsemanship.
Thirteen plates of various Wild Beasts.
A Lion-hunting; after Rubens ; for the Dresden Gallery,
RIDOLFI, Claudio. He was born at Verona in 1560, and was for some time a scholar of
Dario Pozzo, a painter of little celebrity ; but he afterwards entered the school of Paolo
Veronese. As Venice was at that time the residence of a great number of eminent
artists, he went to Rome in search of employment. Not meeting with the success he
expected in that capital, he visited Urbino, where the works of Federigo Baroccio were
then held in the highest estimation. He formed an intimacy with that distinguished
artist, and with the advantage of his instruction and advice, he acquired an amenity of
style, and a graceful expression in the airs of bis'heads, by which his works were after
wards distinguished. He' resided several years at Gorinaldo, in the marquisate of
Ancona, where he painted many pictures for the churches of that town and its vicinity,
which, in colouring, might vie with the ablest of the Venetian painters, and in elegance
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300 RID R I E
and correctness of design, remind us of the great masters of the Roman school. Of his
works at Urbino, the most esteemed are the Birth of St. John the Baptist, in S. Lucia;
and the Presentation in the Temple, in Spirito Santo. At Rimini, is a fine picture by
this master, representing the taking down from the Cross. He also painted portraits, in
which he united dignity and character with a perfect resemblance. He died in 1644,
aged 84.
RIDOLFI, Cavaliere Carlo. This painter was born at Vicenza in 1602. He was in
structed in the art by Antonio Vassilacchi, called l'Aliense, but afterwards studied the
works of the best masters at Verona and Vicenza. Little is known of his works as a
painter, and Lanzi mentions, as his most esteemed performance, the Visitation of the
Virgin to St. Elizabeth, in the church of the Ognisanti at Venice. He also painted por
traits and easel pictures for private collections. He is more distinguished as a writer
on art than as a painter, and was the author of the lives of the Venetian painters, in two
volumes, published at Venice in 1648, entitled Le Maraviglie dell' arte, ovvero le Vite
deg I'illustri pittori Veneti, e dello Stato. He died in 1660, aged 58.
RIDOLFI, Pietro. An Italian engraver, who flourished about the year 17 10. Mr. Strutt
notices a frontispiece engraved by this artist, from a design by C. N. Lamparel, affixed
to a volume, containing views of ancient and modern Rome, published at Venice in
1716. It is executed in a style resembling that of Cornelius Bloemart, though very
inferior.
RIEDEL, John Anthony. A German designer and engraver, bora at Prague in
1732. He was keeper of the Dresden Gallery, and has engraved several plates from the
pictures in that celebrated collection, in which he has imitated the style of Rembrandt,
among which are the following :
The Virgin and infant Christ ; after Baroccio.
The Seven Sacraments ; after Gio. Maria Crespi.
A Portrait of Rembrandt ; after a picture by himself.
A Warrior, with a cap and feather ; after the same.
A Portrait of a Lady holding a Letter ; after Vandyck.
RIETSCHOOF, John Klaasze. He was born at Hoorn in 1652, and was a scholar of
Ludolf Backhuysen, under whose tuition he became an eminent artist, and painted sea-
pieces and storms so much in the style of his instructor, that his pictures were sometimes
mistaken for those of Backhuysen. He particularly excelled in painting tempests and
hurricanes, which he represented with the most impressive fidelity. His calms are not
without considerable merit, and bear some resemblance to the works of William Vau-
dervelde. The pictures of Rietschoof are little known in this country, and are chiefly
confined to Holland, where they are justly esteemed. He died in 1719, aged 67.
RIETSCHOOF, Henry. He was the son of the preceding artist, born at Hoorn in 1678,
and was instructed in the art by his father. He painted similar subjects to those of the
elder Rietschoof; and though his pictures cannot be said to equal them, they possess
sufficient merit to find a place in the collections of his country.

RIGAUD. 30t
RIGAUD, Hyacinth. A French painter, bora at Perpignan in 1659- He was the son of
Matthias Rigaud, an artist of little note, from whom he received his first instruction in
the elements of design. His father dying when he was very young, he was placed
under the care of a portrait painter of no great celebrity, at Montpellier, under whom
he continued till he had reached his eighteenth year, when he established himself in the
city of Lyons, where he met with very flattering encouragement. In 1681 he went to
Paris, for the purpose of studying historical painting, and in the following year obtained
the prize at the Academy. By the advice of Charles le Brun, who discovered in him a
decided talent for portrait painting, he abandoned his project of visiting Italy, and ap
plied himself particularly to that department. Having seen some portraits by Vandyck
at Paris, he was so much struck with the admirable style of that painter, that he ever
afterwards made him the model of his imitation. The success of Rigaud as a portrait
painter was most brilliant. He frequently painted the portrait of Louis XIV. and
those of the principal nobility of the court, and many of the most illustrious person
ages in Europe. In 1700 he became a member of the Academy at Paris, and presented
them with a fine portrait of the sculptor Desjardins, as his picture of reception. He
painted a few historical works, among which is a picture of St. Andrew, in the hall of
the Academy ; and a Nativity, which is engraved by Drevet.
Hyacinth Rigaud is considered one of the ablest portrait painters of the French
school. His heads are full of character and expression, his colouring more chaste than
is usual in the artists of his country, and his touch is bold and free. He had the mis
fortune of being obliged to encounter the unpicturesque habiliments, and the enormous
perukes worn at his time, and his works would undoubtedly have possessed a stronger
claim to our admiration, if he had been permitted to delineate nature, without such
preposterous disguises. Some of his portraits have been finely engraved by the eminent
artists of his country, among which are those of Bossuet, Bishop of Meaux, by Drevet;
and his own portrait, by Gerard Edelinck. He died in 1745, aged 89.
RIGAUD, John. He was a relation of the preceding artist, and was bom at Paris
about the year 1700. He painted landscapes and views, which, if we may judge by his
prints, must have possessed considerable merit. He appears to have passed some time
in England, as he has etched some views in the environs of London. We have several
plates by him, executed in a spirited and masterly style, and the figures are correctly
and neatly drawn. The following are his principal prints :
A pair of Views of Marseilles, at the time of the plague in 1720.
A set of six Views of the Chateau and Gardens of Marly.
The Garden of the Tuilleries.
A View of the Chateau of the Luxembourg.
A View of Hampton Conrt.
St. James's Park.
Greenwich Park.
Greenwich Hospital.
A set of six Landscapes, with figures,
A set of six Views in France, with rural amusements.
Twelve marine subjects.
He had a son, John Baptist Rigaud, who engraved a plate of a view of the Palais
Bourbon, after a design by his father.

302 RIG RIM
RIGHETTI, Mario. This painter was born at Bologna about the year 1590, and was a
scholar of Lucio Massari. He painted several pictures for the churches of his native
city, which are noticed in Le pitture di Bologna, of which the most deserving attention
are the following: The Archangel Michael, in the church of S. Guglielmo; Christ
appearing to Magdalen, in S. Giacomo Maggiore ; the Adoration of the Magi, in S.
Agnese; and the Nativity, in S. Lucia.
RILEY, John. This artist was born in London in 1646, and received instructions from
Isaac Fuller and Gerard Zoust. He was little noticed till after the death of Sir Peter
Lely, though he is considered by the noble author of the Anecdotes as one of the best
native painters that had then flourished in England. His talents were obscured by the
fame, rather than the merit, of Sir Godfrey Kneller, and have been since depressed by
being confounded with Lely, an honour, unfortunate for his reputation. He painted
several portraits, particularly that of Lord Keeper North, at Wroxton, which would have
done credit to either Lely or Kneller. Riley was modest, humble, and of an amiable
character, and was easily disgusted with his own works. With a quarter of Kneller's
vanity, he might have persuaded the world that he was a great painter. Charles II. sat
to him, but almost intimidated the modest artist from pursuing a profession so proper
for him, by what perhaps he considered as a jeu d'esprit. Looking at the picture, he
cried, " Is this like mef then, od's fish, I am an ugly fellow." James II. and his queen
also sat to him, as did their successors, William and Mary, who appointed him their
painter. He died in 1691, aged 45.
RILEY, Charles Reuben. He was born at London about the year 1752, and having
shown a disposition for the art, was placed under the tuition of Mr. Mortimer. In
1778 he obtained the gold medal at the Royal Academy, for the best painting in oil ; the
subject was the Sacrifice of Iphigenia. He was recommended by his instructor to the
patronage of the Duke of Richmond, and was employed in the decorations at Good
wood. He afterwards went to Ireland, on a. similar employment for the embellishment
of the mansion of Mr. Conelly. His principal employment afterwards was in making
designs for booksellers, in which he displayed both fancy and taste, with considerable
facility. He was of a feeble constitution, probably occasioned by the deformed con
struction of his body, and died in 1798, about 46 years of age.
RIM INALDI, Orazio. This painter was born at Pisa in 1598, and was first a scholar
of Aurelio Lomi, but afterwards studied at Rome under Orazio Lomi, called Gentileschi.
During a residence of some years at Rome, he studied with attention the works of the
great masters, and the beauties of the antique, and on his return to Pisa distinguished
himself as one of the most promising artists of his time. He followed, in the early part
of his life, the principles of M. Angelo Caravaggio, which he soon after abandoned for
the more graceful and expressive style of Domenichino. He painted several pictures
for the churches in that city, one of which, the Martyrdom of St. Cecilia, has since been
placed in the Florentine Gallery. In the cathedral are two scripture subjects by him
representing the Brazen Serpent, and Sampson destroying the Philistines. His last
work was his admired picture of the Assumption of the Virgin, which he did not live to
finish. To the great regret of the lovers of painting, this able artist was cut off in the

R I N R I V 303
commencement of a flattering career by the plague, which visited the Florentine state
in 1630, at the age of thirty-two.
R IN CON, Antonio del. This painter was born at Guadalaxara, in 1446, and may be
considered as the father of the Spanish school. He studied at Rome, and on his return
to Spain was taken into the service of Ferdinand the Catholic, who appointed him his
painter, bestowed on him the order of Santiago, and made him groom of his chamber.
Among the few of his works that remain, are the altar-piece in the church of Robledo
de Chabela, a town in the archbishopric of Toledo ; and two portraits of Ferdinand and
Isabella, in the church of San Juan de los Reyes, at Toledo. Several of his works
perished in the fire that destroyed the palace of the Pardo, in 1608. He died in 1500,
aged 54.
RINGGLI, Gothard. This artist is mentioned in Fuessli's Lives of the Swiss Painters.
He was born at Zuric in 1575, but it is not said by whom he was instructed, nor is any
thing known of the circumstances of his early life. He was employed by the magis
tracy of Berne to paint some large pictures relative to the history of that city, which
his biographer commends for the ingenuity of the composition, and the correctness of
the design. He is said to have etched some plates from his own designs, in a bold free
style, which he marked with a cipher composed of the letters G. R.
RIPOSO, Felice. See Ficherelli.
RISVENNO, Giuseffo. A Spanish painter, born at Granada about the year 1640. He
was a scholar of Alonso Cano, under whom he studied both painting and sculpture. He
painted history with some reputation ; and there are several of his works in the churches
of his native city, of which the most considerable is the cupola of tbe Carthusians. He
died at Granada in 1721, aged about 81.
RIVALZ, Anthony. This artist was born at Toulouse in 1667- He was the son of John
Peter Rivalz, a painter and architect of some celebrity, by whom he was instructed in
the rudiments of the art, and afterwards visited Paris, where he did not remain lono-
but went to Rome, in search of improvement. During his residence in that capital he
was the successful candidate for the prize given by the Academy of St. Luke, in a pic
ture representing the Fall of the Rebel Angels. After studying the works of the best
masters, he returned to Toulouse, where he passed the remainder of his life. He pos
sessed an extraordinary talent for copying the works of the most celebrated Italian
masters with surprising precision. As he resided at so great a distance from the metro
polis, few of his works are to be met with at Paris. His pictures are chiefly confined
to the public edifices and private collections at Toulouse, where he died in 1735, aged
68. He left a great number of drawings, which are executed with great freedom, in a
style-resembling that of Raymond de la Fage. We have a few spirited etchings by this
artist, among which are the following :
The Martyrdom of St. Symphorianus.
An allegorical subject of Vice driven away by Truth, as the enemy of the Arts and Sciences; in
memory of N. Poussin.
Four plates of allegorical subjects for a treatise on painting, by Dupuy du Grez,

304 RIV ROB
RIVALZ, Bartholomew. He was the nephew and pupil of the preceding artist, born at
Toulouse in 1724. We have by him a few etchings, among which are the following :
The Fall of the Rebel Angels ; after Ant. Rivals.
Judith and Holofernes ; after the same.
Joseph and Potiphar's Wife ; after the same.
The Death of Mary Magdalen ; after Benedetto Luti.
RIVAROLA, Alfonso, called II Chenda. This painter was born at Ferrara in 1607,
and was the most distinguished scholar of Carlo Bononi. On the death of that maser
he was engaged to finish the picture of the Marriage of the Virgin, in the church of
S. Maria del Vado. There are several pictures of his own composition in the churches
at Ferrara, which do honour to the school in which he was /educated. Such are his
Baptism of St. Agostino, in the church dedicated to that saint, which he has embel
lished with magnificent architecture ; the Resurrection, at the Teatini ; the Brazen Ser
pent, in S. Niccolo ; and the Martyrdom of S. Caterina, in S. Guglielmo. This pro-
, mising young artist had acquired a distinguished reputation among the ablest artists of
the Ferrarese school, when he died at the premature age of 33, in 1640.
RIVERDITI, Marcantonio. According to Lanzi, this painter was a native of Alessan
dria della Paglia, but received his education in the art at Bologna, where he painted
some pictures for the churches, in which he imitated the style of Guido Reni. He also
painted portraits with considerable success. Of his historical works, the most worthy
of notice are his pictures of the Conception, in the church of the Padri Camaldolesi •
and S. Francesco di Paola, in S. Maria de Foscherari. He died at Bologna in 1744.
ROBATTO, Giovanni Stefano. This painter was born at Savona in 1649, and studied
at Rome in the school of Carlo Maratti. He for some time painted history with consi
derable reputation, and was employed for some of the churches at Genoa. One of his
most esteemed works is St. Francis receiving the Stigmata, at the Cappucini. He
afterwards degraded his talent by a fatal passion for gaming ; and his latter perform
ances are the productions of negligence and dispatch. He died in 1733, aged 84.
ROBERT, Nicholas. This artist was bora at Orleans in 1610. He excelled in painting
animals, insects, and plants, in miniature, and was employed by Gaston, Duke of
Orleans, in painting the most curious beasts and birds in the royal menagerie, which
are preserved in the King's library at Paris. We have also several etchings by him of
similar subjects^ and a set of six plates of Vases, from the designs of Charmeton.
ROBERT, A. According to Basan, this artist was a pupil of J. C. le Blond, by whom
we have some prints in colour, which possess considerable merit.
ROBERT, Huber. A French painter of architectural views and perspective. He was
born at Paris in 1741; and after learning the rudiments of design in his native city he
went to Rome, where he passed several years, and made very accurate designs from the
remains of ancient Architecture. On his return to Paris, he was made a member of
the Academy, and his pictures were held in high estimation. We have several spirited

ROB ROC 305
etchings by this artist, among which is a set of ten Views, with buildings, entitled Les
Soirees de Rome.
ROBERT, Paul Pontius Anthony. A French painter and engraver, born at Paris about
the year 1680. He was a scholar of Peter James Cazes, and afterwards studied in Italy.
On his return to Paris he painted an altar-piece for the church of the Capuchins, repre
senting the Martyrdom of St. Fidelis, which is esteemed his principal work as a painter.
He etched several of the subjects, which were executed in chiar-oscuro by Nicholas le
Sueur, for the Crozat collection.
ROBERTS, James. An English engraver, born in Devonshire in 1725. He engraved
several landscapes and views from the pictures of Richard Wilson, George Barret,
Smith of Chichester, and others.
ROBETTA. According to Huber, this old engraver was born at Florence about the year
1460. He followed the profession of a goldsmith, and engraved a few plates in the
rude and uncouth style practised in Italy before the time of Marc Antonio Raimondi.
His prints are very scarce, and have little more than their rarity to recommend them.
He sometimes signed them with his name at length, on a tablet, and sometimes with the
letters R. B. T. A. The following are by him, and are apparently from his own designs.
Adam and Eve; a middle-sized upright plate.
The Wisemen's Offering ; the same.
The Resurrection of Christ ; the same.
The Golden Age ; a large upright plate.
ROBINS, William. An English engraver in mezzotinto, who flourished about the
year 1730, by whom we have a few portraits ; among others that of
William Warren, LL.D. ; after Heims.
ROBINSON, R. The name of this artist is affixed to some portraits in mezzotinto,
among which are the following :
Charles I. ; after Vandyck.
Charles II.
James II.
Thomas White, Bishop of Peterborough.
Sir James Worsley, Knight.
ROBUSTI. See Tintoretto.
ROCHERS, Stephen des. A French engraver, who resided at Paris about the year
1710. He imitated the style of P. Drevet, and was probably his pupil. Among other
prints, he engraved a numerous set of small portraits of illustrious personages. They
are but indifferently executed.
ROCHFORD, P. de. This artist was a native of France, and flourished about the year
1720. He engraved several of the plates for the large folio collection of Views of the
Palace and Gardens of Versailles, published by P. Menant. He also engraved some
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306 ROC ROE
prints from the pictures of John Baptist Santerre, and other painters. He resided some
time in Portugal, where he died.
RGCHIENNE, P. A French engraver on wood, v/ho, according to Papillion, flourished
about the year 1551. In conjunction with J. Ferlato, he executed a set of wooden cuts
for the New Testament, in Latin, published in 1551. They are said to be very indif
ferent performances.
ROCQUE, J. This artist was probably a native of France, but he chiefly resided in
England, where he engraved some plates of landscapes and views, from his own designs.
Among others, we have by him two large plates representing views of Wanstead House,
in Essex.
RODE, Christian Bernard. He was born at Berlin in 1725, and having learned the
rudiments of the art in his native city, he went to Paris, where he studied some time
under Charles Vanloo and John Restout. He afterwards travelled to Italy, and on his
return to Berlin met with very flattering encouragement as a painter of history and por
traits. He painted several altar-pieces for the churches at Berlin, and the other towns
in Prussia, and was employed by the king in embellishing the palace of Sans Souci.
This ingenious artist has etched a great number of plates from his own designs ; several
of them are after the pictures he painted for the public edifices. The following are
among his principal works :
His Portrait ; engraved by himself; after Reclam.
Christ, with the Disciples, at Emaus.
The Descent of the Holy Ghost.
The Ascension ; from his picture in the church at Rostock.
St. Paul preaching.
Christ in the Garden of Olives ; from the picture in the church of St. Mary at Berlin.
Joseph discovering himself to his Brethren.
RODE, John Henry. He was the younger brother of the preceding artist, born at Berlin
in 1727. He was brought up to the profession of a goldsmith, but abandoned that
pursuit to devote himself to engraving. Having executed some plates at Berlin with
considerable success, he went to Paris, where he became a pupil of John George Wille.
During his residence in that city, he engraved a few plates in the finished style of his
instructor, and on his return to Berlin published several prints from the designs of his
brother. He had acquired a very flattering reputation, when his career was interrupted
by his premature death, in 1759, at the age of 32. Among others, we have the follow
ing prints by him :
The Portrait of John George Wille; after Schmidt.
A Head of Epicurus; after J, M. Preisler.
Jacob wrestling with the Angel ; after C. B. Rode.
An Ecce Homo ; after the same.
A Sacrifice of the Vestals ; after the same.
ROELLAS, Pablo, or Juan de las. This Spanish artist is called el Doctor Pablo de las
Roelas, by Palomino, though Francesco Pacheco, who was his contemporary, denomi-

ROD ROE 307
nated him Juan. He was descended from a noble family, originally of Flanders, was
born at Seville in 1560, and was brought up to the profession of physic, in which he
had already taken a degree, when an inclination for the art of painting, which he had
discovered in the early part of his life, induced him to devote himself to the study of it,
and he travelled to Italy for the purpose of improvement. He went to Venice, where
he studied some years. Palomino states him to have been a disciple of Titian, but that
cannot be correct, as Titian died in 1576, when our artist was- only sixteen years of age.
It is more probable that he received his instruction from a disciple of that great master.
On his return to Seville, he was much employed in ornamenting the churches in that
city, where there are many pictures by him, which are compared by his biographer to
the works of Palma or Tintoretto. To a rich and harmonious colouring, which he' had
acquired in the Venetian school, he added a correct design, a perfect acquaintance with
the anatomy of the human figure, and his compositions are ingenious and abundant.
One of his most admired works is the Martyrdom of St. Andrew, in the Colegio de Santo
Thomas. According to Palomino he died at Seville in 1620, aged 60.
RODERMONT, or Rottermondt. This artist is called Rotermans in the Anecdotes.
He was a native of Holland, and flourished about the year 1640. From the style of his
etching, he appears to have been a painter, and has imitated the style of Rembrandt
with great success. He engraved a few portraits, which are now become scarce, among
whipb are,
Sir William Waller, Serjeant Major-general to the Parliament, with a Battle in the back-ground ;
after C. Jansen.
Joannes Secundus, a Latin Poet of the Hague; Rodermont, fecit.
ROEPEL, Conrade. An eminent Dutch painter of flowers and fruit, born at the Hague
in 1679. He was placed for some time under the care of Constantine Netscher, with the
intention of studying portrait painting; but the delicacy of his constitution made it
necessary for him to quit the Hague, and to reside at a country house of his father's,
where he amused himself in cultivating the choicest flowers. This occupation led him
to an attempt to imitate in painting the beautiful objects of his care, and his success
surpassed his expectation. He sent one of his earliest performances to the Hague,
where it was readily purchased by one of the most celebrated florists of the place, who
afterwards supplied him with the most curious productions of his garden, from which
Roepel painted pictures which were highly esteemed. In 1716, he was invited to the
court of the Elector Palatine, at Dusseldorp, where he was received with every mark of
favour and distinction. He painted some fruit and flower pieces for that prince, for
which he was liberally remunerated, and was decorated with a gold chain and medal.
On the death of his patron, he returned to the Hague, where he found his reputation
encreased by the flattering reception he had met with at the Palatine coutt. He painted
some pictures for Prince William of Hesse, and the families of Fagel and Lormier for
some time employed his pencil. In 1718 he was received into the Society of Painters,
at the Hague, of which he was the director at the time of his death, in 1748, at the age
of 69. Although the works of C. Roepel are neatly finished, they must still be allowed
to be very inferior to the admirable productions of John van Huysum and Rachel
Ruysch.
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308 ROE R O G
ROESTRAETEN, Peter. This painter was born at Haerlem in 1627, and was brought
up under Francis Hals, whose daughter he married, and whose style he followed in
portrait painting for some time with success in Holland, when the reputation and good
fortune Sir Peter Lely had met with in England, induced him to visit this country, in the
reign of Charles II. He was received by Lely with great kindness on his arrival, who
introduced him to the king ; but it does not appear that he met with much encourage
ment at court, as none of his pictures are to be found in the palaces, or in the royal
catalogue. Descamps, in his Lives of the Dutch painters, gives a very improbable account of Sir
Peter Lely's jealousy of the talents of Roestraeten in portrait painting; and of his hav
ing, in consequence of it, proposed to him a partition of the art; portraits were to be
monopolized by Lely, and Roestraten was to be put into possession of all other branches,
whose works were to be vaunted by Lely. It is not very likely that an artist should thus
relinquish that very department of his profession, in which, such a proposal told him,
he was the most capable of excelling. It is more consistent with probability, that
Roestraeten, doubting of success, from the superior ability and established celebrity of
Sir Peter, renounced portrait painting, and had recourse to another branch of the art, in
which he previously distinguished himself in his native country. He painted with great
success vases of gold and silver, bas-reliefs, musical instruments, &c. which he designed
with precision, and his pictures were well coloured, and touched both with delicacy and
freedom. His works rose into general estimation, and he was extensively employed by
the nobility and gentry of his time. In what particular year he visited England is not
ascertained ; but he must have resided here many years, as he met with an accident at
the fire of London, and was lame for the rest of his life. He died in London in 1698
aged 71.
ROETTIERS, Francis. This artist was born at Paris in 1702. His family was origi
nally of Antwerp, and had for many years held the situation of medallist to the mint, in
France. He was probably a scholar of Nicholas de Largilliere, from whose designs he
has etched the following two plates, executed with great spirit and effect :
Christ bearing his Cross.
The Crucifixion.
ROGEL, John. According to Professor Christ, this artist was an engraver op wood, and
resided at Augsburg about the year 1567, but he has not specified any of his prints.
ROGER of Bruges. This old painter was born at Bruges about the year 1390, and was
a disciple of John van Eyck at the time of the invention of oil painting by that master.
He painted on a larger scale than van Eyck, and his figures were well designed for the
early period at which he lived. Van Mander mentions some pictures by this master
which were preserved at Bruges in 1604.
ROGER of Brussells. See Vander, Wey de.
ROGERS, William. An old English engraver, born in London about the year 1545. It
has not been ascertained from whom he learned the art of engraving, but he worked

R O G ROM 309
with the graver in a neat stiff style. He engraved a few portraits, and several frontis
pieces, and other ornaments of books. He is considered one of the earliest of the Eng
lish engravers who practised the art in a general way. He usually marked his plates
with the cipher VW> We have the following prints by him :
PORTRAITS.
Queen Elizabeth ; a small upright plate.
Henry IV. of France ; a whole length.
The Earl of Essex, Earl Marshal of England.
The Earl of Cumberland.
Thomas Howard, Duke of Norfolk.
Sir John Harrington; the title to his Orlando Furioso.
Thomas Mofiat, a frontispiece to his Theatre of Insects.
John Gerarde, Surgeon ; frontispiece to his Herbal.
ROGMAN, or Roghman, Roland. A Dutch painter and engraver, born at Amsterdam
in 1597. It is not knowu by whom he was instructed in the art, but he was an eminent
painter of landscapes. His pictures usually represent views in Holland, and the borders
of Germany, which exhibit a close attention to nature in the forms, though his colouring
is dark and disagreeable. We have several etchings by this artist of landscapes and
views in Holland, executed in a bold and masterly style; and Peter Nolpe has engraved
six plates of landscapes after this painter.
ROKERZ, Hendrick. An obscure Dutch engraver, by whom we have a few portraits,
very indifferently executed; among which is that of
William Henry, Prince of Orange, on horseback ; after P. Janse.
ROKES, Henry. See Sorgh.
ROLI, Guiseppe. This artist was born at Bologna in 1654, and was a scholar of Dome
nico Maria Canuti. There are several of his fresco works in the churches of his na
tive city. We have some etchings by him after the principal Bolognese painters,
among which are the following :
Charity ; after Lodovico Caraeci.
A Sybil ; after Lorenzo Pasinelli.
ROLLOS, Peter. A German engraver, who resided at Frankfort about tbe year 1620.
He engraved the frontispiece to a book of Emblems, by G. de Montenay, published in
that city in 1619. He executed a few other book plates, in a very indifferent style.
He sometimes signed his prints P. ROL. F.
ROMAN, Bartolome. A Spanish painter, born at Madrid in 1598. He was first a scholar
of Vincenzio Carducci, but finished his education in the school of Velasquez. He was
an eminent painter of history, and executed several considerable works for the church
of the Franciscans at Alcala de Henares. In the sacristy of the Padres Cayetanos, at
Madrid, there are some pictures by him, which his biographer, Palomino, in point of
colouring and effect, compares to Rubens. He died at Madrid in 1659, aged -61.

310 ROM ROM
ROMANELLI, Giovanni Francesco. This painter was born at Viterbo in 1617. Having
shown an early inclination for the art, his father sent him to Rome, where he had the good
fortune of being taken under the protection of Cardinal Barberini, by whom he was
placed in the school of Pietro da Cortona. His indefatigable application to his studies
under that master, rendered him in a few years one of the most promising young artists
at Rome; and he was instructed by his master to finish, during his absence in Lombardy,
some paintings he had commenced in the Palazzo Barberini. On leaving the school of
P. da Cortona, he altered his style, and adopted one distinguished by more elegance in
his forms, though less grand and splendid than that of Cortona. He painted a picture
of the Deposition from the Cross, for the church of S. Ambrogio, which was so much
applauded, that Pietro, alarmed at his rising reputation, painted in competition with it,
his celebrated picture of the Stoning of Stephen, in which even Bernini admitted the
superiority over that of his scholar. He painted for the church of St. Peter the Pre
sentation in the Temple, which has been executed in mosaic, and the original placed at
the Certosa. On the death of Urban VIII. and the succession of InnoGent to the papal
chair, Cardinal Barberini was under the necessity of quitting Rome, and taking refuge
at Paris, where he recommended the talents of Romanelli to Cardinal Mazarine, for
some decorations which he projected in his palace. On his arrival at Paris, he was in
troduced by the minister to Louis XIV. who engaged him to decorate the apartments
in the Old Louvre, called the Queen's Baths, where he painted a series of pictures,
representing subjects of the iEneid. These, and other works, executed during his resi
dence in France, were munificently rewarded by the King, who conferred on him the
order of St. Michael. On his return to Rome, he was employed in several important
works, and was preparing for a second journey to France, when he died at Viterbo, in
1662, aged 45.
ROMANELLI, Urbano. He was the son of the preceding artist, born at Viterbo about
the year 1644, and was instructed in the art by his father. After the death of Giovanni
Francesco Romanelli, he became a disciple of Ciro Ferri. There are some of his works
in the churches at Velletri and Viterbo, particularly a picture of S. Lorenzo, in the
church dedicated to that saint in the latter city, which is spoken of by Lanzi in favour
able terms. He died young, in the year 1682.
ROMANET, Anthony. A French engraver, born at Paris in 1748. He was a pupil of
J. G. Wille, and afterwards resided at Basle, where he engraved several plates under
the direction of Christian de Mechel. We have by him several portraits and subjects
after various masters, among which are the following :
portraits.
Charles Theodore, Elector of Bavaria ; after P- Battoni.
Louis Francis de Bourbon, Prince of Conti ; after Le Tellier.
John Grimoux, Painter; after a picture by himself.
various subjects.
The Death of Adonis ; after Kupetzky.
The Village Printseller ; after Seekatz.
The Ballad Singer ; after the same.

ROM ROM 311
ROMANINO, Girolamo. This painter was born at Brescia about the year 1504. It is
not known by whom he was instructed, but he selected the works of Titian as the
models of his imitation ; and in many of his pictures, in the churches at Brescia, he
has approached the admirable style of that great painter. He was a contemporary and
competitor of Alessandro Bonvicino, called II Moretto ; and though Vasari considers
him inferior to that painter, Ridolfi regards him at least his equal, if he did not excel
him. It is observed by Lanzi, that he surpassed him in the extent of his genius and
the boldness of his execution, though he is inferior to II Moretto in the tasteful turn of
his figures, and in the expression of his heads. His principal works are at Brescia and
Verona. In the latter city are four pictures in the church of S. Giorgio, representing
the Life and Martyrdom of that Saint, which are composed with surprising spirit and
vigour. The same fecundity of invention, with a more select choice of forms, are
evident in his picture of St. Appolonio administering the Sacrament, in the church of
S. Maria in Calcara, at Brescia; a grand and impressive composition, in which every
thing surprises and charms. Less copious, though not less perfect, is his Deposition
from the Cross, in the church of SS. Faustino e Giovita, in which, more than any other
of his works, he reminds us of the great style of Titian. He died in 1566, aged
about 62.
ROMANO, Giulio. The family name of this great artist was Giulio Pippi, but he is
universally known by the appellation of Giulio Romano. He was born at Rome in
1492, and having discovered a marked disposition for the art, he had the good fortune
of being placed in the school of Raffaelle, of whom he became the most distinguished
disciple. He was instructed by that illustrious painter with the execution of some of
his most important designs, which he accomplished so entirely to the satisfaction of his
master, that he appointed him his coheir, with Giovanni Francesco Penni, called II
Fattore, and recommended to him the completion of his unfinished works, in case he
should survive him. During the life of Raffaelle, he contented himself with contri
buting, by the exercise of his talents, to the advancement of the great and extensive
undertakings which his instructor was engaged in ; and it was not till after the death of
his master, that he attempted any thing of himself. It was then that his faculties had
an opportunity of developing themselves, when he displayed an elevated mind, a poetic
genius, unusual grandeur of conception, and a correct, though occasionally an extra
vagant design. He evinced more fire than Raffaelle, or rather, he was not afraid of
delivering himself up to a rash and dangerous impetuosity, which did not permit him to
study and respect the truth and correctness of nature. His contours, harsh and severe,
were divested of those graces which were the inseparable companions of the pencil of
his preceptor, and his colouring was cold, crude, and unharmonious. These defects
were, however, in a great measure counterbalanced by the extraordinary fecundity of
his imagination, and his learned acquaintance with history and the fable. After the
death of Raffaelle, he was employed by Leo X. and Clement VII. in conjunction with
II Fattore, to finish the history of Constantine, in the Vatican, and executed several
considerable works for the public edifices at Rome. For the church of La Trinita de
Monti, he painted a fine picture of Christ appearing to Magdalen ; and the Marriage
of St. Catherine, for S. Andrea della Valle. It was about this time that he painted his
celebrated picture of the Stoning of Stephen, for the church of S. Stefano, at Genoa,

312 ROMBOUTS.
which, for the grandeur of the composition, and the pathetic expression of the martyred
3aint, is regarded as one of the most admirable productions of the art.
Giulio Romano had also distinguished himself at Rome as an architect; and the Conte
Baldassare Castiglione, the ambassador of Federigo Gonzaga, Duke of Mantua, at the
papal court, invited him to visit Mantua, where he was immediately employed by the
Duke, in rebuilding the Palazzo del T, and embellishing it with his designs, which is
regarded as the great monument of his fame, both as an architect and a painter. In
this immense work, he was assisted by his disciples, Francesco Primaticcio, Rinaldo
Mantouano, and Benedetto Pagni. Following the example of Raffaelle, he prepared
the cartoons, which were executed by his pupils, and the whole was finally retouched
by himself. In this prodigious undertaking, his transcendant abilities are particularly
conspicuous in the two great saloons ; in one of which he has represented the Fall of
the Giants; and in the other, the History of Cupid and Psyche. In the former, he
appears to have emulated the colossal powers of Michael Angelo Buonaroti, and to have
soared to the utmost stretch of pictorial daring. After accomplishing his great works
in the Palazzo del T, he was employed in ornamenting the Ducal palace at Mantua,
where he painted in fresco the History of the Trojan War. In these magnificent works
he has displayed every thing that the most capacious powers of invention, and the most
extensive resources of poetic fancy could produce. Sometimes, like Homer, he sur
prises by the heroic sublimity of his feats of arms ; at others, like Anacreon, he cap
tivates by his seductive representations of festivity and love. On the death of San Gallo,
the architect of St. Peters, Giulio Romano was appointed to succeed him, and was pre
paring to return to Rome to enter on his office, when he died at Mantua, in 1546, aged
54. He left a son, Raffaelle Pippi, whom he had instructed in the art, and who pos
sessed promising talents, but died at the age of 30, in 1560.
ROMBOUTS, Theodore. This painter was born Antwerp in 1597, and was a scholar of
Abraham Janssens, under whom he studied until he was twenty years of age. In 1617
he travelled to Italy, and it was not long before his talents distinguished him as one of
the most promising young artists at Rome. His works were sufficiently esteemed to
secure him constant occupation; and after a residence of a few years in the capital of
art, he had arrived at sufficient celebrity to be invited to visit Florence by the Grand
Duke, who employed him in some considerable works for the Ducal Palace. After an
absence of eight years, he returned to Antwerp, whither the reputation he had acquired
in Italy had preceded hiin, and he painted some pictures for the churches, which excited
such general admiration, that his vanity led him to believe that his abilities were equal,
if not superior, to those of Rubens; who was at that time in full possession of his wonder
ful powers, and of the public estimation. This self-sufficiency, however to be condemned
in some respects, was to him an incitement to more arduous exertions. The ambition
of vanquishing so formidable an opponent, inspired him with the most elevated ideas,
and his happiest productions were those conceived and executed under the feelings of
rivalship and competition. Although incapable of combating with so gigantic an an
tagonist, Rombouts retired irom the field without disgrace. He possessed a ready in
vention, a fine style of design, an animated expression, a warm and brilliant colouring
and an uncommon facility of touch. He occasionally relaxed his mind from the seve
rity of historical studies, by painting concerts, galant assemblies, and merry-makings,

ROM ROM 313
which he executed with taste and ingenuity. Of his historical works, the most remark
able are the following : The taking down from the Cross, in the cathedral at Ghent;
St. Francis receiving the Stigmata, and the Angel appearing to Joseph in his Dream, in
the church of the Recolets ; and Themis, with the Attributes of Justice, in the town-
house. He died at Antwerp in 1637, aged 40.
ROMEGIALLO, Giovanni Pietro. This artist was born at Morbegno, in the Valteline,
in 1739, and learned the rudiments of the art from G. F. Cotta, an obscure painter, of
his native city, but afterwards went to Rome, where he became a scholar of Agostino
Masucci. He was much occupied at Rome, in copying the works of Guercino, Guido,
and P. da Cortona, to which he was more indebted than to the instruction of his pre
ceptor, for the tasteful style and expressive character, by which his works are distin
guished. His principal pictures are in the public places and private collections at
Como, and in the different churches of the Valteline.
ROMEO, Don Josef. A Spanish painter, born at Cervera, in the kingdom of Arragon,
in 1701. He went to Italy when he was young, and studied at Rome under Agostino
Masucci. On his return to Spain he resided for some time at Barcelona, where he
painted some pictures for the church of the Mercenarios Calzades. He afterwards
visited Madrid, where he was taken into the service of Philip V. He died at Madrid
in 1772, aged 71.
ROMEYN, William van. A Dutch painter of landscapes, with cattle and figures. W.
Romeyn has escaped the notice of all the writers on art, although his pictures are fre
quently met with, and possess sufficient merit to find a place in some of the choicest
collections. His style of painting is so much in the manner of Karel du Jardin, that it
is probable that he was a disciple of that master.
ROMNEY, George. This eminent English painter was born at Furness, in Lancashire
in 1734. He was the son of a cabinet-maker, and having from his earliest years disco
vered a strong attachment to drawing, he was placed under the tuition of an itinerant
painter, who was at that time at Kendal, in Westmoreland, with whom he did not re
main longer than two years, and afterwards resided some time at York, where he met
with such success, that he was encouraged to think of visiting the Metropolis, where he
established himself in 1762. The following year he gained the second premium of fifty
guineas, offered by the Society of Artists, by a picture of the Death of General Wolfe.
In 1765 he again obtained the second premium offered by the Society, for an historic
painting. He was, however, more employed in painting portraits than historical sub
jects, and his pictures were esteemed inferior to those of few artists of his time. He
soon afterwards travelled to Italy, in company with Mr. Humphrey, the celebrated
miniature painter. His studies at Rome were pursued with the most persevering assi
duity, and the great productions of art with which he was surrounded, were so much the
objects of his delight and admiration, that it was for some time his intention to devote
himself entirely to historical painting. He returned to England in 1775, and established
himself in Cavendish Square, where the taste of the public, the persuasion of friends,
and the resistless enticement of emolument, effectually effaced the impression stamped
on his mind by the beauties of Michael Angelo and Raffaelle. He now became one of
Vol. II. R r

314 ROM RON
the most popular and most employed portrait painters in London, and enjoyed a liberal
portion of the public favour with Sir Joshua Reynolds and Mr. Gainsborough; After
his return from the continent, Romney never exhibited, and consequently could not
solicit the honours of the Royal Academy. He rather shunned than courted the inti
macy of the artists of his time, though he peevishly complained of their neglect,
which was more justly to be attributed to the singularity of his own temper and man
ners, which were unusually distant and reserved. As a portrait painter, he possessed
great merit, to which the public were by no means insensible ; and if his talents did not
place him at the head of his profession, they enabled him to sustain an honourable con
test with the most distinguished of his contemporaries. Of his historical or fancy sub
jects, perhaps the most admired was his picture of the infant Shakespeare, painted for
Mr. Boydell's Gallery. After an uninterrupted success in his profession for more than
twenty years, he retired from the Metropolis to his native country, where he died in
November, 1802, aged 68.
ROMSTET, Christian. An obscure German engraver, who resided at Leipsic about the
year 1670. He engraved a few portraits, which are very indifferently executed. His
plates are marked with a cipher composed of a G. and an R.
RONCALLI, Cavaliere Cristoforo, called delle Pomarance. This painter was born
at Pomarance, in the diocese of Volterra, in 1552, and studied at Rome under Niccolo
Circignani, called delle Pomarance, by whose instruction, and by studying the works of
the best masters, he became an eminent painter of history. He was employed by
Paul V. '¦ in the embellishment of the Capella Clementina, where he represented the
Death of Ananias and Saphira ; and in the Basilica of S. John of Lateran, he painted
a large picture of the Baptism of Constantine. These works were so much to the satis
faction of the Pope, that he conferred on him the order of Christ. He executed several
other important works in the public edifices at Rome. In the church of S. Giovanni
Decollate, is a fine picture by him representing the Visitation of the Virgin to St.
¦ Elizabeth ; and in S. Andrea della Valle, an altar-piece, representing St. Michael dis
comfiting the Evil Spirits. One of his most distinguished works is the Cupola of La
Santa Casa di Loreto, in which he was employed by the protection of Cardinal Crescenzi.
His works are not confined to Rome, he painted several pictures for the principal cities
in Italy, At Naples, in the church of S. Filippo di Neri, is one of his admired produc
tions, representing the Nativity, The pictures of Roncalli exhibit a mixture of the
Roman with the Tuscan style of design. In his fresco works, his colouring is cheerful
and brilliant; in.his oil pictures, on the contrary, his tints are more serious and moderate
and are harmonized by a general tone of quiet placidity. He was fond of introducing
landscape into his back-grounds, which he treated with great beauty and effect. He
died at Rome in 1626, aged 74.
RONDANI, Francesco Maria. He was born at Parma about the year 1505, and, accord
ing to Affo, was brought up in the school of Coreggio, whom he assisted in his great
work of the Dome of S. Giovanni. In the church of St. Mary Magdalen, at Parma, is
a fine picture of the Virgin and infant Jesus, which has been sometimes mistaken for a
work of Coreggio. His talents were, however, confined to compositions of a few figures,
and he was incapable of emulating the daring strides of his illustrious instructor. One

RON ROO 315
of his most considerable works is a picture representing St. Augl1stine and St. Jerome,
in the church of the Eremitani. He died at Parma about the year 1548.
RONDINELLO, Niccolo. This painter was born at Ravenna about the year 1460. He
was a disciple and coadjutor of Giovanni Bellini, whose style he followed with success,
and may be considered as the first artist of his native city who attempted to reform the
stiff and gothic style which had preceded him. He never, however, equalled the pic
tures painted by his instructor in his best time. His works are chiefly confined to the
churches at Ravenna, in which his design, without being incorrect, is dry and formal,
his heads are less expressive, and his colouring less vigorous, than in the works of his
master. He died at Ravenna, at the age of 60. i
RONDOLINO. See Terenzio.
RONSERAY, Margaret Louisa Amelia du. This lady was born at Paris in 1730. We
have some neat and spirited etchings by her, after Bouchardon, and other French painters;
among which are the following :
Venus rising from the Sea; after Bour char don ; finished with the graver by St. Aubin.
The Fountain of Grenelle, in six plates ; after the same. These were afterwards finished with
the graver by Tilliard and St. Aubin.
The Head of St. Paul; after the cartoon painted by Pierre, for the church of St. Roch at
Paris.
A View of the Tower of Palmerana; after Cochin,
A Sultan and Sultana; after B. Picart.
RONTBOUT, N. This artist is not mentioned by any of the Dutch or Flemish biogra
phers, and appears to have found a place in Mr. Pilkington's Dictionary, from that
author's having seen a landscape signed with his name in the possession of Thomas
Cobbe, Esq. From the scenery of the picture, he is supposed to have visited Italy, and
it is said to be painted with a firm and free pencil, and well coloured.
ROODTSEUS,John. This painter was the son of Albert Roodtseus, an obscure artist,
and, according to Mr. Descamps, was born at Hoorn in 1615. He was a disciple of
Peter Lastman, and by the instruction of that master became one of the most, eminent
portrait painters of his time. Some of his best pictures have been said not to be inferior
to the admirable productions of Bartholomew Vander Heist. Without equalling that
celebrated artist, some of his pictures in the hall of the Society of Archers, in his native
town, prove him to have been an artist of great ability. They consist of three large
pictures, representing the portraits of several of the members, which are painted with
surprising truth and effect. He died in 1674, aged 59.
ROOKER* Edward. An English designer and engraver, born in London about the year
1712. He possessed an admirable talent for engraving architectural views, of which he
has given an extraordinary example in his large plate of the Section of St. Paul's
Cathedral, from a drawing by Wale. We have also several other views by him, among
which are the following :
Rr2

316 ROO ROO
Four Views in Italy; after Wilson.
Six Views in London ; after P. Sandby.
Twelve Views in England ; after the same.
ROOKER, Michael. He was the son of the preceding artist, born in London about the
year 1743, and was first instructed by his father in engraving, but was after placed under
the tuition of Mr. Paul Sandby, to be instructed in drawing and landscape painting. In
1772 he painted and exhibited a view of Temple Bar,, which possessed considerable
merit, and was much admired. For several years he was the principal scene painter to
the Theatre in the Hay-market. As an engraver, he acquired considerable celebrity,
and for many years engraved the head-pieces to the Oxford Almanacks. They were
executed from his own drawings, and exhibit some of the best views which have been
taken of that interesting city. Mr. Rooker was one of the first associates of the Royal
Academy. He died in 1801, aged about 58.
ROORE, James de. This painter was born at Antwerp in 1686. He was the son of a
goldsmith, who intended to bring him up to his own profession, but he died when our
artist was very young, and his mother permitted him to indulge the inclination he had
shown for the art. He was first placed under the care of Louis Vander Bosch, under
whom he studied two years, and afterwards entered the school of Gaspard Jacques van
Opstal. His progress under this master was uncommon, and he soon found himself in a
situation to dispense with further instruction. He painted historical subjects and con
versations ; in the former, he adopted the style of Richard van Orlay, and in the latter
imitated the pleasing style of the younger Teniers. His works were held in the highest
estimation, and he was loaded with commissions, not only for the collections of Brabant
and Flanders, but for those of Holland ; and he found it difficult, with all his assiduity
to satisfy the extensive demand for his pictures. When he was not more than^twenty
years of age he was received into the Academy at Antwerp, and was considered one of
the ablest artists of his time. He was much employed in embellishing the saloons of
the principal mansions, and in painting the ceilings of the public edifices, in which he
displayed a ready invention, and his extensive practice had given him an extraordinary
facility of hand. One of his most admired performances was a saloon and ceiling
representing the History of Pandora, painted for the family of Hasselaer, in 1740. He
died at Antwerp in 1747, aged 61.
ROOS, John Henry. This eminent artist was born at Otterberg, in the palatinate of the
Rhine, in 1631. He was the son of a poor weaver, who was unable to procure him the
necessary instruction, or to support him during his studies; he was therefore appren
ticed to a painter of little note of Amsterdam, named Julian du Jardin, for the term of
seven years. Under this master he made little progress, as he was employed in a branch
of the art ungenial with the bent of his disposition. On the expiration of his inden
ture, he studied for some time under Adrian de Bie, an able designer of landscapes and
animals ; and it was not long before he discovered an extraordinary talent for painting
horses, cows, sheep, goats, &c. in which he not only surpassed his instructor, but became
one of the most celebrated painters of animals of his time. He frequently designed
them in the most singular and difficult attitudes, but always with a corretness of design
and character for which he is remarkable. He was invited to the court of the Elector

ROOS. 317
of Mentz, where he did not confine his talents to landscapes and cattle. He painted
the portrait of that prince, and those of his principal courtiers, for which'he was muni
ficently rewarded. By the recommendation of his patron, he was employed in portrait
painting at several of the courts of Germany; and if he had been solely intent on the
aggrandizement of his fortune, he would have entirely confined himself to so lucrative
a pursuit. But his predilection for his favourite department was not to be subdued by
this seductive allurement. The love of gain yielded to the pleasure of following the
path to which nature had directed him. He established himself at Frankfort, where he
painted his favourite subjects with the most encouraging success. His works were
purchased with avidity, and he received commissions from almost every court in Europe.
A melancholy catastrophe interrupted this flattering career, and deprived the world of
the exercise of his estimable abilities.
In 1685, a dreadful fire broke out in the night in the city of Frankfort, and the house
of Roos was situated in that quarter in which the flames raged with the greatest vio
lence. Anxious to save some valuable objects, he entered the house, and fell a victim to
the flames, in the fifty-fourth year of his life. The landscapes of J. H. Roos present us
with very picturesque scenery; his colouring is fresh and vigorous; his pencil is firm
and decided, and the design of his animals is marked by precision and character. We
have several admirable etchings by this able artist, in which we admire the spirited
exertion of his point, and his excellent conduct of the chiar-oscuro. The following
are his principal plates :
A set of eight Plates of animals ; dated 1665.
A set of twelve Plates of domestic animals.
Two large Landscapes, with ruins and, animals.
A Shepherd sleeping at the foot of a Monument, near his Flock.
ROOS, Theodore. He was the younger brother of John Henry Roos, born at Wezel in
1638. He was first a scholar of Adrian de Bie, but afterwards was instructed by his
brother. In 1659 he was invited to the court of Manheim, where he was taken into the
service of the Elector. His first performance was a large picture representing the por
traits of the principal magistrates, still preserved in the council chamber. He after
wards visited several other courts of Germany, where he met with equal encourage
ment, particularly at Baden and Hanau. The Duke of Wurtemburg employed him in
several historical works, and appointed him his principal painter. The pictures of this
artist are chiefly confined to Germany, where they are justly esteemed, especially his
portraits, which are said to have the merit of a perfect resemblance. His touch is firm
and facile, and his colouring vigorous and clear. It is to be regretted that he had not
paid more attention to the correctness of design, in which respect his best productions
are frequently deficient. He died in 1698, aged 60. By this artist we have a set of six
etchings, of small upright landscapes, with ruins, dated 1667. They are charmingly
executed, and are extremely scarce.
ROOS, Philip, called Rosa da Tivoli. This painter was the son of John Henry Roos,
born at Frankfort in 1655. Endowed by nature with the genius of a painter, and
assisted by the excellent lessons of his father, he gave early proofs of extraordinary
capacity, and was particularly noticed by the Landgrave of Hesse, in whose service his
father was at that time engaged, who took him under his protection, and to promote

318 ROOS.
his improvement sent him to Italy, with a pension sufficient to support him during his
i travels. On his arrival at Rome, his application to his studies was assiduous and exem
plary, and he was regarded as the most laborious young artist of his time. By; his
unremitting attention to his art, he had acquired a facility which is almost incredible.
Of his extraordinary readiness of hand, a remarkable instance is recorded by C. le
Blond, who was at that time a student at Rome. " It happened one day," says he,
" that as a few young artists and myself were occupied in designing from the bassi-
relievi of the arch of Titus, when Roos, passing by, was particularly struck with some
picturesque object which had caught his attention, and requested one of the students to
accommodate him with a crayon and paper. What was our surprize, when in less than
half an hour, he produced an admirable drawing, finished with accuracy and finesse."
He designed every object in his pictures from nature, and to facilitate his studies, he
established himself at Tivoli, where he kept a kind of menagerie of animals, for the pur
pose of drawing them with the greater correctness. It is to be lamented, that, with
possession of such powers, this able artist should have degraded his talents by indulging
in all the excesses of intemperance and dissipation. His pictures, however, though
painted with surprising promptitude and dispatch, have no appearance of negligence or
inattention. They usually represent pastoral subjects, herdsmen with cattle, &c. which
he frequently painted nearly as large as life. His groups are composed with judgment
and taste, and the landscapes in his back-grounds, his skies, and distances, are treated in
a very masterly style. His cattle, in particular, are designed with unusual truth and
spirit, and each animal is marked with the genuine character of its species. He died at
Rome in 1705, aged 50. Rosa da Tivoli is said, by Huber, to have etched a few plates
of pastoral subjects, which are very scarce.
ROOS, John Melchior. This artist was the younger son of John Henry Roos, born
at Frankfort in 1659. After being instructed some time by his father, he travelled to
Italy, where he studied a few years, and on his return to Germany settled at Nuremberg,
where he met with considerable encouragement as a painter of history and portraits, but
his inclination leading him to paint landscapes and animals in the style of his brother
in the latter part of his life he devoted himself entirely to that branch, in which al
though he never reached the excellence of Rosa di Tivoli, his pictures possessed suffi
cient merit to. procure him the patronage of the Landgrave of Hesse Cassel, in whose
service he wps employed several years, and for whom he painted many of his most
esteemed works. He died in 1731, aged 72. There is only one etching known by this
artist, it represents a Bullstanding, seen in front ; it is inscribed, J. M. Roos, fee. 1685.
ROOS, Joseph. A German painter and engraver, born at Vienna in 1728. He painted
landscapes arid cattle with considerable reputation, and was much employed by the
Elector of Saxony. He was a member of the Academy of Dresden, and was afterwards
made keeper of the Imperial Gallery at Vienna. His principal works are in the apart
ments of the castle of Schoenbrun. We have a few etchings by this artist, which are
executed in a neat and spirited style, among which are the following :
A set of six Plates of various animals; inscribed, Joseph Roos, inv. et fecit, aqua for ti. 1754.
Teh Plates of Sheep and Goats.

ROSA. 319
ROSA, Cristoforo. This painter was born at Brescia about the year 1520. He excelled
in painting perspective views, and lived in habits of intimacy with Titian, by whom he
was occasionally employed to paint the architecture in some of his pictures. There are
several of his works at Brescia and at Venice, particularly in the antiehamber in the
library. of St. Mark, in the latter city. He died of the plague in, 1576.
ROSA, Pietro. He was the son of the foregoing artist, and from the friendship that
existed between his father and Titian, he was received into the school of that great
painter, of whom he became one of the most favoured disciples, and few of his numerous
pupils have approached so near to his admirable principles' of colouring. Of this he
has given proof in the pictures he painted for the cathedral at Brescia, and for the
churches of S. Francesco and le Grazie. This promising young artist fell a premature
victim to the plague, in the same year with his father.
ROSA, Francesco di, called Pacicco. This painter was born at Naples about the year
1600, and was brought up in the school of Massimo Stanzione. His style is commended
by Lanzi for the correctness of his design, and the expressive beauty of his heads. His
colouring is tender and harmonious, with a fine impasto, by which its. freshness and
vigour is preserved. His easel pictures are frequently found in the private collections
at Naples, and he painted some altar-pieces for the churches, of which the most deserv
ing notice are his pictures of S. Tommaso d'Aquino, in the church of la SanitS ; and the
Baptism of S. Candida, in S. Pietro d'Aram. He died at Naples in. 1654, aged. about 54.
ROSA, Salvatore. This distinguished artist was born at Naples in 1615. He was the
son of a land-surveyor, who bestowed on him a liberal education, and having shown a
decided partiality for the art of painting, he was placed under the care, of; Francesco
Francazano, an artist of some reputation, who had married his sister. By the death of
his father, he was reduced to such a state of indigence, that he was under the necessity
of maintaining himself by the fortuitous produce of his juvenile performances, which he
exposed for sale in the public market-place. He had languished for some time in this
obscurity, when some of his sketches attracted the notice of Giovanni Lanfranco, who,
regarding them as the productions of uncommon genius, enquired after, the young artist,
and with a liberality we have too seldom an opportunity of recording, relieved his
wants, and encouraged him in the pursuit of, his studies. He received some instruc
tion from Anniello Falcone, an eminent painter of battles, and afterwards became a
disciple of Guiseppe Ribera, called II Spagnoletto, under whom he studied until he was
twenty years of age, when he accompanied that master to Rome. The Cardinal Bran-
cacci, who had become acquainted with his merit at Naples, took him under his protec
tion, and conducted him to his bishopric of Viterbo, where he painted an altar-piece,
representing the Incredulity of St. Thomas, for the cathedral; and other historical
works. On his return to Rome he met with more powerful patronage from Prince
Giovanni Carlo di Medici, who employed him in several important works, and invited
him to return with him to Florence, where, during a residence of nine years, he distin
guished himself not less by his abilities as a satirical and dramatic poet, and his extra
ordinary talents of performing the principal parts in his own comedies, than by his
powers as a painter. On his return to Rome he painted some altar-pieces for the
churches, among which are four pictures in S. Maria di Monte Santo, representing

320 ROSA.
Daniel in the Lion's Den, Tobit and the Angel, the Resurrection of Christ, and the
Raising of Lazarus ; and in the church of S. Giovanni de Fiorentini, the Martyrdom of
St. Como and St. Damian.
Although Salvator possessed an inventive genius, and a commanding facility of exe
cution, his powers were better adapted to the scale of easel pictures, than to figures of
larger dimensions. Of this he has given evident proof in his admirable picture of
Attilius Regulus, formerly in the Palazzo Colonna, at Rome, now in the possession
of the Earl of Darnley. In his pictures of that description, we equally admire the bold
ness of his scenery, and the correct and spirited design of his figures. His landscapes
are featured by an eccentric austerity, which is peculiarly his own. Instead of selecting
the cultured amenity which captivates us in the views of Claude or Poussin, he made
choice of the lonely haunts of wolves and robbers ; for the delightful vistas of Tivoli, or
the Campagna, he substituted hollow glens, or rocky precipices ; in lieu of the rich
foliage, and luxuriant verdure of their trees and plains, we are presented with dreary
wastes, or the trunk of a storm-struck oak, spreading its shattered branches through the
troubled air. The inhabitants of these gloomy regions are admirably suited to their
savage solitude. They are peopled by assassins, outlaws, and ferocious banditti. His
marines represent the desolate and shelvy shores of Calabria, whose terrific aspect is
sometimes rendered doubly disastrous by the fearful terrors of shipwreck. He fre
quently represented battles and attacks' of cavalry, in which the fury of the combatants,
and the fiery animation of the horses, are perfectly delineated. Notwithstanding the
singularity and fierceness of his style, he fascinates us by the unbounded wildness of his
fancy, and the picturesque solemnity of his scenes. " He gives us," says Sir Joshua
Reynolds, " a peculiar cast of nature, which, though void of grace, elegance, and sim
plicity, though it has nothing of that elevation and dignity which belongs to the grand
style, yet has that sort of dignity which belongs to savage and uncultivated nature ; but
what is most to be admired in him is, the perfect correspondence which he observed be
tween the subjects he chose, and his manner of treating them. Every thing is of a piece;
his rocks, trees, skies, even to his handling, have the same rude and wild character which
animates his figures." He died at Rome in 1673, aged 59. This ingenious artist has left
us about ninety etchings, executed in a spirited and masterly style. They are distin
guished by an intelligent management of the chiar-oscuro, and there is an uncommon
vivacity and expression in the heads. He marked his plates with a monogram com
posed of an S. and an R. thus, % . The following are his principal plates :
A set of sixty-two Prints of banditti, soldiers, and other figures; single and in groups.
The Fall of the Giants.
The Death of Attilius Regulus.
The finding of (Edipus.
Democritus meditating.
The Execution of Polycrates.
Glaucus and Sylla.
Jason charming the Dragon,
\ Alexander with Apelles.
* Alexander and Diogenes.
i>J)iogenes throwing away his Bowl.
» Plato discoursing with his Disciples.
Apollo and a Nymph.

ROS ROS 321
An Allegorical Subject ; called The Genius of Salvator.
A set of six Plates, in the form of frieses, representing Tritons, Sea Nymphs, <fec.
ROSA, Sisto. See Badalocchio.
ROSALBA, Carriera. This ingenious lady was born at Chiazza, in the Venetian states,
in 1675. She was instructed in the art by Giovanni Diamentini, and for some time
applied herself to oil painting, which she afterwards abandoned for miniature and
crayons. She carried these branches of the art, particularly the latter, to so unusual a
pitch of perfection, that few artists can be said to have equalled her. She visited Paris,
in company with Pellegrini, her brother-in-law, where she painted the Royal Family, the
princes of the blood, and most of the nobility, and was received into the Academy, pre
senting at her reception, a picture of one of the Muses. The portraits of Rosalba are
gracefully designed and charmingly coloured. Her tints are blended with uncommon
tenderness and delicacy, and her heads exhibit a lovely expression of truth and nature.
She was constantly employed at most of the courts of Europe, and every where left proofs
of her extraordinary ability. A constant application to her art, during a long life,
deprived her of her sight when she was upwards of seventy, though she lived several
years afterwards, and died in 1757, aged 82.
ROSE, Nicholas. See Liemacker.
ROSEL, John Augustus. This artist resided at Nuremberg about the year 1750. He
distinguished himself as a painter of insects in miniature, which are said to have been
designed with accuracy, and very highly finished.
ROSELLI, Niccolo. According to Baruffaldi, this painter was of Ferrara, and flourished
about the year 1568. He is supposed to have been brought up in the school of the
Dossi ; though in some of his works, in the Certosa at Ferrara, he appears to have imi
tated the style of Benvenuto Garofolo. He painted several pictures for the churches in
his native city, among which are an altar-piece in the cathedral, representing the Virgin
and Infant in the clouds, beneath St. John the Evangelist, and St. Anthony ; and a pic
ture of the Purification, in the church of S. Maria Bianca.
ROSETTI, Domenico. This artist was born at Venice about the year 1690. He painted
architectural views and perspective with some success, but is chiefly known as an en
graver. He was invited to Dusseldorp by the Elector Palatine, where he engraved
twelve large plates of the history of Alexander, from Gerard Lairesse, which are now
become very scarce, as few impressions of them were taken. He executed several of
the plates for the collection of prints after some of the most celebrated pictures at
Venice, published by Domenico Louisa, in that city, in 1720.
ROSI, Alessandro. In the Abecedario, by Orlandi, this artist is said to have been born
at Florence in 1627. He was a scholar of Cesare Dandini, under whose tuition he be
came a reputable painter of history. There are many of his pictures in the churches
and private collections at Florence, and in the state. In the cathedral at Prato is an
admired picture by him of S. Francesco di Paolo; and in the collection of the Grand
Vol. II. S s

322 ROS ROS
Duke, two Bachanalian subjects, .which, are highly esteemed- He died at Florence in
1697, aged 70.
ROSLER, Michael. An obscure German engraver, who resided at Nuremberg about
the year 1626. He engraved several portraits for a folio volume, published in that city,
entitled, Icones Bibliopolarum et Typographorum.
ROSSMAESSLER, John Augustus. This artist was born at Leipsic in 1752, and was
instructed in design by Frederick Oeser. He has engraved a great variety of book
plates and vignettes, which are admired for the spirit and neatness of the execution.
We have also by him a few plates of views in the environs of Leipsic. This ingenious
artist died at Leipsic, much regretted, in 1783, aged 31.
ROSS, James. An English engraver, who flourished about the year 1778. We have by
this artist several views of the city of Hereford, very. neatly engraved ; they are small
plates, and are taken from drawings by G. Powle.
ROSSELLI, Cosimo. This painter was born at Florence in 1416. It is not known under
whom he studied, but he had already acquired some reputation in his native city, by the
works he had executed for the churches, particularly a picture representing the Miracle
of the Sacrament, in S. Ambrogio, when he was invited to Rome by Sixlus IV. to assist
in the ornaments of his chapel, in conjunction with Domenico Ghirlandajo, Pietro
Perugino, Sandro Boticelli, and others. The best picture he painted in the chapel was
Christ preaching, in which he is said to have been assisted by his disciple Pietro di Co
simo, who painted the landscape. He died in 1484, aged 68.
ROSSELLI, Matteo. This painter was born at Florence in 1578, and was first a scholar
of Gregorio Pagani. He afterwards became a disciple of Passignano, with whom he
visited Rome, and improved his style by studying the works of Raffaelle and Polidoro
da Caravaggio. On finishing his studies at Rome he returned to Florence, where he
resided the remainder of his life, and his works are little known out of that city. He
was much employed by the Grand Duke Cosimo II. and embellished the Villa di Coggio
with several frescoes, representing the history of the Family of Medici. He sometimes
emulated the style of Lodovico Cardi, called Cigoli, as particularly appears in his pic
ture of the Nativity, in the church, of S. Gaetano, which isiConsidered his finest work,
and in the Martyrdom of S. Andrea, at the Ognissanti. Although the works of Roselli
are not distinguished by the male and vigorous design, and animated expression, which
are found in some of the painters of his country, they are estimable for a correct and
simple imitation of nature, a certain quiet accord and solemnity of effect, on which the
eye dwells with more complacency, than on the vivid productions of the most florid
colourist. He particularly excelled in fresco painting, in which his works still retain
their pristine purity and freshness. Such are his paintings in the cloister of the Nunzi-
ata> particularly that representing Pope Alexander IV. approving the institution of the
order of the Serviti, which Pietro da Cortona regarded as an admirable work of art.
He died in 1650, aged 72.

ROS ROS 323
ROSSETTI, Giovanni Paolo. According to Vassari, this painter was^a native of Volterra,
and flourished about the year 1568. He was a nephew of Daniele Ricciarelli, called di
Volterra, under whom he studied at Rome, and is said to have painted history with
considerable reputation. After the death of his uncle he left Rome, and returned to
Volterra, where he executed some altar-pieces for the churches, of which one of the
most esteemed was a picture of the taking down from the Cross, in the church of S.
Dalmazio.
ROSSI, Francesco. See Salviati.
ROSSI, Muzio. According to Crespi, this painter was born at Naples in 1626, and was
for some time a disciple of Massimo Stanzioni. From the school of that master he
went to Bologna, where he frequented the academy of Guido, and at the age of
eighteen, was sufficiently advanced in the art, to compete with the ablest artists of the
time ; when he painted an altar-piece for the Certosa, representing the Nativity, which
was considered a prodigy of juvenile ability. On his return to Naples, he was engaged
to paint the tribune in S. Pietro in Majella, which he had not entirely finished when his
country was deprived of his extraordinary talent, in thebloom of life. He died in 1651,
aged 25.
ROSSI, Giovanni Batista. This artist is mentioned by Florent le Comte as an engraver,
who attributes to him a set of perspective views of Rome, published in 1640.
ROSSI, Girolamo, called de Rubeis the elder. This artist was born at Rome about the
year 1630, but was brought up at Bologna, under Simone Cantarini. His genius led him
more to engraving than painting, and we have several plates by him, after the Bolog
nese painters, which possess considerable merit; among others are the following :
The Portrait of Pope Pius V. ; after Scipione Gaetano.
Two Cupids playing ; after Guercino.
The Virgin and Infant, with St. Jerome and St. Francis; after Lodovico Caraeci, inscribed,
Hieronimus de Rubeis pictor, delineavit incidit.
St. Charles Boromeus kneeling before a Crucifix; after An. Caraeci.
ROSSI, Girolamo, called de Rubeis the Younger. He was the son of the preceding
artist, born at Rome about the year 1680. He chiefly resided in his native city, where
he engraved a variety of plates, after the Italian painters. He also executed several
portraits of the cardinals of his time, for a set, which was afterwards continued by
Pazzi and others. They are feebly engraved. We have also by him the following
prints :
The Virgin and infant Jesus ; after Coreggio.
The Martyrdom of St. Agapita; after Gio. Odazzi.
ROSSI, Pasquale, called Pasqualino. This artist was born at Vicenza in 1641. With
out the instruction of a master, he is said by Orlandi to have reached a respectable rank
as a painter of history, by studying and copying the best works of the Venetian and
Roman schools. Of his pictures in the churches at Rome, the most deserving attention
Ss2 *

324 ROS ROS
are Christ praying in the Garden, in S. Carlo al Corso ; and the Baptism of Christ by
St. John, in S. Maria del Popolo. In the church of the Silvestrini, at Fabriano, is a
picture by him of the Madonna and Bambino ; but perhaps his most estimable produc
tion is his celebrated altar-piece, in the cathedral at Matelica, representing St. Gregory
interceding for the Souls in purgatory, painted in the finest style of Guercino. He also
painted gallant assemblies and musical parties, which are esteemed in the choicest collec
tions. He died in 1700, aged 59.
ROSSI, Antonio. He was born at Bologna in 1700, and was edncated in the school of
Cavaliere Marc Antonio Franceschini, of whom he was a favourite disciple, and who
recommended him, in preference to his other pupils, to execute the commissions which,
from his extensive occupation, he was incapable of undertaking. Of the numerous pic
tures he painted for the public edifices at Bologna, his Martyrdom of S. Andrea, in the
church of S. Domenico, is the most creditable to his talents. He was much employed
in decorating, with his figures, the architectural and perspective views of Orlandi and F.
Brizzio.
ROSSI, Andrea. An Italian engraver, who resided at Rome about the year 1770. We
have, among others, the following prints by him :
The Portraits of Joseph II. and the Archduke Leopold ; after Pompeo Battoni.
A Bust of the Virgin ; after Carlo Dolci.
St. Margaret of Cortona kneeling before a Crucifix ; after Pietro da Cortona.
ROSSO, II, called by the French Maitre Roux. This eminent artist was born at Flo
rence in 1496. Although he was not a disciple of Andrea del Sarto, he was at first an
admirer of his manner, and afterwards improved his powers by studying the works of
Michael Angelo and Parmigiano. Endowed with a ready and inventive genius, he
scorned to be the servile imitator even of Buonaroti, and at an early age he ventured to
compete with the ablest of his contemporaries in the cloister of La Nunziata, where he
painted a large picture of the Assumption of the Virgin, which was distinguished by a
novel and intrepid style, in which he displayed both originality and taste. After paint
ing several other pictures for the churches at Florence, particularly the Marriage of the
Virgin, in S. Lorenzo, he went to Rome, where his talents were already known. He
painted an altar-piece for S. Maria della Pace; and the Decollation of St. John, for the
church of St. Salviati. II Rosso had acquired considerable celebrity when that city
was taken and plundered, in 1527 ; and with many other artists was obliged to fly from
Rome. He took refuge at Volterra, where he painted a fine picture of the Deposition
from the Cross, for the Oratorio'di S. Carlo. He afterwards went to Venice, where he
painted for Aretin his celebrated picture of Mars and Venus, which has been engraved
by his disciple Domenico Barbiere. Not meeting with the success he expected in Italy,
he resolved on visiting the court of Francis I. of France, who was at that time the great
encourager of art. He was very favourably received by that monarch, who immedi
ately engaged him in his service, and appointed him superindent of the great works
which he was then engaged in at the Chateau of Fontainbleau. As II Rosso was not
\eis eminent as an architect than a painter, he undertook the building of the great gal
lery in that palace^ which was executed from his plan, and which he decorated with

ROTA. 325
several paintings and, ornaments in stucco, many of which were afterwards destroyed. by
his rival and competitor, Francesco Primaticcio, to make way for his own works. Of
twenty-four pictures, emblematical of the principal actions of Francis I. thirteen still
remain, of which a particular description has been given by the Abbe Guget.
The style of II Rosso, though singular, is grand. He displayed a dignity of character,
a lively expression in his heads, a tasteful arrangement of his habiliments, an effective
management of his light and shadow, and a daring execution ; though these excellencies
were accompanied by a wildness and extravagance, too frequently attached to a fertile
and exuberant imagination. This able artist was well versed in literature, and had a
taste for poetry and music. His conversation was agreeable, and his manners polished.
The possession of such accomplishments secured him the regard and good graces of
Francis I. He was in the full possession of royal favour, and of the public estimation,
when he sacrificed these enjoyments to a mean and unfounded suspicion. He had con
tracted a friendship with Francesco Pellegrini, a Florentine painter, who was in the habit
of visiting him frequently, when his house was robbed of a considerable sum. He rashly
suspected Pelegrini to be the robber, against whom he brought a formal accusation ; he
was in consequence of the charge put to the torture, and after suffering the most hor
rible torments was declared innocent. The remorse of having so unjustly exposed an
innocent person to so dreadful a trial, preyed upon his mind, and he put an end to his
existence by poison, in 1541, at the age of 45.
ROTA, Martino. This eminent engraver was born at Sebenico, in Dalmatia, about the
year 1540, but he chiefly resided at Rome and Venice. By whom he was instructed in
the art of engraving is not ascertained, but he proved himself an artist of great ability.
His design of the figure is unusually correct, and his extremities are marked with pre
cision. His plates are executed entirely with the graver, and though they are not very
highly finished, they are wrought in a neat clear style. His print, representing the Last
Judgment, after Michael Angelo Buonaroti, is justly considered as his master-piece,
whether we consider the neatness of the execution, or the exactness with which he has
preserved the correct drawing of the painter, on a scale so different from the original.
This fine print, which is inscribed Martinus Rota, 1569, has been very closely copied by
Leonard Gaultier, though it may easily be distinguished from the original, not only by
its inferiority, but by observing that tbe face of the portrait of M. Angelo, which is
represented in a small oval at the top, is in the original turned towards his right shoulder,
in the copy it is towards the left shoulder. There is also a copy of it by J. Wierix. He
engraved some plates from his own designs, and from the principal Italian painters. He
usually signed his plates with his name, but sometimes marked them with a singular
monogram, consisting of an M. and awheel by the side of it, in reference to his name,
Rota, in Latin, signifying a wheel, M. @. The following are his principal plates,
which are difficult to meet with in good impressions :
PORTRAITS.
Maximilian II. Rom. Impcr. 1575.
The Emperor Rodolphus II. 1592 ; with the cypher.
Ferdinand I. in the costume of his time. 1575.
Henry IV. King of France.

326 ROT ROT
various subjects from his own designs.
The Resurrection ; dated 1577.
The same Subject, differently treated.
The Murder of the Innocents. •
The Last Judgment ; dedicated to Rodolphus II. 1573.
Another print of the Last Judgment. This plate was left imperfect at his death, and was
finished by another hand.
The Scourging of Christ. 1568.
SUBJECTS AFTER VARIOUS MASTERS.
The Martyrdom of St. Peter ; after Titian.
Mary Magdalen penitent ; after the same.
Prometheus chained to the Rock ; after the same.
Christ appearing to St. Peter ; after Raffaelle. 1568.
ROTARl, Conte Pietro. This painter was of a noble family of Verona, born in 1707,
and, among other accomplishments, was instructed in design. For some time he merely
practised the art as an amusement, but his progress was so flattering, that he at length
resolved to adopt it as a profession, and he became a scholar of Antonio Balestra, under
whom he studied until he was eighteen years of age. He , afterwards visited Venice,
where he passed two years in contemplating the works of the best masters of that dis
tinguished school of colouring. In 1727 he went to Rome, where he entered the school
of Francesco Trevisani, and was occupied four years in studying the great works of art
in that metropolis. By the advantages of travel, and an assiduous application to his
pursuit, he became a correct and graceful designer, and joined to the expressive airs of
his heads, an elegance of contour, and a tasteful dispostion of his draperies, in which
he was not surpassed by any artist of his time. His principal works in Italy are his
picture of the Annunciation, at Guastalla; and the Birth of the Virgin, in the church
of S. Giovanni, at Padua. He afterwards visited the courts of Vienna and Dresden,
where he met with the most flattering encouragement; and in 1756 was invited to St.
Petersburg by the Empress of Russia, who appointed him her principal painter, in
which capacity he died, in 1762, aged 55. We have several slight but spirited etchings
by this artist, some of which are from his own compositions, and others after the works
of Ballestra ; among others are the following :
The Portrait of Filippo Baldinucci. 1726.
St. Francis kneeling before a Crucifix; from his own design.
The Educatiou of the Virgin ; the same.
SUBJECTS AFTER ANTONIO BALLESTRA.
Abraham and the Angels.
David with the Head of Goliah.
St. Jerome ; half-length.
Venus and jEneas.
ROTTEN HAMER, John. He was 'born at Munich in 1564, and was instructed in the
rudiments of design by an obscure artist, named Donower. At an early period of his
life he went to Rome, where it was not long before he distinguished himself by painting

R O V ROU 327
small pictures of historical subjects, which, though they retained somewhat of the
German taste, were ingeniously composed, and touched with great neatness and spirit.
He had acquired some reputation by his, easel pictures, when he was commissioned to
paint an altar-piece for one of the churches at Rome, representing several Saints, with a
glory of angels. The ability which he discovered on this occasion excited universal
surprise at the extent and versatility of his talents. A desire of improving himself in
colouring, prompted him to visit Venice, where he particularly attached himself to
studying the works of II Tintoretto, in the Scuola di S. Marco ; and he appears to have
imitated the style of that master with uncommon success. During his stay at Venice,
he painted some pictures for the public edifices, of which the most admired were the
Annunciation, in the church of S. Bartolomeo ; and a picture of S. Cristina, at the Incu-
rabili. Ferdinand, Duke of Mantua, employed him in several considerable works, for
whom he painted one of his most admired pictures, representing Nymphs dancing.
After a residence of many years in Italy he returned to his native country, and esta
blished himself at Augsbourg, where he met with great encouragement. He painted a
picture for the great altar of the Holy Cross, representing all the saints, which is consi
dered one of his most capital performances, and was much employed for the private col
lections. He was patronised by the Emperor Rodolphus II. for whom he painted a
capital picture of the Feast of the Gods, a composition of many figures, gracefully
designed, and coloured with all the splendour of the Venetian school. His cabinet
pictures are by no means uncommon, and they are found in the choicest collections.
The back-grounds are frequently painted by John Breughel, and sometimes by Paul
Brill. He was fond of decorating his compositions with rich and splendid accessories,
and was particularly desirous of introducing naked figures into his pictures, which'he
piqued himself on designing with taste, and colouring with delicacy. He usually made
choice of gay and agreeable subjects, and the airs of his heads are expressive, though
not sufficiently varied. Though Rottenhamer resided great part of his life in Italy, he
never entirely lost sight of the taste of his country. His design, though not very incor
rect, is formal and mannered. He died at Augsbourg, in 1606, aged 42.
ROVERE, Giovanni Mauro, called Fiamminghino. This painter was born at Milan in
1570, of parents originally of Flanders. According to Orlandi, he was brought up under
the'Procaccini, whose style he followed, particularly that of Giulio Cesare. He painted
history with some reputation, and when he did not suffer himself to be led away by a
dangerous impetuosity, produced some pictures worthy of the school in which he was
educated. Such is his altar-piece of the Last Supper, in the church of S. Angelo, at
Milan, which is admired for the grandeur of the composition, and the expressive cha
racter of the heads. There are several of his easel pictures in the private collections at
Milan. He died in 1640, aged 70.
ROULLET, John Louis. An eminent French engraver,, born at Aries, in Provence, in
1645. He was first instructed in the art of engraving by John Lenfant, but he after
wards became a pupil of Francis de Poilly, and was the ablest of his scholars. On leav
ing that master he went to Italy, where he passed ten years, and acquired a purity and
correctness of drawing which enabled him to engrave with success after the great mas
ters of the Italian school. His print of the Marys with the dead Christ, after the cele
brated picture by Annibale Caraeci, formerly in the Orleans collection, now in the pos-

328 ROU ROU
session of the 'Earl of Carlisle, is one of the most admirable productions of the art, for
the firm and correct drawing, the beauty of the graver, and the fidelity with which he
has preserved the fine expression of the original picture. The following are his prin
cipal works : PORTRAITS.
Louis XIV. ; a half-length.
Francis de Poilly, Engraver to the King. 1680.
John Baptist Lully, Musician to the King.
Ascanius Philamarinus, Cardinal Archbishop of Naples.
SUBJECTS AFTER VARIOUS MASTERS.
The three Marys, with the dead Christ ; after An. Caraeci.
The Virgin and infant Jesus ; after the same.
Two of the angles of the dome of the church of the Jesuits at Naples, representing St. Mat
thew and St. Luke ; after Lanfranco. The two other angles, representing St. Mark and St.
John, are engraved by jF. Louvemont.
The Visitation of the Virgin to St. Elizabeth ; after Mignard.
The Virgin, with the infant Jesus in her arms, who is holding a Bunch of Grapes; after the
same.
ROULLIERE, La. This artist is mentioned by Papillon as an engraver on wood of some
merit, who flourished about the year 1700, but he has not specified any of his works.
ROUSSEAU, James. This artist was born at Paris in 1626. After being instructed in the
elements of design in his native city he went to Rome, where he applied himself to the
study of perspective and landscape, and designed the most remarkable views in the
vicinity of that city. He formed an intimacy with Herman Swanevelt, whose sister he
married, and, assisted by the advice and instruction of that able artist, he became an
eminent painter of landscapes and architectural views. On his return to Paris he met
with the most favourable reception. He was employed by Louis XIV. in ornamenting
the chateaux of Marly and St. Germain en Laye, and was made a member of the Aca
demy at Paris. He was in the height of his reputation at the time of the revocation
of the edict of Nantes, when, on account of his being a protestant, he was obliged to
leave France, and his name was erased from the list of the academicians. He retired
into Holland, where he was invited to England by the Duke of Montague, and was em
ployed, in conjunction with Charles de la Fosse and John Baptist Monnoyer, in orna
menting his mansion of Montague House. He was afterwards employed in painting
several landscapes and perspective views for the palace of Hampton Court. The land
scapes of Rousseau generally represent select and classic scenery, embellished with the
views of magnificent architecture. He appears to have taken for his model the admi
rable productions of Nicholas Poussin. We have a few etchings by this artist which
are executed in a spirited style ; among which are,
A set of six Landscapes, with architecture and figures.
The Repose in Egypt ; after An. Caraeci.
St. John Baptising the People of Israel; after the same.

ROU ROU 329
ROUSSEAU, John Francis. A French engraver, who resided at Paris about the year
1760. He has engraved a great number of vignettes and other book-plates; after Gra-
velto, Cochin, and others. We have also the following prints by him :
The Virgin and infant Christ ; after Vander Werf.
St. Jerome ; after Mola.
ROUSSELLET, Giles. This artist was born at Paris in 1614. It is not known under
whom he learned the art of engraving, but his style resembles that of Bloemaert. His
drawing is correct, and his prints possess considerable merit, though in some of them
the lights are more covered than is necessary, which gives a heaviness to their effect.
The number of his plates is considerable, of which the following are the most esteemed :
PORTRAITS.
Charles de Valois, Duke d'Angouleme.
Peter Seguier, Chancellor of France ; after Le Brun.
Richard de Belleval, Chancellor of the University; after the same.
SUBJECTS AFTER VARIOUS MASTERS.
The Frontispiece to the Polyglot Bible ; after S. Bourdon.
The Holy Family ; with St. Elizabeth and St. John presenting the infant Jesus with a Bird •
after Raffaelle.
The Holy Family ; after the same ; called La Belle Jardiniere.
The Holy Family, with St. Elizabeth, St. John, and two Angels ; after the same. G. Edelinck
has engraved the same subject.
St. Michael discomfiting the Evil Spirit ; after the same.
The Annunciation ; after Guido.
Four plates representing three of the Labours of Hercules and his Death; after the same.
David playing on the Harp ; after Domenichino.
The Entombing of Christ ; after Titian.
Four plates of the Four Evangelists ; after Valentin.
The Servant of Abraham meeting Rebecca; after N. Poussin.
Moses saved from the Nile by Pharoah's Daughter ; after the same.
The Holy Family ; after S. Bourdon.
St. John the Evangelist ; after the same.
The Crucifixion ; after Le Brun.
The Dead Christ in the lap of the Virgin; after the same.
The Dead Christ supported by an Angel ; after the same.
The Holy Family ; after the same.
Mary Magdalen penitent ; after the same.
St. Bernard kneeling before the Virgin ; after ihe same.
St. Theresa in contemplation; after the same.
ROUSSELET, Mary Ann. This lady was the wife of Peter Tardieu, the engraver, and
was probably a relative of the preceding artist. She engraved several plates for Button's
Natural History; and among other prints we have by her,
St. John in the Desert; after Charles Vanloo.
Vol. II. T t

330 ROU RUB
ROUSSIERE,  . This artist is noticed by Mr. Strutt as the engraver of a
portrait of Michael de Castelnau, Ambassador from France.
ROUX, Maibre. See Rosso.
ROY, Henry le. An obscure engraver, by whom we have a set of six plates of Butter
flies, Beetles, and other insects, etched in a style resembling that of Hollar, and re
touched with the graver. They are inscribed Henry le Roy, fecit M. 72, 1651.
ROY, C. le. This, name is affixed to the portrait of And. Hercules Card. Fleury ; en
graved after Autreau.
RUBEIS. See Rossi.
RUBENS, Sir Peter Paul. In presenting the memoirs of the illustrious head of the
Flemish school, we have to speak of the consummate painter, the enlightened scholar,
the skilful diplomatist, and the accomplished man of the world. Peter Paul Rubens was
the son of John Rubens and Mary Pipelings, both descended from distinguished fami
lies of the city of Antwerp, where his father filled the situation of one of the principal
magistrates. The calamities of civil war, which desolated the Low Countries about
the year 1570, obliged him to abandon his charge, and to take refuge at Cologne, where
our artist was born, in 1577, on the feast of St. Peter and St. Paul, on which account
he received at the baptismal font the names of those Apostles. In his early years, his
mind was cultivated with the most attentive care, and in the progress of a classical
education, he discovered uncommon vivacity of genius, and unusual docility of disposi
tion. The city of Antwerp having again been placed under the dominion of Spain, the
father of Rubens returned to his native city, amd re-entered on the administration of his
office. On finishing his studies, the young Rubens was plaeed as a page to the Countess of
Lalain, in which capacity he remained a short time, in a situation by no means agreeable
to his wishes. His father dying soon afterwards, he obtained his mother's permission to
pursue the bent of an inclination he bad discovered for painting, and he was placed
under the tuition of Tobias Verhaecht, a landscape painter of some respectability, but
his genius leading him more immediately to historic painting, he became a disciple of
Adam van Oort, whose works were then in high reputation. The depravity and extra
vagance of that artist could not fail of disgusting a student whose elevated mind, and
urbanity of manners, were as remarkable as the brutal outrages of his instructor, and he
soon quitted that master, to enter the school of Otho Venius, who was at that time con
sidered one of the most distinguished masters of the Flemish school. To his talents as
a painter, Otho Venius united the most polished manners, and an extensive acquaintance
with literature. The possession of qualities so congenial with his pursuits, rendered the
tuition of Otho Venius particularly agreeable to our student, who conceived the strongest
attachment and the most profound veneration for his instructor.
Rubens had reached his twenty-third year, when his preceptor assured him, that his
lessons could be of no further advantage to him, and recommended a journey to Italv
as the surest means of leading to perfection those talents which had already displayed
themselves with such extraordinary promise. In following the advice of his master,

RUBENS. 331
Rubens gratified his own particular inclination, which had been long bent on such a
project. He had for some time been favoured with the patronage of the Arch Duke
Albeit, then governor of the Netherlands, who on this occasion forwarded his views, by
giving him a particular recommendation to Vincenzio Gonzaga, Duke of Mantua, and in
1600, he set out on his travels to Italy.
On his arrival at Venice, he passed some time in examining the most celebrated
works of the Venetian masters, and pursued his journey to Mantua, where he was re
ceived by the Duke with the most marked distinction. To fix him near his person, he
appointed him one of the gentlemen of his chamber, and this honour was the more
acceptable to Rubens, as it gave him the opportunity of a more intimate acquaintance
with the great works of Giulio Romano, in the Palazzo del T. which were the objects
of his paricular admiration. The contemplation of the poetry of Homer, personified
by the graphic powers of Giulio, excited his emulation to the highest pitch ; and it is
reported, that whilst he was occupied in painting a picture of the history of Turnus and
iEneas, intending to warm his imagination by the rapture of poetry, he repeated, with
energy, the lines of Virgil, commencing,
Ille etiam patriis agmen ciet, &c.
The Duke, who overheard him, entered the apartment, and was not a little surprised to
find his painter's mind stored with all the graces of literature. Rubens had been two
years in the service of the Duke of Mantua, when he requested and received the permis
sion of his protector to revisit Venice, for the purpose of studying the works of Titian
and Paolo Veronese, which had made so deep an impression on him in his passage
through that city. It was by studying the best principles of colouring at the fountain
head, that he acquired that splendid style which is so much admired in his works, and
on his return to Mantua, he evinced how much he had profited by his studies at Venice
in the three magnificent pictures he painted for the church of the Jesuits, which may
be regarded as some of his finest works. The Duke of Mantua being desirous of pos
sessing the best copies he could procure of some of the most celebrated pictures at
Rome, cast his eye on Rubens as the most capable of executing such a commission
and was at the same time influenced by the obliging intention of affording his favourite
an opportunity of visiting the great emporium of taste and virtu. He received this
flattering mark of his patron's distinction with gratitude and delight; and during his
residence in the metropolis of art, he sent his employer transcripts of several of the
most distinguished paintings which were executed with no common ability, and were
esteemed by his patron little inferior to the. originals. He was employed by the Arch
Duke Albert to paint three pictures for the church of S. Croce in Gerusalemme, repre
senting the Finding of the Cross by St. Helena, Christ bearing his Cross, and the Cruci
fixion. The two last are considered amongst his most admirable productions.
In 1605, the Duke of Mantua having occasion to send an envoy to the court of Spain,
selected Rubens for the purpose, and directed him to return to Mantua from Rome to
enter on his embassy. He set out for Madrid, carrying with him magnificent presents
for the Duke of Lerma, the favourite minister of Philip III. He exerted at that court
his political and pictorial talents, with a dignity and propriety that raised the latter,
without debasing the former, and accomplished the object of his mission entirely to the
satisfaction of his employer and the King of Spain, whose portrait he painted, and
received from that monarch the most flattering marks of esteem and approbation. Soon
Tt 2

332 RUBENS.
after his return from his embassy, the Duke of Mantua permitted him to revisit Rome,
having been engaged to ornament the tribune of S. Maria in Vallicella, where he
painted three admirable pictures, in which he appears to have imitated the style of
Paolo Veronese. On leaving Rome, Rubens visited Genoa, where the distinguished
reputation he had acquired in the other parts of Italy excited the public curiosity, and
he was employed in several considerable works, which increased his celebrity. He
painted two pictures for the church of the Jesuits, representing the Circumcision, and
St. Ignatius working a Miracle, which were highly applauded.
Rubens had now been absent eight years from his native country, when he received
the intelligence, that his mother was dangerously ill, and though he returned to Antwerp
with all possible speed, he did not arrive until after her death. The loss of a parent, to
whom he was tenderly attached, was a severe affliction to Rubens, and he had formed
the project of returning to Italy, when the Arch Duke Albert and the Infanta Isabella
employed every inducement to retain him in their service. He consequently abandoned
his intention, and established himself at Antwerp, where he built a magnificent house,
with a saloon in the form of a rotunda, which he enriched with antique statues, busts,
vases, and pictures, by the most celebrated painters. It was in the midst of these select
productions of art, that he conceived and executed the greater part of the chef d'ocuvres
which have immortalized his name. He now passed several years in the tranquil and
successful exercise of his great abilities, during which time he embellished the public
edifices of the Low Countries with an almost incredible number of his admirable
paintings. To accomplish the extensive undertakings in which he was engaged, and at the same
time to keep alive his intercourse with the Muses, whose society he always courted with
avidity, the occupation of his time was regulated with a precision which nothing was
permitted to derange. He never painted without having read to him some passage of
history or poetry, and the works of ancient or modern writers were equally familiar to
him, as he perfectly understood and spoke with fluency seven different languages. This
constant accumulation of knowledge had enriched the mind of this great painter with
inexhaustible resources.
The extraordinary and well merited fame acquired by this admirable artist, could
hardly fail of exciting the envy, and consequently the injustice, of his contemporaries.
Rubens, generous and affable, the liberal and beneficent encburager of art, found him
self assailed by the calumnies of those who were most indebted to him for assistance.
With the most audacious effrontery, they attempted to insinuate that he owed the best
part of his reputation, in the great variety of works for which he was celebrated, to the
talents of his disciples Snyders and Wildens, who he occasionally employed in for
warding the animals and landscapes in some of his pictures. Cornelius Schut, who was
in want of employment, accused him of poverty of invention; Abraham Janssens had
the hardihood to defy him to a trial of strength; and even Theodore Rombouts ven
tured to vilify his works. The exalted mind of Rubens treated these atrocities in a
manner becoming the elevation of his feelings and the philanthropy of his heart. He
relieved the necessities of the first, by procuring him employment; he answered the
challenge of the second, by a dignified neglect; and replied to the sarcasms of Rom
bouts, by an exposure of his famous Descent from the Cross. The more effectually to
establish his claim to the title of the universal painter, he finished with his own hand

RUBENS. 333
some of his most admirable landscapes, his lion-huntings, and other miscellaneous sub
jects, which covered his calumniators with shame and confusion.
The fame of Rubens had long been established at the court of France, when he was
commissioned by Mary of Medicis, in 1620, to ornament the gallery of the palace
of the Luxembourg. He accomplished this great work in twenty-four compartments,
representing, in very ingenious allegorical, and emblematical subjects, the principal
events of the life of that princess. The whole series was painted at Antwerp, except two
pictures, which he finished at Paris, in 1623, when he arranged the whole in the gallery.
If the surprising number of large pictures painted by Rubens, were not sufficient testi
monies of the abundance and facility of his genius, this immense gallery, completed in
three years, would amply demonstrate it. It was at this period that he became
acquainted with the Duke of Buckingham, who accompanied Prince Charles through
France, in his way to Madrid, and who afterwards became the purchaser of his rich
museum of works of art. On his return to the Netherlands he was honoured with several
conferences with the Infanta Isabella, on the then critical state of the government of the
Low Countries, who was so satisfied with his political intelligence and capacity, that she
sent him to Madrid for instructions, preparatory to a negociation for peace between
Spain and England. In 1628 he arrived in the Spanish capital, where he was received
in the most gracious manner by Philip IV. and the Duke de Olivares, and acquitted
himself in his diplomatic capacity entirely to the satisfaction of the king and his mi
nister. During his residence at the court of Spain, his powers as a painter were not
neglected. Philip was in possession of taste, and Olivares had splendor. Rubens was
alternately caressed by both. The royal collections of the Escurial, Pardo, and Madrid,
an inexhaustible mine of art, were thrown open to his view.
The Duke de Olivares had just completed his foundation of a convent of Carmelites,
at the small town of Loeches near Madrid, and the King, as a mark of favour to his
minister, commissioned Rubens to paint four pictures for their church, which he exe
cuted in his grandest style, and the richest glow of his colouring. They are of large
dimensions, and in composition and execution are not excelled, by any of his works.
The first is an allegorical subject of the Triumph of the New Law, which he has personi
fied in the most beautiful and graceful manner. The figure of Religion, seated on a
superb triumphal car, drawn by four angels, with others bearing the cros:.-, with charac-
teristical symbols, four figures expressive of the various characters of Infidelity or Ig
norance, over which Religion is supposed to triumph, follow the car, like slaves. or cap
tives bound with chains. The group is crowned with beautiful cherubim that hover in
the air, with chaplets in their hands, disposed with singular art, and the most charming
effect. The companion picture represents the Interview of Abraham with Melchisedeck,
who offers him bread, and the tenth of his spoils. In the drapery of the priests and the
armour of the soldiers, Rubens has exhausted every resource that his rich fund of co
louring could supply. The other two pictures, of equal size and excellence with the
above, represent the Four Doctors of the church and the Four Evangelists, with their
distinctive emblems: compositions of undescribable majesty and expression. He also
painted eight grand pictures for the great saloon of the palace at. Madrid, which are
regarded as matchless specimens of his colouring; they represented tbe Rape of the
Sabines; the Battle between the Romans and Sabines; the Bath of Diana; Perseus and
Andromeda; the Rape of Helen; the Judgment of Paris; Juno, Minerva, and Venus;
and the Triumph of Bacchus. For those extraordinary productions he was magnifi-

334 RUBENS.
cently rewarded, received the honour of knighthood, and was presented with the golden
key, as gentleman of the chamber to the king. In 1627, he returned to Flanders, and
had no sooner rendered an account of his mission to the Infanta, than he was sent to
England, for the purpose of sounding the disposition of the government on the subject
of a peace, the principal obstacle to which had been removed b}' the death of the Duke
of Buckingham. Though he was not at first presented to the King in the quality of an
envoy, Charles was too zealous a lover of the art, not to receive this illustrious painter
with every mark of distinction. He engaged him to paint the ceiling of the Banqueting
House, where he represented the Apotheosis of James I.
In the frequent visits with which the King honoured our painter whilst he was en
gaged in this considerable work, Rubens, with infinite delicacy and address, took a
favourable opportunity of touching on the subject of a peace with Spain, and finding that
monarch no way averse to such a measure, at length produced his credentials, and the
King appointed some members of his council to negociate with him on the subject of a
pacification, which was soon after effected. Charles was so much pleased with the
conduct of Rubens on this trying occasion, and so satisfied with the exertions of his
pencil, that he munificently rewarded him for his labour; and on the 21st of February,
1630, conferred on him the honour of knighthood. The important object of his mis
sion being thus happily accomplished, he returned to the Netherlands, where he was
received with all the honours and distinction due to his exalted merit.
Rubens had now reached his fifty-eighth year, was in full possession of the plenitude
of his fame, loaded with wealth and honours, deservedly acquired, when he experi
enced some attacks of gout of a more violent nature than those to which he had pre
viously been subject, and they were succeeded by an infirmity and trembling of his
hand, which obliged him to renounce all works of large dimensions, and to confine him
self to easel pictures. He also found it necessary to abandon all public business, except
the instruction of his disciples, and limit his epistolary correspondence to a few distin
guished artists, with whom he delighted to hold an intercourse as long as he lived, on
which occasion he expressed himself with a warmth of feeling bordering on enthusiasm.
We are indebted to the Chevalier Mechel for the preservation of one of his letters, and
of some fragments of his advice to his pupils, which are sufficiently interesting to warrant
their insertion. A short time before his death, he wrote a letter to Francis du Quesnoy,
called 11 Fiammingho, the celebrated sculptor, in acknowledgment of the receipt of
some casts of the marbles he had executed at Rome, in which he wrote to him in the
following terms : " 1 cannot express to you the obligations I feel for the models you
have sent me, particularly for the casts of those admirable children with which you have
decorated the tomb of M  in the Chiesa del Anima. It is not art, but
nature, that we admire in forms so tender and full of life. In what terms shall 1 address
you, on the universal and well merited applauses you have acquired by the admirable
statue of St. Andrew, which you have lately finished. Your fame and celebrity reflects
honour on our country. Did not the infirmity of age, and a fatal gout, which devours
me, confine me to my chair, I would fly to Rome, to indulge myself with the sight of
objects so deserving of admiration. But as I cannot look for that pleasure, I must satisfy
myself with the hope of seeing you soon among us ; and I doubt not that our country
will be proud of the works with which you will enrich it. May it please heaven that
this may happen before death, which soon will close my eyes for ever, deprives me of the
inexpressible satisfaction of contemplating the wonderful productions of that able hand

RUBENS. 335
which I kiss with the most profound sentiments of my heart." Of the process of his
colouring, we have some intimation in the following extract from his lessons. " Begin, says
he, by painting in your shadows lightly, taking particular care that no white is suffered
to glide into them, it is the poison of a picture, except in the lights ; if once your
shadows are corrupted by the introduction of this baneful colour, your tones will no
longer be warm and transparent, but heavy and leady. It is not the same, continues he,
in the lights, they may be loaded with colour as much as you may think proper, pro
vided the tones are kept pure ; you are sure to succeed in placing each tint in its place,
and afterwards by a light blending with the brush or pencil, melting them into each
other, without tormenting them, and, on this preparation, may be given those decided
touches, which are always the distinguishing marks of the great master."
Rubens continued to exercise his art until the year 1640, when he died, at the age of*
63. He was buried with extraordinary pomp in the church of St. James, under the
altar of his private chapel, which he had previously decorated with one of his finest
pictures. His widow and children erected a monument to his memory, with an epitaph,
which, as it is particularly explanatory of his varied faculties, and of the honours which
were conferred on him, is here inserted. D. O. M.
PETRUS PAULUS RUBENIUS, Eques,
Joannis hujus Urbis Senatoris Filius,
Steni Toparcha.
a. s. e.
Qui inter cateras, quibus ad miraculum,
Excelluit Doctrina, Historia prisca,
Omniumque bonarum artium, et elegantiarum dotes,
Non suum tantum sozculi,
Sed et omnis cevi,
Apel/es did meruit,
Atque ad Regum Principumque Virorum amicitias,
Gradum sibi fecit.
A Philippo IV. Hispaniarum Indiarumque Rege
Inter Sanctions Consilii Scribas adscitus ;
Et ad Carolum Magna Britannia Regem
Anno m.dc.xxix. delegatus,
Pads inter eosdem Principes mox inita
Fundament a feliciter posuit.
Obiit anno sal. m.dc. xl. Mtatis lxiii.
Domina Helena Formentia Vidua ac Liberi
Sacellum hoc Aramque, ac Tabulam, Dei Para
Cultui consecratam, memoria Rubeniana
L. M. poni dedarique curarunt.
R. J. P.
Perhaps no painter has left behind him so many and so considerable proofs of the
excellence and variety of his powers. He painted history, portraits, landscapes, ani
mals, fruit, and flowers ; and it would be difficult to decide in which he most excelled.
Flanders, France, Italy, and England, abound with the admirable productions of his

336 RUBENS.
pencil ; and it will be easily conceived that a particular detail of them is beyond the
compass to which a work of this nature is necessarily limited. The city of Antwerp
alone possessed in its public edifices thirty-six pictures by Rubens, most of which, with
many others in the churches of Brabant and Flanders, were seized by the French, on
their inroad into the Netherlands, and now form some of the principal ornaments of the
gallery of the Louvre. From his birth he had evinced a lively, elevated, and universal
genius, and had enriched his mind with an extensive and intimate acquaintance with
history, poetry, and the belles lettres. With the possession of such resources, he in
vented with facility; and his incessant practice gave him an unexampled dexterity of
execution. Of the fertile powers of his imagination, regulated by learning and taste,
he has given abundant demonstration, in his admirable series ,of allegories, in the gal
lery of the Luxembourg. His genius was adapted to the grandest compositions ; and
his powers appear to have expanded themselves in proportion to the scale on which
they were called upon to act. He did not, like Raffaelle, possess that mild inspiration
of sentiment which manifests itself in the graceful and beautiful, but he was animated
with that poetic fire, that displays itself in effects which astonish and surprise. His
most abundant compositions seem to have been produced without effort, and creation
appears to have been an operation of his will.
Rubens has been unjustly refused the merit of an able designer. His drawing is,
however, generally grand and facile, his outline free and flowing, and he had a compe
tent acquaintance with anatomy; though it cannot be denied that correctness occasion
ally yielded to the impetuosity of his conceptions, and the vivacity of his execution
yet, in his great works, we meet with naked figures as admirable for their drawing as
for their inimitable colouring. Such is his stupendous picture of the Fallen Angels in
the Dusseldorp Gallery. Of this astonishing production, Sir Joshua Reynolds has
favoured us with the following description : " If we consider the fruitfulness of inven
tion, which is discovered in this work, or the skill which is shown in composing such an
infinite number of figures, or the art of the distribution of the light and shadow the
freedom of hand, the facility with which it is performed, and what is still more extraor
dinary, the correctness and admirable taste of drawing of figures foreshortened, in attitudes
the most difficult to execute, we must pronounce this picture to be one of the greatest
efforts of genius that the art has produced." It will not be attempted to be denied that
he preferred the brilliancy of effect to the beauty of form, and too frequently sacrificed
the correctness of design to the magic of his colouring, His works exhibit those qua
lities which evince a daring and enthusiastic conception, rather than the characteristics
of a refined meditation or profound thought. He had studied the antique, Michael
Angelo, and Raffaelle ; but, far from his studies having elevated his mind to a feeling of
the beautiful ideal, or an elegant selection of nature, he continued to attach himself to
an unembellished imitation of the models of his country. This defect is particularly
discernible in his female forms, which have seldom any pretensions to elegance or
grace. Although Rubens' was not incapable of expression, yet we must not look to his pic
tures for the graceful and dignified airs which captivates us in the works of Raffaelle or
Domenichino ; and he was more capable of expressing the violent affections of the
mind, than the placid and the bland. As a colourist, Rubens deservedly holds a distin
guished rank. If he is less chaste than Titian, he is more brilliant. Rubens claims our
applause by the lustrous splendour of his tints ,- Titian secures your approbation by the

RUB R U C 337
purity of his tones and harmony of his effect. As an executive painter, Rubens may
with truth be said to have surpassed every artist lhat has hitherto appeared ; and the
unexampled promptitude of his handling has given rise to an opinion, however erro
neous, that the greater part of his large pictures were chiefly* painted by his disciples,
and ultimately retouched by himself. By this commanding power, which he possessed
in the highest degree, Rubens was enabled to represent every object he undertook with
the most characteristic propriety. His animals, especially those of a ferocious kind, are
painted with a spirit and energy that is unequalled; his lions and tigers are touched
with a fierceness peculiarly adapted to their character; and his horses, always of the
noblest race, are designed with a fire and animation that is inimitable. In his land
scapes he reminds us of the grandeur of Titian, and they are in no way inferior to those
of that illustrious painter. The picturesque forms of his rocks and trees, the deep sha
dows in his glades and glooms, the watery sunshine, the dewy verdure, the airiness and
facility of his touch, exhibit a charm, and show a variety of invention, which form a
striking contrast with the mild amenity and uniform glow, we admire in the fascinating
productions of Claude Lorraine. " The pictures of Rubens have this effect on the spec
tator, that he feels himself in no wise disposed to pick out and dwell on his defects.
The criticisms which are made on him, are indeed often unreasonable. His style ought
no more to be blamed for not having the sublimity of Michael Angelo, than Ovid
should be censured for not resembling Virgil."
Rubens occasionally amused himself with the point, and we have a few etchings by
him, which are executed in a bold and masterly style, though slight. They are as
follow :
St. Francis receiving the Stigmata.
Mary Magdalen Penitent.
St. Catherine ; a design for a ceiling.
An old Woman holding a lighted candle, with a Boy lighting another by it. When Rubens had
etched the plate, a few impressions only were taken off, which are now become extremely
scarce. It was afterwards finished by another hand. There is a copy of this print by Cor
nelius Visscher.
The Portrait of an English Minister ; signed P. P. Rubens, fecit.
RUBENSTEIN, or Riebenstein. This artist was a native of Germany, but resided in
England several years. He painted dead game and still-life, and sometimes portraits.
He was a member of the Society of Painters, in St. Martin's Lane, and died in London
about the year 1763.
RUBIALES, Pedro de. This Spanish painter was a native of Estremadura, and flou
rished about the year 1545. Little is known of his works in Spain, as he resided the
greater part of his life at Rome and Florence, where he studied under Francesco
Salviati, whom he assisted in many of his works. One of his best productions was his
picture of the Conversion of St. Paul, in the church of Spirito Santo in Sassia at
Rome. He was also a coadjutor of Giorgio Vasari, in some of his works.
RUCHOLLE, Peter. An indifferent French engraver, who flourished about the year
1690. He engraved a few portraits, among which we have that of
Charles Emanuel, Duke of Savoy ; after Vandyck.
Vol. II. U u '

338 RUGENDAS.
RUGENDAS, George Philip. He was born at Augsbourg in 1666, and was first in
structed in design by Isaac Fisher, a painter of history; but his genius leading him to
paint battles and skirmishes of cavalry, he formed his style by studying the works of
Borgognone, and the prints of Tempesta. He had acquired considerable reputation by
his pictures of that description, when he resolved to visit Italy, and, 1692, went to
Venice, where he passed some time, and was assisted in his studies by Giovanni Batista
Molinari. From Venice he went to Rome, where it was not long before his talents be
came known, and he met with such flattering encouragement in that metropolis, that he
had thoughts of establishing himself there; but the death of his father obliged him to
return to Augsbourg, and he quitted Italy with regret in 1695. In a few years after his
return to Augsbourg, the war of the Succession broke out, when Rugendas had a melan
choly opportunity of personally witnessing those scenes of slaughter and desolation,
which his imagination had so frequently traced with his pencil. During the siege
bombardment, and pillage of Augsbourg, by the French and Bavarians, in 1703, when
all the citizens were overwhelmed with alarm, confusion, and despair, when himself and
his property were at the mercy of the furious assailants, he exposed himself to the most
imminent danger, to contemplate, with the eye of a painter, the attacks of the besiegers,
which he designed with sang-froid, surrounded on all sides with carnage and destruction.
He afterwards published a set of etchings from the drawings he had made under such
extraordinary circumstances.
Rugendas merits a distinguished place among the painters of battles. Though he
possessed an abundant and fertile imagination, his compositions are the result of judg
ment and reflection ; his design is correct, and he consulted nature in every object he
drew. Many of the most illustrious personages of Germany employed his pencil, and
his works are found in the choicest collections of his country ; they are very numerous,
as he possessed a surprising facility of execution. His works exhibit three different
styles, according to the various periods of his life. In the first he appears to have been
less attentive to the correctness of design than the charm of colouring ; in the second,
his colouring is less attractive, but his drawing is decided and correct, and his touch
more animated ; in his last and best manner, he successfully combined an harmonious
colouring with accuracy of design, and uncommon freedom of pencil. This ingenious
artist died at Augsbourg in 1742, aged 76. Independent of his extensive occupation
as a painter, Rugendas devoted a considerable portion of his time to engraving, and has
executed a great number of plates, both etchings and in mezzotinto; among which are
the following : ETCHINGS.
A set of six Plates ; entitled, Caprici di Giorgio Filippo Rugendas. 1698.
Eight Plates; entitled, Diversi Pensieri fatto per Giorgio Filippo Rugendas, Pittore. 1699.
A set of eight Plates, representing horsemen.
Six plates of.Cavalry marching.
The military operations of the French and Bavarian armies at the siege of Augsbourg; in six
plates. 1704. MEZZOTINTO.
Four plates of Skirmishes between the Prussian and Hungarian Hussars.
J^our plates of Huntings of the Lion, Tiger, &c.

RUG R U I 339
RUGENDAS, Christian. According to Huber, he was the son of the preceding artist,
by whom we have a great number of prints in mezzotinto, after the designs of his father,
representing marches, halts, battles, &c.
RUGGERI, Guido. This artist was a native of Bologna, and flourished about the year
1550. He was a disciple of Francesco Raibolini, called II Francia, and accompanied
Primaticcio to France, where he assisted that master in his great work at Fontainbleau.
He is, however, more known as an engraver than a painter. He engraved several plates
from the designs of Primaticcio, which are executed in a style resembling that of Marco
da Ravenna; and it is not improbable that he learned engraving in the school of Marc
Antonio Raimondi. His plates were usually marked with a monogram composed of a
G. and an R. joined together, with an F. for fecit, (jj^JF.
RUGGIERI, Giovanni Batista, called del Gessi. This painter was a native of Bologna,
and was for some time a disciple of Domenichino, but he afterwards became a scholar
of Francesco Gessi, whom he accompanied to Naples, and assisted him in some of his
principal works in that city, and at Bologna. He visited Rome in the pontificate of
Urban VIII. where he was patronized by the Marchese Giustiniani, and painted some
pictures for the churches and palaces. In S. Maria della Minerva is a fine picture by
him of the Nativity ; and in S. Caterina a Monte Magnanapoli, he painted in fresco
Mary Magdalen and St. Catherine, with St. John the Baptist, St. Dominic, and St.
_ Philip Neri. His principal works at Bologna are the Assumption of the Virgin, the
Adoration of the Magi, and the Descent of the Holy Ghost, in the church of S. Barbaziano,
which have sometimes been mistaken for the works of Guido. This promising artist
died at Rome, at the premature age of 32, much regretted by the admirers and professors
of the art.
RUGGIERI, Ercole, called del Gessi. According to Malvasia, he was the brother of
the preceding artist, arid was also educated in the school of Francesco Gessi, whose
style he followed with so much success, that his works are with difficulty distinguished
from those of his master. Such are his picture of the Death of St. Joseph, in the church
of S. Cristina di Pietralata, at Bologna ; and the Virgin and infant Jesus, with St. Ca
therine, and other saints, at the Servi.
RUIDIMAN, or Reuttiman, John Conrad. This artist is mentioned by Mr. Strutt as the
engraver of some plates of foliage, and other ornamental designs, published at Augsbourg.
RUINA, Gasparo. An indifferent engraver on wood, by whom we have a cut representing
the Creation of Adam, which is evidently taken from the painting by Michael Angelo,
in the Vatican, though it is inscribed, Hieronymo de Grandi, pinxit. Gaspar Ruina, fecit.
RUISCH, Rachel. This celebrated paintress of flowers and fruit was born at Amsterdam
in 1664. She was the daughter of Frederick Ruisch, the celebrated professor of ana
tomy. At a very early age, without the instruction of a master, or any other assistance
than that of copying the prints that accidentally fell in her way, she had given such
convincing proofs of an extraordinary disposition for the art, that her father procureb
Iier the lessons of William van Aelst, an eminent flower painter. She not only surpasseb
U u 2

340 RUN R U P
her instructor, but it may be very reasonably questioned, whether she has not excelled
every other artist, in the department which she adopted, not excepting even the admi
rable productions of John van Huysum. Without partaking of the enthusiasm of
Descamps, who unequivocally asserts, that " in her pictures of flowers and fruit she
surpassed nature herself," it may be very justly said that she has represented those sub
jects in so admirable a manner, as to produce perfect illusion, which is rendered more
exquisite by the selection of her objects, and her tasteful and picturesque manner of
grouping them. The extraordinary talents of this lady recommended her to the parti
cular patronage of the Elector Palatine, who, in 1708, appointed her his paintress. That
prince was so great an admirer of her pictures, that he possessed a considerable portion
of her finest works, for which she was munificently rewarded. Rachel Ruisch conti
nued the exercise of her extraordinary talents with undiminished excellence, until she
had reached a very advanced age, and died at Amsterdam in 1750, aged 86.
RUNCINAN, Alexander. This painter was a native of Scotland. He is said to have
served his apprenticeship to a coach-painter, and by dint of practice to have acquired a
facility of hand, and a considerable intelligence in colouring, though he was still unin-
structed in the design of the figure. He travelled to Italy, and on his return exhibited
some pictures in 1772. The next year he settled at Edinburgh, where he conducted the
Academy of Arts recently established in that city, where he painted some historical
pictures, among which was the Ascension, in the episcopal church. He was patronised
by Sir James Clarke, who employed him to decorate his mansion at Pennywick with
some subjects from Ossian. He died about the year 1780. There are a few etchings by
this artist from his own designs, among which are the following:
Sigismunda weeping over the Heart of Tancred.
A View in Edinburgh, called the Netherbow Port.
RUPERT, Prince Palatine of the Rhine. The invention of engraving in mezzotinto
was for some time ascribed to this illustrious personage, from a tradition received by
Vertue from Mr. Killegrew, of Somerset-House, to whom it had been communicated by
Evelyn, the author of Sculptura. The circumstance which led to the discovery is thus
related : The Prince going out early one morning, observed a soldier employed in clean
ing his musket from the rust, which the night dew had occasioned, and on examining it
perceived something like a figure corroded upon the barrel, with innumerable small
holes, close together, like friezed work on gold or silver, part of which the soldier had
scraped away. He conceived an idea that some contrivance might be found to cover a
copper-plate with such a grained ground of fine pressed holes, which would give an im
pression all black, and that by scraping away those parts which required to be white
the effect of the drawing might be produced. He communicated this idea to Wallerant
Vaillant, a painter in his service ; they made several experiments, and at last invented a
steel roller, cut with tools, to make teeth like a rasp or file, which produced the black
ground, which in some measure answered the purpose intended.
The authenticity of this account is rendered extremely questionable, by the authority
of Baron Heineken, whose general accuracy entitles him to considerable credit, and who
decidedly asserts, that the Prince was not the inventor of it. In his book entitled Idee
Generak d'une Collection complette d'Estampes, he affirms, that " it was not Prince Rupert

RUS RUY 341
who invented the art of engraving in mezzotinto, as Vertue and several other authors
pretend to say. But it was the Lieutenant-colonel de Siegen, an officer in the service
of the Landgrave of Hesse, who first engraved in this manner ; and the print, which he
produced, was a portrait of Amelia Elizabeth, Princess of Hesse, engraved as early as
1643. Prince Rupert learned the secret from this gentleman, and brought it into Eng
land, when he came over the second time with Charles II.
The following are the prints in mezzotinto engraved by Prince Rupert, some of which
he marked with the initials R. P. F. the first letter surmounted with a crown,
Huber mentions a Portrait of himself, in a military habit, inscribed Rup. p. fee. 1656.
A Magdalen in contemplation ; after M. Merian.
An Executioner holding a Sword in one hand and a Head in the other, probably intended for
that of John the Baptist, after Spagnoletto. On the sword is his monogram, and the date 1658.
He engraved the head of the executioner a second time, on a smaller scale, for Mr. Evelyn's
Sculptura, who informs us that it was presented to him by the Prince himself, as a specimen of
the new-invented art.
RUSTICl, Francesco. This painter was born at Siena about the year 1595, and was a
disciple of Francesco Vanni. He for some time imitated the style of Michael Angelo
Caravaggio, and his pictures, representing subjects by torch-light, resemble those of
Gerard Honthorst, called Gherard dalle Notti, though more select in his forms, and
more correct in his design. He studied at Rome the works of Annibale Caraeci and
Guido, and painted some pictures for the public edifices and private collections, which,
however, evince an originality of style which may be said to be entirely his own. His
most esteemed production was his picture of the Annunciation, in one of the churches
at Siena. " If he pleases in his other performances," says Lanzi, " in this he enchants."
In the collection of the Grand Duke of Tuscany is a fine picture by Rustici, of an ex
piring Magdalen ; and in the Palazzo Borghese at Rome, a St. Sebastian, which is
much admired. He died in the prime of life, in 1625.
RUVIALE, Francesco, called II Polidorino. According to Dominici, this painter was
a native of Spain, though he was brought up at Naples, where he flourished about the
year 1540. Having seen some of the works of Polidoro da Caravaggio at Naples,
whither he had fled from the sacking of Rome, he became his disciple, and followed the
style of that great artist with so much success, that he acquired the name of II Polido
rino. His principal works at Naples are his picture of the dead Christ, with the Virgin
Mary and St. John, in the chapel of the Royal Tribunal ; and the Descent from the
Cross, in that of the Vicaria Criminale.
RUYSDAEL, Jacob. This admired landscape painter was born at Haerlem in 1636.
It is not known under whom he studied, but Houbraken informs us, that, although he
had given proof of extraordinary ability at the early age of fourteen, he did not at first
follow painting as a profession, but for some years applied himself to the study and prac
tice of surgery. He afterwards lived in habits of intimacy with Nicholas Berghem, and
he is said to have been advised by that artist to devote his attention entirely to painting.
His success warranted the recommendation of his friend ; his pictures were purchased
with avidity, and he soon became one of the most popular painters of his time. It has
been erroneously stated, that this artist travelled to Italy, where he formed the taste of

342 RUY RYC
his scenery by his studies in the vicinity of Rome. It would be difficult to form a con
jecture more improbable and unfounded. The landscapes of Ruysdael represent the
most interesting views in the neighbourhood of Haerlem, where he almost constantly
resided ; or occasionally the rocky borders of the Rhine, with cascades and waterfalls,
which he treated in a style so admirably picturesque, that in those subjects he may be
said to be unrivalled.
In the pictures of Ruysdael, it is evident that he designed every thing from nature,
and he is unusually happy in his selection of it. His trees and broken grounds are of
the most pleasing forms, his skies are light and floating, and there is an agreeable freshr
ness in his verdure, which is almost peculiar to himself. His touch is remarkably free
and spirited, his colouring is chaste and clear, and his masses of light and shadow are
conducted with a masterly intelligence. The talents of Ruysdael were not confined to
landscapes, he painted sea-pieces with equal success, and his pictures of fresh breezes
and gales of wind, are equal to the productions of any artist who has treated those sub
jects. The pictures of this captivating painter are now justly held in the highest esti
mation, and are found in the choicest collections. They are sometimes decorated with
figures by Adrian Vander Velde, or Philip Wovermans, by which their value is consi
derably increased. He died at Haerlem in 1681, aged 45. We hare a few spirited
etchings by the hand of this eminent painter, which, though slightly executed, produce
a very natural and masterly effect. Some of them are now become extremely scarce.
Mr. Strutt asserts, that " they bear some resemblance to the etchings of Waterloo."
The collector will search in vain for this resemblance, as nothing can be more decidedly
distinct than the prints of these artists.
RUYSDAEL, Solomon. This artist was the elder brother of Jacob Ruysdael, born at
Haerlem in 1616. He painted landscapes and views of rivers in Holland, in which he
imitated the style of John van Goyen, and was very probably his scholar. The pictures
of Solomon Ruysdael are poorly painted, and produce a slight and feeble effect. He
died at Haerlem in 1670, aged 54.
RUYTER, N. de. A Flemish engraver, who flourished about the year 1688. He appears
to have imitated the style of Paul Pontius, but without much success. Among others,
we have a plate by him representing
-Diana reposing after the Chase ; after Gerard Valck.
RYCK, Peter Cornelius de. According to Descamps, this painter was born at Delft in
1566. He was first placed under the tuition of James Willems, but he afterwards be
came a scholar of Hubert Jacobs. On leaving that master he went to Italy, and passed
some years at Venice, where he formed his style by studying the works of Giacomo
Bassano. He painted history and pastoral subjects, which were esteemed in his time.
RYCKAERT, Martin. This painter was born at Antwerp in 1591, and was for some time
a disciple of Tobias Verhaecht, an artist of considerable celebrity. On leaving that
master he went to Italy, where he studied several years, and returned to his native coun
try with a great variety of designs he had made of the most remarkable views in the
vicinity of Rome. With these resources, he distinguished himself as one of the ablest
landscape painters of his time. He embellished his pictures with the ruins of ancient

R Y C R Y L 343
architecture, rocks, mountains, and waterfalls; and his landscapes exhibit a grander
choice of scenery than is usually to be found in the artists of his country. His works
are occasionally decorated with figures by John Breughel. It is reported of this artist,
that being occupied in designing the fortress of Namur, he was seized by the soldiers,
and carried before the governor as a spy, who liberated him, on being convinced of the
innocence of his intention. He lived in habits of intimacy with Vandyck, who painted
his portrait, among the eminent artists of that time. He died at Antwerp in 1636,
aged 45.
RYCKAERT, David. He was the son of the preceding artist, born at Antwerp in 1615, and
was first instructed in landscape painting by his father ; but the high estimation in which
the works of Brower and Teniers were then held, induced him to attempt similar sub
jects, in which he was eminently successful. The Archduke Leopold, a great encourager
of art, favoured him with his particular protection. In 1651, he was appointed director
of the Academy at Antwerp, and his pictures were so much admired, that it was with
difficulty he could keep pace with the demand for his works. He usually painted assem
blies of peasants regaling, musical parties, and the interiors of chymists' laboratories ;
though he occasionally attempted subjects of a more elevated character. Towards the
latter part of his life he frequently represented grotesque and fantastical objects, such as
spectres, incantations, the Temptation of St. Anthony, &c. These absurdities appear to
have been much in vogue about that time; and even the distinguished talents of Teniers
were often employed in similar whimsicalities. He gave a lively and expressive cha
racter to his heads, his colouring is clear and transparent, and his pencil is light and
spirited. The pictures of David Ryckaert are not often met with in this country,
though they are to be found in the most select collections of Flanders and Brabant.
RYCKMAN, Nicholas. A Flemish engraver, born at Antwerp about the year 1620.
From the appearance of his style, it is probable that he was a pupil of Paul Pontius.
His plates are executed with the graver in a neat formal manner, and his drawing is
generally incorrect. We have, among others, the following prints by him :
The Adoration of the Magi ; after Rubens. The best impressions are before tbe address of
either Gas. Huberti, or Corn, van Merlen.
The Entombing of Christ ; after the same.
The Holy Family ; after the same.
Christ and the Twelve Apostles ; after the same ; thirteen plates. The best impressions are be
fore the address of E. Coninck.
Achilles discovered by Ulysses at the court of Lycomedes ; after the same.
RYLAND, William Wynne. An eminent English engraver, born in London in 1732.
He was a pupil of Simon Francis Ravenet, who was at that time established in England.
On leaving that master he went to Paris, where he studied design for some time under
Francis Boucher, and received the instruction of J. P. le Bas in engraving. After a
residence of five years in Paris, where he engraved several plates, he returned to Eng
land, and was soon afterwards appointed engraver to the King. He engraved two
whole lengths of his Majesty, after Ramsay, and a portrait of the Queen, after Coates.
In the latter part of his life he applied himself to engraving in the chalk manner, prin-

344 RYN RYN
cipally from the pictures of Angelica Kauffman, which style he is said to have first
introduced into England, and which he greatly improved. The following are his prin
cipal plates : PORTRAITS.
George. III. King of Great Britain, &c. ; after Ramsay ; whole length.
Charlotte, Queen of Great Britain, &c. ; after Coates.
John Stuart, Earl of Bute ; after Ramsay.
SUBJECTS AFTER VARIOUS MASTERS.
Antiochus and Stratonice ; after P. da Cortona.
Jupiter and Leda ; after F. Boucher.
The Graces bathing; after the same.
Charity ; after Vandyck.
Four plates representing the Muses, Urania, Thalia, Erato, and Clio ; after Cipriani.
SUBJECTS AFTER ANGELICA KAUFFMAN.
Patience ; oval.
Persevance ; the same.
Maria, from Sterne's Sentimental Journey.
Telemachus recognised at the court of Sparta.
Achilles lamenting the Death of Partroclus.
Penelope awakened by Euryclea.
Eleonora sucking the Venom from the Wound of Edward.
Lady Elizabeth Grey imploring Edward IV. for her husband's lands.
The Judgment of Paris.
Venus on her Car.
The Flight of Paris and Helen.
Venus presenting Helen to Paris.
Venus borrowing the Cestus of Venus.
A Sacrifice to Pan.
Cupid bound, with Nymphs breaking his Bow.
Cupid asleep, with Nymphs awaking him.
Cymon and Iphigenia.
The Interview between Edgar and Elfrida after her marriage with Athelwold. This plate was
left imperfect, and was finished by Mr. Sharp, after his unfortunate death, for the benefit of
his widow.
RYN, Rembrandt van. See Rembrandt.
RYNE, John van. A Dutch engraver, who resided in London about the year 1750. He
engraved a variety of plates of views in England, the East Indies, &c. among which are
the following :
A View of Batavia. 1754.
Fort St. George, on the Coast of Coromandel.
Fort William, in Bengal.
A View of Bombay, on the coast of Malabar.
The Cape of Good Hope.
A View of the Island of St. Helena.

R Y S R Y X 345
RYSBRAECK, or Rysbrechts, Peter. This artist was born at Antwerp in 1657, and
was a scholar of Francis Mile, whom he accompanied to Paris. Following the example
of his instructor, he attached himself to the study of the landscapes of Poussin, whose
great style is discernible in all his works. His pictures were much admired in France,
and endeavours were made to detain him at Paris, by the most flattering encouragement;
but his attachment to his native country prevailed, and he returned to Antwerp, where
he exercised his talents with great reputation, and was made director of the Academy
there in 1713. The landscapes of Rysbraeck are distinguished by a grandeur of style,
which, though founded on an imitation of the admirable productions of Nicholas Pous
sin, possesses sufficient originality to secure him from the imputation of plagiarism.
His colouring is harmonious, his touch broad and free, and he possessed great facility of
execution. There is, however, a want of variety, and a certain monotony in his pic
tures, which place them in a very inferior rank to those of his great prototype. An ob
scure landscape painter of this name resided at Brussels, but his works are too indifferent
to be confounded with those of our artist.
RYSEN, Warnard van. This painter was born at Bommel about the year 1600, and was
a scholar of Cornelius Poelemburg. He resided some time in Italy, and on his return
to Holland painted landscapes, with historical figures, in the style-of his instructor, which
were held in consideration. According to Descamps, he abandone painting, and be
came a dealer in diamonds.
RYTHER, Augustine. An English engraver and printseller, who resided in London
about the year 1590. He engraved some plans of the Spanish invasion, and was prin
cipally concerned in engraving the curious Map of Yorkshire, with a view of York in
one corner, and Hull in the other ; published in Saxton's collection.
RYX, Nicholas. He was born at Bruges in 1637. It is not said by whom he was in
structed ; but having learned the rudiments of design, he embarked in a vessel bound
for the Levant, and travelled through Palestine, where he made designs of the most
remarkable views in the vicinity of Jerusalem, and delineated with great precision the
various customs and habiliments of the inhabitants of the Oriental countries, their
caravans, camels, and modes of travelling. On his return to Flanders he painted pic
tures of those subjects, which were much esteemed. In 1667, he was received into the
Academy at Bruges.

Vol. II. X-x

346 S A A SAB

s

SAAL, T. An indifferent engraver of vignettes, and other book-plates. They are exe
cuted with the graver only, in a stiff formal style. He lived about the year 1672.
SABBATINI, Andrea, called da Salerno. This eminent painter was born at Salerno
about the year 1485. According to Dominici, he was the son of an opulent merchant,
who intended him for the same profession; but having shown an early inclination for
the art, which his father did not discourage, he conducted him to Naples, and plated
him under the tuition of Raimo Epifanio, a painter of little celebrity, under whom he
studied some time. The Cardinal Caraffo having employed Pietro Perugino to paint
the great altar-piece of the archiepiscopal church, representing the Assumption of the
Virgin ; the beauty of the performance had excited universal applause, and it became
the object of Sabbatini's particular admiration. He solicited and obtained his father's
permission to visit Perugia, to profit by the lessons of a painter whose works he so
highly esteemed. On his journey he encountered some artists, who had just left Rome
who were so loud in their praise of the works which Raffaelle was then employed on in
the Vatican, that he determined to visit that capital, and endeavour to gain admission
into his academy. In this attempt he succeeded, and in a short time was found of suffi
cient ability to be entrusted by Raffaelle to execute, from his designs, some of the
frescoes in the Vatican, in S. Maria della Pace, and in La Torre di Borgia. Whilst he
was prosecuting his studies under Raffaelle, he formed an intimate acquaintance with
Polidoro da Caravaggio, for whose eminent talents he had a particular respect. He
had distinguished himself among the able disciples of his illustrious instructor, when he
. received intelligence that his father was dangerously ill, and with great regret he found
himself under the necessity of returning to Salerno, to pay the last sad duties to an ex
piring parent, who died soon after his arrival. His first production, after his return to
Salerno, was an altar-piece for the church of the Benedictines, representing the Virgin
and infant Saviour, with two Saints of the order; and he afterwards painted a picture
for the Franciscans, of St. Francis kneeling before the Virgin and Infant, with a glory
of angels, which is highly commended by Dominici. He afterwards established him
self at Naples, where he was soon regarded as the ablest artist of their school. His
celebrated fresco works in S. Maria delle Grazie, have been, for the most part, unfortu
nately destroyed by the alterations which were found necessary to be made in that
church ; but his oil pictures in that sanctuary, as well as those in the other public edi
fices at Naples, sufficiently establish his reputation. Of these the most esteemed are
the following: The Assumption of the Virgin, in the Capella Brancacci, in the cathe
dral ; the Adoration of the Magi, in S. Spirito di Palazzo ; and the Madonna and
Bambino, with St. Elizabeth and other saints, in S. Domenico Maggiore. There are
several of his works at Gaeta, and in other cities in the kingdom of Naples, where his
easel pictures are frequently found in the private collections.
In comparing Andrea Sabbatini with the other disciples of Raffaelle, Lanzi observes,
that if he was inferior to Giulio Romano, he however greatly surpassed Raffaelle del

SAB SAC 347
Colle, and others of that rank. He was a correct and tasteful designer, and his colour
ing is fresh and harmonious ; his attitudes are elegant and select, and his masses of light
and shadow are conducted with intelligence. He may be accused of occasionally being
too abrupt and harsh in his delineation of the muscles. He died in 1550, aged about 65.
SABBATINI, Lorenzo, called Lorenzinoda Bologna. He was born at Bologna about
the year 1540. We are not acquainted by what master he was instructed in his native
city, but after having painted several pictures for the churches at Bologna he visited
Rome, during the pontificate of Gregory XIII. where he improved his style, by an
attentive study of the works of Raffaelle, and imitated the great style of that master
with such success, that he has by some been considered as a disciple of that great
painter, although he was born twenty years after the death of Raffaelle. In his smaller
pictures he seems to have been emulous of imitating the graces of Francesco Mazzuoli,
called II Parmigiano, in which he was eminently successful. He was employed by the
Pope in the Capella Paolina, in the Vatican, where he painted, in conjunction with
Frederigo Zuccaro, several subjects from the life of St. Paul. In the Sala Regia he
painted an emblematical subject of the Triumph of Faith over Infidelity, personified by
a representation of Religion holding in one hand the cross, and in the other the chalice,
at her feet several figures descriptive of Heresy. These, and other works, were exe
cuted so much to the satisfaction of the Pope, that he was appointed superintendant of
the decorations then going on in the Vatican. Of his numerous pictures in the public
edifices at Bologna, the following are the most deserving of notice : The Crucifixion^ in
S.Maria delle Grazie; the Assumption, in the church of la Morte ; S. Gioachino e S.
Anna, in S. Martino Maggiore ; and his most celebrated performances in S. Giacomo,
representing S. Michele vanquishing the Rebel Angels ; the Four Evangelists; and the
Four Doctors of the Church. He died at Rome in the prime of life in 1577.
SACCHI, Andhea. This celebrated artist was born at Rome in 1594. He was the son of
Benedetto Sacchi, a painter of little note, by whom he was instructed in the rudiments
of design ; but he had afterwards the' advantage of studying under Francesco Albano,
of whom he was the most distinguished disciple. On leaving the school of that painter
he improved his style, by an attentive study of the works of Raffaelle, Polidoro da Ca
ravaggio, and the antique marbles, by which means he acquired a correctness and seve
rity of design, for which his works are remarkable. He was favoured with the protec
tion of the Cardinal Barberini, who employed him in ornamenting his palace with
several allegorical works, painted in fresco, which were greatly admired. Several of the
public edifices at Rome are embellished with his works, some of which have been
ranked among the most admired productions of art in that capital. Such are his cele
brated picture of the Death of St. Anne, in the church of S. Carlo a Catinari; the
Angel appearing to St. Joseph, the principal altar-piece in S. Guiseppe a Capo le Case;
and his S. Andrea, in the Quirinal. But his most distinguished performance is his
famous picture of S. Romualdo, formerly in the church dedicated to that saint, now in
the gallery of the Louvre. This admirable production was considered one of the four
finest pictures at Rome. The composition is extremely simple, it represents the Saint
seated in a solitary valley of the Appenines, surrounded by some of his order, explain
ing to them his reasons for retiring from the world. Every thing in the picture breathes
tranquillity and repose. The* expression in the head of S. Romualdo is admirable, as is
Xx2

348 SAC SAD
the attention with which the monks are listening to his discourse. The surprising efFeet
that he has given to a group of six figures, all habited in white drapery, without the aid
of contrast, and without the appearance of monotony, is the wonder and admiration of
the artist.
The admirers of Andrea Sacchi regard him as the greatest colourist the Roman school
can boast of, and he is ranked among the most correct of its designers. Though pro
found in the theory of the art, he was slow and deliberative in his works, and he was
accustomed to remark, that the fame of a painter depended more upon the quality than
the quantity of his productions. To this we may attribute the paucity of his pictures,
which are, notwithstanding, in general but slightly terminated. His compositions are
not often abundant in figures, but they are sufficiently numerous to give a just repre
sentation of his subjects. Mengs estimates his talents nearly on a level with those of
Pietro da Cortona, which, without raising him to the elevation of the great luminiaries
of the art, assigns him an honourable station among its able professors. He died at
Rome in 1661, aged 62.
SACCHI, Carlo. According to Orlandi, this painter was born at Pavia in 1617, and
learned the first rudiments of design in his native city from an obscure painter named
Rosso. He went to Rome, where he resided some time, and afterwards visited Venice,
to study the works of the great masters of colouring. The works of Paolo Veronese
were the particular objects of his imitation, in which he was not unsuccessful. One of
his most esteemed productions is his picture of St. James raising a person from the dead,
in the church of the Osservanti, painted much in the style of Paolo. He died in 1706,
at the advanced age of 89.
SADELER, John. This eminent engraver was born at Brussels in 1550. The profession
of his father was to engrave ornaments on steel and iron, to be inlaid with gold or silver,
and John Sadeler was brought up to the same business. At a very early age, however,
he applied himself to the study of the human figure, which he drew correctly, though
with the stiffness and formality usual at that period in the artists of his country. He
was nearly twenty years of age before he commenced engraving on copper, when he
executed some plates from the designs of Crispin Vanden Broeck, which were so fa
vourably received, that he was encouraged to devote his attention entirely to engraving.
He travelled through Germany to Italy, where he divested himself, in a great degree, of
the dry and hard manner which is discernible in his earliest works. His plates are
executed with the graver only, in a neat clear style, and discover the hand of an able
artist. His drawing is generally correct, and there is a fine expression in his heads.
John Sadeler engraved with equal success portraits and historical subjects. His prints
are very numerous, of which the following list comprises the most deserving of notice :
PORTRAITS.
Clement VIII. ; Pont. Max.
Mary of Medicis.
Charles, Hereditary Prince of Sweden.
Otho Henry, Count of Schwarzenberg.
Sigismund Feyerabend, famous Printer. 1587.
George Hoefnagel, Painter of Antwerp.
Martin Luther ; in an arabasque border.

SADELER. 349
SETS OF PRINTS.
Eight plates of the Creation of the World ; after Crispin Vanden Broeck.
Six of the History of Adam and Eve ; after Michael Coxis.
Sixteen subjects from the Book of Genesis ; after M. de Vos.
A numerous set of plates of the Life of Christ; after the same.
Seven plates of the Passion of our Saviour ; after Christopher Swarz.
A very numerous set, called the Hermits; engraved in conjunction with his brothers; after the
same.
The Twelve Months of the Year; after P. Stephens, or Stephani.
The Four Seasons ; after Hans. Bol.
The Four Times of the Day ; after Theodore Bernard.
SUBJECTS AFTER VARIOUS MASTERS.
The Rich Man and Lazarus ; after Bassano.
Christ entertained by Martha and Mary; after the same.
These two prints, with a third, representing Christ with the two Disciples at Emaiis,
engraved by Raphael Sadeler, after the same painter, are usually called Sadeler' s Kitchens.
The Angel appearing to the Shepherds ; after the same.
The Nativity ; after Polidoro da Caravaggio.
The Virgin, with the Infant sleeping, and an Angel ; after An. Caraeci.
St. Jerome praying ; after Giles Mostaert.
Mary Magdalen in meditation ; after the same.
St. Roch, with two Pilgrims ; after the same.
Jesus calling to him the little Children ; after Judocus de Winghe.
The Prodigal Son ; after the same.
The Annunciation ; after Peter de Witt, called Pietro Candido.
Christ at table with the Disciples at Emails ; after the same.
The three Marys at the Sepulchre ; after the same.
The Last Supper ; after the same.
The Martyrdom of St. Ursula and her Companions ; after the same.
The Nativity ; after J. van Achon.
The Holy Family, with Mary Magdalen ; after the same.
The Crucifixion ; after the same.
The Last Judgment ; after the same.
Mary Magdalen penitent ; after Federigo Sustris.
Christ appearing to Magdalen ; after the same.
Mankind surprised by the sudden advent of the Deluge ; after Theodore Bernard.
Mankind surprised by the coming of the Last Day ; after the same.
The Trinity ; after Antonio Maria Viani.
Several Landscapes ; after Paul Brill, and others.
He died at Venice in 1600, aged 50.
SADELER, Raphael. He was the younger brother of the foregoing artist, born at Brus
sels in 1555, and was bred to tbe same profession, under his father. The success John
Sadeler met wilh as an engraver, induced Raphael to turn his thoughts to the same
pursuit, and he became a disciple of his brother. They travelled together through Ger
many, where Raphael engraved a variety of plates, after John van Achen, Matthias Kage?;

350 SADELER.
and other masters of that school. They afterwards settled at Venice, where they exe
cuted a great number of plates, many of which are deservedly esteemed. Following the
example of his brother, Raphael Sadeler worked entirely with the graver, which he
handled with boldness and precision. His drawing of the figure is generally correct,
and the extremities are carefully marked. His prints are nearly as numerous as those
of his brother, and some of them are very fine, particularly those after Van Achen, as
well as some of his portraits. The following are his principal plates .-
PORTRAITS.
Paul V.; Pont. Max.
St. Charles Borromeus, Cardinal.
Ernest, Archbishop of Cologne.
Leopold of Austria, Bishop of Salzburg and Passau.
Ferdinand, Archduke of Austria.
Charles Emanuel, Duke of Savoy, on horseback.
John Dietmar, Abbot of Furstenberg.
Hypolitus Guarinonius, M. D.
subjects after various masters.
A set of four plates of the Life of the Virgin ; from his own designs.
Twenty-eight plates of the Life and Passion of Christ ; th* same.
Mary Magdalen at the Sepulchre, with St. Peter and St. John ; after J. de Winghe.
Lot and his Daughters ; after the same.
The Holy Family, with St. Elizabeth and St. John; after John van Achen.
The Entombing of Christ ; after the same.
The dead Christ in the Sepulchre, with Angels ; after the same,
Mary Magdalen penitent ; after the same.
The Judgment of Paris ; after the same.
The Virgin and infant Christ; after Peter de Witt, called P. Candido. 1593.
The Immaculate Conception ; after the same.
The Presentation in the Temple ; after' the same. 1591.
The Resurrection of Lazarus ; after Rotenhamer.
The Marriage of St. Catherine ; after Henry Goltzius.
The dead Christ, attended by the Marys, St. John, and Angels ; after J. Stradan.
An emblematical subject on the uncertainty of life, represented by Death seizing a Lady at a
feast ; after the same.
The Crucifixion; after Palma.
The Virgin suckling the infant Christ; after An. Caraeci.
The Holy Family, with St. John presenting a Cross ; after Raffaelle, without the name of the
painter or his own ; inscribed Qui non accipit, fyc.
The Annunciation ; after Federigo Zuccaro.
The Adoration of the Magi ; after Bassano. 1598.
Christ at table with tlie Disciples at Emails ; after the same ; called one of Sadcle7Js Kitchens
The Four Seasons ; after J. Stradan.
A set of six Landscapes ; after, P. Steevens, or Slephani.
Two Landscapes with figures ; after Matt. Brill.
Four Landscapes, with the history of the Prodigal Son; after Paul Brill.
A numerous set of prints, entitled Bavaria Sancla, engraved conjointly with his son Raphael
and published by him at Antwerp in 1624 and 1628.

SADELER. 351
Several Emblematical and Allegorical subjects ; after Martin de Vos.
The great Battle of Prague, in eight sheets; very scarce.
According to Huber, Raphael Sadeler died at Venice in I6l6, aged 61.
SADELER, Egidius, or Giles. He was the nephew and the disciple of the two preceding
artists, born at Antwerp in 1570. After being well grounded in the principles of design,
he took up the graver, and with the assistance of his relatives, in a few years he acquired
a perfect use of that instrument, and in taste and freedom of stroke surpassed his in
structors. He had passed some time in Italy, where he engraved some plates after the
painters of that school, when he was invited to Prague by the Emperor Rodolphus II.
who retained him in his service, and assigned him a pension. He enjoyed the favour
and protection of the two succeeding Emperors, Matthias and Ferdinand II. He used
the graver with a commanding facility, sometimes finishing his plates with surprising
neatness, when the subject required it ; at other times his burin is broad and bold. His
plates are very numerous, representing historical subjects, portraits, landscapes, &c.
some of them from his own designs, many of which are much esteemed, particularly his
portraits, which are executed in an admirable style. The following are considered his
best prints : PORTRAITS.
The Emperor Rodolphus II. on horseback, with a Battle in the back-ground; after Ad. de Vries.
The Emperor Matthias. 1616.
The Empress Anne, his consort. 1616.
The Emperor Ferdinand II. on horseback; in two sheets. 1629.
Burckhard de Berlihing, Privy Counsellor to Rodolphus II.
Christopher Guarinonius Fontanus, Physician to the same.
John George Goedelraan, Jurisconsult.
Joachim Huber, Aulic Counsellor.
Jacob Chimarrhaeus, Grand Almoner.
Cardinal de Dietrichsteiu, Bishop of Olmutz. 1604.
John Matthew Warenfels, Aulic Counsellor. 1614.
Adam, Baron de Trautmansdorf.
Siegfried de Kolonitsch.
Ferdinand de Kolonitsch.
Torquato Tasso, Poelarum Princeps. 1617.
Octavius Strada, Antiquary.
Peter Breughel, Painter, of Brussels. 1606.
Martin de Vos, Painter, of Antwerp.
Sigismond Bathori, Prince of Transilvania.
VARIOUS SUBJECTS FROM HIS OWN DESIGNS.
A set of twelve plates, representing Angels with the Instruments of the Passion.
A set of fifty-two Views near Rome, entitled Vestigi delle Antichitd di Roma.
The Burning of Troy, an etching ; AZg. Sadeler, fecit, aquaforti.
Charity, represented by a female figure with three children.
Narcissus admiring himself in a Fountain.
Pan and Syrinx.
St. Sebastian dying, with an Angel drawing out the Arrows from his side.
St. Dominick receiving the Institution of his Order from St. Peter and St. Paul.

352 SAENREDAM.
The Scourging of Christ.
The Crucifixion.
The great Saloon at Prague ; in two sheets.
SUBJECTS AFTER VARIOUS MASTERS.
The Virgin and Infant ; after Baffaelle.
The Angel appearing to the Shepherds; after Bassano.
The Murder of the Innocents; after Tintoretto.
The Last Supper ; after the same.
St. Peter called to the Apostleship ; after F. Baroccio.
The Entombing of Christ; after the same.
The Scourging of Christ ; after Guiseppe Cesare dArpino.
The Martyrdom of St. Sebastian; after the younger Palma.
The Rich Man and Lazarus ; after the same.
Angelica and Medora; after Carlo Cagliari.
Hercules and Omphale ; after B. Spranger.
The Marys at the Tomb of Christ ; after the same.
The Annunciation ; after Peter de Witt, called Candido.
The Virgin and infant Jesus ; copied from Albert Durer.
Christ bearing his Cross ; the same.
Judith with the Head of Holofernes ; after John van Achen.
The Nativity ; after the same.
The Virgin and infant Christ, with St. John ; after the same.
Several sets of Landscapes ; after Brughel, Paul Brill, Roelant, Savery, P. Stevens, &c.
Giles Sadeler died at Prague in 1629, aged 59.
SAENREDAM, John. A Dutch designer and engraver, born at Leyden about the year
1570. According to Huber, he was instructed in drawing and the use of the graver by
Henry Goltzius and James de Gheyn. We have a great variety of prints by this artist,
which are executed in a neat clear style, and with considerable facility. His design is
not very correct, and there is generally a want of effect in the management of the lights
and shadows. Several of his plates are from his own compositions, which prove him to
have possessed both genius and taste. He worked entirely with the graver, which he
handled in a masterly manner. His best prints are the following ;
PORTRAITS.
Carl van Mander ; after Goltzius.
P. H. Hornanus, Poet and Physician; after Van Mander.
John Cesaree, Philosopher.
John de la Chambre, Writing-master. SUBJECTS FROM HIS OWN DESIGNS.
Susanna and the Elders.
Hercules between Minerva and Venus.
Lycurgus giving Laws to the Lacedemonians.
The wise and the foolish Virgins, in five plates. 1606.
An Allegorical Subject relative to the government of the Low Countries of the Infanta Isabella.
The portrait of that Princess is seen under a tree on the right of the print. 1602.

SAH SAI 353
The prosperity of the United Provinces under the House of Orange ; an emblematical subject.
1600.
A representation of a large Whale, which was thrown on the coast of Holland. 1602.
SUBJECTS AFTER VARIOUS MASTERS.
Adam and Eve in Paradise ; after H. Goltzius.
Lot and his Daughters ; after the same.
Judith with the Head of Holofernes ; after the same.
Susanna and the Elders ; after tlie same.
Ceres, Venus, and Bacchus united ; after the same.
The Seven Planets, the Four Seasons, the Five Senses, the Four Ages, the Three Marriages at
different times of life ; all after the same.
The Bath of Diana; after the same.
A set of six plates of the History of Adam and Eve; after Ab. Bloemaert.
Four plates of the History of Elijah and Elisha ; after the same.
Elijah and the Widow of Sarepta ; after the same. 1604.
The Angel appearing to the Shepherds ; after the same. 1599.
The Prodigal Son ; after the same. 1618.
Vertumnus and Pomona ; after the same. 1605.
Mars and Venus; after P. Isaacx.
Judith with the Head of Holofernes ; after Lucas van Leyden.
David carrying in triumph the Head of Goliah ; after the same.
The Nativity; after C. van Mander.
Paul and Barnabas; after the same.
Adam and Eve in Paradise ; after Corn, van Haerlem.
St. John preaching in the Wilderness ; after the same.
Angelica and Medora ; after the same.
Vertumnus and Pomona ; after the same.
The Grot of Plato; inscribed, Lux venit in mundum, &c. ; after the same.
The Death of Epaminondas ; after Polidoro da Caravaggio.
Camillus breaking the Treaty of Peace between the Romans and the Gauls ; after the same.
The History of Niobe and her Children ; in eight sheets, forming a frieze ; after the same. 1594.
The Entombing of Christ; after M. Angelo Caravaggio.
The Repast of our Saviour with Levi ; after P- Veronese.
SAHLER, C. An obscure engraver, whose name is affixed to the portrait of Adrian Stal-
bent, a painter.
SAILMAKER, Isaac An English painter of marine subjects, who was appointed by
Cromwell to take a view of the fleet before Mardyke. Mr. Strutt has erroneously stated
" that the Honourable Mr. Walpole informs us, that he etched some plates ; but the
subjects are not specified." It is said in the Anecdotes, that " a print of the confederate
fleet, under Sir George Rooke, engaging the French commanded by the Count de
Toulouse, was engraved in 1714, from a design of Sailmaker," who lived to the age of
88, and died in 1721.
SAINT, Andre. See Renard.
SAINT, Aubin. See Aubin.
Vol. II. Y y

354 S A I SAL
SAINT, N on. SeeNoN.
SAINT, Maurice de. This amateur engraver was an officer in the French guards, who
amused himself with the point. We have by him, among other prints, an old Man play
ing on the flute, surrounded by Children ; after Le Nain.
SAITER, or Seiter Daniel. According to Pascoli, this painter was bora at Vienna in
1649- He went to Italy when he was very young, and studied for some years at Venice,
under Carlo Loti. From Venice he went to Rome, where he gave proof of his ability
in an altar-piece, representing St. John preaching in the Wilderness, in S. Maria in Val-
licella ; and a fine picture of the Death of Lucretia, in the Palazzo Spada. He was in
vited to the court of Turin, where he resided several years, and painted some of his most
esteemed works, among which, the Cupola of the Spedal Maggiore is regarded as one
of the best frescoes in that capital. In the royal collection there is a Pieta, which is
worthy of the school of the Caraeci. He died in 1705, aged 56.
SAITER, or Seiter, John Gotfreid. A German designer and engraver, born at Augs
bourg in 17 18. He was instructed in design by J. E. Ridinger, aud learned engraving
from G. M. Preissler. He afterwards resided some years in Italy, and, on his return to
his native country, he engraved several plates, of which the following are the most
worthy of notice :
The Portrait of John Kupetzky, Painter.
•  of George Philip Rugendas, Painter of battles.
Abraham sending away Hagar ; after Celesti.
The Holy Family; after Andrea del Sarto.
Christ with Martha and Mary; after L. da Vinci.
The Adultress before Christ ; after Procaccini.
The Marriage of Cana ; after P. Veronese.
The Flight into Egypt ; after Albano.
SALAERT, Anthony. This painter was born at Brussels about the year 1570. It is not
known by whom he was instructed, but he was a reputable painter of history. There
were several of his pictures in the churches at Brussels, which are particularly noticed
hy Descamps in his Voyage Pittoresque de la Flandre, one of which possessed sufficient
merit to render it an object of plunder to the French, and it is now in the gallery of the
Louvre. It represents a Procession of the confraternity of Archers. Papillon mentions
this artist as an engraver on wood, and says he executed several cuts in a bold free style,
among which are the heads of the Four Evangelists. He usually marked his prints with
the cipher [jfc|.
SALERNO, Andrea da. See Sabbatini.
SALIMBENI, Arcangiolo. This painter was a native of Siena, and flourished about
the year 1560. Baldinucci ranks him among the disciples of Frederigo Zuccaro, al
though his style exhibits principles entirely opposite to those of that master. Accord
ing to Delia Valle, he attached himself rather to the precision and formality which dis
tinguished the works of Pietro Perugino. Such is his picture of the Crucifixion, in the

SAL SAL 355
parochial church of Lusignano. His St. Peter Martyr, at the Domenicani, at Siena, is
of a more modern character in the design, free from the heaviness and mannered style
which too frequently characterise the works of Frederigo Zuccaro.
SALIMBENI, Cavaliere Ventura. He was the son of Arcangiolo Salimbeni, born at
Siena in 1557. After being instructed in the incipient rudiments of design by his
father, who died when he was very young, he travelled through Lombardy, and studied
some time at Parma and Modena the works of Coreggio and Parmigiano. He arrived
at Rome in the pontificate of Sixtus V. by whom he was employed in the library of the
Vatican, and in the palace of St. John of Lateran. Baglione enumerates several of his
works in the churches and public edifices at Rome, of which the most worthy of notice
are his pictures of the Baptism of Christ, and Abraham and the Angels, in the church
del Gesu ; the Circumcision, in S. Simeone de Lancellotti ; and the Annunciation, in S.
Maria Maggiore. He afterwards visited Florence/ where, in competition with Bernar
dino Barbatelli, called II Poccetti, he painted, in the cloister de Servi, several pictures of
the life of the Virgin. His Marriage of the Virgin, in the cathedral at Folio-no- his S.
Gregorio, in the church of St. Peter, at Perugia, are further proofs of the eminence of
his talents.
Ventura Salimbeni possessed a ready and fertile invention ; his design is graceful and
elegant, frequently resembling that of Frederigo Baroccio ; and his colouring is delicate
and harmonious. He sometimes painted in conjunction with his half-brother Francesco
Vanni, by whose principles he is said to have profited, though considerably younger than
himself. As he lived in habits of intimacy with Agostino Tassi, that artist frequently
painted the landscapes in the back-grounds of his pictures. He died at Siena in 1613
aged 56. We have several masterly etchings by this artist, from his own designs, among
which are the following :
The Marriage of the Virgin.
The Salutation.
St. Agnes.
The Baptism of Christ by St. John.
SALINI, Cavaliere Tommaso. This painter was born at Rome in 1575. He was the son
of a Florentine sculptor, who placed him under the tuition of Baccio Pintelli an artist
of little note, and without the advantage of superior instruction he became a respectable
painter of history. Baglione mentions several pictures by him in the public edifices at
Rome ; among others, an altar-piece in the church of S. Agnese, representing the Mar
tyrdom of that Saint ; and in S. Agostino, a picture of S. Tommaso da Villanova giving
Alms to the Poor. He also painted flowers and fruit with considerable success. He
died at Rome in 1625, aged 50.
SAL1S, Carlo. He was born at Verona in 1680, and first studied at Bologna under
Guiseppe delle Sole, but he afterwards became a disciple of Antonio Balestra at
Venice, whose style he imitated with success. There are several pictures by this master
in the churches in the Venetian states; one of the most esteemed is an altar-piece at
Bergamo, representing S. Vincenzio healing the Sick. He died in 1763, aged 83.
Yy 2

356 SAL SAL
SALM, Van. An obscure Dutch painter of marines and views in Holland, in black and
white, in imitation of pen drawings. They are neatly finished, but have little more
effect than a print.
SALMEGGIA, Enea, called II Talpino. This painter was born at Bergamo about the
year 1556. He received his first instruction in the art at Cremona, in the school of the
Campi; he afterwards became a scholar of Procaccini, at Milan, and passed fourteen
years at Rome, where he particularly applied himself to the study of the works of
Raffaelle. Orlandi ranks him amongst the most successful followers of the style of that
distinguished painter, and asserts, that his picture of S. Vittore, at the Olivetani, at
Milan, has been mistaken for a work of Raffaelle ; and Lanzi observes, that whoever
has seen that estimable performance, will not refuse Salmeggia an honourable rank
among his imitators. The purity of his contours, though occasionally approaching to
the minute, the beautiful expression of his heads, the delicacy of his pencil, the graceful
attitudes of his figures, indicate his attachment to his illustrious model ; though he will
be allowed to be greatly inferior in the grandeur and elevation of his ideas, in his ac
quaintance with the antique, and in the felicity of his compositions. Of his numerous
works at Bergamo, we have a detailed account in the Vite de Pittori Bergamaschi, by
Conte Tassi, of which the most esteemed are the Adoration of the Magi, in S. Maria
Maggiore; the great altar-piece in the church of S. Grata, representing the Virgin and
Child in the clouds, with a choir of angels, and below, S. Benedetto, S. Grata, and
other saints ; the Martyrdom of Agata, at the Teatini ; and the taking down from the
Cross, in S. Leonardo. At Milan, in the church of La Passione, are two of his finest
works, representing Christ's Sermon on the Mount, and the Flagellation. This esti
mable artist died at Bergamo in 1626, aged about 70.
SALMERON, Cristobal Garcia. A Spanish painter, born at Cuenca in 1603. He was
a disciple, of Pedro Orrente, and proved a reputable painter of history and animals. One
of his most esteemed works is a picture of the Nativity, in the church of St. Francis at
Cuenca. He was employed by Philip IV. to paint a bull-fight, in honour of the birth
day of Charles II. of Spain. He died in 1666, aged 66.
SALMINCIO, Andrea. This artist was a native of Bologna, and a scholar of Giovanni
Luigi Valesio. He engraved several prints, both on wood and on copper, which he
marked with a cipher composed of an A. and S. joined ^.
SALTZBURGER, P. A German engraver on wood, who flourished about the year 1580
He may be placed among what are called the little masters ; most of his cuts are from
the designs of Jost Amman. They are usually marked with the cipher^., and in a few
instances with the P. and S. separate.
SALVATOR, Rosa. See Rosa.
SALVI, Giovanni Batista, called II Sassoferrato. According to Lanzi, this painter
was born at the castle of Sassoferrato, near Urbino, in 1605. He was the son of Tar-
quinio Salvi, a painter of little celebrity, who instructed him in the rudiments of design,

SALVIATI. 357
and when he was very young he was sent to Rome, where he passed some years. He
afterwards visited Naples, where he is supposed to have studied under Domenichino,
during his residence in that city. Sassoferrato did not confine his studies to the works
of any particular master, but occasionally imitated the style of Guido, Albano, Baroccio,
and even Raffaelle. His pictures generally represent the Virgin and infant Christ, and
he seldom ventured on more complicate subjects. His most considerable work is a
small altar-piece in the church of S. Sabina, at Rome, representing the Virgin and
Child, with St. Catherine and St. Dominic. He died at Rome in 1685, aged 80.
SALVIATI, Guiseppe. See Porta.
SALVIATI, Francessco Rossi, called II. The family name of this artist was Rossi, but
he acquired the appellation of II Salviati, from the favour and protection he experienced
from the Cardinal of that name. He was the son of Michel Angiolo Rossi, born at
Florence in 1510, and was a fellow student with Giorgio Vasari, first under Andrea del
Sarto, and afterwards under Baccio Bandinelli. The two young friends pursued their
studies at Rome with the same intimacy, and adopted similar principles. The genius
of Salviati, however, directed him to a more correct design, and to a grander and more
animated style than that of his companion ; and Vasari himself celebrated him as the
ablest artist who was at that time at Rome. In the church of La Pace he painted the
Annunciation, and Christ appearing to St. Peter, by which he gained considerable
reputation; and he soon afterwards embellished the vault of the chapel of his patron
with a series of frescoes, representing the life of St. John the Baptist. He was employed
by the Prince Farnese to execute the cartoons for the tapestry for his palace, in which
he represented the history of Alexander. In conjunction with Vasari he ornamented
the apartments of the Cancellaria with several fresco works. From Rome he went to
Venice, where he painted several pictures for the public edifices and private collections
particularly the history of Psyche, in a saloon of the Palazzo Grimaldi, which Vasari
with a marked partiality for his countryman and co-disciple, styles, La piu bell' opera di
pittura che sia in tutta Venezia. On leaving Venice he travelled through Lombardy, and
made some stay at Mantua, where he was particularly struck with the works of Giulio
Romano. He afterwards visited Florence, and was employed by the Grand Duke to
ornament one of the saloons of the Palazzo Vecchio, where he represented the victory
and triumph of Furius Camillus, composed and painted with surprising genius and
spirit; and the accuracy with which he has delineated the arms, habiliments, and cos
tume of ancient. Rome, is worthy of the most learned antiquary.
The restless and unsettled disposition of Salviati, did not permit him to reside long in
a place, and he readily complied with the invitation of the Cardinal de Lorraine to ac
company him to France, where Francis I. had engaged some of the ablest artists of
Italy in the decoration of the Chateau of Fontainbleau. He was received with, distinc
tion, and was treated with great kindness by Primaticcio, the superintendant of the
works; but the jealousy and turbulence of his nature returned these good offices with
ingratitude and malevolence. During his stay in France, he painted a fine picture for
the church of the Celestines, at Paris, representing the taking down from the Cross.
Dissatisfied with his situation in France, he returned to Rome, where he fell into new
difficulties and disputes with Daniello di Volterra and Pietro Ligorio. The continuaj
agitation of his mind brought on a fever, of which he died, in 1563, aged 53..

358 SAL SAN
II Salviati possessed a rich and fertile invention ; his compositions are original and
abundant, and he embellished his works with magnificent architecture. He was one of
the few who have been able to combine celerity of pencil with a strict correctness of
design, for which he was distinguished, though occasionally bordering on the gigantic.
Although he is more esteemed as a designer than a colourist, his carnations are delicate
and tender, his conceptions are graceful, and the folding of his drapery is broad and
simple, without concealing the beauty of his forms. The possession of these powers
was poisoned by a rancorous and malignant disposition, which prompted him to vilify
the works of others, and to extol his own; and by the injustice and impolicy of such
conduct, he frequently found preferred to him rivals, whose talents were unworthy of
his competition.
SALY, James Francis. A French sculptor, bora at Valenciennes in 1720. He resided
some time at the court of Denmark, where he executed an equestrian statue of King
Frederick V. of which there is a print by J. M. Preissler. He is mentioned here as the
engraver of thirty plates of vases, and of four designs for monuments. They are etched
with spirit.
SAMACCHINI, Orazio. This eminent painter was born at Bologna in 1532, and, ac
cording to Malvasia, was instructed in the art by Pellegrino Tibaldi. He afterwards
studied the works of Coreggio, and was employed to paint in fresco the great chapel in
the cathedral, contiguous to the famous cupola by that distinguished master. He went
to Rome in the pontificate of Pius IV. by whom he was employed, in conjunction with
Marco da Siena, and others, in the decorations of the Sala Regia. It does not appear
that he either approved or adopted the principles of the Roman school. The graces of
Coreggio and Parmigiano had made an impression on his mind, which even the
grandeur and majesty of Raffaelle could not obliterate, and he returned to Bologna,
confirmed in his adherence to the style of Lombardy. He embellished the churches
and palaces of his native city with some of their most attractive ornaments, among
which are his celebrated picture of the Coronation of the Virgin, in the church of SS.
Naborre e Felice, so much applauded by the Caraeci ; his Presentation in the Temple,
in S. Giacomo Maggiore, an admirable production, in which we are equally charmed
with the elegance of the composition, and the captivating expression of the Virgin and
principal figures. It was considered by Agostino Caraeci as one of the most perfect
pictures at Bologna, by whom we have a fine print of it. Little inferior to these are his
altar-piece of the Last Supper, at the Certosa ; the Crucifixion, in La Trinita ; and his
Fall of Icarus, in the Palazzo Lambertini.
Although the powers of Samacchini appear to such advantage in the tender and
pathetic, he was not unequal to the more arduous encounter of the grand and terrific.
According to Lanzi, the strength and energy of his faculties are most apparent in the
vault of the church of S. Abondio, at Cremona. The figures of the prophets are dig
nified and commanding, and he has vanquished the difficulties of the di Sotto in Su,
under very embarrassing local circumstances, in a very masterly style. He died in 1577,
aged 45.
SANDRART, de Joachim. This painter and writer on art was born at Frankfort in
1606, and was instructed in the rudiments of design by Matthew Merian and Theodore

SANDRART. 359
de Bry. At the age of fifteen he went to Prague, where he was for some time instructed
in engraving by Giles Sadeler, who finding his genius was better adapted to painting,
recommended him to change the graver for the pencil. In pursuance of that advice he
went to Utrecht, where he became a disciple of Gerard Honthorst. Under that able in
structor his progress was surprising, and he soon acquired sufficient ability to assist his
master in many of his most considerable works.
Descamps asserts, that when Honthorst was invited to England by Charles I. he en
gaged Sandrart to accompany him, that the King bespoke many pictures of him, that
he copied the portraits of Henry VIII. Sir Thomas More, Erasmus, and others, from
Holbein, for the Earl of Arundel, and that he remained in England till 1627, when he
went to Venice. There appears, however, to be very little authority for the account.
No picture of Sandrart is mentioned in King Charles's collection ; and what renders his
having been in England more improbable is, that he takes no notice of it himself in the
Life of Honthorst, though he mentions that artist's journey to England, and gives an
account of his works here. He certainly passed several years in Italy, and at Venice
copied the finest pictures of Titian and Pa*olo Veronese. From Venice he went to
Rome, where he resided some years, and was much employed by the Cardinal Barberini,
and the Prince Guistiniani, and was entrusted by the latter with the superintendance of
the engravings of the statues in his gallery. After a long residence in Italy, Sandrart
returned to Frankfort. He was employed in several considerable works for the Emperor
Ferdinand, and for Maximilian, Duke of Bavaria. Towards the latter part of his life
he resided at Nuremberg, where he established an academy, and composed several works
on art, particularly his Lives of the Painters, under the title of Academia Artis Pictoria,
published at Nuremberg in 1683. He died in that city in 1688, aged 72.
SANDRART, Jacob de. He was a nephew of the preceding artist, born at Frankfort in
1630, and was instructed in engraving by Cornelius Dankerts and William Hondius.
He engraved a great number of plates, which are executed with the graver in a clear,
neat style. His best prints are his portraits, among which are the following .-
The Emperor Rodolphus II.
 Ferdinand II.
 — •  ¦ Ferdinand III.
Frederick, Prince of Norway.
Sophia, Electoral Princess of Saxony.
Ferdinand Maria, Duke of Bavaria.
Joachim Sandrart, Painter; inscribed, Seculi nostri Apelles.
Joannes Paulus Auer, Painter.
SANDRART, John Jacob de. He was the son of Jacob de Sandrart, bora at Ratisbon
in 1655. He learned the first rudiments of design from his father, and profited by the
lessons of Joachim de Sandrart, his great uncle. This artist was an able designer as well
as an engraver, and possessed a ready and inventive genius. We have some portraits
by him, executed in a neat, tasteful style. The publications of Joachim de Sandrart are
embellished with many spirited etchings by him. He also engraved several of the
plates for a work entitled, Suecia Antiqua et Hodierita. The following are his principal
prints :

360 SAN SAN

PORTRAITS.

Elizabeth Henrietta, Princess of Brandenbourg ; after A. Le Clerc.
Silvius Jacob de Dunkelmann ; after the same.
VARIOUS SUBJECTS.
The Holy Family ; after Joachim de Sandrart.
Two subjects of the Origin of Painting ; after the same.
Two subjects of the Customs and Amusements of the ancient Germans; after the same.
iEneas saving his father Anchises from the burning of Troy ; from his own design.
SANDRART, Susanna Maria de. This lady was the sister of the foregoing artist, born
at Nuremberg in 1658. She was instructed in design and engraving by her father Jacob
de Sandrart, and executed several plates, chiefly for the publications of Joachim de San
drart. We have the following prints, among others, by her :
The Assembly of the Gods on the Marriage of Cupid and Psyche ; after Raffaelle.
The Nozze Aldobrandine ; after a design by Bartoli.
A Bacchanalian subject; inscribed, Immoderatum dulce Amorum.
SANDRART, Lawrence de. He was probably of the same family with the foregoing
artists. His name is affixed to the frontispiece for a set of prints from Ovid's Meta
morphoses, by Engelbrecht, published in 1700.
SANDRINO, Tommaso. This painter was born at Brescia in 1575. He excelled in
painting perspective and architectural views, and was no mean painter of history. His
principal works are the ceilings of the churches of St. Faustino, S. Domenico, and the
Cathedral at Brescia. There are also several of his works in the public edifices at Milan
and Ferrara. He died in 1631, aged 56.
SANDYS, Edwyn. Mr. Strutt mentions this artist as the engraver of a portrait of Sir
William Petty.
SAN FELICE, Ferdinando. This artist was a native of Naples, and flourished about the
year 1710. He was a scholar of Francesco Solimene, whom he assisted in his numerous
works, and was one of the ablest of his disciples. He painted some altar-pieces for the
churches at Naples, and excelled also in landscapes, perspective views, and fruit.
SANTA-CROCE, Francesco Rizzo da. According to Tassi, this artist was a native of
Santa-Croce, in the Bergamese state, and flourished from the year 1507 till 1529. He
was sent to Venice when he was young, where he frequented the school of Vittore Car-
paccio, and, following the example of his instructor, adopted a more modern and unre
strained style than was practised by his predecessors, the Bellini. Zanetti mentions as
one of his most esteemed productions, an altar-piece in the church of Degli Ano-eli, at
Murano, representing the Virgin and infant Christ, with S. Geremia and S. Girolamo,
with a Choir of Angels, a graceful composition, and delicately coloured.

SAN SAN 361
SANTA-CROCE, Girolamo Rizzo, da. This painter was of the same family as the fore
going artist, and flourished, according to the dates on his pictures, from the year 1520
till 1549. He is said by Zanetti to have approached nearer to the style of Giorgione and
Titian, than any artist of his time. There are several of his works in the public edifices
at Venice, and in the State, which are mentioned in very favourable terms by that
writer, particularly the Martyrdom of S. Lorenzo, in the church of S. Francesco della
Vigna ; and the Last Supper, in S. Martino ; the latter is inscribed, Hieronimo de Sancta
Croce mdxxxxviii.
SANTAFEDE, Francesco. This painter was a Neapolitan, and a scholar of Andrea Sab-
batini, called da Salerno. There are many works of this master in the churches at
Naples, of which the most deserving of notice is the Coronation of the Virgin, in the
church of S. Maria la Nuova. He flourished about the year 1555".
SANTAFEDE, Fabrizio. He was the son of Francesco Santafede, born at Naples in 1560,
by whom he was first instructed in the art, but he afterwards became a scholar of Fran
cesco Curia, and at length visited Rome, where he remained two years, studying the
principal objects of art in that capital. On his return to Naples he was employed in
several considerable works for the public edifices. For the church of the Nunciata he
painted two pictures, representing the Nativity, and the Angel appearing to the Shep
herds. In S. Maria de Constantinopoli, is an altar-piece by this master representing
the Adoration of the Magi. Many other performances of this painter are mentioned by
Dominici in his Lives of the Neapolitan Artists. The time of his death is not ascer
tained.
SANTAGOSTINO, Giacomo Antonio. This artist was born at Milan in 1588, and was
a scholar of Giulio Cesare Procaccini, under whom he became a very reputable artist-
He painted several pictures for the churches at Milan, particularly in S. Lorenzo Mag
giore, in S. Maria del Lantasio, and in S. Vittore. He died in 1648, aged 60.
SANTERRE, John Baptist. A French painter, born at Magny, near Pontoise, in
1651. He was a scholar of Bon Boullongne,by whose instruction he became a reputable
artist. Although he was not endowed with a fertile or ready invention, he supplied that
deficiency by an assiduous application, and an attentive study after nature. His histo
rical pictures are few, of which the most deserving of notice are his Susanna and the
Elders, formerly in the hall of the Academy, now in the gallery of the Louvre ; Mary
Magdalen penitent, in the King's collection ; and Saint Theresa, in the chapel at Ver
sailles. He painted portraits and domestic subjects with success, ^hich are carefully
designed and painted, and exhibit a more harmonious colouring than is usually found in
the works of the artists of his country. He died at Paris in 1717, aged 66.
SAiSTI, or Santo, di Titi. See Tm.
SANTI, Domenico. This artist was bora at Bologna in 1621, and was one of the ablest
disciples of Agostino Mitelli. He nearly equalled his instructor in painting perspective
and architectural views. The churches and palaces at Bologna possess many of his
works, particularly S. Colombano, the Servi, and the Palazzo Ratta, which are embel.
Vol. II. Z z

362 SAN S A R
lished with figures by Guiseppe Mitelli, Gio. Antonio Burrini, and especially by Domenico
Maria Canuti. He also painted pictures of a small size, which are highly appreciated
in the private collections at Bologna, and are frequently mistaken for the works of
Agostino Mitelli. He died in 1694, aged 73.
SANTVOORT, A. This artist is mentioned by Mr. Strutt as the engraver of a print re
presenting an almanack-seller, with a town and church in the back-ground. It is neatly
etched, in a style resembling that of Hollar.
SAlSUTO, or Sanutus, Giulio. An Italian engraver, born at Venice about the year 1530.
We have some prints by him executed in a coarse heavy style, with single strokes,
without any hatching, resembling a wooden cut : among others,
A print of the Birth of a monstrous Child, inscribed Jul. Sanutus Venet,fec.
Venus and Adonis ; after Titian.
Apollo and Marsias ; after Coreggio ; in three sheets.
SANZIO, Raffaelle. See Raffaelle.
SARABIA, Josef. A Spanish painter, born at Seville in 1618. According to Palomino,
he was brought up in the school of Francisco Zurbaran, and became a reputable painter
of history. He chiefly resided at Cordova, where he painted many pictures and altar-
pieces for the churches, which are highly commended by his biographer. Of these the
most esteemed are, his pictures of the Conception, in the church of the Convent of S.
Francisco; and the Flight into Egypt, in the Convent de la Victoria. He died at Cor
dova in 1669, aged 51.
SARACINO, Carlo, called Veneziano. This painter was a native of Venice, but, ac
cording to Baglione, visited Rome during the pontificate of Clement VIII. where he
was for some time under the tuition of Camillo Mariani, but afterwards studied and
imitated the manner of Caravaggio. He was employed for several of the public edifices
at Rome, and for the palaces of the nobility. For the church of S. Maria, in Trastevere
he painted the Death of the Virgin; and in the church of S. Simone there is an altar-
piece by him, in the chapel of the family of Lancellotti, representing the Virgin Mary,
the infant Christ, and St. Anne. In the pontifical palace of Monte Cavallo he painted
several fresco works, in conjunction with Giovanni Lanfranco, which are considered his
best performances. He returned to Venice, whither he had been invited to paint a pic
ture for the council chamber, but did not live to finish it. He died in 1585, aged about
40. This artist is said to have etched some plates from his own designs, in a slight spi
rited style.
SARBOT. By this artist, who flourished about the year 1675, we have a print of Christ
praying in the Garden, supported by an Angel. It is probably from his own design, as
he adds the word fecit to his name.
SARRABAT, John. A French mezzotinto engraver, born at Andely in 1680. He was one
of the earliest artists of his country, who practised that mode of engraving, and his plates
are very indifferently executed. Among others, we have the following prints by him :

S A R S A R 36'

PORTRAITS.

J. B. Bossuet, Bishop of Meaux ; after Rigaud.
Anthony Coypel, Painter to the King ; after Netscher.
Stephen Gantrel, Engraver to the King ; after Largilliere.

subjects.

The Confessor; in two plates; after J. van Haften.
Heraclitus, half-length ; after M. Corneille.
SARRAGON, John. This artist engraved several portraits in a neat clear manner, re
sembling the works of James William Delft. Among others, is a head of Adrian
Hoffer. He flourished about the year 1645.
SARTI, Ercole, called II Muto di Ficarolo. This painter is an extraordinary instance
how far decided genius can overcome difficulties which would generally be regarded as
insurmountable. He was born at Ficarolo, a town in the duchy of Ferrara, in 1593, of
a respectable family, and was deaf and dumb from his birth. Under so heavy an afflic
tion, the only amusement, that appeared to interest him, was the attempt to imitate the
prints, or other objects of the kind, that fell in his way. This he effected with surprising
precision, and it induced his friends to promote so decided a disposition for the art, by
procuring him tbe means of indulging his inclination. Before he was sixteen years of
age, on the occasion of a festival, on which there was to be a solemn procession, he
placed on the front of his father's house a picture he had painted, almost without the
knowledge of any person, representing the Adoration of the Magi. This unexpected
production was the object of universal admiration and astonishment. It was regarded
as little short of a miracle, and he was considered as a prodigy of genius and expecta
tion. He was placed in the school of Carlo Bononi, an eminent historical painter at
Ferrara, under whom he made a rapid progress; and he also imitated the style of Ippo
lito Scarsellino, his cotemporary, whose works he particularly admired. The principal
pictures of this artist are in the church of the Benedictines, in his native town. These
performances gained him great reputation, and his works are said to combine the cor
rect drawing of Bononi, with the rich colouring of Scarsellino. He died about the year
1637, and his merit, and the singularity of his circumstances, were celebrated by the
poets of his country.
SARTO, Andrea Vanucchi, called del. This celebrated painter is generally known by
the name of Andrea del Sarto, an appellation he acquired from the occupation of his
father, who was a tailor. He was born at Florence in 1448, and having shown an early
disposition for drawing, he was placed with a goldsmith, to learn the business of engrav
ing on plate. In this situation he was noticed by Giovanni Barile, an artist of little
note, who persuaded his father to entrust him to his care. He remained under that
master for three years, and afterwards entered the school of Pietro di Cosimo. He was,
however, more indebted for the cultivation of his talents to his studies from the frescoes
of Masaccio and II Ghirlandajo, and afterwards from the cartoons of Leonardo da Vinci
and M. Angelo Buonaroti, than the lessons of his instructors. On leaving the school
of Cosimo, he formed an intimacy with Francesco Bigio, who had been a disciple of
Zz2

364 SARTO.
Mariotto Albertinelli, in conjunction with whom he executed some works in the public
places at Florence, by which he acquired considerable reputation. Lanzi observes, that
" his advancement in the art, and his progress from one perfection to another, was not
so rapid as that of many other artists, but was gradual and slow, from year to year." He
was engaged to paint in fresco, in the cloister of the Scalzi, a series of twelve pictures of
the Life of John the Baptist, in chiar-oscuro, of which the cartoons are preserved in the
Palazzo Rinnuccini. The Baptism of Christ is in his early manner, and discovers an
undisguised imitation of Albert Durer ; in the Visitation of the Virgin, painted a few
years afterwards, his advancement is conspicuous ; and in the Nativity of St. John, the
last he painted of the series, he had nearly reached his most admired style. His next
undertaking was the Life of S. Filippo Benizi, in ten pictures, in the church of the Servi.
In these the genius of Andrea took a bolder flight, and they are considered among the
most graceful of his works, though they were executed when he was still young, and
before he had been at Rome. It has indeed been erroneously asserted, that he never
saw that capital. That he passed some time in the metropolis of art, we are assured by
Vasari ; though he does not acquaint us at what period, he informs us that on his arrival
in that city, he saw some of the works of the disciples of Raffaelle, and that from the
timidity of his disposition, despairing of ever being able to equal them, he returned
hastily to Florence. If we are obliged to give credit to so many other instances of the
pusillanimity of Andrea, there seems to be no good reason for our disputing this; and
if the authenticity of that writer cannot be depended upon in his account of an artist
who was his own master, written at Florence immediately after his death, and during
the lifetime of his family and scholars, it will become very questionable on every other
occasion. It is said to have been after his return from Rome that he painted, for the
monastery of the Salvi, his admired pictures of the Descent of the Holy Ghost, the
Birth of the Virgin, and the Last Supper. Of the last, Lanzi reports, " that at the sieoe
of Florence, in 1529, the soldiers, after having assailed the suburbs of the city, where
the convent was-situated, and destroyed the church and part of the monastery, on ap
proaching the refectory, were so struck with the impressive beauty of this painting, that
they remained motionless, and had not the heart to demolish it; imitating, on that
occasion, the conduct of Demetrius, who, at the siege of Rhodes, respected only the
paintings of Protogenes. But his most celebrated production is his famous picture of
the Holy Family reposing, denominated La Madonna del Sacco, from the circumstance
of St. Joseph reclining on a sack of corn. Of this admirable performance, a correct
idea may be formed from the excellent print engraved from it by Raphael Morghen.
Andrea del Sarto possessed an extraordinary talent of imitating and copying the
works of others masters, with an accuracy which sometimes deceived even the painters
themselves. Of this, Vasari mentions a very remarkable instance of which he was him
self an eye-witness. Raffaelle had painted for the Cardinal Giulio de Medici after
wards Clement VII. the portrait of Leo X. seated between that prelate and Cardinal
Rossi, in which the drapery and back-ground were painted by Giulio Romano. Fre
derick II Duke of Mantua, passing through Florence to Rome, had seen this picture
and had requested Clement VII. to make him a present of it, when the Pope gave di
rections to Ottavio de Medici to send the portrait to Mantua. Unwillino- to deprive
Florence of so interesting a work of art, Ottavia employed Andrea del Sarto to paint
an exact copy of it, which was sent to the Duke of Mantua, at the time when Giulio
Romano was in hs service. No person suspected the deception, even Giulio was him

SARTO. 365
self deceived, and was only convinced of the fact by Vasari assuring him that he had
seen it painted, and by showing him the private mark of Andrea del Sarto. Of the
authenticity of this anecdote there can be little doubt, and if true, it affords a striking
lesson to those connoisseurs who pretend to infallibility.
Francis I. of France being desirous of procuring the works of the most distinguished
painters of Italy, Andrea del Sarto was commissioned to paint a picture for the King,
and transmitted to that monarch a dead Christ, with the Virgin, St. John, Mary Mag
dalen, and other figures, painted in his finest manner, which is now one of the ornaments
of the gallery of the Louvre. This picture was universally admired at the court of
France, and the KiDg, desirous of retaining the author in his employment, invited del
Sarto to his court, with directions to his resident at Florence to furnish him with the
means of undertaking the journey. Andrea, at that time reduced to a state of penury
by the troubles of his country, and the parsimonious remuneration he received for his
works, listened with avidity to the alluring invitation of a prince, distinguished for his
munificence and his protection of the arts. On his arrival at Paris he was received with
the most flattering distinction. The King was pleased with his talents and conversa
tion ; the courtiers, promoting as usual the inclinations of the prince, loaded him with
the most marked civilities, and every thing conduced to render his situation agreeable.
He painted a Charity, which the King particularly admired, and which is now in the
French museum. In the midst of this captivating prosperity, he received letters from
his wife, which determined him to return to Florence, and under the pretext that dor
mestic affairs required his presence in Italy, he obtained the King's permission to depart,
promising to return in a short time, and to bring with him his family, for the purpose
of establishing himself in France. He offered his services to the King to purchase for
his collection the best pictures and marbles he could meet with, and Francis, anxious
to profit by his judgment and taste, entrusted him with a considerable sum for that
purpose. On his return to Florence he forgot his engagements, and broke through
every bond of probity ; he had the imprudence to squander away in the society of his
friends and his improvident wife, not only what the liberality of Francis had remu
nerated him with for his works, but the funds which had been confided to his trust for
the acquisition of objects of art. Reduced at length to a state of indigence and dis
tress, and stung with the recollection of his perfidy and ingratitude, he sunk into a
despondency, which was increased by his jealousy of his wife. He was ultimately
abandoned by her and the false friends with whom he had wasted his substance, when
his miseries were terminated by the plague which visited Florence in 1530, in the forty-
second year of his age.
It has been remarked, that Andrea del Sarto would have equalled the greatest masters
of the art, if he had resided longer at Rome ; but it may be more reasonably presumed,
that he reached as high a rank as the natural endowments of his mind permitted. If we
do not discover in his works the elevation of Raffaelle, it is because his mind was un
equal to the conception of such sublimity ; we find less variety in his expressions, be
cause he was not possessed of the exquisite sensibility of that illustrious painter; and he
is inferior to him in invention, because his genius was subordinate. His design is cor
rect, and partakes of the style of M. Angelo; his compositions are agreeable, and his
ordonnances are arranged with judgment ; but he wanted that sacred fire which ani
mates the great poet and the painter, and inspires them with their noblest and
boldest conceptions. He was of a modest and gentle disposition, and his natural

366 SAR SAV
timidity, restraining the exertion of his faculties, stamped its feature on every thing he
undertook. The heads of his Madonnas are rather pretty than beautiful, and are generally
characterised by the formality of a portrait. He appears to have been little sensible of
the beautiful ideal. His colouring is distinguished by the suavity and harmony of his
tones ; his pencil is full and flowing ; and he has perhaps never been surpassed in the
boldness of his relief, or his perfect knowledge of the chiar-oscuro. This celebrated
painter has been erroneously supposed to have etched a plate of the Holy Family, in
which the Virgin is represented kneeling before the infant Christ, with St. Joseph and
St. John; it is inscribed, Andrea del Sarto fatti in Roma; though neatly executed, it is
totally unworthy of the hand of this artist, and the inscription most probably relates to
the picture from which it was designed.
SARTORIUS. See Appendix.
SARZANA. SeeFiAsELLA.
SAS, Christian. A German engraver, who flourished about the year 1660. He engraved
several plates, among which are forty-five prints of the life of St. Philip of Neri, after
Stella. There are some other plates by him, after Le Pomerance, and other masters.
SASSOFERRATO. See Salvi.
SAVAGE, J. An English engraver, who resided in London about 1680. Of this artist,
the noble author of the Anecdotes observes, that he " may be styled engraver to a set
of heroes, whom Prior calls The unfortunate Brave. No country preserves the images
and anecdotes of such worthies, with such care as England. The rigour of the law is
here a passport to fame. From the infringers of Magna Cbarta to the collectors on
the road; from Charles 1. to Maclean, every sufferer becomes the idol of the mob." He
engraved a number of portraits of malefactors, and some of exemplary characters who
fell in a better cause. His most interesting prints are the following :
portraits.
Bishop Latimer.
John a Lasco.
Algernon Sidney.
Archibald Campbell, Earl of Argyle.
Henry Cornish, Sheriff of London.
Sir Edmundbury Godfrey.
John Gadbnry, Astrologer.
James Fitzroy, Duke of Monmouth.
Sir Thomas A rmstrong.
Sir Henry Chauncey, Antiquary.
Sir Henry Pollexfen, Chief Justice of the Common Pleas.
Arthur, Earl of Torrington.
Charles Leigh, M. D.

S A V S A V 367
SAVART, Peter. A modern French engraver, born at Paris in 1750. He has engraved
several plates in the neat finished style of Fiquet; among which are some portraits of
illustrious personages of France; among which are the following :
portraits.
Louis XIV. after Rigaud. 1771-
Louis de Bourbon, Prince of Conde ; after Le Juste.
John Baptist Colbert.
De la Motte Fenelon ; after Vivien.
J. B. La Bruyere ; after St. Jean.
Peter Bayle.
John Racine ; after Santerre.
Nicholas Boileau Despreaux, after Rigaud.
SAU BERLICH, Lawrence. A German engraver on wood, who, according to Professor
Christ, published some wooden cuts at Wittemberg in the year 1599. He used a cipher
composed of an L. and an S.
SAVERY, James. This painter was born at Courtray about the year 1545, and was a
disciple of John Bol. He painted landscapes and animals, which he finished with
great labour and patience, though in a hard, dry style. He died of the plague at Am
sterdam in 1602, aged about 57.
SAVERY, Roland. He was the son of the preceding artist, born at Courtray in 1576,
and was instructed in the art by his father, whose neatness he adopted, though in a
manner more natural and mellow. It has been supposed that he was afterwards a dis
ciple of Paul Brill; but this cannot be reconciled with chronology, as that artist had
left Flanders for Italy, where he passed the remainder of his life, before Savery
was of an age to profit by his instruction. The resemblance of his style to that of
Brill is not more apparent than to that of Breughel, and tbe other Flemish landscape
painters of the time. He visited France in the reign of Henry IV. by whom he was
employed in ornamenting the royal palaces with his landscapes. Soon after his return
to the Low Countries, he was invited to the court of Prague, by Rodolphus II. in whose
service he passed a great part of his life. By the direction of the Emperor he travelled
through the grand and picturesque country of the Tyrolese, where nature exhibits her
wildest as well as her richest beauties. In the midst of this romantic scenery he con
templated, with the eye of an artist, the stupendous rocks and rapid cascades with
which he was surrounded. With his designs of these interesting views, he enriched his
portfolio, during a residence of two years ; and they proved an inestimable resource to
him in the composition of his pictures, which are decorated with figures and animals,
very highly finished. He resided at Prague until the death of the Emperor, for whom
he painted a great number of pictures, when he settled at Utrecht, where be died in
1639, aged 62.
SAVERY, John. A Flemish painter and engraver, born at Courtray about the year 1590.
According to Huber, he was the nephew of Roland Savery, and was probably his scholar,
as he painted landscapes in a similar style. We have several etchings by this artist,
from his own designs, among which are the following :

368 S A V SAX
A set of six mountainous Landscapes, with figures, inscribed J. Savery, fee. Nic. de Clerc. exe.
A Landscape, with a Stag-hunt; J. Savery. fee. H. Hondius.
A Landscape, with Samson killing a Lion ; J. C. Visscher, exe.
SAVERY, Solomon. A Dutch engraver, born at Amsterdam about the year 1601. From
the circumstance of his having engraved a few English portraits, he is said to have
visited this country, but it is certainly not ascertained. His works consist chiefly of por
traits, which are the best of his performances, and are executed in a very creditable
style. The following are his principal plates :
PORTRAITS.
Charles I. with a high-crowned hat, a view of Westminster in the back-ground.
Oliver Cromwell. 1649.
John Speed, the Historian, with his hat on, sitting in a chair.
Thomas, Lord Fairfax, with his hat on. SUBJECTS.
Christ driving the Money-changers out of the Temple ; after Rembrandt.
The Entry of Mary of Medicis into Amsterdam.
A set of seventeen plates for Ovid's Metamorphoses.
SAVOLDO, Girolamo. Girolamo Savoldo, called by Ridolfi Girolamo Bresciano, was of
a noble family of Brescia, and flourished about the year 1540. Although he practised
the art only as an amusement, and bestowed his pictures gratuitously on the churches
and convents, he is celebrated by Paolo Pino, in his Dialogo della Pittura Veneziano, as
one of the ablest artists of his time. It is not known by whom he was instructed in the
art, but he studied with assiduity the works of Titian, at Venice, where he painted
several altar-pieces and easel pictures. Zanetti speaks of his picture of the Nativity, in
the church of S. Giobbe, as exquisitely coloured, and finished with the greatest care.
Another esteemed work by Savoldo is the great altar-piece of the Predicatori at Pesaro'
representing Christ with four saints, painted with surprising vigour of colouring. In
the Florentine gallery there is a small picture of the Transfiguration by him, which is
highly commended by Lanzi.
SAVONA, Il Prete di. See Guidoboni.
SAUVE, John A French engraver of little note, who, according to Basan, flourished
about the end of the seventeenth century. He engraved several plates after Guido P
da Cortona, Sec. and also some portraits. '
SAXTON, Christopher. To this ingenious artist we are indebted for the first countv
maps wh.ch were published in England. He was a native of Yorkshire, and resided a^
Tingley, near Leeds, in the service of Thomas Sekeford, Esq. Master of Requests Bv
the encouragement and at the expense of that gentleman, Saxton undertook a complete
set of maps of the counties of England and Wales, many of which he engraved himself
and was ass.sted in the others by R. Hogenberg and others. They were published in
1579, and were dedicated to Queen Elizabeth.

SCA SCA 369
SCACCIATl, Andrea. He was born at Florence in 1642, and was first a scholar of
Mario Balassi, but he afterwards studied under Lorenzo Lippi.; This latter master
persuaded him to apply himself to paint animals, flowers, and fruit; to which subjects
his genius appeared to incline. He became a very eminent artist in that branch, and
was greatly encouraged by the Grand Duke of Tuscany, and the principal nobility. He
was living at Florence in 1704, when Orlandi published his work.
SCACCIATl, Andrea. An Italian designer and engraver, born at Florence about the
year 1740. In 1766, he published a set of forty-one plates in aquatinta, from the draw
ings of the most distinguished masters, which are in the collection of the Grand Duke
of Tuscany. We have also by him,
The Descent of the Holy Ghost ; after A. Dom. Gabbiani.
The Holy Family ; after Cambiaso.
A Subject for a ceiling.
SCAICHI, Gotefred. By this engraver, who flourished about the year 1623, we have a
set of views of the palaces and gardens belonging to the Grand Duke of Tuscany ; they
are etched in a slight poor style.
SCALBERG, Peter. A French painter and engraver, who resided at Paris about the
year 1638. Of his works as a painter little is known, but we have a few etchings by him,
some of which are from his own designs ; among others are the following :
Venus and Cupid; inscribed, P. Scalberg, inv. et sculpt. 1638.
The Entombing of Christ ; after Raffaelle.
The Battle of Constantine with Maxentius ; after the same.
Diana and her Nymphs ; after Domenichino.
SCALIGERI, Lucia. According to Orlandi, this accomplished lady was born at Venice
in 1637. She distinguished herself by an early acquisition of the ancient and modern
languages, and by several literary publications. She was also an excellent musician.
As a paintress, she may be compared with the most eminent artists of her sex. She
was a pupil of Alessandro Varotari, and painted several historical pictures for the
churches at Venice. She died in 1700, aged 63.
SCALVATI, Antonio. This painter was born at Bologna in 1559, and was a scholar of
Giacomo Lauretti. He accompanied his master to Rome, whither he was invited by
Pope Gregory XIII. and assisted him in the Sala di Constantino. Scalvati was em
ployed by Sixtus V. in the library of the Vatican, and in several other public works.
He also excelled in portraiture, and painted Pope Clement VIII. and many of the prin
cipal personages of his time. He died in 1622, aged 63.
SCAMINOSSI, Raffaelle. This artist was a native of Borgo S. Sepulcro, was a scholar
of Raffaellino del Colle, and flourished about the year 1610. He painted history; and
Orlandi mentions a picture by him, in the cathedral at Bologna, which has considerable
merit. He is, however, more known as an engraver than a painter. We have a con
siderable number of etchings by this artist, executed in a bold effective style. His
Vol. II. 3 A

370 SCA SCA
drawing is tolerably correct) and the airs of his heads are not without expression. He used
a monogram composed' of the letters R. A. S. F. thus, jfe. The following are by him i
The Virgin and Child ; inscribed, Raphael Schaminossius Pictor, fyc. 1613.
St. Francis preaching in the Desert; also from his own design. 1604.
A set of fourteen plates; entitled, My'steria rosarii Beatee Maria: Virginia. 1609.
The Sybils; a set of upright plates ; from his own designs.
The Stoning of Stephen ; after Luca Cambiaso.
The Repose in Egypt; after Federigo Baroccio.
He also etched after Raffaelle, P. Veronese, and others^
SCANABECCHI. See Dalmasio.
SCANNAVINI, Maurelio. He was born at Ferrara in. 1655, and was first a scholar of
Francesco Ferrari, but he afterwards visited Bologna, where he; studied; for some time
under Carlo Cignani, of whom he became one of the most distinguished disciples. His
pictures possess great force, and are at the same time coloured with tenderness and har
mony. The most considerable work; of this master is- the refectory of the Dominicans,
at Ferrara, representing the life of St. Dominic, in fourteen pictures. There are many
other performances by this artist in the churches at Ferrara, of which a particular ac
count is given by Bartoli ; among others are the Annunciation, in the church of S. Ste
fano; S. Tommaso di Villanovadistributing Alms to the Poor, at the Agostiniani Scalzi ;
and S. Brigida fainting before a Crucifix, supported by an Angel, in S. Maria delle
Grazie ; one of his most esteemed productions. He died at Ferrara in 1698, aged 43.
SCARRAMUCCIA, Luigi, called II Perugino. This artist was born at Perugia in 1616.
He was the son of Giovanni Antonio Scarramuccia, an indifferent painter of history, by
whom he was instructed in the elements of design ; but he afterwards frequented the
school of Guido, 'and is said by. Malvasia to have also studied under Guercino. He
painted several pictures for the public edifices of Perugia, Milan, and Bologna, which
are distinguished by a correct and graceful design, and amenity of colour. Such are his
pictures of the Presentation in the Temple, in the church of the Filippini, at Perugia;
and S. Barbara, in S. Marco, at Milan. In the Palazzo Publico, at Bologna, is a large
picture representing the coronation of Charles V. by Clement VII. composed and de
signed in a grand style. He died at Milan in 1680, aged 64. We have a few etchings
by this artist, in which he seems to have imitated the style of Guido. They are exe
cuted in a free spirited manner, though the drawing is very incorrect. Among others,
we have the following by him :
Christ crowned with Thorns; after Titian*
St, Benedict praying; after Lod. 'Caraeci.
Venus and Adonis ; after An. Caraeci.
SCARSELLA, Slgismondo, called Mondino. This painter was born at Ferrara in 1530,
and was educated for three years in the school of Paolo Veronese, of whose style he
was a constant, though not a very successful follower. In the church of S. Gabriele is
a picture by this master of the Conversion of St. Paul; and in the church of La Croce
an altar-piece, representing the Visitation of the Virgin. ito St. Elizabeth. There are

SCA SCH 371
many other works by this painter in the public edifices at Ferrara, in which city he died
in 1614, aged 84.
SCARS ELLA, Ippolito, called Lo Scarsellino. This eminent painter was horn at Fer
rara about the year 1560. He was the son of Sigismondo Scarsella, from, whom he re
ceived his first instruction; but he afterwards visited Venice, where he first became a
scholar of Giacomo Bassano, and afterwards studied and imitated the works of Paolo
Veronese. From Venice he went to Bologna, and afterwards to Parma, contemplating
the admirable works of art in those cities. On his return to Ferrara, he was greatly
esteemed, and was employed in painting numerous pictures for the churches in that
city, where there is scarce a public edifice that does not possess some of his works. In
the church of S. Maria Nuova, are three fine pictures by Lo Scarsellino, representing the
Annunciation, the Visitation of the Virgin Mary to St. Elizabeth, and the Assumption.
In the refectory of the Benedictines is one of the most considerable works of this
master, in which he has represented the Miracle at the Marriage of Cana in Galilee.
The pictures of this distinguished painter are justly held in the'higheSt estimation in his
own country; and the few specimens of his ability which have found their Way into the
collections of our own, are duly appreciated. His compositions are ingenious and abun
dant, and his colouring is rich, yet delicate ; the airs of his heads are sweet and expres
sive, and the action of his figures is easy and graceful. In the back-grounds of his
pictures he generally introduced a portion of very charming landscape, touched with
spirit, and coloured with infinite nature. He also painted some admirable portraits of
the most eminent personages of his country, although it was always with difficulty that
he prevailed on himself to practise that branch of theart. He died at Ferrara in 1621,
aged about 61.
SCHAERER, H. L. This artist, according to Professor Christ, engraved several small
landscapes, which he marked with a cipher composed of the letters I. S. L. thus, Js£.
He flourished about the year 1627.
SCHAEUFLEIN, Hans, or John the elder. An old German engraver, who flourished
about the year 1480, and is supposed to have been a disciple of Martin Schoen, whose
style of engraving he imitated, though his prints are by no means equal to those of that
master. He also copied some of the plates of Schoen, among others, that in which a
lady and gentleman are represented walking together, and death appearing behind a
tree, shaking an hour-glass, which was also copied by J. van Mecheln, Wenceslaus, and
Albert Durer. His prints are chiefly small, and he is ranked among the little masters.
He marked his plates with the cipher M.. The following prints are attributed to him :
The Crucifixion, with the Virgin, St. John, and two soldiers ; a small circular print.
The Virgin and infant Christ ; - the same.
St. Christopher ; the same.
St. Lawrence and St. Augustine.
SCHAEUFLEIN, Hans, John the younger. He was probably the son of the preceding
artist, and, according to Huber, was born at Nuremberg about the year 1487.' He dis
tinguished .himself as a painter, as well as an engraver on wood, and is supposed to have
been a scholar of Albert Durer, whose style he imitated, both in his pictures and in his
3 A2

372 SCH SCH
wooden cuts. He chiefly resided at Nordlingen, and painted for one of the churches in
that city an altar-piece, representing the taking down from the Cross, which, although
designed in the stiff formal manner prevalent at the time, possessed great merit. We
have several wooden cuts by this artist, which are executed in a bold spirited style.
The prints of the younger Schaeuflein are usually marked with a cipher formed of an H.
and an S. to which he added two baker's peels crossed, in allusion to his name, the word
Schaeuflein, in German, signifying a little peel, thus,Jjj|^P. The following are his prin
cipal works :
The Creation of Eve.
Lot and his Daughters.
Christ crowned with Thorns.
Herodias with the Head of St. John.
The Feast of Herod ; in two sheets.
The Life and Passion of Christ ; in thirty-seven cuts ; published at Frankfort in 1537. To these
are added thirty-six cuts of the Miracles, Parables, &c. of Christ.
Numa Pompilius on bis throne addressing the Romans.
The Death of Lucretia.
Pyramus and Thisbe.
He also engraved on copper. Mr. Strutt mentions a plate representing soldiers con
versing, executed with the graver, in a bold spirited style ; and a free etching of a land
scape, dated 1551.
SCHAFFNABURGENSIS, Mattheus. An engraver on wood, who executed the cuts
for a bible, printed at Wittemberg in 1545. He marked his prints with the initials M. S.
on a tablet.
SCHAGEN, Giles van. A Dutch painter, bora at Alkmaer in 1616. He was first in.
structed in the art by Solomon van Ravestein, but was afterwards a scholar of Peter
Verbeck. When he was twenty-one years of age, he embarked in a vessel bound to
Dantzic, where he resided some time, and painted pictures of Dutch kitchens and con
versations, in imitation of the style of Ostade, which were favourably received. He
also painted portraits with considerable success, both at Dantzic and Elbing. After an
absence of three years, he returned to Holland, where the restlessness of his disposition
did not suffer him to remain long. He went to France, and met with very flattering en
couragement; his conversation-pieces were much admired, and he was employed in
copying the works of the best Italian and Flemish painters, for which he possessed a
particular talent. On his return to Alkmaer he became acquainted with admiral
Tromp, who engaged him to paint a picture of the engagement between the Spanish
and the Dutch fleet, commanded by that officer, which, as a proof of the versatilitv of
his talents, he executed in a manner highly creditable to him. He died at Alkmaer in
1668, aged 52. We have a slight etching by this artist, representing a cottage scene,
with an old man.
SCHALCKEN, Godfrey. This painter was born at Dort in 1643; his father was rector
of the college of that city, and was desirous of bringing him up to literary pursuits, but
finding the boy's disposition for painting, he placed him with Solomon van Hoogstraten,

SCHAPFF. 373
and he afterwards became a scholar of Gerard Douw, under whom he acquired great
delicacy of finishing, and a competent acquaintance with the principles of light and
shadow. He remained under the tuition of that master until he had established a cer
tain reputation, by painting small pictures of domestic scenes, chiefly represented by
candle-light; subjects which his instructor had treated with such distinguished success.
On leaving the school of Douw, he attempted for some time to aggrandize his style, by
studying the works of Rembrandt, but, despairing to equal the vigorous touch and
magical effect of that extraordinary artist, he pursued his first principles, and his pic
tures were sought after with avidity.
To. give the most natural effect. to his candle-light pieces, he is said to have adopted
the following system : He placed the object he intended to paint, and a candle, in a dark
room, and looking through a small aperture, painted by day-light what he saw in the
dark chamber. His small portraits met with the most flattering encouragement, and
he had painted the principal families at Dort, when he was encouraged, by the extra
ordinary success of Kneller, to form the project of visiting England, and he came over
in the reign of King William, when he found the greatest part of the business of por
traiture, the only branch of the art which occupied the public attention, in the posses
sion of Sir Godfrey Kneller, Cloosterman, and others. To satisfy the taste of the coun
try, he also found it necessary to attempt to paint his figures as large as life, a scale to
which he had not been accustomed, and in which he was not very successful.
Delicacy and good breeding formed no part of the character of our artist, if we may
credit the following anecdotes, originally related of him by Campo Weyermans, an
authority, indeed, which is not always entitled to implicit belief. When he had the
honour of painting the portrait of William III. it was the King's wish to be painted by
candle-light, from the reputation the painter had acquired in pictures of that descrip
tion. It is said that he had the gross ignorance of giving his Majesty the light to hold,
until the wax ran down upon his fingers. On another occasion, when he was painting a
lady, who was not very handsome, but had very beautiful hands, after finishing the head,
his sitter enquired when it would be necessary for her to sit for the hands, he abruptly
replied, " that will not be necessary, I always draw them from my housemaid." On
his return to Holland, he settled at the Hague, where his cabinet pictures were much
admired, and he continued to practise his art with great success, until he had reached his
sixty-third year, when he died, in 1706.
The chief merit of the pictures of Schalcken, which, for the most part, represent
night-pieces, consist in the neatness of his finishing, and his perfect intelligence of
the chiar-oscuro, as it relates to objects under the influence of a fixed and local
light. His touch is sweet and mellow, and his colouring warm and gilded. The sub
jects he selected for his small pictures are agreeably composed, aud the accessories
are designed and painted with care and precision.. It has been regretted that he
did not draw the figure more correctly, a defect which is discernible in his best pro
ductions.
SCHAPFF, Jorg. This old artist is regarded as one of the earliest engravers, on wood.
According to Heineken, he executed the cuts for a book of Chiromancy, by Dr. Hart-
lieb, published in 1448. In his Idea of a complete Collection of Prints, that author has
given a copy of one of these cuts, and nothing can be more rudely executed. The book
consisted of twenty-four pages, printed on both sides, the discourse being cut on blocks

374 SCH SCH
of wood. The name of the engraver was inscribed on one of the leaves, at the bottom,
lore: fechapff in &u$&bmv$*
SCHEDONE, B. See Schidoni.
SCHEINDEL, or Scheyndel, George Henry. A Dutch engraver, who resided at Rot
terdam about the year 1635. He engraved several plates, which are executed in a very
neat and agreeable style, resembling that of Callot. His landscapes, decorated with
figures correctly drawn, and touched with spirit, are deservedly admired. He was a
a contemporary of William van Buytenwech, from whose designs he also engraved some
plates. We have, among others, the following prints by him :
A pair of Landscapes, with Peasants amusing themselves.
The Tooth-drawer.
A Village Festival, with Boors fighting.
The Companion, with a Quack-doctor.
A Winter-piece, with Skaiters on the ice.
A Landscape, with a Waterfall.
A Landscape, with a Bridge.
A set of four Views of a Castle, and the environs, one of them with a Windmill.
A set of twelve Landscapes, with a Dutch inscription.
A set of twelve plates of European, Turkish, and Grecian figures.
Twelve plates of Habits of the Countrymen of the several Cantons of Holland.
SCHEITZ, Matthew. This artist was born at Hamburgh about the year 1646, and, ac
cording to Huber, was a scholar of Philip Wowermans, whose style he followed for
some time, but he afterwards abandoned it, to adopt that of David Teniers, and painted
similar subjects, of the amusements of peasants. He etched some plates from his own
designs, which are executed in a bold, free style, among which are the following :
The Four Seasons, represented by the Sports of Children; in four plates; M. Scheitz,fec.
1671.
Two Landscapes, with figures dancing and amusing themselves.
An old Man playing on the Violin, and a Woman singing before the door of a Cottage.
The Spectacle Merchant.
SCHELLENBERG, John Rudolf. A Swiss designer and engraver, born at Winterthur
in 1740. He was the son of an obscure painter, who taught him the rudiments of the
art. Among other plates, he engraved several for the work of Lavater, from the designs
of Chodowiecki; and some of the portraits and ornamental prints for the lives of the
Swiss painters by J. C. Fuessli. He also engraved a set of twenty-four plates of in
sects, for a work entitled, Les Caracteres des Insectes, suivant le systeme de Linnee.
SCHELLENBERGER,  . A German engraver, who flourished about the year 1660.
He engraved some of the plates for Priorato's History of the Emperor Leopold ; among
which is the Portrait of Gaspar Jellez.
SCHELLINCKS, William. This painter was bora at Amsterdam, according to Des
camps, in 1632, and, from the style of his pictures, is supposed to have been a scholar of

SCH SCH 375
John Lingelback. He afterwards travelled through France, Switzerland, and Italy ; and
is said, by that author, to have been in England, though he is not mentioned in the
Anecdotes. He painted landscapes and sea-ports, which were decorated with figures,
touched with neatness and spirit. The brilliant and sunny effect in some of his pictures
reminds us of the charming productionsof du Jardin;his animals are correctly drawn, and
his groups are tastefully composed. On the occasion of the embarkation of Charles II.
for England, at the time of the Restoration, Schellincks painted one of his most capital
pictures for the family of Witsen, in commemoration of that event. It was a very
considerable composition, of an infinite number of figures collected on the shore, to
witness the embarkation, arranged with surprising ingenuity and variety. The genuine
works of this master are not often met with in this country, though they are found in
the choicest collections in Holland. He died in 1678, aged 46.
SCHELLINCKS, Daniel. He was the brother of the preceding artist, born at Amster
dam in 1638, and is said to have been instructed in the art by William Schellincks, in
whose style he painted landscapes and sea-porfs, with some reputation. He died in
1701, aged 68.
SCHENAU, John Eleazar. A German painter and engraver, who resided at Paris about
the year 1765. He etched a set of twelve plates of heads and fancy subjects, with a
frontispiece, entitled, Achetez mes petites eaux fortes a la douraine. 1765.
SCHENCK, Peter. This artist was a native of Germany, but resided chiefly at Amster
dam, where he became an eminent printseller and publisher, and flourished about the
year 1700. He engraved several plates, most of which are in mezzotinto, and chiefly
portraits. He published a set of one hundred views in and near Rome, entitled, Roma
Mterna, many of which were engraved by himself. We have, among others, the follow
ing prints by him : portraits.
King James II.
Mary, his Queen.
King William III. ; four plates. .
Mary, his Queen ; three plates.
William, Duke of Gloucester.
Queeu Anne.
George, Prince of Denmark ; her consort.
George I.
Ernest, brother to George I.
Arnold, Earl of Albemarle.
Godard de Reede, Earl of Athlone.
John, Lord Cutts.
William, Duke of Devonshire.
Johu Churchill, Duke of Marlborough.
Charles XII. of Sweden.
Peter Schenck. 1607.
Peter Schenck, with his wife, seated at a table.
Gerard Lairesse, Painter.
Martin Luther.

376 SCH SCH
SCHEVENHUYSEN, Anthony. A Dutch engraver, who flourished about the yeai
1695. He engraved a set of one hundred small plates, representing the different trades
in Holland.
SCHIAVONE, Andrea, called Medula. This painter was born at Sebenico, in Dalma
tia, in 1522. Although he discovered an early inclination for the art, the indigence of
his parents did not permit them to procure him a technical education, and he was placed
as an assistant to a house painter at Venice, in which situation he employed his leisure
hours in designing after the prints of Parmigiano, and others, which his scanty means
enabled him to procure. For some years his occupation was painting the fronts of
houses and shops, to which he was recommended by the masons. His talents distin
guished themselves even in this lowly employment, and Titian was so pleased with some
of his humble exertions, that he took him into his academy, and soon afterwards pro
cured him employment in the library of S. Marco, where he painted several of the deco
rations, conjointly with the ablest artists of his time. In competition with II Tintoretto,
he painted a picture for the church of the Padri della Santa Croce, representing the
Visitation of the Virgin to St. Elizabeth ; and though his performance was unequal to
that of his formidable antagonist, he retired from the contest with applause. His
talents were highly respected by Robusti, who considered him as one of the greatest
painters of the Venetian school, and that eminent artist is said to have constantly kept
a picture of Schiavone in his painting-room, as a model of colouring, though he strongly
condemned the incorrectness of his design. He even endeavoured to imitate the style
of Andrea, and painted a picture of the Circumcision, in the church of the Carmini, so
much in the manner of Schiavone, that Vasari mistook it for a work of that master.
With the possession of such powers, he however found it difficult to subsist. So slender
was the emolument he received for his works, that he was under the necessity of adopt
ing a slight and expeditious mode of operation, and his indigent circumstances may
both account for and extenuate the incorrectness of his design. This deficiency ex
cepted, he possessed almost every other excellence of the art. His compositions are
copious and agreeable, his attitudes are graceful and elegant, resembling those of Par
migiano, whose works he had studied ; his draperies are cast with taste ; the heads of his
females are beautiful, and those of his old men dignified and impressive. Two of the
most admired works of Schiavone are in the church of the Padri Teatini, at Rimini,
representing the Nativity, and the Assumption of the Virgin. He died at Venice in
1582, aged 60. We have several etchings by this eminent artist, some of which are from
his own designs, and others after Raffaelle, Parmigiano, &c. Among others are the fol
lowing: The finding of Moses ; after Parmigiano.
The Holy Family ; after the same.
The Resurrection of Lazarus ; after the same.
The Entombing of Christ ; after the same.
St. Peter and St. John healing the Lame Man ; after Raffaelle.
The Rape of Helen ; after his own composition.
SCHIAVONETTI. See Appendix.

SCH SCH 377
SCHIDONI, or Schedone, Bartolommeo. This captivating painter was born at Modena
in 1560. Although he is generally allowed to have been brought up under the Caraeci,
it is remarkable that his works exhibit little resemblance to the style which characterises
that distinguished school. He rather appears to have formed his ideas by ah attentive
study of the works of Raffaelle and Coreggio, particularly the latter, with whose admi
rable productions he was constantly surrounded.
Schidoni had gained considerable reputation by some juvenile performances in the
public edifices at Modena, when the Duke Ranuccio took him under his protection, and
gave him as a residence his Villa at Felegara, that he might pursue his studies more
commodiously, and with greater tranquillity. He painted several admirable pictures
for his patron, which, with many other works of art, in the possession of the Duke of
Modena, were afterwards placed in the collection of the King of Naples. In the
Palazzo Pubblico, at Modena, he painted his celebrated frescoes of the history of Cori-
olanus, and seven emblematical figures, in which he emulated the grandeur of Corego-io-
and in the cathedral is an admirable picture of S. Geminiano resuscitating a dead Child
which has often been mistaken for a production of that master. His large worlds are
extremely rare, among the most esteemed of which are his picture of a Pieta in the
Academy at Parma ; and the Conception, in the church of S. Francesco, at Piacenza.
His Holy Families and Madonnas, though apparently his favourite subjects, are not
often met with, and the paucity of his pictures is to be attributed to his unfortunate
propensity to gaming, in which fatal pursuit he wasted his substance and time. His
death is said to have been occasioned by the distress of his mind, brought on him by
losing in one night more than he was able to pay. He died in 1616, aged 56.
Of Bartolommeo Schidoni it may be said, that no follower of the great style of
Coreggio has approached so near him in the graceful and expressive airs of his heads
and the elegant turn of his figures. His management of the chiar-oscuro exhibits the
breadth and intelligence of that admirable painter, and his colouring partakes of the
impasto and purity which distinguish the works of his great prototype. His design is
not very correct, but he conceals this deficiency by the loveliness of his attitudes and
the enchanting harmony of his tones. The pictures of Schidoni, rendered interesting
by their extraordinary beauty, as well as their extreme rarity, are held in the highest
estimation, and are very valuable.
SCHLEY, Jacob Vander. A Dutch engraver, born at Amsterdam in 1715. He was a
disciple of Bernard Picart, whose style of engraving he imitated, and finished several
of the plates left imperfect at the death of that master. We have also a few portraits
and book ornaments by this artist; among which are the following:
portraits.
John Baptist Boyer, Marquis d'Argens ; after Van Pee.
Anthony Bernard Prevot, Almoner to the Prince of Conti; from the same.
Bernard Picart, Engraver; after M. des Angles. 1734.
Henry de la Tour d'Auvergne, Viscount de Turenne; after the same.
SCHLICHT, Abel. This artist was born at Manheim in 1754. He has engraved several
plates in aquatinta, which are mentioned by Huber in favourable terms. Among others
are the following:
Vol. II. SB

378 SCHMIDT.
A Storm and Shipwreck ,• after Vernet.
A Calm ; after the same.
A Landscape, with cattle ; after A. Vandevelde.
A Landscape, with figures and animals ; after Berghem.
A Landscape ; after Pynaker.
Several architectural Views ; after Bibiena, Pannini, and others.
SCHMIDT, George Frederick. He was born at Berlin in 1712, and was instructed in
design and engraving by G. P. Busch, an obscure artist ; but he afterwards went to
Paris, where he became a pupil of Nicholas Larmessin. Under that able artist he ar
rived at a perfection, for the neatness and firmness of his graver, which has seldom been
surpassed. In 1742 he was received into the Academy at Paris, and engraved for his
reception plate, his fine portrait of P. Mignard. In 1744 he returned to Berlin, and was
soon afterwards appointed engraver to the King. He resided at Berlin till 1757, when
he was invited to Petersburg by the Empress Elizabeth, and engraved several plates
with great success, particularly portraits. He returned to Berlin in 1762, when he dis
covered a new talent of etching and engraving, in the manner of Rembrandt, in which
style he executed several plates with great ability. He also engraved in the manner of
Delia Bella, and Benedetto Castiglione, with the greatest success. He died at Berlin in
1775, aged 63. The following is as ample a list of the prints of this ingenious artist as
our limits will permit. portraits.
The Empress Elizabeth of Russia; after L. Tocque.
Michael, Count de Woronzow ; after the same.
Nicholas Esterhazi, Count of the Roman Empire ; after the same.
Frederick Henry Louis, Prince of Prussia ; after A. Vanloo.
John Paul Bignon, Abbe de St. Quentin ; after Rigaud.
Constantine Scarlati, Prince of Moldavia.
Charles Gabriel de Caylus, Bishop of Auxere ; after Fontaine.
Louis de la Tour d'Auvergne, Count d'Evreux ; after Rigaud.
Charles de St. Albin, Archbishop of Cambray ; after the same.
Peter Mignard, Painter to the King ; after the same.
Anthony Pesne, Painter to the King of Prussia ; after a picture by himself.
Maurice Quentin de la Tour, Painter to the King ; after the same.
subjects after various masters.
The Virgin and infant Christ, with St. John ; after Vandyck.
The Presentation in the Temple ; after Pietro Testa.
Alexander and his Physician ; after Ann. Caraeci.
Timocleus justified by Alexander; after the same.
A Bust of the Virgin ; after Sassoferrato.
Dutch Boors regaling; after A. Ostade, in the style of Visscher.
PRINTS IN THE STYLE OF REMBRANDT.
His own Portrait, drawing.
The Portrait of Rembrandt; after a picture by himself.
Christ resuscitating the daughter of Jairus ; after Rembrandt.

SCH SCH 379^
Christ presented to the People ;; after Rembrandt.
The Presentation in the Temple ; after Dietricy.
A variety of Busts and Portraits ; after Rembrandt, and in his manner.
SCHMUTZER, Joseph and Andrew. These artists were natives of Vienna, and flou
rished about the year 1735. They were brothers, and are included in one article, as they
frequently worked conjointly on the. same, plate. Andrew imitated the style of Van
Dalenand Bolswert, and handled the graver in a bold, clear style. We have, among
others, the following prints by them : PORTRAITS.
The Emperor Charles VI. ; after Meyteus.
The Empress Elizabeth, Christiana; after Averbach.
Gustavus Adolphus, Baron de Gotter.
SUBJECTS AFTER VARIOUS MASTERS.
Two Views of a Temple; after G. Galli Bibiena.
Three subjects from the History of Decius; after the pictures by Rubens in the gallery of the
Prince of Lichtenstein.
SCHMUTZER, .Jacob. He was the son of Andrew Schmutzer, born at Vienna in 1733.
After learning the rudiments of design in bis native city, he went to Paris, where he
became a pupil of J. G. Wille, and adopted the pleasing style of that artist. On his
return to Vienna he was appointed Director of the Academy established by the Empress
Maria Theresa. He engraved several plates, which are executed with the. graver in a
neat, clear style, among which are the following :
PORTRAITS.
Francis I. Emperor of Germany.
Maria Theresa, his Empress.
Joseph Winceslaus, Prince of Lichtenstein.
Wenceslaus, Prince of Kaunitz.
Martin de Meytens, Painter to the Emperor.
C. W. E. Dietricy, Painter. SUBJECTS.
Mutius Scevola before Porsenna ; after Rubens.
St. Gregory refusing the Emperor Theodosius the entrance into the church ; after the same.
Venus rising from the Sea ; after ihe same.
SCHMUZ, J. Rudolf. A Swiss painter, born at Regensperg, in the canton of Zuric in
1670. He was a scholar of Mathias Fuessli, and at first applied himself to the study of
historical painting, but not succeeding to his wishes, he turned his thoughts to portrai
ture, to which his genius was better adapted. He visited England at a period when Sir
Godfrey Kneller was in the zenith of his reputation, and attached himself to an imita
tion of his style. His talents had recommended him to a flattering share of the public
favour, when he died, in 1715, in the forty-fifth year of his age.
3B2

380 SCH SCH
SCHNELLBOTZ, Gabriel. This engraver is noticed in the Series of Engravers. He is
said to have resided at Wittemberg about the year 1590, where he engraved some plates,
which he marked with an arrow, on which he placed an S.
SCHNITZER, John. An old engraver on wood, who flourished about the year 1486. He
executed the cuts of the Geographical Charts for the edition of Ptolemy, published at Ulm
in the above year. The Map of the World is ornamented with ten heads, representing
the winds, rudely cut. It is inscribed, Insculptum est per Johannem Schnitzer de Arnsk-
heim.
SCHOEN, Martin. This venerable artist, who was at the same time a painter, an en
graver, and a goldsmith, may be considered as the father of the German school of en
graving. He was born at Culmbach, a small town in Franconia, according to Huber,
about the year 1420. Of his performances as a painter little is known. In the church
of the Hospital, at Colmar, are preserved two of his pictures, representing the Nativity,
and the Adoration of the Magi, both of which subjects he engraved. If he was not the
earliest of the German engravers, he began to practise the art when it was in its very
infancy, and carried the mechanical part of it to an astonishing degree of perfection.
Although his drawing is incorrect, and his compositions partake of the stiffness and
formality which characterize the works of the early German artists, his productions
prove him to have possessed a fertile imagination, and exhibit both" genius and judg
ment. In his print of the Death of the Virgin, there is a fine expression in the heads,
and the accessories are finished with a beauty and delicacy of execution which has
scarcely been surpassed. The prints of Martin Schoen appear to have been engraved
from 1460 till 1486, in which year he died, at Colmar, where he chiefly resided. His
plates are numerous, and are principally from his own compositions. He usually marked
his prints with an M. and an S. with a kind of cross between them, thus, .A^lfg . The
following are his principal plates : SACRED SUBJECTS.
The Life of the Virgin ; twelve plates.
Twelve plates of the Passion of our Saviour.
The Annunciation.
The Nativity.
The Adoration of the Magi.
The Flight into Egypt.
The Wise and the Foolish Virgins; ten plates.
The Last Judgment.
Christ bearing his Cross.
The Crucifixion.
The Death of the Virgin. This was also engraved by Israel van Mecheln, Wenceslaus, and
others,
A small set of the Apostles.
St. Antfiony carried into the Air by Demons.
St. Sebastian tied to a Tree. VARIOUS SUBJECTS.
Two Alchymists fighting.
A set of twelve subjects of Ornaments for goldsmiths.

SCH SCH 381
A Ciborium.
An incense Cup, or Censer. Engraved also by J. van Mecheln.
A Bishop's Crosier.
The Battle of the Saracens against the Christians, in which St. James appears on the side of the
latter. This was probably his last plate, as it was not entirely finished.
SCHOEN, Bartholomew. According to Professor Christ, this artist was the brother of
Martin Schoen. The prints attributed to this engraver, though they bear a resemblance
to those of Martin, are not executed with so much neatness aud expression. They are
usually marked with a B. and an S. in the old German character with a cross between
them, thus^ fy^^- The following are said to be by him:
An old beggar Man, with an old Woman in a Wheelbarrow.
Two grotesque Heads of an old Man and a Woman.
A Man playing on a lute, and an old Woman holding a ladle in one hand, and a jar in the other.
A Lover and his Mistress.
He also copied the Life of Christ, and other plates, from Martin Schoen.
SCHOEN, Erhard. A German engraver on wood, who flourished about the year 1530,
and was probably of the same family with the preceding artists. His cuts are said to be
executed with neatness and accuracy. Mr. Strutt mentions a frontispiece by him, repre
senting a genealogical branch from Jesse to Christ, with figures of the principal person
ages, very delicately cut. He marked his prints with a monogram composed of an E.
and an S. with a small knife under, thus, §£.

SCHOENFELD, or Schoonfeld, John Henry. This painter was born at Biberach in
Swabia, in 1619, and was a scholar of John Sichelbein, an indifferent artist, under whom
he learned little more than the rudiments of design. He visited the principal cities in
Germaay, and contemplated the best works of the art in the different collections, and
had given proofs of considerable talent, when he determined to visit Italy in search of
improvement. On his arrival at Rome he found employment in the church of S. Elisa-
betade Fornari, where he painted two altar-pieces, which gained him some reputation,
and he was engaged in some of the embellishments in the Palazzo Orsini. On his return
to Germany, he distinguished himself as an historical painter at Vienna, Munich, Salz-
bourg, Augsbourg, and other cities of the empire. He also was much employed as a
portrait painter, and his landscapes, decorated with figures and architecture, were much
admired. Among his most esteemed works are his pictures of Christ conducted to
Calvary ; and the taking down from the Cross, in the church of the Holy Cross at Augs
bourg, where he resided in the latter part of his life. In the Senate-house of that city
is another fine picture by Schoenfeld, representing the race of Hippomenes and Ata-
lanta. His compositions evince a ready and fertile invention; his design is not very
incorrect, though his figures in general are rather too long, and his colouring is vigorous,
though occasionally crude and glaring. Fie died at Augsbourg in 1689, aged 70. We
have a few etchings by this artist, executed in a slight style, among which are the fol
lowing :
A Head of our Saviour.
A pastoral subject, with a Sliepherd playing on a flute and a Shepherdess holding a triangle,

382 SCH SCH
A Landscape, with a Man sitting on a Rock.
Infant Bacchanalians.
SCHOEVARTS, M. A Flemish painter of village festivals and merry-makings, in the
style of Teniers. His pictures are frequently met with in the Netherlands, and though
they are very inferior to those of that master, they possess considerable merit. We
have a few etchings by this artist, slightly executed, from his own designs, and after
other masters.
SCHOONEBECK, Adrian. A Dutch engraver, who flourished about the year 1690.
He engraved a variety of frontispieces and other book-plates, and published, in two
volumes, the habits of all the religious orders in Europe.
SCHOONJANS, Anthony. This artist was bora at Antwerp in 1650, and was a scholar
of Erasmus Quellinus, under whom he studied until be was nineteen years of age, when
he travelled to Italy in search of improvement. During a residence often years at Rome
he distinguished himself by an exemplary application to his studies, and painted some
pictures for the churches, which gained him considerable reputation. In 1678 he was
invited to the court of Vienna by the Emperor Leopold, who appointed him his painter,
and he had the honour of painting the portraits of the imperial family, and those of the
principal nobility. He also was employed in decorating some of the churches, in which
there are several altar-pieces by him. The desire of visiting England induced him to
request the permission of his patron to absent himself some time from his Service, and
he came to this country in the reign of King William, and was employed in ornament
ing some of the mansions of the nobility, and in portrait painting. Among other per
formances, he painted a staircase in a house, then called Little Montague-house, situated
at the corner of Bloomsbury square. His portrait, painted by himself, was in the col
lection at Strawberry-Hill. In returning to Vienna he passed some time at Dusseldorp,
where he painted some pictures for the Elector Palatine, who presented him with a gold
medal and chain. A. Schoonjans died at Vienna in 1726, aged 76.
SCHOORE, J. V. A Flemish engraver, who flourished about the year 1650. Amon*
other prints, he engraved a plate of St. Vincent ; after Anthony Salaert.
SCHOOTER, Francis. This artist engraved a portrait of Des Cartes, the philosopher, it
is inscribed Franciscus Schooter ad viv. del. sculp.
SCHOREL, or Schooreel, John. This painter was born at Schooreel, a small town near
Alkmaer, in 1495. At the age of fourteen he was placed under the tuition of an obscure
artist, named William Cornelisz, and for three years had not the advantage of superior
instruction. He had, however, made considerable progress in design by the vivacity of
his genius, and his attentive studies after nature. In 1512 he went to Amsterdam
where he became a disciple of James Cornelisz, an historical painter of some celebrity
and under that master acquired an ability which rendered him one of the most promis
ing young artists of his time.
The reputation of John de Mabuse, who was at that time in the service of the Duke
of Burgundy, and resided at Utrecht, induced him to visit that city, for the purpose of

SCH SCH 383
profiting by the instruction of that master, with whom he did not however remain long.
He afterwards travelled through Germany, and passed some time at Nuremberg, where
he resided with Albert Durer, and was treated with great kindness by that distinguished
artist. His next journey was to Venice, where he found, assembled from all parts, a
number of people, for the purpose of embarking for Palestine, and among them met with
an ecclesiastic of Gouda,by whom he was persuaded to accompany him to the Holy Land.
On his arrival at Jerusalem he became acquainted with the superior of the monastery
of Sion, by whom he was shown the most interesting views and antiquities in the city
and vicinity, of which he made accurate designs. He painted for the convent a picture
representing the Incredulity of St. Thomas; and in 1520 embarked for the Isle of
Rhodes, where he was received with distinction by the grand master, who was a native
of Germany, and painted views of the city and fortress. From thence he sailed for
Venice, and afterwards travelled to Rome, and, during a residence of three years, con
templated the most remarkable objects of antiquity, and the principal works of the great
masters in that capital. Adrian VI. then filled the Papal siege, and, notwithstanding
the little respect he felt for the art, he employed his countryman Schorel in several works
in the Belvedere, and he painted a whole-length portrait of the Pope, which was sent to
the college of Xouvain, which had been founded by that Pontiff.
On his return to Holland, Schorel established himself at Utrecht, and was much em
ployed by the noble family of Lochorst, for whom he painted one of his most celebrated
pictures, representing Christ's Entry into Jerusalem, which was placed in their chapel in
the principal church. For the church of the monastery of St. John, at Haerlem he
painted a picture of the Baptism of Christ, in which he imitated the style of Raffaelle
the airs of the heads are graceful and expressive, and the composition and design
though not entirely divested of the stiffness and formality which prevailed among the
Flemish artists of the time, is superior to every thing that had preceded him. Many of
the principal works of this artist were destroyed during the troubles in the Low Coun
tries. He died at Utrecht in 1562, aged 67.
SCHORER, John Frederick. According to Professor Christ, this artist was a native of
Nuremberg, and flourished about the year 1619. He is said to have engraved on cop
per, but his plates are not specified.
SCHORQUEUS, J. van. A Dutch engraver, who resided at Madrid about the year
1600. He engraved some frontispieces and other book-plates, which are executed with
the graver in a neat, stiff style. Among others is a title page to a Commentary on the
Prophets, by Balthasaro, inscribed J. van Schorqueus, fecit, in Madrid.
SCHOUMAN, Artus. A Dutch painter and engraver, born at Dort in 1710, and was a
scholar of Adrian Vander Burg. He painted historical subjects and portraits, and en
graved some plates in mezzotinto, in a very indifferent style.
SCRODER, Hans or John. A German engraver, who flourished about the year 1600.
He engraved some plates of ornamental foliage, &c.

384 SCH SCH
SCHUBART, Peter. This artist was a native of Germany, but resided at Venice about
the year 1696. Professor Christ ascribes to him the engravings marked with the letters
P. S. d. E, which he interprets, Peter Schubart de Ebrenberg.
SCHULZE, John Gottfried. This artist was born at Dresden in 1749, and learned the
rudiments of design from Charles Hutiii. After being initiated into the art of en
graving by Guiseppe Camerati, he went to Paris, where he profited by the lessons of
J. G. Wille. On his return to Saxony he engraved several plates of portraits, and other
subjects, particularly some prints for the Dresden Gallery, which are executed in a neat,
firm style. Among others, we have the following prints by him :
The Portrait of Joseph II. Emperor of Germany.
Jupiter and lo ; after Schenau.
Ceres ; after Carlo Loti.
The Centaur Nessus and Dejanira ; after Rubens.
PRINTS ENGRAVED FOR THE DRESDEN GALLERY.
Cupid embracing Venus ; after Giulio Romano.
Venus tying the Wings of Cupid ; after Louisa Eliz. Le Brun.
Venus reclining ; after Mario Viani.
A Vestal ; after Angelica Kauffman.
The Head of Christ ; after Caraeci.
The Ecce Homo ; after Guido.
SCUMANN, John George. He was born at Dresden in 1761, and was instructed in de
sign in the Academy there. He engraved several plates of landscapes, which were exe
cuted in a neat, spirited style. He resided some time in London, where he engraved
some prints in conjunction with Mr. Byrne. We have, among others, the following by
him :
A Landscape; after Ruysdael.
A View in Saxony ; after Kleugel.
Two Landscapes with animals ; after the same.
A Landscape, Morning ; after Both ; engraved conjointly with Mr. Byrne.
A View of Windsor Castle; after Hodges; the same.
SCHUPPEN, Peter van. A Flemish designer and engraver, born at Antwerp in 1623.
After being instructed in the rudiments of drawing in his native city, he went to Paris
where he became a pupil of Nanteuil, and engraved, in the style of his instructor several
portraits from his own designs, which are not inferior to the best productions of the
time. His design is correct, and he handled the graver with great firmness and dexte
rity. He also engraved several historical subjects, after various masters. We have
among others, the following prints by him :
PORTRAITS.
Louis XIV. ; after C. Le Brun. 1662.
Renaud, Cardinal d'Este. 1662.
Julius, Cardinal de Mazarin ; after Mignard.
The Chancellor Seguier ; after C. Le Brim.

SCH SCH 385
Francis Villani, Bishop of Tournay; after L. Francois.
Francis M. le Tellier, Marquis de Louvois ; after Le Febre.
Louis le Pelletier, President of the Parliament ; after de Largilliere.
Francis Vander Meulen, Painter ; after the same.
SUBJECTS AFTER VARIOUS MASTERS.
The Virgin and infant Christ; after Raffaelle. 1661.
The Holy Family, with St. John, who holds a pigeon ; after Seb. Bourdon. The first impres
sions are before the drapery was put over the nudity of the infant.
The Holy Family ; after Gaspar de Crayer.
St. Sebastian, with an Angel drawing out the arrow ; after Vandyck.
King David ; after Ph. de Champagne.
SCHUPPEN, Peter van, the younger. He was the son of the preceding artist, born at
Paris about the year 1673, and studied painting under Nicholas de Largilliere. He is
said to have been a reputable painter of history and portraits, and was invited to the
court of Vienna, where he was appointed painter to the Emperor, and director of the
Academy in that city, where he died in 1751, aged 78.
SCHURMANS, Anna Maria. This extraordinary lady is regarded as a prodigy in the
world of learning and art. She was born at Utrecht in 1607, and from her cradle dis
covered an unprecedented quickness of parts. She is said to have been able to read
when she was only three years old, and at seven had made great proficiency in Latin,
which she had acquired from occasionally hearing the lessons her brothers received
from their preceptor. Her father, inferring from thence that she had an extraordinary
disposition for literature, cultivated her talents with care, and procured her the means
of acquiring that knowledge for which she afterwards became so justly celebrated. The
Latin, Greek, and Hebrew languages became so familiar to her, that she not only wrote
but spoke them with a fluency and correctness that surprised the most learned. She also
made a great progress in the Oriental languages, which have a relation to the Hebrew,
such as the Syriac, Chaldean, Arabic, and Ethiopic- Her acquaintance with the modern
languages was not less extensive ; she perfectly understood, and spoke readily, the
Italian, French, German, and English. She was also competently versed in geography,
astronomy, and the sciences, so as to be able to judge of them with exactness ; and was
deeply read in divinity and theology. These erudite acquirements were not made by
neglecting the accomplishments usual to her sex, or the study of the fine arts. She ex
celled in music, vocal and instrumental, in painting, sculpture, and engraving, in all of
which she was equally successful. She painted her own portrait, and those of several
of her friends, and sculptured several busts, some of which are preserved in the cabinets
of the curious. She etched and engraved some plates, among which is a portrait of her
self, inscribed, Anna Maria Schurmans an. atat. xxxm. cio.io.cxi. a. M. s. fee. with
these verses : Cernhis hie pieta nostras in imagine vultus :
Si negat Ars formam, gratia vestra dabit.
In Holland is preserved a bust of Anna Maria Schurmans, modelled in wax, by her
self, to which she affixed the following lines :
Vol. II. 3C

386 SCH SCH
Non mihi propositum est humanam eludere sortem,
Aut vultus solido scnlpere in aere meos :
Haec nostra effigies, quam cera exprcssimus, ecce
Materiae fragili, mox peritura, damus.
This learned lady died at Altona in 1678, aged 71.
SCHURTZ, Cornelius Nicholas. An indifferent German engraver, who resided at
Nuremberg about the year 1670. He engraved some portraits, and other book-plates,
in a poor, feeble style.
SCHUT, Cornelius. This painter was born at Antwerp in 1600, and was one of the most
celebrated disciples of Rubens. Possessed of a lively and inventive genius, which had
been cultivated by a liberal education, and aided by the instruction of so able a master,
it was not long before he distinguished himself among his numerous fellow-students.
On leaving the academy of Rubens he was employed in several works for the churches,
in which he acquitted himself in a manner worthy of the school in which he was edu
cated. The reputation he acquired by his first public performances rendered him so
self-sufficient and presumptuous, that he had the temerity to offer himself as a rival to
his illustrious instructor, whose works he criticized, and accused their author of want of
genius and invention The generosity of Rubens returned these imprudent calumnies
with acts of kindness and liberality, applauded his pictures, and recommended him to
employment. Schut was endowed with a fertile and prolific imagination, and a facility of execution,
which qualified him for the functions of a machinist. Of this he gave ample proof in
his frescoes in the cupola of the cathedral at Antwerp, and in other large works of that
description in the public edifices of that city. Of his altar-pieces in the churches, the
most deserving of notice are his pictures of the Nativity, and the Assumption of the
Virgin, in the church of the Jesuits, at Antwerp ; a Dead Christ, with the Virgin and St.
John, in the church of St. James, which has sometimes been mistaken for a work of
Vandyck ; and the Martyrdom of St. George, in the cathedral. He painted several his
torical and fabulous subjects for the private collections, which are ingeniously com
posed, though occasionally too much scattered and confused. Vandyck painted the
portrait of Cornelius Schut, among the eminent artists of his country. He died at
Antwerp in 1660, aged 60. This artist etched a considerable number of plates from his
own designs, which are executed in a spirited style, resembling that of Benedetto Cas-
tiglione ; among many others, we have the following :
The Holy Family, with St. John.
The Virgin and infant Christ.
The Martyrdom of St. Lawrence.
The Saints in glory.
Christ praying on the Mount.
Mars, Venus, and Flora.
Bacchus, Ceres, and Pomona.
The Triumph of Peace.
A great number of Madonnas, Saints, and other devout subjects.

SCH SCH 387
SCHUTZ, Christian George. A German landscape painter and engraver, born at
Floersheim, in the electorate of Mentz, about the year 1730. He painted small pic
tures of views of the Rhine and landscapes, neatly touched, and very highly finished.
He etched a few plates, among which are,
Two Landscapes ; after Hausman.
A pair of Mountainous Landscapes ; from his own designs.
SCHUTER. By this engraver, who flourished about the year 1760, we have a plate of the
portrait of Rembrandt, engraved for the first volume of prints, from the paintings in the
collection of the Marquis Gerini.
SCH UUR, Theodore Vander. This painter was born at the Hague in 1628. After
receiving some instruction in the rudiments of design in his native country, he went to
Paris, where he frequented the school of Sebastian Bourdon, under whom he passed
three years, and had already become an able designer, when he determined to visit Italy,
for the completion of his improvement, and arrived at Rome in 1651. He contemplated
the great objects of art with which he was surrounded with astonishment and delight;
and his application to his studies was indefatigable. He had acquired considerable
celebrity by some historical pictures he had exhibited to the public, when he was fa
voured with the patronage of Christina, Queen of Sweden, who, after the abdication
of her throne, resided at Rome, and employed him in several works. After a residence
of fourteen years at Rome, Vander Schuur returned to Holland, in 1665, and was re
ceived by his countrymen with the most flattering distinction. He was made a member
of the Academy at the Hague, and was employed in decorating the public edifices. He
painted the ceiling of the hall of the Burgomasters, in the town-house, representing an
emblematical subject of Justice, Temperance, and Fortitude, ingeniously composed, and
designed more in the Roman taste than that of his country. One of his most esteemed
works is a large picture representing the Portraits of the Officers of the armed citizens>
painted in 1675. He died in 1705, aged 77.
SCHWABE, Lambert. See Suavius.
SCHWARTS, Christopher. According to d'Argenville, this artist was born at Ingol-
stadt in 1550, and learned the elements of the art in his native city. He afterwards
went to Venice, where he entered the school of Titian, and profited by the lessons of
that great master of colouring. His countrymen have honoured him with the title of
the Raffaelle of Germany, with what propriety, it is difficult to discover. His works
exhibit neither the correctness nor the dignity of that illustrious painter, and he appears
to have been more ambitious of imitating the impetuous energy and vigorous Colouring
of Tintoretto, than the grandeur and majesty which characterise the Roman and Flo
rentine schools. After passing some years at Venice he returned to Germany, when
Albert V. Duke of Bavaria, invited him to Munich, where he was appointed painter to
the court, and resided in that city the remainder of his life. He painted many pictures
for the churches and public edifices at Munich, and for the collection of his patron;
several Of which have been engraved by John Sadeler. His principal merit consists in
the abundance of his compositions, and the force of his colouring. The airs of his
3C2

388 SCH SCI
heads are neither beautiful nor expressive, and there appears in his works a national
stiffness, and formality, of which he could never divest himself. One of the most
esteemed works of Swartz is a picture of the Entombing of Christ, in the Dusseldorp
Gallery. He died at Munich in 1 594, aged 44.
SCHWARTZ. A German engraver, who resided at Nuremberg about the year 1626.
He engraved portraits and book-plates in a very indifferent style, among which are the
prints in a book published at Nuremberg in the year above mentioned, entitled, Icones
Bibliopolarum et Typographorum.
SCHWARTZENBERG, Melchior. According to Professor Christ, this artist was an
engraver on wood, and executed some cuts of frontispieces for Feyeraband the book
seller.
SCHWEICKHARDT, H. W. A modern Dutch painter, who, in consequence of the
disturbances in Holland in 1786, came to England, and resided in London for several
years. He painted landscapes and cattle, and particularly frost-pieces, which were held
in some estimation. They were painted in a neat, but spiritless style, and produced a
poor, feeble effect. He etched a set of plates of animals, which he dedicated to Mr.
West in 1788,
SCHYNDAL, or Schendel, Bernard. This painter was born at Haerlem in 1659, an^
was a schplar of Hendrick Mommers. He painted assemblies of peasants regaling,
fairs, merry-makings, and the interiors of Dutch kitchens, in the style of John Molenaer.
He treated those subjects with considerable humour, and his pictures are ingeniously
Composed, though greatly inferior to the admirable productions of Brower or Ostade.
He died in 1716, aged 57.
SCHYNVOET, J. A Dutch engraver, who resided in London about the year 1700. He
engraved some plates of bird's-eye views of gentlemens' seats, from his own designs;
which are executed in a style resembling that of John Kip.
SCIARPELLONI. See Chedi.
SCILLA, or Silla, Agostino. According to Hackert, this artist was born at Messina in
1629, and was a scholar of Antonio Ricci, called II Barbalunga. He discovered an
early genius for painting, and had a competent knowledge of history and poetry. Such
was the promise he evinced of excelling in the art, that Barbalunga prevailed on the
senate to settle a pension on him, to enable him to pursue his studies at Rome where
he frequented the school of Andrea Sacchi. After a residence of four years at Rome
he returned to Messina, rich in designs he had made after Raffaelle and the antique.
He was a reputable painter of history, and had established an academy at Messina,
which was much frequented until the stormy revolution which took place in Sicily, in
1674, obliged him to fly from Messina, and he returned to Rome, where he died in 1700
aged 71. There are several of his fresco works in the churches of S. Domenico, and
the Nunziata de Teatini, at Messina; and in S. Orsola, an oil picture, representing the
Death of S. Harione, which is much admired.

SCO SCO 389
SCOLARI, Guiseppe. This artist was a native of Vicenza, and flourished about the year
1580. He was a disciple of Giovanni Batista Maganza. He painted history both in
oil and in fresco; and there are many of his works in the churches at Vicenza, Verona,
and Venice, which are favourably mentioned by Zanetti. According to Papillon, he exe
cuted several cuts in wood, which, though rudely executed, evince the hand of the mas
ter; among which are the following :
The Entombing of Christ.
The Dead Christ, with the Virgin Mary.
St. Jerome holding a Crucifix.
The Rape of Proserpine.
SCOPPA, Orazio. An Italian engraver, who flourished at Naples about the year 1642,
and was probably a goldsmith. He engraved a set of fifteen plates of designs for
chalices, croziers, and other ecclesiastical ornaments. They are etched in a spirited style.
SCORZA, Sinibaldo. According to Soprani, this artist was born at Voltaggio, a small
town in the Genoese state, in 1589, and was a scholar of Giovanni Batista Paggi. He
excelled in painting landscapes, which he decorated with groups of figures and animals,
tastefully composed, and touched with spirit. " It would be difficult," says Lanzi, " to
find in Italy a pencil which ingrafted so successfully the neatness of the Flemish execu
tion with the taste of the Italians." He also painted easel pictures of sacred and fabu
lous subjects, which are found in the choicest private collections. He died in 1631,
aged 42.
SCOTIN, Gerard, the Elder. A French engraver, born at Gonesse, near Paris, in 1642.
He was a pupil of Francis Poilly the elder, whose style he imitated, though very inferior
to him. Among others, we have the following prints by him :
The Marriage of St. Catherine ; after Alex. Veronese.
The Communion of the Magdalen ; after Domenichino.
The Circumcision ; after P. Mignard.
The Baptism of Christ ; after the same.
The Presentation in the Temple ; after C. Le Brun.
The Country Life ; after Dom. Feti.
SCOTIN, Gerard, the younger. He was the nephew of the preceding artist, born at
Paris in 1690, and was instructed in design and engraving by his uncle. He came to
England, and resided some years in London, where he was chiefly employed for the
booksellers. In 1745 he engraved, in conjunction with Baron and Ravenet, the six
plates of the Marriage a la Mode ; after Hogarth. We have, among others, the follow
ing prints by him :
The Birth of Adonis ; after Boucher.
Notre Dame des Victoires ; after the same.
Belisarius; after the supposed picture by Vandyck, at Chiswick.
Vortigern and Rowena ; after Blackeney.
Alfred receiving the account of the defeat of the Danes ; after the same.

390, SCO S E G
SCOTIN, J. B. The name of a very indifferent artist, affixed to some anatomical prints
in Boudofi's Anatomy, published at Paris in 1734.
SCOTT, Samuel. An eminent English painter of views and sea-pieces, who resided in
London from about the year 1725 till his death. Of this ingenious artist, Lord Orford
speaks in the following terms : " If he was but second to Vandevelde in sea-pieces, he
excelled him in variety, and often introduced buildings into his pictures with consummate
skill. His views of London Bridge, the Quay at the Custom-house, &c. were equal to
his marines, and his figures were judiciously chosen and admirably painted; nor were
his washed drawings unequal to his finished pictures." He died of the gout in 1772.
SEAMER. This artist is mentioned by Mr. Strutt as the engraver of a slight etching,
representing a man on horseback giving his purse to a country girl, who has got a
basket of eggs upon her arm. Inscribed M. Seamer, Jun. fecit. 1734.
SEBASTIANO, Fra. See Piombo.
SECANO, Geronimo. A Spanish painter, born at Saragossa in 1638. After learning the
rudiments of the art in his native city, from an obscure artist, he visited Madrid,
where he studied with assiduity the works of the great masters in the royal collection,
and returned to Saragossa an able designer. Of his works in the public edifices in that
city, Palomino particularly notices his frescoes in the cupola of the chapel of San
Miguel, and some oil pictures in S. Pablo. He died in 1710, aged 72.
SECCANTE, Sebastiano. This painter was a native of Udine, and flourished about the
year 1576. He was a disciple of Pomponio Amalteo, and was a respectable painter of
history and portraits. In the church of S. Giorgio, at Udine, is an altar-piece by this
master, representing Christ bearing his Cross, with angels holding the instruments of
the Passion, which is spoken of by Lanzi in very favourable terms.
SEDELMAYER, Jeremiah James. Baron Heineken mentions this artist as a painter and
engraver. He executed some plates of views of the Imperial Library at Vienna, from
his own designs; published in 1737.
SEGAERS. The name of this artist is affixed to a portrait of Godef. Chodkiewie, of
Russia.
SEGALA, Giovanni. According to Zanetti, this artist was born at Venice in 1663. He
was a scholar of Antonio Zanchi, and painted history with considerable reputation. That
writer highly commends a picture by this master, representing the Conception, in the
Scuola della Carita, at Venice, which he asserts may compete with the ablest artists of
his time. He died in 1720, aged 57.
SEGERS, or Seghers, Gerard. This eminent painter was born at Antwerp in 1589. He
was first a scholar of Henry van Balen, but afterwards entered the school of Abraham
Janssens, and had made considerable progress in the art when he went to Italy. On

SEGERS. 391
his arrival at Rome, he attached himself particularly to the vigorous style of Michael
Angelo Caravaggio, and became a disciple of Bartolommeo Manfredi, who had studied
under that master. To the striking opposition of light and shadow, and the broad relief
of Caravaggio, he added a richness of colour, which is almost general in the painters of
his country, and his pictures, though exhibiting a violence of contrast, which is not
authorized by a legitimate observance of nature, eclipsed, in point of effect, every thing
that was placed near them. He had acquired considerable celebrity by his productions
of that description, when he was invited by Cardinal Zapara, the Spanish ambassador at
Rome, to accompany him to the court of Madrid. He presented him to the King, who
received him in the most favourable manner, and engaged him in his service, with a
considerable pension. He painted several historical subjects, and musical conversa
tions, which were greatly admired, and after passing some years at Madrid, the desire
of revisiting his native country, where the reputation he had acquired, both in Italy and
Spain, rendered his fellow citizens impatient to possess his works, induced him to request
permission to return to Flanders. On his arrival at Antwerp, he painted some pictures
for the churches in imitation of the style of Caravaggio, which were not so favourably
received by the public as he expected. The clear and splendid colouring of Rubens and
Vandyck had at that time obtained possession of the public estimation, and he was
under the necessity of adopting a system more tender and agreeable than that which he
had hitherto followed as his model. The facility with which he effected this change in
his manner, proves the flexibility of his powers, and some of his latter pictures may be
ranked amoftg the estimable productions of the Flemish school. It was at this period
that he painted his celebrated picture of the Elevation of the Cross, for the church of the
Jesuits at Antwerp ; the Adoration of the Magi, for the cathedra], which is admirably
engraved by Vorstermans ; and Peter denying Christ, of which we have a fine print by
Bolswert. His most esteemed production is his picture of the Marriage of the Virgin,
the principal altar-piece in the church of the Carmelites at Antwerp.
The compositions of Gerard Segers are judiciously arranged, and his design is more
correct than that of the generality of his countrymen. He was well acquainted with the
principles of the chiar-oscuro, though usually too abrupt in the opposition of his light
and shadow, and his colouring is more vigorous than chaste. It is asserted by d'Argen
ville, and after him by Descamps, that Segers visited England; but this rests on no other
authority, nor is he mentioned in the Anecdotes. Vandyck painted his portrait, at
Antwerp, among the eminent artists of his country, which is engraved by Pontius. He.
died in 1651, aged 62,
SEGERS, or Seghers, Daniel. He was the younger brother of the preceding artist, born
at Antwerp in 1590. His taste leading him to design flowers and fruit, he became a
disciple of John Breughel, who at that time painted those subjects, which he afterwards
changed for landscapes. He had made considerable progress in that branch of the art,
when he entered the society of the Jesuits, at the age of sixteen, and abandoned paint
ing during his noviciate. When the term of his probation was expired, he obtained
permission of his superiors to visit Rome, where his brother had at that time distin
guished himself. During his residence in that city, he designed every curious plant,
flower, or insect, that he met with, and returned to Flanders with a rich assemblage of
drawings of those objects. The ability he afterwards displayed, proved that a sojourn
in the metropolis of art is beneficial to every painter, whatever may be the department

392 SEG SEM
to which he particularly devotes himself. Segers cultivated himself the flowers which
served him for models, and he gave to his imitations the beauty, brilliancy, and variety
with which nature had clothed the originals. He accompanied thein with insects and
butterflies, designed and finished with a verity and precision, which seemed to dispute
with reality. His talents were not without advantage to the religious body into which
he was incorporated. Many of the princes of Europe were desirous of possessing his
works, to whom they were sent as presents, whilst his convent profited by the valuable
testimonies of acknowledgment which were received in return. The Prince of Orange
deputed Thomas Willeborts Boschaert, his principal painter, to visit Segers, and to en
deavour to procure a picture by him, on which occasion he painted one of his most
capital works, which was presented to that prince in the name of the society, who were
munificently recompensed for the picture. He frequently painted garlands and borders
of flowers, in which the interior space was enriched by historical subjects, which Rubens
did not disdain occasionally to execute. He died at Antwerp in 1660, aged 70.
SEGERS, Hercules. A Dutch painter of landscapes and animals, who resided at the
Hague about the year 1650. He was a contemporary of Paul Potter, whose style he
imitated, and after the premature death of that celebrated artist, his pictures were held
in considerable estimation. His landscapes exhibit very agreeable scenery, and his cattle
are correctly drawn, and touched with spirit.
SEIS, P. P. A. Robert de. We have by this artist a slight but masterly etching, exe
cuted in the style of Rembrandt, representing Lot and his Daughters. It is inscribed
with his name, to which is added the word fecit, from which we may conclude that it is
engraved from a design of his own.
SELMA, Fernando. A modern Spanish engraver, now resident at Madrid. He is said
to have been a pupil of Emanuel Salvador Carmona, and has engraved some plates in the
style of that artist, among which are the following :
La Madonna del Pesce ; after the picture by Raffaelle, in the Escurial. Fernando Selma, sc.
1782.
The Virgin and Child ; after another picture by Raffaelle.
SEMENTI, or Semenza Giacomo. This painter was born at Bologna in 1580, and was a
fellow student with Francesco Gessi, first under Denys Calvart, and afterwards under
Guido Reni. According to Malvasia, he was one of the most successful followers of the
style of Guido, and painted several pictures, for the churches at -Bologna, which have
been sometimes mistaken for the works of that master. Such are his pictures of the
Martyrdom of S. Cecilia, in the church of S. Elena; the Marriage of S. Catherine, in
S. Francesco ; and the Crucifixion, in S. Gregorio.
According to Baglione, he visited Rome in the pontificate of Urban VIII. and was
favoured with the protection of Cardinal Prince Maurice, of Savoy, for whom he exe
cuted several considerable works. There are some fresco paintings by this master in
S. Carlo a Catinari ; and in S. Maria d'Araceli, in the Capella Cavalieri, is an altar-piece
painted in oil, representing the Virgin and infant Christ, with S. Gregory and St. Francis.
He died at Rome, in the prinre of life.

S E M SEP 393
SEMINI, Antonio. According to Soprani, this painter was bora at Genoa about the year
1485, and was a disciple of Lodovico Brea. He afterwards studied the works of Pietro
Perugino, and was a successful follower of his style. His picture of the Nativity, in the
church of S. Domenico, at Savona, has been compared to the best productions of that
master, and even to some of the juvenile works of Raffaelle. He was living in 1547.
SEMINI, Andrea. He was the elder son of the preceding artist, born at Genoa in 1510,
and was first instructed in the art by his father. He afterwards studied under Perino del
Vaga, who had taken refuge at Genoa in 1528, after the sacking of Rome. By the ad
vice of his instructor he went to Rome, to contemplate the works of Raffaelle and the
beauties of antiquity. After a residence of eight years in that capital he returned to
Genoa, where he was engaged in several works for the churches and public edifices, of
which the most esteemed were a picture of the Nativity, in the church of S. Francesco ;
and the Adoration of the Magi, in La Nunziata. In these, as well as his other produc
tions, he is a faithful follower of the style of Raffaelle, though not always sufficiently
correct in his design. According to Baldinucci, he painted portraits with great success.
He died in 1578, aged 68.
SEMINI, Ottavio. This artist was the younger son of Antonio Semini, and was born at
Genoa about the year 1515. He learned the rudiments of design from his father, and
was, when very young, placed under the tuition of Perino del Vaga, with whom his elder
brother was a student. Possessed of a more lively genius than Andrea, his progress was
uncommon, and in a short time he was sufficiently advanced to accompany his brother
to Rome, for the completion of his studies. The works of Raffaelle were the particular
objects of his admiration, and he copied with great attention the antique bas-reliefs of
the Colonna Trajana. He returned with his brother to Genoa, and, in conjunction with
him, executed several considerable works. He decorated the facade of the Palazzo
Doria with statues and architecture, designed in the finest taste; and painted some
frescoes in the interior, particularly the Rape of the Sabines, so much in the style of
Raffaelle, that Soprani reports, that it was mistaken by Giulio Cesari Procaccini for a
work of that master. He was invited to Milan, where he passed the latter part of his
life, and executed some of his principal works. In the church of S. Angelo he deco
rated the chapel of S. Girolamo, with several subjects, one of which is particularly
admired, representing the obsequies of that Saint. He died at Milan in 1604, aged
about 89-
SEMPELIUS, D. G. A German engraver, who flourished about the year 1580. He
copied some of the prints by Albert Durer with great success. Among his best imita
tions is his copy of the Descent of Christ into He'll, from the set of plates of the Life
of Christ, by that master. It bears the date of the original 1512, as well as the year in
which it was engraved, 1580.
SEMOLIE, II. See Franco.
SEPTIMUS, Hercules. See Setti.
Vol. IL 3 D

394 S E R SER
SERAFINI, Serafino de. This ancient painter is mentioned by Vedriani, who describes
a picture, painted by him, in the cathedral at Modena, which is inscribed with his name,
and dated 1385. It represents the crowning of the Virgin, and is painted in the style of
Giotto.
SERENARI, Gaspero. He was a native of Palermo, and flourished about the year 1750.
At an early period of his life he went to Rome, where he frequented the school of Sebas
tiano Conca. On his return to Sicily, he distinguished himself as a painter of history,
both in oil and in fresco. His principal works at Palermo are the cupola of the church
del Gesu, and an altar-piece in the church of the monastery of La Carita.
SERICCUS, Soye, or Sytius, Philip. According to Huber, this artist was a native of
Flanders. He was a contemporary and disciple of Cornelius Cort, and resided at Rome
about the year 1568. Mr. Strutt has noticed this artist under three different names,
Philip Sericcus, Philip Soius, and Philip Syticus, though it is evidently the same en
graver. He engraved a set of twenty-eight portraits of the Popes, published at Rome
in 1568. We have also the following prints by him :
The Angel appearing to Joseph in his dream; C. Cort, inv. Ph. Soye, fee.
St. Francis receiving the Stigmata ; F. Zuccaro, pinx. Soye, fee.
The Virgin with the infant Christ sleeping ; after M. Angelo Buonaroti. Philippus Sericcus.
1566.
The Crucifixion ; after the same.
SERMONETA, Girolamo Siciolante, called da. This painter was born at Sermoneta
in 1504, and is generally called Girolamo da Sermoneta. He was one of the ablest
disciples of Perino del Vaga, whom he assisted in his works in the Castel S. Angelo.
He was employed by Gregory XIII. in the decorations of the Sala Regia in the Vatican
where he painted in fresco the history of Pepin, King of France, after making prisoner
Astolfo, King of the Longobardi, giving Ravenna to the church. In his oil pictures he
is compared by Lanzi to the disciples of Raffaelle, for the resemblance of his style to
the illustrious head of the Roman school. Such are his pictures of the Martyrdom of
S. Lucia, in S. Maria Maggiore; the Transfiguration, in S. Maria d'Araceli ¦ and the
Nativity, in La Pace. His most celebrated work is in the church of S. Bartholomew at
Ancona, representing the Virgin seated on a throne, with a choir of beautiful angels
with S. Bartholomew, St. Paul, and other saints, which is one of the finest works of art
in that city. There are few of his works in private collections, except portraits, which
he painted in an admirable style. He died in 1550, aged 46.
SERRES, Dominic This artist was a native of Auch in Gascony. He came to England
about the year 1765, and acquired considerable reputation as a painter of sea-pieces and
landscapes. When the Royal Academy was instituted, he was chosen one of the mem
bers, and some years afterwards was appointed marine painter to the King. In 1792 he
was appointed librarian to the Royal Academy on the resignation of Mr. Wilton who
was appointed keeper. One of his most considerable productions was a view of'Lord
Howe's engagement with the combined Fleets of France and Spain, off Gibraltar in 1782
Mr. Serres died in 1793.

S E R S E U 395
SERW OUTER, Peter. A Flemish engraver, born at Antwerp about the year 1574. We
have by him several plates, executed with the graver, in a neat, clear style, though with
out much taste. He was a contemporary with John Londerseel, and his style bears
some resemblance to the works of that artist. Among other prints by him are the fol
lowing :
A set of twelve Huntings; after D. Vinckenbooms.
The Fall of our first Parents ; after the same.
A Dutch Merrymaking ; after the same.
Samson killing the Lion; after the same.
David killing the Bear ; after the same.
He marked his plates with a cipher composed of a P. and an S. with a W. thus, |p. W.
SESSONE, Francesco. This artist engraved several of the plates for the Antiquities of
Herculaneum, published at Naples.
SESTO, Cesare, sometimes called Cesare Milanese. This painter was a native of
Milan, and flourished about the year 1500. He is generally regarded as a disciple of
Lionardo da Vinci, and is considered by Lanzi as one of the closest imitators of his style.
In the Ambrosiana at Milan, is a head of an old man by this painter, so much in the
style of Lionardo, that it is frequently mistaken for a work of that master. On some
occasions he appears to have imitated the style of Raffaelle, with whom he was ac
quainted at Rome. In a picture he painted representing Herodias, he appears to have
taken the head from the Fornarina of Raffaelle; and a Holy Family, in the possession of
Cavaliere Girolamo Melzi, is evidently composed and painted in imitation of the manner
of that great master. He died at Milan in 1524.
SESTRI. See Travi.
SETTI, Ercole, or Septimus, Hercules. An Italian painter and engraver, who flourished
about the year 1560. He was a native of Modena, and, according to Lanzi, painted
some altar-pieces for the churches in that city, which he sometimes inscribed Ercole de
Setti, and sometimes in Latin, Hercules Septimus. He etched several historical subjects,
and some architectural ornaments, which he usually marked with the initials H. S., with
the date.
SEVIN, Peter. An obscure artist, who engraved some book-plates in a very indifferent
style. Among others is the frontispiece to Tachard's French and Latin Dictionary, from
his own design. He lived about the year 1689.
SEUPEL, J. A. This artist is mentioned by Mr. Strutt as an engraver of portraits, which
he frequently drew from the life. They are executed in a neat, though formal style,
with the graver. Among others, is that of John Schilter.
SEUTER, John Gottfried. A German engraver, born at Augsbourg in 1718. He
learned the rudiments of design from J. E. Ridinger, and was instructed in engraving at
Nuremberg by G. M. Preisler. He afterwards went to Italy, and was employed at
3 D2

398 S E Y SHE
Florence in engraving part of the plates from the pictures in the collection of the Mar
quis Gerini. We have also the following prints by him :
Abraham sending away Hagar ; after A. Celesti.
The Holy Family ; after A. del Sarto.
Christ with Martha and Mary ; after L. da Vinci.
The Adultress before Christ; after G. C. Procaccini.
The Marriage at Cana ; after P. Veronese ; in two sheets.
The Holy Family reposing in Egypt ; after F. Albano.
SEYMOUR, James. This artist was born in London in 1702. It is not known by whom
he was instructed, but he was thought superior to Wootton in the design of ahorse.''
He was the only son of a banker, and a great lover of the art, who drew well himself,
and lived in habits of intimacy with Sir Peter Lely, and the artists of his time. The
noble author of the Anedcotes relates the following circumstance of this painter.
Charles, the old haughty Duke of Somerset, sent for Seymour to Petworth, to paint a
room with portraits of his running horses, and one day at dinner drank to him with a
sneer, " Cousin Seymour, your health." The painter replied, "My Lord, I really believe
that I have the honour of being of your grace's family." The Duke, offended, rose from
table, and sent his steward to pay Seymour and dismiss him. Another painter of horses
was sent for, who, finding himself unworthy to finish Seymour's work, honestly told the
Duke so, and humbly recommended to him to recall Seymour. The haughty peer did
condescend to summon his cousin once more. Seymour answered the mandate in these
words, " My Lord, I will now prove I am of your grace's family, for I won't come." He
died in 1752, aged 50.
SEZENIUS, Valentine. A German engraver, who flourished about the year 1620. He
engraved some plates of ornaments, and grotesque subjects, which he usually marked
with the initials V. S.
SHEPHERD, Robert. This artist was a native of England, and flourished about the
year 1660. He engraved a few portraits, which are very indifferently executed. He
copied on a smaller scale the battles of Alexander, from the prints which Gerard Audran
engraved, after Le Brun, but they do him little credit.
SHERLOCK, • —  . He was a native of England, and flourished about the year 1760.
We have some portraits by him; among which is that of N. J. Bapt. Cirri. He also
engraved several landscapes, after Pillement, and other masters.
SHERWIN, William. An English engraver, who flourished from the year 1670 till 1711.
It is not known by whom he was instructed in design and engraving. He is said to
have been a royal engraver by patent, and the only artist known to have received that
honour, a distinction to which his excellence in his profession by no means entitled him
to. His plates are not numerous, though he exercised his art for many years. We have
several portraits by him, which are executed in a formal stiff style. He also engraved
some frontispieces and other book-plates, from his own designs, among which are the
greater part of the plates for the edition of God's Revenge against Murder, printed in
1669. Among his portraits are the following :

SHE SIB 397
Charles I. on horseback, with a view of Richmond.
Oliver Cromwell.
Charles II. ; three plates, one a whole length ; prefixed to Ashmole's Order of the Garter.
Catherine, his Queen.
Christopher, Duke of Albemarle.
William III. when Prince of Orange.
Henry, Duke of Norfolk.
George I. when Elector of Hanover.
Richard Atkyns, Typograph. Reg. ; scarce.
Slingsby Bethell, Sheriff of London ; scarce.
Henry Scudder, b. d. Presbyt.
William Ramesay, m. d.
William Bridge, A. M. Presbyt.
William Sermon, m. d. ; inscribed, W. Sherwin, advivum, del. et sculp. 1671.
John Gadbury, Astrol.
Judge Powell. 1711.
He also scraped a few mezzotintos, but they are veiy indifferent; among them is the
portrait of Monsieur Beverland, which is very scarce.
SHERWIN, John Keyse. An eminent English engraver, who flourished from about the
year 1775 till 1795. On the death of Mr. Woollett he was appointed engraver to the
King. The following are his most esteemed plates :
PORTRAITS.
William Pitt, Earl of Chatham.
George Nugent Grenville Temple, Marquis of Buckingham ; after Gainsborough.
Dr. Louth, Bishop of London ; after Pine.
Captain James Cook, after Dance.
Sir Joshua Reynolds ; after a picture by himself.
William Woollett, Engraver to the King.
Mrs. Siddons, in the character of the Grecian Daughter.
SUBJECTS.
The Holy Family ; after N. Poussin.
Christ bearing his Cross ; after the picture in the chapel of Magdalen College, Oxford.
Christ appearing to Magdalen.
The Holy Family ; after N. Beretoni.
The Fortune-teller ; after Reynolds.
The Death of Lord Robert Manners ; after Stoddart.
SIBELIUS. A Dutch engraver, who resided in London about the year 1775. He was
chiefly employed by Sir Joseph Banks, in his great botanical work. He also engraved
a few portraits, among which are,
Cardinal Beton ; engraved for Pennant's Scotland.
Mrs. Rudd ; after Dodd.
SIBMACHER, John. This artist etched several of the plates of the Antique Statues for
Boissard's collection. They are executed in a slight, poor style.

398 SIC SIE
SICHEM, Christopher van. This artist was a native of Holland, and resided at Amster
dam about the year 1600. He was a disciple of Henry Goltzius, and executed several
wooden cuts from the designs of that master. He also engraved several copper-plates,
but they are inferior to his engravings on wood. His prints are very numerous, which
he usually marked with a monogram composed of a C. a V. and an S. thus, G^T. Among
others are the following : portraits on copper.
The Emperor Charles V. ; inscribed, Carolus Quintus Imperator, Sfc. Ch. v. Sichem, sculp-
et. exe.
Queen Elizabeth; inscribed, Elisabeta D. G. Angliai, Sec. Ch. v. Sichem, fecit.
Robert Dudley, Earl of Leicester ; C. van Sichem, sc. et exe.
Francis Valesius, Duke of Alenjon ; the same inscription.
A numerous set of Portraits of the principal Reformers of the church, published at Amsterdam
in 1609 ; entitled, Iconica Hairesiarcharum.
A set of whole-length Portraits of the Counts of Holland and Zealand.
wooden cuts.
A set of twelve Historical subjects; Christ, van Sichem, fecit.
Esther before Ahasuerus ; after L. de Leyden.
The Adoration of the Shepherds; after Ab. Bloemaert.
The Circumcision; after H. Goltzius.
Judith with the Head of Holofernes ; after the same.
St. Cecilia ; after the same.
A set of four plates, Judith, David, Samson, and Sisera ; after the same.
The Four Evangelists.
SICHEM, Cornelius, and Charles van. According to Baron Heineken, these artists
were of the same family with the preceding engraver. Their works are frequently con
founded together, from the similarity of their style, and from their having used nearly
the same mark. To Cornelius van Sichem is attributed a numerous collection of prints,
amounting to upwards of six hundred, of subjects from the Old and New Testament, of
which some are copied from other prints.
SICIOLANTE, Girolamo. See Sermoneta.
SIEGEN, Lieut. Colonel von. To this gentleman, who was an officer in the service of
the Landgrave of Hesse-Cassel, Baron Heineken attributes the invention of the art of
engraving in mezzotinto, which he communicated to Prince Rupert, by whom it was
brought to England. This discovery was made in 1643, in which year he scraped a plate
of the portrait of Amelia Elizabeth, Princess of Hesse. He also engraved, in the same
style, a Holy Family; after Caraeci.
SIENA, Marco da. See Pino.
SIENA, Matteo da. This painter was born at Siena about the year 1533, and went early
in his life to Rome, where he was employed by Pope Gregory XIII. to exercise his talent
of landscape painting in the logie of the Vatican. He generally worked in conjunction

SIG SIL 399
with Niccolo Circignano, called Pomerancio, who painted the figures, and Matteo the
landscape and architecture. They painted in conjunction a series of thirty-two pictures
of the history of the Martyrs, engraved by Cavallerius. After the death of Gre
gory XIII. he continued to be employed by his successor, Sixtus V. He died at Rome
in 1588, aged 55.
SIGNORELLI, Luca. This painter was born at Cortona in 1439, and was a disciple of
Pietro della Francesca. He proved one of the ablest artists of his time, and was one of
the first of the Tuscan painters who drew the figure correctly, though not entirely di
vested of the dry stiff manner which preceded him. His most considerable work is his
celebrated fresco in the chapel of the Virgin, in the cathedral at Orvieto, representing
the final Dissolution and Judgment of the World, an immense composition, exhibiting
surprising variety and originality of ideas, and designed in a bold and daring style, in
which he evinces a perfect acquaintance with foreshortening. A performance which
was admired by Michael Angelo, and which that great artist did not disdain to imitate
in some parts of his Last Judgment. In the greater part of his works he is not remark
able for the beauty of his forms nor the harmony of his colouring. Lanzi cites as an
exception to this his picture of the Communion of the Apostles, in the church del Gesa
at Cortona, which unites elegance and grace with a sweetness of tint that approaches to
the modern. He was invited to Rome to assist in the ornaments of the Sistiua, where he
painted the Journey of Moses and Zipporah, and the Promulgation of the old Law
copious and abundant compositions, exhibiting an arrangement superior to his contem
poraries. There are several of his works in the churches of Arezzo, Perugia, Urbino
Siena, and Florence, which establish his rank among the most eminent artists of the
Florentine school, at the period in which he lived. He died in 1521, aged 82.
SIGRILLI, B. A modern Italian engraver, who flourished about the year 1760. He
engraved part of the plates for the collection of prints taken from the pictures of the
Marquis Gerini.
SILVESTRE, Israel. An eminent French engraver, born at Nancy, in Lorraine, in 1621.
He was the nephew of Israel Henriot, by whom he is supposed to have been instructed
in design and engraving. He formed his style by studying the works of Delia Bella and
Callot, and appears to have been imitated in his turn by Sebastian Le Clerc- He de
signed and engraved a great variety of landscapes and views, which are executed in a
neat, tasteful manner, producing a charming effect. He decorated his prints with small
figures, correctly drawn, and touched with uncommon spirit. His merit recommended
him to the patronage of Louis XIV. who employed him in designing and engraving-
views of the royal palaces, the public festivals, and the places he had conquered. He
was appointed drawing master to the Dauphin, and was made a member of the Academy.
The prints of this artist are very numerous, amounting to upwards of one thousand.
He went twice to Italy, where he made a great number of designs which he engraved.
He died at Paris in 1691, aged 70. The following are amongst his most esteemed
prints :
A set of twenty-one Views of Italy and France, representing edifices, ruins, and landscapes, with
inscriptions in French.

400 SIL S1L
A set of thirteen Views in Rome, and the environs; inscribed, Faites par Israel Silvestre, et
mises en lumiere par Israel Henriot.
Twelve Views of gardens and fountains ; entitled, Alcune vedute de Giardini e Fontane di Roma
e di Tivoli, fyc. with descriptions in Italian.
Four Views in the Kingdom of Naples, in the form of friezes.
A set of six Views of Sea-ports in the Kingdom of Naples ; circular.
Twenty-four circular plates of Views of Italian and other Sea-ports; with descriptions in French.
Twelve of the most remarkable Views in Paris and the environs, some of which are engraved by
La Bella.
A View of Paris, from the Bridge of the Thuilleries.
A large View of Rome; four sheets.
Two Views of Campo Vaccino, and the Coliseum at Rome ; the latter is scarce.
The grand Carousal, or Royal Entertainment at Paris in 1662 ; in one hundred and eight prints.
F. Chaveau engraved some of these plates.
The Pleasures of the Enchanted Island ; nine plates, with a vignette.
A great variety of other Views and Landscapes.
SILVESTRE, Louis. He was the eldest son of Israel Silvestre, born at Paris about the
year 1651, and was instructed in the rudiments of design by his father. He afterwards
applied himself to painting landscapes and portraits, in which he had acquired consider
able reputation, when he was invited to the court of Dresden by Augustus III. King of
Poland and Elector of Saxony, in whose service he passed many years as his principal
painter.
SILVESTRE, Alexander. This artist was the younger son of Israel Silvestre, and flou
rished about the year 1 700. He etched some plates of landscapes from the designs of
Louis Silvestre, his brother, which are not without merit, though very inferior to the
productions of his father.
SILVESTRE, Nicholas Charles. According to Basan, this artist was the grandson of
Israel Silvestre, and was born at Paris in 1700. He was drawing-master to the King and
the Royal Family of France, and died in 1767, aged 67- He engraved, among others
the following plates :
Ubaldo and the Danish Knight searching for Rinaldo in the palace of Armida; after Le Moine.
A Hunting-piece ; after Audray.
SILVESTRE, Susanna. This lady was of the same family with the preceding artists.
We have by her some plates of heads and portraits, after Vandyck.
SILVIO, Giovanni. This painter was a native of Venice, and flourished about the year
1532. He is mentioned by Lanzi as a very able artist, and is supposed to have been
educated in the school of Titian. In the collegiata di Piovi di Sacco, near Padua is a
picture by this master bearing the above date, which is spoken of by that writer in very
favourable terms. It represents S. Martino between St. Peter and St. Paul, with three
angels, two of which are supporting his crozier, and the third is playing on the harp.
The composition is elegant and graceful, and the colouring is entirely Titianesque.

SIL SIM 401
SILVIUS, Balthasar. A German engraver, who flourished about the year 1555. He
executed some plates with the graver, in a coarse style, which are chiefly from his own
designs. They are usually marked with the initials B. S. Among other prints by this
artist, we have one representing Lot and his Daughters, bearing the above date.
SIMON, Peter. A French engraver, who resided at Paris about tbe year 1680. He is
supposed to have been a pupil of Robert Nanteuil, to whose style his prints bear a
great resemblance, and though inferior to the works of that eminent artist, his engrav
ings possess considerable merit. His best plates are his portraits, some of which are
from his own designs. We have, among others, the following prints by him :
PORTRAITS.
Louis XIV.; after C. Le Brun; the size of life.
Louis de Bourbon, Prince of Conde ; from his mon design.
Anna Maria Louisa of Orleans, Duchess of Montpensier; the same.
Elizabeth Charlotte, Duchess of Orleans ; the same.
Charles d'Ailly, Duke de Chaulnes, Peer of France; after La Borde.
Jacobus Cardinalis Rospigliosus.
Federigo Baroccio, Painter.
Among his historical prints we have,
The Martyrdom of St. Cosnius and St. Damien; after S. Rosa.
SIMON, John. This artist was a native of Normandy, and was instructed in engraving
in his own country. He came to England some years before the death of John Smith
and on seeing the works of that celebrated artist, he quitted the graver, and applied
himself entirely to scraping mezzotinto. Sir Godfrey Kneller, upon some difference
between him and Smith, employed Simon to engrave some of his pictures in mezzotinto
which he did with considerable success, as well as from the works of other masters. We
have several portraits by him, among which are the following :
Queen Elizabeth ; after Hilliard.
Charles I. ; after Vandyck.
William III. ; after Kneller.
Mary, his consort ; after Vander Vaart.
Queen Anne; after Kneller.
George, Prince of Denmark.
George I ; after Kneller.
George II. when Prince of Wales ; after the same.
John, Lord Cutts ; after the same.
William, Earl of Cadogan ; after the same.
John Tillotson, Archbishop of Canterbury; after the same.
John, Lord Sommers; after the same.
Sir Richard Temple ; after the same.
William, Earl of Cadogan ; after La Guerre.
Horace, Lord Walpole ; after Vanloo.
Henry Rouvigny, Earl of Galway ; after de Graves,
Vol. II. 3 E

402 SIM SIM
SIMONE, Maestro. According to Dominici, this old painter was a native of Naples,
and flourished about the year 1325. He was a disciple of Filippo Tesauro, and when
Giotto visited Naples, he improved his style, by studying the works of that master.
One of his principal works was a picture of the taking down from the Cross, at the great
altar of the church of the Incoronata, which was esteemed little inferior to the works of
Giotto.
SIMON EAU, Charles. An eminent French engraver, bora at Orleans in 1639. He was
instructed in the rudiments of design by Noel Coypel, and learned the art of engraving
from William Chateau. His first plates were executed with the graver only, in a style
resembling that of Poilly, but he afterwards introduced the point, particularly in the
demi tints and distances, and reserved the burin for the more prominent and vigorous
parts. He engraved historical subjects, portraits, and vignettes, which are executed in
a very neat and agreeable style. Among others, we have the following prints by him :
PORTRAITS.
Henrietta Maria, consort of Charles I.
Charlotte Elizabeth, Duchess Dowager of Orleans; after Rigaud.
Charles Francis de Brienne, Bishop of Coutances ; after Dumee.
Julius Hardouin Mansart, Architect to the King ; after de Troy,
SUBJECTS AFTER VARIOUS MASTERS.
The Holy Family, with St. Elizabeth and St. John ; after Raffaelle.
The Virgin and infant Jesus, with St. John ; after the same.
The Adoration of the Shepherds ; after Ann. Caraeci.
Christ and the Woman of Samaria ; after the same.
Hagar and Ishmael ; after Andrea Sacchi.
The Virgin and infant Christ, with angels ; after Frd Bartolommeo.
The Stoning of Stephen ; after Caraeci.
Christ, with Martha and Mary ; after Domenichino.
Christ's Entry into Jerusalem ; after C. Le Brun.
Christ bearing his Cross ; after the same.
The Nativity ; after Noel Coypel.
Christ among the Doctors ; after Ant. Coypel.
The Triumph of Galatea ; after the same.
Venus curing the Wound of iEneas ; after C. de la Fosse.
The Journey of Mary of Medicis to Pont-de-Ce; after Rubens; for the Luxembourg Gallery.
The Conquest of Franche-Comte ; after Le Brun. This is esteemed his best print.
>lMONEAU, Louis. He was the younger brother of the preceding artist, born at
Orleans in 1656. He appears to have formed his style by an imitation of the works of
the Audrans. By combining the point with the, graver, he gave a pleasing variety to
his plates, and his drawing is correct. Though his prints are not so numerous as those
of his brother, the works he has left us are little inferior. The following are his most
esteemed prints : PORTRAITS.
Giacinto Serroni, Archbishop of Albi.
Anthony Arnauld, famous Theologian ; after Ph. de Champagne.

SIM SIM 403
Anthony le Maitre, Advocate in Parliament; after Ph. de Champagne.
Martin de Chamois, Counsellor of State ; after Seb. Bourdon.
SUBJECTS AFTER VARIOUS MASTERS.
Susanna and the Elders ; after Ant. Coypel.
Lot and his Daughters ; after the same.
Christ, with Martha and Mary ; after the same.
Christ bearing his Cross ; after Ant. Dieu.
The Elevation of the Cross ; after the same.
The Crucifixion ; after the same.
The Assumption of the Virgin; after the ceiling by Le Brun iu the chapel of St. Sulpice.
Four plates of the Four Times of the Day ; after the same.
The Four Seasons; in four plates; after the same.
The ceiling of the Pavilion of Aurora, in the garden de Sceaux ; in four plates ; after the same,
SIMONEAU, Philip. He was the son of Charles Simoneau, and was instructed in de
sign and engraving by his father. Either from the want of talent, or of application, he
never made any considerable progress in the art. We have the following prints by him,
which do not possess much merit :
Two friezes, "on one sheet, representing the Rape of the Sabines, and the Peace between the
Romans and the Sabines ; after the pictures by Giulio Romano in the Orleans' collection.
The three Goddesses preparing for the Judgment of Paris ; after the picture by Perino del
Vaga ; in the same collection.
Venus and Adonis ; after Albano.
SIMONET, John. A French engraver, born at Paris in 1742. He executed several neat
plates of vignettes for the edition of Ovid's Metamorphoses, published by Basan. We
have also by him some domestic and pastoral subjects, from Baudouin, Greuze, Aubry,
and others.
SIMONINI, Francesco. This painter was bora at Parma in 1689, and was a scholar of
Ilario Spolverini. He excelled in painting battles, and skirmishes of cavalry, which
were well composed, and painted with great spirit. His principal residence was at
Venice, where he painted, in the Sala Capello, a series of combats and warlike atchieve-
ments, which were much admired. There are many of his works in the private collec
tions at Venice, where he was living in 1753.
SIMPSON, William. An indifferent English engraver, who flourished about the year
1635. He was chiefly employed by the booksellers, and, among other things, engraved
the plates for Quarks's Emblems.
SIMPSON, Josepji, the elder. According to Lord Orford, the first employment of this
artist was to grave coats of arms, and other embellishments on pewter, but having some
disposition for drawing, he found access to the society of artists of the time, where he
studied the figure. He was afterwards employed by Tillemaus, the painter, to engrave
a copper-plate of Newmarket, after one of his pictures, to which he affixed his name.
He lived about the year 1710.
3 E2

404 SIM SIR
SIMPSON, Joseph, the younger. He was the son of the foregoing artist, and his father
had conceived great expectation of his success from the first specimens of his ability ;
but he died young, in the year 1736, without having attained much excellence. He
engraved a plate of a Holy Family, with St. John, St. Sebastian, and several angels;
after Filippo Lauri, dated 1728.
SINGHER, Hans, or John. This artist was born at Hesse-Cassel, about the year 1510.
He painted landscapes, with figures, in a free, bold manner, and chiefly resided at Ant
werp, where he was received into the Academy in 1543. He was much employed in
painting cartoons for tapestry.
SIRANI, Giovanni Andrea. This painter was born at Bologna in 1610, and was one of
the favourite disciples of Guido Reni. After the death of his admirable instructor he
was employed to finish several of his works left imperfect in the churches at Bologna,
particularly the large picture of S. Brunone, at the Certosini. His first productions
resemble the second style of Guido, in which he followed the suavity and tenderness of
his master. Such is his picture of the Crucifixion, in the church of S. Marino, at Bo
logna. He afterwards adopted a more vigorous opposition in his light and shadow,
approaching to the principles of Michael Angelo da Caravaggio, as is evident in the
Feast of the Pharisee, at the Certosa ; and the Marriage of the Virgin, in S. Giorgio, at
Bologna. He died in 1670, aged 60. We have by this artist some very masterly etch
ings, from his own compositions, which are usually marked with the initials G. A. S. or
I. A. S. among which are the following :
The Virgin and Infant Christ, to whom St. John is presenting a Bird.
St. Michael vanquishing the Evil Spirit ; oval.
A Sibyl; after Guido.
Apollo and Marsyas ; an oval print.
SIRANI, Elisabetta. This ingenious lady was the eldest daughter of Giovanni Andrea
Sirani, bora at Bologna in 1638, and was instructed in the art by her father. She attached
herself, however, to an imitation of the best style of Guido, which unites great relief
with the most captivating amenity. It appears almost incredible, that during so short
a life, not having survived her twenty-sixth year, she could have finished the long list of
works enumerated by Malvasia, from a register kept by herself, amounting to upwards
of one hundred and fifty pictures and portraits ; and it is still more astonishing that
they were chiefly of a large size, and finished with a care which excludes all appearance
of negligence or haste. Her first public works appear to have been painted in 1655,
when she was seventeen years of age. Her compositions are elegant and tasteful ; her
design is correct and firm, and there is a freshness and suavity in' her colouring, espe
cially in the demitints, which remind us of the best works of Guido. The airs of her
heads are graceful and noble, and, like her admirable prototype, she was particularly suc
cessful in the expressive character she gave to her Madonnas and Magdalens, which
appear to have been her favourite subjects.
Elisabetta Sirani had acquired a distinguished reputation by the assiduous exercise of
her extraordinary talents.when her brilliant career was interrupted by poison administered
to her by her servant, in 1664. Her most admired works in the churches at Bologna are
her pictures of the Baptism of Christ by St. John, at the Certosa; Francesco di Padona

SIR S L I 405
kneeling before the infant Christ, in the church of S. Leonardo ; and the Virgin Mary
with St. Anne contemplating the infant Christ sleeping, in S, Maria di Galiera. There
are several of her pictures in theZampieri, Caprara, and Zambeccari palaces at Bologna,
and in the Corsini and Bolognetti palaces at Rome. We have a few etchings by Elisa
betta Sirani, which are executed in a spirited style, and the extremities are finely marked.
They are sometimes signed with her name, and sometimes with the initials E. S. F.
Among others are the following :
The Virgin in the clouds holding a rosary, with the infant Jesus ; from her cwn designs.
The Virgin weeping, surrounded by angels, and contemplating the emblems of Christ's Passion ;
Elisabetta Sirani, F. 1657.
The Holy Family; after Raffaelle; Elisabetha Sirani, sic incisum exposuit.
St. Eustacius kneeling before a Crucifix; Elisabetha Sirani, f. 1656,
The Decollation of St. John ; Elbta. Sirani, f. 1657.
SIRCEUS, Philip. This artist is noticed by Florent Le Comte, and is said to have en
graved some prints after the designs of Michael Angelo Buonaroti.
SIRIES, Violante Beatrice. This lady was born at Florence in 1710, and was instructed
in crayon-painting and in water-colours by Giovanna Fratellini. She afterwards went to
Paris, where she learned the practice of oil-painting from a Flemish painter, who is not
named. Her talent was chiefly confined to portraits, though she occasionally attempted
historical subjects, as well as flowers and fruit. On her return to Florence from France
she was patronised by the Grand Duke, and was employed to paint a large picture of
the portraits of the Imperial Family, which she executed to the satisfaction of her pro
tector. The portrait of this ingenious lady with that of her father, painted by herself, is
in the Florentine gallery of artists.
SKILLMAN, William. An English engraver, who flourished about the year 1655.
Among other plates, he engraved the fagade of Albemarle-house, and a View of the
Banqueting-house.
SLABBAERT. The name of an artist affixed to a portrait inscribed, Paulus Perre,
Syndic. Mediobourg. et Leg. Belg. in Anglia. 1660.
SLATER, T. An English engraver who flourished about the year 1630. He engraved,
among others, the portrait of George Webbe, Bishop of Limerick.
SL1NGELANDT, Peter van. This painter was bora at Leyden in 1640, aud was a
scholar of Gerard Douw. He followed the highly finished style of his master, and as
far as patience and polish are considered, he may be said to have equalled, if not sur
passed, his instructor; though we look in vain for the characteristic expression, the
magical effect of the chiar-oscuro, and the correctness of design, for which the works of
Douw are eminently distinguished. Houbraken reports, as an instance of his slavish
devotion to extreme finishing, that he was occupied three years, without intermission
in painting a small picture of the portraits of the family of Meerman, and that he was
employed a month in finishing the lace of a ruff. When he painted a dog, a cat, or a
mouse, which he was fond of introducing into his pictures, he was not satisfied until he

406 SLI SMI
had precisely represented each individual hair. Although he is tasteless and stiff in his
compositions and the design of his pictures, they still find purchasers at considerable
prices, among the admirers of mechanical and persevering labour. He died in 1691,
aged 51.
SLITEZER. This artist is mentioned by Mr. Strutt as the engraver of some large views
of Scotland, executed in a style' resembling that of Michael Burghers.
SLUYS, Jacob vander. This painter was born at Leyden in 1660, and was first a scholar
of Ary de Vo3's, whom he left to become a disciple of Peter van Slingelandt. He imi
tated the polished style of his last instructor, though with less laborious finishing, and
painted with considerable success small pictures of conversations, domestic subjects, and
modish assemblies, which he composed and treated in an agreeable style. His pictures
are well coloured, and produce a pleasing effect, but his design is neither elegant nor
correct. The works of Vander Sluys are little known, except in Holland, and are there
chiefly confined to Leyden, in which city he constantly resided, and died there in 1736,
aged 76.

~o^

SMIBERT, John. This artist was bora at Edinburgh about the year 1684, and served
his time with a common house-painter; but eager to handle a pencil in a more elevated
style, he came to London, where, however, for subsistence, he was forced to content
himself with working for coach painters. He was afterwards employed in copying for
dealers, and learned to draw the figure by designing after casts. His efforts and ardour
at last carried him to Italy, where he spent three years in copying portraits of Titian,
Vandyck, and Rubens, and improved enough to meet with much business in portrait
painting at his return. When his industry and abilities had thus surmounted the aspe
rities of his fortune, he was tempted, against the persuasion of his friends, to embark in
the uncertain but amusing scheme of the famous Dean Berkely, afterwards Bishop of
Cloyne, whose benevolent heart was then warmly set on the erection of an universal
college of arts and sciences in Bermuda, for the instruction of heathen children in
christian duties and civil knowledge. Smibert was enchanted with a plan that he thought
promised tranquillity and an honest subsistence in a healthy Elysian climate. It may
easily be conceived, how a man, so devoted to his art, must have been animated, when the
Dean's enthusiasm and eloquence painted to his imagination a new theatre of prospects
rich, warm, and glowing, with scenery, which no pencil bad yet made cheap and com
mon, by a sameness of thinking and imagination. In spite of remonstrances he en
gaged with the Dean, whose zeal had ranged the favour of the court on his side, The
King's death dispelled the vision ; Smibert, however, who had set sail, found it con--
venieut, or had resolution enough to proceed, but settled at Boston, in New England
where he succeeded to his wish, and died there in 1751, A panegyric on him written
there, was printed here in the Courant, 173Q.
SMITH, John. This eminent artist is considered the best mezzotinto engraver that had
appeared at the period at which he lived, about the year 1700. He is said to have served
an apprenticeship to one Tillot, a painter in Moorfields, As soon as be became his own
master, he learned the art of mezzotinto scraping, from Isaac Becket, and received
further instruction in it from J. Vander Vaart. Sir Godfrey Kneller having seen some

SMITH. 407
of his performances, took him into his employment, and engaged him to engrave many
of his portraits, which are the best of his works. His prints are very numerous; among
which are the following : PORTRAITS AFTER KNELLER.
Charles II. with the star.
James, Duke of York, leaning on an anchor.
The Duke of Schomberg on horseback.
Meinhard, his son, when Duke of Leinster.
William III.
Mary, his Queen.
George, Prince of Denmark.
Queen Anne, when Princess of Denmark.
John Churchill, Duke of Marlborough.
John, Duke of Buckingham.
Charles Sackville, Earl of Dorset.
Charles, Earl of Halifax.
Arnold, Earl of Albemarle.
William, Earl of Jersey.;
Catherine, Duchess of Rutland.
Frances Bennet, Countess of Salisbury.
Mary Somerset, Duchess of Ormond, with a black. Boy.
Henrietta, Duchess of Bolton.
Sir Richard Steele.
Joseph Addison.
Alexander Pope.
William Congreve.
John Locke.
Sir Godfrey Kneller.
John Smith, holding a Portrait of Kneller.
PORTRAITS AFTER VARIOUS MASTERS.
Queen Mary II. with a high head dress ; after Vander Vaart.
James Fitzroy, Duke of Monmouth ; after Wissing.
Thomas ?Ierbert, Earl of Pembroke ; after the same.
Patrick Crawford, Viscount Garnock ; after Medina.
William Anstruther ; after the same.
Sir Henry Goodricke; after J. Hill.
Mr. Sansom; after Closterman.
Mrs. Cross, Actress ; after J. Hill.
Arcangelo Corelli, Musician ; after Howard.
William Penkethman, Comedian ; after Schutz.
Godfrey Schalcken ; after a picture by himself.
SUBJECTS AFTER VARIOUS MASTERS.
A set often plates of the Loves of the Gods ; after Titian.
Venus standing in a shell ; after Coreggio.
Cupid and Psyche ; after A. Veronese.
Tarquin and Lucretia ; after the same,

408 SMITH.
Time conquering Love ; after S. Vouet.
Venus and Adonis ; after N. Poussin.
The Virgin and infant Christ; after F. Baroccio.
The Holy Family; after C. Maratti.
SMITH, Jacob. An obscure English engraver, who flourished about the year 1730.
Among other prints he engraved the portraits of Sir Isaac Newton and Sir Hans Sioane
on one plate. The engraving is executed in a singular manner, with one spiral line,
begun in the middle, and continued to the border of the plate.
SMITH, Gabriel. This artist was a native of England, and flourished about the year
1775. Having learned the rudiments of engraving in London he went to Paris, where
he acquired the method of engraving in imitation of chalk drawings; and on his return
to England began to practise it, with the assistance of Mr. Ryland, with some success.
Among others, we have the following prints by him :
The Blind leading the Blind ; after Tintoretto.
Tobit with the Fish ; after Sal. Rosa.
The Queen of Sheba's visit to King Solomon ; after Le Sueur.
A Bear-hunt ; after Snyders.
SMITH, Thomas. An ingenious English landscape painter, who resided chiefly at Derby,
and was on that account usually styled Smith of Derby, in contradistinction to the other
artist of the same name who resided at Chichester. Without the help of a master he
reached an eminent rank in his profession, and maybe said to have been one of the first
of the English artists who explored and displayed the charming scenery of his native
country. We have several excellent prints engraved from the works of this painter by
Vivares. He died at the Hot Wells, Bristol, in 1769.
SMITH, William, George, and John. These brothers were natives of Chichester-
William was born in 1707, George in 1714, and John in 1717. It does not appear that
they had the advantage of any instruction in the art of painting, but they studied from
nature with great assiduity, and had established in their family a kind of domestic
academy, which supplied the place of a technical education. William devoted his atten
tion chiefly to portraits, though he occasionally painted landscapes, flowers and fruit.
George, distinguished by the name of Smith qf Chichester, excelled in landscape-paint
ing, and reached a very eminent rank in that department. The youngest, John, also
painted landscapes, in which he was little inferior to his brother, but he died in the
vigour of life. Of the merit of their productions, a very favourable idea may be formed
by examining the fine prints engraved from them by Woollett, Eliot, Peake, 8cc. We
have several sets of small landscapes, very neatly etched by these ino-enious artists
from their own designs. William and John Smith died in 1764, and George in 1766
aged 62.
SMITH, John Raphael. This eminent artist was the son of Thomas Smith, of Derby
the landscape painter, and was bora about the year 1750. He probably was instructed
by his father in the principles of design, but he adopted the branch of engraving in
which he distinguished himself, particularly in mezzotinto. We have a great variety of

SMI SNA 409
prints by this able artist, both from his own designs and after the compositions of other
masters, of which his portraits are particularly admired. Among the most esteemed are
the following : PORTRAITS AFTER SIR JOSHUA REYNOLDS.
The Duke of Devonshire.
William Markham, Archbishop of York.
Richard Robinson, Archbishop of Armagh.
Joseph Dean Bourke, Archbishop of Tuam.
Lady Beaumont.
Lady Caroline Montague, daughter of the Duke of Buccleugh.
Mrs. Montague.
The Marchioness of Thomond, when Miss Palmer.
Lady Gertrude Fitzpatrick, daughter of the Earl of Ossory.
Lady Catherine Pelham Clinton.
Master Crewe, as Henry VIII.
Master Herbert, as young Bacchus.
Lieutenant-Colonel Tarleton.
Mrs. Musters.
Lieutenant-General Sir William Boothby.
PORTRAITS AFTEE VARIOUS MASTERS.
Hyde Parker, Vice-Admiral of the Blue; after Northcote.
Miss Coghlan ; after Gainsborough.
Mrs. Siddons, as the Grecian Daughter ; after Lawrence.
Edward Wortley Montagu, in an Oriental dress ; after Peters.
He also engraved a variety of subjects from his own designs, and from the composi
tions of other masters. Mr. Smith died in 1811.
SMITS, called Hartcamp. This artist was born at Doit in 1635, and acquired some re
putation as a painter of flowers and fruit, but his system of colouring was so flimsy and
unsubstantial, that the effect of his pictures has hardly survived the life of the painter-
his works, with the name of the artist, being now almost obliterated. He died in 1675
aged 40.
SMITZ, Gaspar. A Dutch painter, who, according to Graham, came to England soon
after the Restoration, and who, from painting a great number of Magdalens, was called
Magdalen Smith. For these penitents, his model was a woman that he called his wife
A lady, whom he had taught to draw, persuaded him to visit Ireland, where he painted
small portraits in oil, had great business, and high prices. His flowers and fruit were
much admired. In his Magdalens he generally introduced a thistle in the fore-ground.
In PainterVhall is a small picture of a Magdalen, dated 1662. He died in Ireland in
1707.
SNAYERS, Peter. This painter was born at Antwerp in 1593, and was a scholar of
Henry van Balen. Although he painted history and portraits with considerable success,
he distinguished himself more by his pictures of battles and landscapes, which were held
Vol. II. 3 F

410 SNA SN E
in great estimation. He was much patronised by the Arch Duke Albert, who appointed
him his painter, and sent several of his pictures to Spain; and he was favoured with
many commissions from that court. His figures and horses are designed and painted
with surprising spirit and animation; his compositions are rich and ingenious, and his
colouring sometimes approaches to the splendour of that of Rubens. The battle-pieces
of Snayers decorate the choicest collections in the Netherlands, and are sometimes met
with in this country, where they are justly esteemed. Vandyck painted the portrait of
Snayers among the eminent artists of his country. He did in 1670, aged 77.
SNAYERS, or Snyees, Henry. A Flemish engraver, born at Antwerp about the year
1612. It is not ascertained from whom he learned the art of engraving, but he imitated
the style of Scheltius Bolsweit with considerable success. His drawing is tolerably cor
rect, and his prints exhibit much of the character of the masters whose works he en
graved. We have, among others, by him,
The Portrait of Prince Rupert ; after Vandyck.
 Adam Van Oort, Painter ; after Joerdaens.
The Virgin seated upon a step, surrounded with several Saints ; after Rubens. The first impres
sions of this plate are very scarce.
The Fathers of the Church; after the same.
The Death of St. Francis ; after the same.
He also engraved some plates from Titian, and other masters, and a few portraits.
SNELLINCKS, John. This artist was born at Mechlin in 1544. It is not known by
whom he was instructed in the art, but he is celebrated by Karel van Mander, in the
Life of Otho Venius, as an eminent painter of history and battles. There are some his
torical pictures by him in the public edifices in the Low Countries, which prove him to
have possessed considerable abilities in that branch; but his chief excellence consisted
in painting skirmishes and attacks of cavalry, which were considered among the ablest
productions of the time. He principally resided at Antwerp, where he was much em
ployed by the most distinguished personages of the country, and was appointed battle-
painter to Albert and Isabella, the governors of the Netherlands. His compositions are
judiciously grouped, his figures and horses are correctly and spiritedly designed, and the
animated courage of the combatants is admirably expressed. He was perfectly ac
quainted with aerial perspective, and by his intelligent conduct of the chiar-oscuro, his
pictures produce a surprising effect. The talents of this painter were highly respected
by Vandyck, who not only painted his portrait among the distinguished artists of his
time, but has etched a plate of it himself. He died in 1638, aged 94.
SNEYDERS, or Snyders, Francis. This distinguished painter was born at Antwerp in
1579, and received his first instruction from Henry van Balen. For some time he con
fined himself to painting fruit and objects of still-life, in which he excelled; but he
afterwards devoted his studies to a more difficult branch of the art, in which he not only
surpassed all his contemporaries, but may be said not to have been equalled by any
artist who has succeeded him. He painted animals and huntings, which are composed
in. a grand style with surprising fire and spirit. The talents of Snyders excited the
admiration of Rubens, who frequently entrusted him to paint the animals, fruit, &c.

SOB SOE 411
in his pictures, though he himself represented those subjects in so admirable a manner.
Such was his excellence in colouring, and the spirited touch of his pencil, that even in
competition with the powers of that illustrious painter, the whole appeared to be the
production of the same hand. M. d'Argenville asserts that he travelled to Italy, where
he studied for a long time the works of Benedetto Castiglione. This cannot, however,
be reconciled with chronology, as Snyders was thirty seven-years older than the Genoese
painter, who was bora in 1616. It is more probable that he never left Flanders, but
constantly resided at Antwerp, except for a short time, when he was invited to Brussels
by the Arch Duke Albert, for whom he painted some of his finest works, particularly a
stag-hunt, which was sent by the Arch Duke to Philip III. of Spain, who commissioned
him to paint several large pictures of subjects of the chase, and combats of wild beasts,
which are still in the old palace of the Buen-Retiro. He also excelled in painting
kitchens and larders stored with all kinds of dead game, fish, fruit, vegetables, &c. which
have occasionally the advantage of being decorated with admirable figures by Rubens
or Jordaens. We admire, in the works of this eminent painter, the richness and variety
of his compositions, the correct and spirited design of his animals, and the character
istic ferocity with which he has marked their attacks and combats. His pencil is bold
and free, and peculiarly adapted to express the various furs and skins of the different wild
beasts he introduced into his pictures; and his colouring is clear, chaste, and vigorous.
Some of his most capital works embellish the collections of this country, where they are
held in high estimation. Vandyck painted an admirable portrait of Snyders, which was
in the Orleans collection. We have a set of sixteen etchings of various animals by
F. Snyders, executed in so spirited and masterly a style, that it is to be regretted that he
did not more frequently amuse himself with the point. They are now become very
scarce. He died at Antwerp in 1657, aged 78.
SOBLEO. See Desubleo.
SODOMA, II. See Razzi.
SOENS, John. This painter was born at Bois le Due about the year 1553. He was first
instucted by James Boon, but he afterwards became a scholar of Giles Moestaert. Under
that master he made great progress, and was considered one of the most promising
young artists of his time. He travelled to Italy, where his manner of painting landscape
was greatly admired, and he was employed by the Pope, and several of the nobility of
Rome, in the embellishment of their palaces. He passed some time at Parma, in the
service of the Duke. His manner was prompt and full of fire; he had a perfect intel
ligence of the degradation of tint in his distances. The figures he introduced into his
landscapes were well drawn, and touched with great spirit.
SOEST, or Zoest, Gerard. This artist was a native of Westphalia, born about the year
1637. He visited England some time before the Restoration, as he is said in the Anec
dotes to have been, at that period, of established reputation as a portrait painter. His
heads are animated with truth and nature, with a great relief, bold, yet highly finished.
His draperies were usually of satin, in which he imitated the manner of Terburg ; but he
enlarged his style on seeing the works of Vandyck. He was enlisted among the rivals of
Sir Peter Lely, the number of which is honourable to the talents of that painter. Emu-
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412 S O G SOL
lation seldom unites a whole profession against one, unless he is clearly their superior.
He was more successful in his portraits of men than women ; and his taste is said to have
been too coarse and ungraceful to recommend him to the softer sex. The gentle man
ners of Sir Peter carried them all from his competitor, though he had a considerable
share of business among the men. He died in 1681, aged 44.
SOGGI, Niccolo. This painter was bora at Florence in 1474, and was a disciple of Pietro
Perugino. He painted history in the style of his instructor, though his figures were
designed in a dryer and more laboured manner than those of his master. His chief re
sidence was at Arezzo, where some of his works are preserved in the public edifices.
In the church of La Madonna delle Lagrime is a picture by him of the Nativity, painted
in a precise, formal style. He died at Arezzo in 1554, aged 84.
SOGLIANI, Giovanni Antonio. This artist was a native of Florence, and flourished
about the year 1530. He was a disciple of Lorenzo di Credi, under whom he studied
several years. On leaving that master, he endeavoured to imitate the works of Barto
lommeo di S. Marco, but his genius was more adapted to the simple and agreeable style
of his instructor, than the grand gusto of II Porta. Among his most esteemed per
formances are his picture of Cain and Abel, in the cathedral at Pisa; and the Martyrdom
of S. Arcadio, in the church of S. Lorenzo, at Florence.
SOJARO. See Gatti.
SOITZ, G. C. A German engraver, who flourished about the year 1530. He executed
some of the portraits for a book, entitled Templum Honoris, published at Vienna in the
above mentioned year.
SOLARI, Andrea. This painter was a native of Milan, and flourished about the year
1530. He is sometimes called Del Gobbo, and by Vasari is denominated Andrea Mila

nese.

That writer states him to have been a contemporary of Coreggio, and commends,
him as a graceful designer, and an excellent colourist. One of his most esteemed works
is his picture of the Assumption of the Virgin, in the church of the Carthusians at
Pavia, where he resided the latter part of his life.
SOLARIO, Antonio, called Lo Zingaro. According to Dominici, this painter was born
at Abruzzo, in the kingdom of Naples, about the year 1382. The history of this old
artist is strikingly similar to that of Quintin Matys, of Antwerp. He had, like that
artist, followed the business of a blacksmith until he was seventeen years of ao-e when
he conceived an affection for the daughter of Colantonio del Fiore, a Neapolitan 'artist,
who promised him her hand, when he should merit it by becoming an eminent painter.
He accordingly devoted himself with uncommon zeal to the study of design, and went
to Bologna, where he became a disciple of Lippo Dalmasio, whose works were then held
in the highest estimation. Aided by the lessons of that artist, and stimulated in the
prosecution of his studies by the ardour of his attachment, his progress was surprising,
and he returned to Naples, where he distinguished himself as one of the ablest painters'
of that early period, and received the reward of his constancy and perseverance. Several
of the works of Lo Zingaro are preserved in the public edifices at Naples, among which

SOL SOL 413
the most remarkable are some frescoes, in the cloister of S. Severino, representing the
Life of Benedetto ; a dead Christ, with the Virgin and St. John, in S. Domenico Mag
giore; and in S. Pier Martire, some pictures of the Life of S. Vincenzio. He died about
the year 1455.
SOLDI, Andrea. This painter was born at Florence about the year 1702. He had re
sided some time at Aleppo, and having painted the portraits of some English merchants
resident there, they gave him letters of recommendation to some of their countrymen,
with which he arrived in England in 1735. For some time he had considerable employ
ment, became a member of the Chartered Society of Artists, and exhibited with them in
1766. He did not long survive that period.
SOLE, Antonio dal. This painter was born at Bologna in 1597, and was brought up in
the school of Francesco Albano. He excelled in painting landscapes; and as he always
worked with his left hand, he acquired the appellation of II Manchino da Paesi. His
pictures, like those of his instructor, exhibit very pleasing scenery, and his distances
recede with a charming degradation. He decorated his landscapes with groups of
figures, gracefully designed and composed, in the style of Albano. He died in 1677,
aged 80.

'o^

SOLE, Giovanni Guiseppe dal. He was the son of the preceding artist, born at Bologna
in 1654, and was instructed in the first principles of design by his father, but he after
wards became a disciple of Domenico Maria Canuti, and ultimately studied under
Lorenzo Pasinelli. Following the example of his last instructor, he founded his system
of colouring, by studying at Venice the works of the best masters of that school. He
imitated the agreeable style of Pasinelli with great success ; and though he was inferior
to him in the clearness and harmony of his colour, he surpassed him in the correctness
and energy of his design. His compositions are regulated by judgment and reflection,
and are embellished with landscape and architecture, which he introduced into his pic
ture with admirable taste. There are several of the works of this eminent artist in the
public edifices at Bologna, which establish the respectability of his talents. Among the
most estemed are the Incredulity of St. Thomas, in the church of La Madonna di
Galiera; the Annunciation, in S. Gabrielle; and some frescoes in S. Biagio, which are
accounted his finest works. He died at Bologna in 1719, aged 65.
SOLERI, Giorgio. This painter was a native of Alessandria, and flourished about the
year 1573. It is not precisely ascertained by whom he was instructed, but he was pro
bably a disciple of Bernardino Lanini, whose daughter he married, though he did not
adopt the style of that master. As a painter of portraits, Malvasia ranks him on an
equality with Bartolemeo Passerotti, Guiseppe Arcimboldi, and Gio. Cremasco da
Monte; and Lanzi mentions two of his historical pictures in very favourable terms —
One is an altar-piece, in the church of the Conventuali, at Alessandria, representing the
Virgin, to whom S. S. Agostino and Francesco are recommending the protection of the
city of Alessandria. The other is a picture in the church of the Domenicani, at Casale,
which is signed with his name, and the date 1573. It represents S. Lorenzo kneeling
before the Virgin, with a group of three angels, designed with a grace which reminds us
of Coreggio. He died in 1587.

414 SOL SOL
SOLIMENE, Francesco, called 1'Abate Ciccio. This eminent artist was born at Nocera
de Pagani, a small town about eighteen miles distant from Naples, in 1657. He was
the son of Angelo Solimene, a respectable painter, who had been a disciple of Cavaliere
Massimo, who, discovering in his son a disposition for literary pursuits, had him in
structed in classical learning, and he is said to have passed whole nights in the study of
poetry and philosophy. This assiduous application did not, however, prevent his culti
vating the principles of design, for which he showed an early and crecided genius. As
his father intended him for the profession, of the law, the time he occupied in the indul
gence of his favourite propensity, was by no means satisfactory to him, and he fre
quently remonstrated with him on the subject. Cardinal Oisini, afterwards Pope Bene
dict XIII. happening to pass through Nocera, honoured Antonio with a visit, and had
the condescension to examine the youth in his classical acquirements. On expressing
his approbation of his progress, his father observed, that it would be much more consi
derable, if his son did not sacrifice so much of his time to drawing. The prelate de
sired to see his designs, and was so surprised at the uncommon talents they evinced, that
he persuaded his father to permit him to pursue the bent of his inclination. After
studying two years under his father, he went to Naples, in 1674, where he first became
a disciple of Francesco di Maria, but left that master to enter the school of Giacomo
del Po. He afterwards went to Rome, where the works of Pietro da Cortona were for
some time the models of his imitation. By contemplating the vigorous productions of
Lanfranco and II Calabrese, he acquired a powerful effect of light and shadow, which he
afterwards softened, by adopting the sweetness and amenity of Guido and Carlo Maratti.
By an accurate and well arranged study of these matters, he formed to himself an ex
cellent style, and distinguished himself as one of the most admired painters of his time.
Among his most celebrated works are the sacristy of S. Paolo Maggiore, and the Last
Supper, in the refectory of the Conventuali at Assisi.
Solimene possessed a fertile and extensive genius, and his powers were so general, that
he equally excelled in history, landscapes, portraits, animals, and architecture. His
compositions are rich and ingenious, and his figures are elegantly designed, though
sometimes wanting in correctness. His colouring unites tenderness with force, the airs
of his heads are graceful and expressive, and his draperies are judiciously cast. He was
the contemporary and friend of Luca Giordano, and after the death of that master was
regarded as the ablest painter of his time. He died at Naples in 1747, aged 9Q.
SOLIS, Virgil. A German engraver, born at Nuremberg in 1514. According to the
usage of the time, he engraved both on wood and on copper, chiefly from his 'own de
signs. The copper-plates he engraved in the early part of his life resemble the works of
Hans Sebald Beham, but when he afterwards engraved after the Italian masters he
adopted a style moie open and spirited. His wooden cuts are similar to those of Jost
Ammon,both with respect to the composition and execution. His works prove him to
have been a man of considerable ability, and though his design is formal and stiff some
of his figures possess great merit. On account of the smallness of his plates this' artist
is ranked among the little masters. His works are very numerous, amounting to up
wards of eight hundred prints. He usually marked them with a cipher composed of a V
and an S. thus, ^f . or y,. Among his multifarious productions are the folio win «• ¦
A variety of small Engravings on copper, representing hunting subjects ; dated 1541.
A set of vases and ornaments for goldsmiths ; the same.

SOL S O M 415
The Marriage of Cupid and Psyche, the Assembly of the Gods, Mount Parnassus, and several
otlier subjects ; after Raffaelle.
The Bath of the Anabaptists ; copied from Aldegrever.
wooden cuts.
Several sets of small historical subjects from the Bible.
The Metamorphoses of Ovid, iu one hundred and seventy cuts ; published at Frankfort iu 1563.
A set of cuts for the Emblems of Nicholas Reuser. 1581.
Another set of cuts for the Emblems of Andreus Alciatus. 1581.
SOLIS, Francisco de. A Spanish painter, born at Madrid in 1629, and was instructed in
the art by his father Juan de Solis, a painter little known. He painted history, and
Palomino mentions as his most esteemed work a picture of Santa Teresa, in the church
of San Miguel, at Madrid. He died in that city in 16S4, aged 55.
SOLOMAYOR, Luis de. See Sotomayor.
SOLY, Arthur. An obscure English engraver, who lived about the year 1683. He was
employed by Robert White, and engraved a few portraits, among which are the follow
ing :
His own Portrait ; dated 1 683.
Tobias Crisp, d. d. Rector of Brinckworth, Wiltshire ; prefixed to his Sermons. 1689.
Richard Baxter, Presbyter. 1683.
SOMER, or Sommeren, Mathias van. A Dutch engraver, who flourished about the year
1660. He engraved a set of landscapes, marked with the initials M. V. S. and his name
is affixed to a small oval portrait of John Ernest ; dated 1666.
SOMER, John van. He was probably a relation of the preceding artist, and flourished
about the year 1675. He engraved in mezzotinto some indifferent plates from the Dutch
painters, and a few portraits, among which are the following :
PORTRAITS.
The Duchess of Mazarine.
Charles Louis, Elector of Bavaria.
Michael Adriantsz, Dutch Admiral; after Du Jar din.
SUBJECTS.
Peasants drinking ; after A. Both.
Dutch Boors regaling; after A. Ostade.
A Flemish Concert ; after Teniers.
A Conversation; after Terburg.
A Drinking Party ; after his own design.
Abraham and the Angels ; after Peter Lastman.
He usually marked his plates with the monogram ^-.

416 S O M SON
SOMER, Paul van. He was apparently of the same family with John van Somer. After
residing some time at Paris, where he engraved several plates, he came to England, and
settled in London, where he died in 1694. He etched, engraved, and scraped in mezzo
tinto. We have, among others, the following prints by him :
A Portrait of the Countess of Meath ; after Mignard.
Tobit burying the Dead ; after Seb. Bourdon.
Moses saved from the Waters of the Nile ; after N. Poussin.
The Baptism of Christ ; after the same.
Nil placet, &c. or the Fable of the Old Man and his Ass ; after Griffer; a set of six etchings.
The Four Times of the Day ; from his own designs.
The Adoration of the Shepherds ; from the same.
The Holy Family ; from the same.
SOMPEL, or Sompelen, Peter van. This artist was born at Antwerp about the year
1600, and was instructed in engraving by Peter Soiitman, whose style he followed with
success. His plates are neatly executed, and produce an agreeable effect, particularly
his portraits, which possess considerable merit. We have, among others, the following
prints by him : portraits.
Paracelsus, the famous Physician ; after Soutman.
Henry, Count of Nassau ; after the same.
Philip of Nassau, Prince of Orange ; after the same.
The Emperor Charles V. ; after Rubens.
Cardinal Ferdinand, brother to Philip IV. ; Governor of the Netherlands ; after Vandyck.
Isabella Clara Eugenia, Infanta of Spain ; after the same.
Gaston, Duke of Orleans, brother to Louis XIII. ; after the same.
Margaret, his consort ; after the same.
Philip the Bold, Duke of Burgundy ; after J. van Eyck.
Frederick Henry of Nassau ; after G. Hondthorst. SUBJECTS.
Christ with the Disciples at Emaus ; after Rubens,
The Crucifixion ; after the same.
Juno and Ixion ; after the same.
SON, Joris van. This artist was bora at Antwerp in 1622. He excelled in painting
flowers and fruit, and treated those subjects with considerable success. His pictures are
agreeably composed, his pencil is light and flowing, and his colouring chaste and clear.
SON, John van. He was the son of the preceding artist, and was born at Antwerp about
the year 1650. His genius led him to paint similar subjects to those of his father, by
whom he was instructed in the art, and whom he greatly surpassed. It was his constant
practice to paint every thing from nature, and he copied every object before him with
a precision and fidelity that approach to illusion. He came to England when young
and having married the niece of Robert Streater, he succeeded to a great portion of
her uncle's business, He painted flowers, fruit, dead game, vases, curtains fringed with

SON SOR 417
gold, turkey carpets, and similar objects of still-life. These subjects he composed in a
picturesque manner; his touch was free and spirited, and his colouring rich and trans
parent. This artist is called Francis van Son in the Anecdotes, but Descamps and the
other authorities style him John. He died in London in 1700, aged about 50.
SON, A. de. This artist, who flourished about the year 1628, imitated the style of Callot
with success. We have several etchings by him from the designs of Callot, as well as
some from his own compositions. Among others are the following :
A set of small Landscapes with figures and buildings.
The Village Fair; after Callot.
The Companion, representing a street, with a coach in the back-ground, and several female figures.
SOPHONISBA. See Angosciola.
SORELLO, Miguel. This artist was a native of Spain, but he established himself at
Rome about the year 1650, where he learned engraving from James Frey. He engraved
several prints after the Italian masters, but his principal work is a set of eight plates
from the tapestry in the Vatican, designed by Raffaelle, representing
The Nativity.
The Purification of the Virgin.
Christ giving the Keys to St. Peter.
Christ descending into Hell.
The Resurrection.
Christ with the Disciples at Emaus.
Christ appearing to Magdalen.
The Conversion of St. Paul.
SORNIQUE, Dominick. A French engraver, born at Paris in 1722. He was a pupil of
Charles Simonneau, whose style of engraving he followed with considerable success, and
executed a variety of vignettes, and other book-plates, in a neat, clear style. He also
engraved several portraits and other subjects, among which are the following :
PORTRAITS.
Armand J. du Plessis, Cardinal de Richelieu; after Nanteuil.
John Louis, Duke of Epernon; after the same.
Louis de Bourbon, Admiral of France ; after Mignard.
Marshal Saxe ; after Rigaud. SUBJECTS.
Diana and her Nymphs ; after Coreggio.
The Rape of the Sabines; after L. Giordano.
Peasants regaling; after Teniers.
SORRI, Pietro. This painter was born at Siena in 1556, and was for some time a scholar
of Arcangelo Salimbeni, but he afterwards studied at Florence, under Cavaliere Pas
signano, whose daughter he married. He adopted the system of his father-in-law, which
was characterised by a mixture of the Florentine and Venetian taste. He accompanied
Passignano to Venice, where he improved his manner, by studying the works of Paul
Vol. II. 3 G

418 SOU SOU
Veronese, whose splendid style is discernible in his best pictures. Less prompt in his
operation than Passignanoj his colour is more durable, and his, design more graceful
and correct. There are severalof his works in the- public edifices at; Florence, and the
other cities of Tuscany, particularly at Pisa, where he represented, in the cathedral, the
Consecration of that Basilica, and painted an altar-piece of Christ disputing with the
Doctors. He died in 1622, aged 66.
SOUBEYRAN, Peter. This artist was a native of Geneva, and flourished about the
year 1760. He resided several years at Paris, where he engraved some of the plates for
a collection of antique gems, in the king's cabinet, published by Mariette. They were
engraved from designs by BoUchardon. We have also, among others, the following
prints by him :
The Portrait of Peter the Great ; after Caravac.
The Arms of the City of Paris, supported by Genii; after Bouchardon.
The fair Maid of the Village ; after Boucher.
He also engraved a variety of vignettes and other book-ornaments after Cochin and
others.
SOUTMAN, Peter. A Dutch painter and engraver, born at Haerlem about the year
1590. He was a disciple of Rubens, and is said to have painted historical subjects and
portraits with considerable success, particularly at the courts of Berlin and Warsaw.
We have several prints by this artist, as well from his own designs, as from those of
Rubens and other masters, which are executed with great spirit. He appears to have
aimed at giving a striking effect to his plates, by keeping all the masses of light i>road
and clear ; but by carrying this idea too far, many of his prints have a slight, unfinished
appearance, though neatly executed. The following are his most esteemed works :
SUBJECTS AFTER RUBENS.
The Fall of the Angels. The first impressions are before the address of the younger Bouttat.
The Defeat of the Army of Seuacherib.
Christ giving the Keys to St. Peter ; from a design by Rubens, after Raffaelle.
The Last Supper ; from a drawing by Rubens, after Lionardo da Vinci.
The miraculous Draught of Fishes.
The Dead Christ at the Tomb, with the Holy Women. The first impressions are before the sha
dows were strengthened by Witdoeck.
The Crucifixion.
The Consecration of a Bishop.
The Rape of Proserpine.
The Triumph of Venus. „
Silenus supported by a Satyr and a Negress.
A Boar-hunt. 1642.
The Hunting of the Lion and the Lioness.
 the Wolf.
 the Crocodile and Hippopotamus.
He also engraved several portraits of the Counts of Flanders, and other eminent per
sonages of the Low Countries, in which he was assisted by his scholars Suyderhoef,
Louys, and P. van Sompel.

SPA SPA 419
SPADA, Lionello. This painter was born at Bologna in 1576. His parents were ex
tremely poor, and he was placed when a boy in the service of the Caraeci, in the capa
city of a colour grinder This employment, however humble, gave him an opportunity
of occasionally hearing their conferences, and of contemplating their works. Stimu
lated by a native disposition, he attempted some essays in design, which attracted the
notice and received the commendation of his masters, who encouraged him to persevere
in his pursuit, and admitted him into their academy. His progress under their instruc
tion was surprising, and he became an eminent disciple of that distinguished school.
One of his first works, which excited public admiration, was a picture of S. Francesco
and S. Domenico kneeling before the Virgin, in the Chiesa de Poveri, at Bologna ; and
Malvasia reports, that on Guido's first seeing that performance, he sarcastically ob
served, that the powers of Lionello seemed to be confined to decoration, which so exas
perated him, that he determined to rival the graceful and delicate style of that painter,
by adopting a system more male and vigorous. Vindictively bent on his purpose, he had
recourse to the energetic style of Michael Angelo Caravaggio, whose novelty and extra
ordinary effect had at that time acquired him such popularity; and he went to Rome, to
study under that master. In adopting the daring contrast of light and shadow which
distinguishes the works of Caravaggio, he avoided the vulgarity of his character, for
which he substituted somewhat of grandeur and elevation, which he had acquired in the
school of the Caraeci, though his forms are neither beautiful nor select. On his return
to Bologna, he acquired great celebrity by a picture he painted for the refectory of S.
Procolo, of the miraculous Draught of Fishes ; and still more by his celebrated altar-
piece in the church of S. Domenico, representing that saint burning the forbidden books,
which is considered his best performance. The latter part of his life was passed at
Parma, in the service of the Duke Ranuccio, by whom he was patronized until the death
of that prince. He did not long survive his protector, and died at Parma in 1622,
aged 46.
SPAGNOLETTO, Josef Ribera, called II. This eminent painter was born at Xativa,
in the kingdom of Valencia, in 1589- Having discovered an early inclination for the
art, his parents, though in indigent circumstances, did every thing in their power to
promote his desire of becoming a painter. He was placed as a student with Francisco
Ribalta, under whom he studied a few years; but before he was sixteen, he determined
on visiting Italy, in search of improvement, thougfi destitute of every means of support
ing himself on the journey, except what he could derive from the exercise of his juvenile
talents. He arrived at Naples in 1606, where Michael Angelo Caravaggio had at that
time taken refuge, being under the necessity of flying from Rome, to avoid the conse
quences of a homicide he had committed in that capital. The powerful and effective
style of that painter had particular attraction for Ribera, .. who paid his court to Cara
vaggio with so much address, that he favoured him with his instruction during his
residence at Naples. The progress of the young Spaniard was remarkable, and his
early productions were so much admired, that he acquired the appellation of II Spag
noletto. From Naples he went to Parma, where the works of Coreggio were for some
time the objects of his contemplation, and afterwards visited Rome. The grandeur of
Raffaelle, and the graces of Coreggio, appear, however, to have made a less lasting im
pression on the mind of Spagnoletto than the vigour and energy of Caravaggio, and
though he for some time attempted to enliven and embellish his style, by an imitation oi
3G2

420 SPA SPE
the higher characteristics by which the works of those illustrious artists are_ distin
guished, it was not attended with much success.
The great number of reputable artists then resident at Rome, determined Ribera to
return to Naples, where he was taken under the protection of the Viceroy, and was em
ployed in several considerable works, which were sent to the King of Spain. His prin
cipal pictures at Naples are the Martyrdom of S. J anuarius, in the royal chapel ; S. Jerome
and S. Bruno, in the church of La Trinita delle Monache ; and the taking down from
the Cross, at the Carthusians.
The genius of Spagnoletto led him to paint gloomy and austere subjects, which were
peculiarly acceptable to the Neapolitans and Spaniards, such as hermits, and saints
emaciated by abstinence and severity. He also selected for the subjects of his pictures
images of savage greatness and terrific sublimity. In tragic compositions, the distor
tions of agonized nature, in martyrdoms, executions, and torments, he was eminently
successful. These dreadful subjects he treated with horrific fidelity, and with a correct
ness of design, which might serve as a study for the anatomist. He died at Naples in
1656, aged 67- We have about twenty etchings by II Spagnoletto, executed in a bold,
free style, producing a powerful and fine effect. His drawing is correct, and the extre
mities of his figures are marked in a very masterly manner. He sometimes signed his
prints with his name, and sometimes marked them with one of these monograms, &p.
JR . H& . The following are his principal plates :
The Dead Christ, extended on a linen cloth.
The Martyrdom of St. Bartholomew.
St. Jerome, with an Angel blowing a trumpet.
St. Jerome reading, with a Skull on the ground.
The Penitence of St. Peter.
Bacchus made drunk by Satyrs.
The Portrait of Don John of Austria, on horseback.
SPAGNUOLO, Giovanni, called lo Spagna. This artist was a native of Spain, but studied
in Italy under Pietro Perugino, and, according to Vasari, was one of his ablest disciples.
He resided chiefly at Spoleti and Assisi, where he has left proofs of his talents, which
rank him among the most respectable painters of his time. In the church degli Angioli
at Assisi, is a picture by this master, which is spoken of by Baldinucci in very favour
able terms. He was living in 1524.
SPALTHOF, N. A Dutch painter, who flourished about the year 1636. It is not ascer
tained by whom he was instructed in the art, but he is said by Descamps to have visited
Italy, where he studied several years. He excelled in painting fairs, Italian markets,
carnivals, and merry makings, which are ingeniously composed and designed in the
Italian taste, resembling the style of Theodore Helmbrecker. The figures with which
they are decorated are correctly drawn, and are touched with neatness and spirit.
SPEECHI, Alessandro. An Italian engraver, who flourished about the year 1699. He
engraved a set of plates of views of the palaces and public buildings at Rome, which are
executed in a bold, spirited style. They are decorated with figures, neatly and taste
fully designed. These engravings were published by Dom. de Rossi, in 1699.

SPE SPI 421
SPECTLE, or Speckin, Vitus Rodolphus. An old engraver on wood, who flourished at
Strasburg about the year 1540. He executed a set of cuts for Fuchsius's Herbal, pub
lished in that year, with a whole length portrait of the author, the portraits of Henry
Fullmaurer and Albert Maher, who designed the figures, and the engraver's own por.
trait. The cuts do great credit to the ability of the artist.
SPERLING, Jerome. A German engraver, born at Augsbourg about the year 1693. He
was a pupil of Preissler, at Nuremberg, and engraved part of the plates for a collection
of the churches in the city of Vienna, published by J. A. Peftel, in 1724. He also exe
cuted part of the plates engraved from the marble statues in the gallery of the King of
Poland, at Dresden, published in 1733. We have also by him a set of thirteen plates of
the Twelve Months of the Year, represented in allegorical subjects, with a frontispiece,
representing the portraits of the Pope and the Elector of Cologne.
SPIERRE, Francis. This eminent artist was born at Nancy in 1643, and went to Paris
when he was young, where he became a pupil of Francis de Poilly, whose style of en
graving he for some time followed with the greatest success. He did not, however,
confine himself to the manner of his instructor, but went to Italy, where he formed a
pleasing and novel mode of handling the graver, which was much admired. He did not
long survive his return to his native country, but died in 1681, at the age of 38. The
following are his most esteemed prints: portraits.
Pope Innocent XI. ; engraved with single strokes, in the style of Melan; Franeiscus Spier, del.
et sculp.
The Grand Duke of Tuscany; dated 1659.
Lorenzo, Count de Marsciano; after his own design.
subjects after various masters.
The Virgin suckling the infant Christ ; after Coreggio. This fine print is very scarce. The
first impressions are before the drapery was inserted to cover the nudity of the child.
St. Michael combating the Evil Spirit ; after P. da Cortona.
The Conception of the Virgin ; after tlie same.
The Virgin and infant Jesus, with St. Catherine ; after ihe same.
The Circumcision ; after Ciro Ferri.
St. John preaching in the Wilderness ; after Bernini.
The miracle of the Loaves and Fishes ; after the same.
Christ on the Cross, suspended over a sea of blood, which flows from his wounds ; after the same;
executed with single strokes. The first impressions are before the heads of the cherubs were
added at the top.
SPIERINGS, N. This painter was born at Antwerp in 1633. It is not known under
whom he studied, but he went to Italy when he was young, where he resided some years,
and distinguished himself as a landscape painter. On his return to the Netherlands he
passed some time at Paris, where his pictures were much admired, and he was for some
time employed by Louis XIV. He appears to have formed his manner by studying- the
works of Salvator Rosa, to whose bold and eccentric style the best works of Spierings
bear a great resemblance. The forms of his rocks and trees are grand and picturesque,
and his touch is firm and spirited. As he was not successful in the design of the figure,

422 SPI SPI
his pictures are usually decorated with historical subjects by other artists. In the church
of the Carmelites at Antwerp, is a fine landscape by Spierings, with figures by the elder
Eyckens.
SPIERS, Albert van. He was born at Amsterdam in 1666, and was a scholar of William
van Inghen, an historical painter of some eminence. He had already given proof of
considerable talent in his native country, when he determined to visit Rome, where his
instructor, Van Inghen, had studied with so much advantage. Arrived in the metropolis
of art, he contemplated with admiration and delight the wonderful productions with
which he was surrounded ; but, above all others, the works of Raffaelle, Giulio Romano,
and Domenichino, particularly occupied his attention. After passing seven years
at Rome, in assiduous application to his studies, he went to Venice, to perfect himself
in colouring, by studying the works of the best masters of that distinguished school.
After a residence in Italy of ten years, he returned to Holland in 1697, and established
himself at Amsterdam, where he was extensively employed in ornamenting the principal
mansions, with ceilings and other historical subjects, which were greatly admired, and he
was regarded as one of the ablest artists of his time. His compositions are ingenious
and abundant, the character of his design partakes more of the Romaii than the Dutch
school; and he had acquired by his studies at Venice a chaste and harmonious system of
colouring. Van Spiers had established a brilliant reputation, by an indefatigable
exercise of his estimable talents, when he fell a victim to a too assiduous application to
his profession, in 1718, at the age of 52.
SPILBERG, John. This artist was bora Dusseldorp in 1619. He was the son of a glass-
painter, who was in the service of the Duke of Wolfgang, by whom he was instructed
in the rudiments of design. It was his father's intention to have sent him to Antwerp
to be educated in the school of Rubens, and, as an introduction to that great painter
the Duke had favoured him with a letter to Rubens, recommending the young artist to
his particular attention. He was on the eve of his departure for Antwerp, when he re
ceived the news of the death of the head of the Flemish school. He afterwards went
to Amsterdam, where he became a scholar of Govaert Flinck. He prosecuted his
studies under that able artist for seven years with the greatest assiduity, and on leaving
his school, became in a short time a celebrated painter of history and portraits. The
reputation he had acquired at Amsterdam reached the court of Dusseldorp, and he was
invited to establish himself there, in the capacity of painter to the Elector Palatine.
He painted the portrait of his protector, and those of the principal personages of his
family, and decorated the churches at Dusseldorp with several of his historical works.
For the castle at Dusseldorp he painted a series of pictures, representing the Labours of
Hercules, in which he discovered a fertile and original invention, and a commandino-

facility of execution. For these considerable works he was liberally rewarded by hi
patron, and presented with a gold medal and chain, as a token of his approbation. He
was commissioned by the Elector to paint a set of pictures of the Life of Christ
which he did not live to accomplish, but died in 169O, aged 71.
SPILBERG, Adriana. This lady was the daughter of the preceding artist, born at Am
sterdam in 1646, and was instructed in design and painting by her father, 'she excelled
in painting portraits in crayons, though she occasionally practised in oil. Her portraits

SPI SPI 423
are said to have had the merit of an exact resemblance ; they were executed with neat
ness and care, and delicately coloured. She was much patronised at the court of Dus
seldorp, where she chiefly resided.
SPILIMBERGO, Irene di. According to Ridolfi, this ingenious lady was of an illus
trious family of Venice, and flourished about the year 1550. Although she only prac
tised painting for her amusement, she applied herself so the study of it with all the zeal
of a professor, and is said to have had the advantage of receiving lessons from Titian.
Lanzi mentions three pictures, representing subjects of sacred history, by this lady,
preserved in the Casa Maniago, which, though not very correctly designed, are coloured
with a richness and harmony worthy of the ablest artists of that school. Titian is said
to have painted an admirable portrait of his noble pupil, with whose family he lived in
habits of intimacy.
SPILMAN, Henry. This artist is miscalled John, by Mr. Strutt. He was born at the
Hague' about the year 1738, and painted portraits and landscapes with some reputation.
He engraved a few plates, among which are the following:
portraits.
Henry Tilly ; after C. van Noord.
His own Portrait ; after the same painter.
landscapes and views.
Six small Landscapes, representing Views in Holland, on one sheet; inscribed, Plaizante Land-
schapies, H. Spilman, inv. et sculp.
A View, called the Rochin ; after J. de Boyer.
He also engraved three landscapes, in the style of drawings in bister, after Everdingen,
Van Borsum, and Berghem. These are said, by Hubert, to be now very scarce, the plates
having been destroyed.
SPILSBURY, Inigo. An English engraver, and printseller, who resided in London about
the year 1760. He engraved several plates in mezzotinto, and in the dotted style,
and particularly in the latter manner, a collection of gems, which were published in num
bers. We have by him a great number of portraits, and other subjects, among which
are the following : PORTRAITS AND HEADS.
A set of fourteen Heads and Busts ; in the manner of Rembrandt. 1767 and 1768.
George III. when Prince of Wales. 1759.
Queen Charlotte. 1764.
Christian VII. King of Denmark ; after Fesche. 1769.
Inigo Jones ; after Vandyck.
Lady Mary Leslie, decorating a Lamb with Flowers; after Reynolds.
A young Lady holding a Bouquet of Flowers; after the same.
Frederick Howard, Earl of Carlisle ; after the same.
SUBJECTS AFTER VARIOUS MASTERS.
A Boy eating Grapes ; after Rubens.
Two Monks reading ; after the same.

424 SPI S P O
Abraham sending away Hagar ; after Rembrandt.
The Flight into Egypt; after Murillo.
The Crucifixion ; after the same.
SPINELLO, Aretino. This old painter was born at Arezzo in 1308, and was a disciple
of Jacopo di Casentino. Before he had reached his twentieth year, he surpassed his
instructor, and proved superior to his contemporaries in the invention and arrangement
of his subjects. In the sacristy of S. Miniato, at Florence, are still remaining some
pictures by him of the Life of S. Benedetto, which are the best preserved of his works.
He was employed, in conjunction with the best artists of his time, in the decorations of
the Campo Santo at Pisa, where he painted in fresco the history of SS. Petito ed Epiro,
which Vasari ranks among his best productions. He gained great reputation by his
portraits of Pope Innocent IV. and Gregory IX. In the church of S. Maria Maggiore,
at Florence, he painted a series of frescoes of the Life of the Virgin, which, though stiff
and gothic in the design, were among the most esteemed productions of the early period
at which he lived. He died in 1400, aged 92.
SPINELLI, Gasparri, or Parri. He was the son of Aretino Spinelli, bora at Arezzo
in 1356, and was first instructed in the art by his father. His colouring was excellent,
but his design was strained and extravagant. Some of his works are still preserved in
the church of S. Domenico, at Florence. He was living in 1425.
SPIRINX, J. An indifferent engraver, who flourished about the year 1635. He engraved
some frontispieces and other book-plates, which are executed in a slight, poor style.
SPIRINX, L. He was probably a relation of the preceding artist. He engraved some
frontispieces, and other ornaments for books, which are dated from 1641 to 1664, which
though neater than those of J. Spirinx, have little to recommend them. We have a
few portraits by this artist, among which is that of Peter de la Mothe, dated 1663.
SPISANO, Vincenzo, called Lo Spisanelli. According to Malvasia, this painter was
born at Orta, in the Milanese, in 1595. He studied at Bologna, in the school of Denys
Calvart, whose style he adopted, and followed without deviation. His compositions
are, however, less judicious, and his design less correct. Of his numerous works in the
public edifices at Bologna, the most remarkable are the Death of S. Joseph, in S. Maria
Maggiore ; the Visitation of the Virgin to St. Elizabeth, in S. Giacomo Maggiore ;
the Baptism of Christ, in S. Francesco ; and the Conversion of St. Paul, in S. Dome
nico. His easel pictures, of which there are several in the private collections at Bologna,
are more esteemed than his altar-pieces. He died in 1662, aged 67.
SPOFFORTH, Robert. An English engraver and printseller, who flourished about the
year 1707. From his style of engraving, Mr. Strutt thinks it probable that he was a.
pupil of S. Gribelin. We have a few portraits by him, among which are the following:
Queen Anne.
George I.
John Cole, m. d.

S P O S P R 425
SPOLVERINI, Ilario. This painter was born at Parma in 1657, and was a disciple of
Francesco Monti. Although he occasionally painted historical subjects, he was more
celebrated for his pictures representing battles, attacks of banditti, and assassinations,
which he designed with spirit, and touched with a vehemence of pencil, well adapted to
the subjects. He was much employed by Francesco, Duke of Parma. There are some
altar-pieces by him in the cathedral and at the Certosa at Parma. He died in 1734,
aged 77.
SPOONER, Charles. This artist is supposed to have been a native of England, though
he resided some time in Dublin. We have several portraits and other subjects by him,
engraved in mezzotinto, and dated from 1752 to 1762, among which are the following:
PORTRAITS.
Thomas Prior; after John Van Nost. 1752.
Major-General Sir William Johnson ; after T. Adams. 1756.
Miss Gunning; after Cotes.
Miss Smith ; after the same.
George Keppell, Earl of Albemarle; after Reynolds.
Lady Selina Hastings ; after the same.
Mr. Garrick in the character of Lear ; after Houston.
SUBJECTS AFTER VARIOUS MASTERS.
A Femal Figure, with a candle in her hand ; after Schalcken.
Peasants regaling ; after Teniers.
A set of four plates of Youthful Amusements; after Mercier.
SPRANGHER, Bartholomew. This painter was born at Antwerp in 1546. He was the
son of Joachim Sprangher, a merchant of eminence, who destined him for commercial
pursuits, but finding in his son a decided inclination for painting, he was placed under
the tuition of John Madyn, a painter of some reputation, at Haerlem, with whom he
studied eighteen months, and on the death of his instructor he became a scholar of
Francis Mostaert. He afterwards travelled through France to Italy, and resided three
years at Parma, where he studied under Bernardino Gatti, called 11 Sojaro, who had
been a disciple of Coreggio. From Parma he went to Rome, where he was favoured
with the patronage of Cardinal Farnese, who engaged him in the decoration of his Villa
of Caprarola, which he embellished with some landscapes, painted in fresco. He was
introduced by that prelate to Pope Pius V., Who appointed him his painter, and accom
modated him with apartments in the Palazzo Belvedere. The first work he engaged
in for his holiness was a picture of the Last Judgment, an immense composition, of up
wards of five hundred figures, painted on a copper-plate, six feet high, which he finished
with great care, and it is said to have occupied him nearly three years. This picture
was so highly esteemed, that after the death of that pontiff it was placed over his tomb.
He was commissioned by the Pope to paint twelve pictures of the Passion of our
Saviour, which he did not entirely accomplish before the death of his protector.
In 1575 Spranger was invited to the court of Vienna, by the Emperor Maximilian II.
who appointed him his principal painter. On the death of Maximilian, in 1576, he
continued in the service of his successor, Rodolphus II. who engaged him in several
considerable works for the palaces and churches, both at Vienna and at Prague.
Vol. II. 3 H

426 SPR SQA
Sprangher was greatly respected by the Emperor Rodolphus, both for his abilities as a
painter, and for his literary acquirements, which were extensive, as well as for his talents
in conversation. In 1588, the Emperor ennobled him and his descendants, and honoured
him, by placing round his neck, with his own hands, a gold medal and chain. He died
at Prague in 1623, aged 77-
With the advantage of residing several years at Rome, Spranger seems to have been
little impressed with the admirable productions of art with which he was surrounded, at
least, they appear to have made little or no difference in his style, which remained en
tirely that of his country. It is doubtful whether he ever made a single design from the
antique, or from Raffaelle. He contented himself with a superficial observance of those
excellent models, and depended on his memory for a retention of their beauties. If he
paid more attention to the works of Michael Angelo Buonaroti, instead of embellishing
his style, it appears to have rendered it more extravagant and preposterous. His design
is mannered and constrained, and his attitudes are affected and unnatural. These dis
gusting deformities are in some degree compensated by a ready and inventive imagina
tion, rich and abundant compositions, and an alluring facility of execution. We have
a few etchings by this painter, executed in a slight but masterly style; among which is,
A Figure bound to a Tree, on which the initials of his name are reversed.
SPRIETT, J. Vander. The name of this artist is affixed to an indifferent mezzotinto por
trait of Timothy Cruso, Presbyter, engraved from his own design. The print has little
to recommend it but its rarity.
SPRUYT, Peter. A Flemish painter and engraver, bom at Antwerp about the year
1740. His principal residence was at Ghent, where he was director of the Academy.
We have a few etchings by this artist, after Rubens, among which are the following :
Susanna and the Elders.
Boreas and Orythia.
The Continence of Scipio.
A group of Children playing with a Lamb.
SQUARCIONE, Francesco. This painter was born at Padua in 1394. He was more
celebrated as the founder of the most distinguished academy of the early period at which
he lived, and his excellent system of instructing his disciples, than for the works he exe
cuted as a painter. Not content with overrunning all Italy, in search of the most
curious objects of art, he travelled to Greece, where he designed the most interesting
vestiges of antiquity, and returned to Padua with a rich assemblage of designs, statues,
and busts, where he formed a museum, and established a school, which was at one time
frequented by upwards qf one hundred and thirty students; and acquired the venerable
title of the father of the young painters. Of his productions as a painter little remains.
Lanzi notices a picture by him formerly in the church of the Carmelitani, at Padua>
afterwards in the possession of Sig. Conte de Lazara, representing S. Girolamo sur
rounded by several other saints, which was well coloured, with a finer expression than
was usual at the time, and, above all, correct in the perspective. It bears an inscription
purporting that it was painted for the noble family of Lazara, in the year 1452 ; and is
. signed Francesco Squarcione, a satisfactory detection of the inaccuracy of Vasari, who
calls him Jacopo. He died in 1474, aged 80.

STA STA 42?
STABEN, Henry. This painter was born at Antwerp in 1578. It is not mentioned by
whom he was instructed in his native country, but he is said to have visited Venice when
he was very young, where he entered the school of Jacopo Robusti, called II Tintoretto.
He had not, however, tbe advantage of the instruction of that able artist for any length
of time, as he died before Staben had reached his seventeenth year. It does not appear
that he remained long in Italy, but established himself at Paris, where he acquired con
siderable reputation, by painting small pictures of the interiors of apartments, with
figures, neatly drawn, which were well composed and agreeably coloured. One of his
best performances was a picture representing the interior of a gallery, decorated with
pictures and statues, in which he displayed an intelligent acquaintance with perspective,
and every object was carefully finished. He died in 1650, aged 80.
STAEVAERTS, or Stevers, Anthony Palamedes. This painter was born at Delft in
1604. He painted portraits, but was more frequently employed in painting conversa
tions, and assemblies of persons playing at cards, or in musical parties. His design is
not very correct, and his compositions are not distinguished by either judgment or taste.
He died in 1680, aged 76.
STAEVARTS, or Stevers, Palamedes. He was the younger brother of the foregoing
artist, and was born in London in 1607, though he is generally considered of the Dutch
school, as his father, who had been a short time employed by James I. as a carver, re
turned to Delft, whilst our artist was yet a child. The only assistance he appears to
have had in his studies was an opportunity of copying some of the works of Esaias
Vandervelde, whose clear and transparent style of colouring he followed with success,
and excelled in painting similar subjects, representing battles and skirmishes, attacks
of robbers, the plundering of villages, &c. His pictures are ingeniously composed, his
figures and horses are spiritedly designed, and touched with a firm and free pencil. He
had acquired a distinguished reputation among the most promising artists of his country,
when he died, in the prime of life, in 1638, at the age of 31.
STALBENT, Adrian. A Flemish painter and engraver, born at Antwerp in 1580. He
painted landscapes, with small figures, neatly drawn and touched, in a style resembling
that of Breughel. This artist visited England in the reign of Charles I. and is noticed
in the Anecdotes, under the name of Stalband. Among other pictures, he painted a
View of Greenwich, and is said to have returned to Antwerp liberally rewarded. Van
dyck painted the portrait of this painter among the eminent artists of his country, which
is engraved by Pontius. We have an etching by Stalbent representing the Ruins of an
English Abbey, with cattle and sheep. It is signed with his name.
STAMPART, Francis. This painter was born at Antwerp in 1675. He was a disciple
of the younger Tyssens, whose style of painting he adopted, and improved by studying
the works of Vandyck. He had acquired considerable reputation as a portrait painter
in his native city, when he was invited to Vienna by the Emperor Leopold, who ap
pointed him his principal painter, in which capacity he was continued by Charles VI.
If we may judge of the merit of his pictures from the singular mode he is said to have
practised in executing them, we may venture to assert, that they had little of that air of
life and nature which distinguishes the portraits of the great painter he attempted to
3H2

428 STA STA
imitate. As he was much employed in painting persons of condition, who had neither
leisure nor patience to undergo the tedium of the usual process, he was accustomed to
draw the features of his model on his canvass with white, black, and red crayons, on
which preparation he painted up his picture, and only called on his sitters for a finishing
visit. He died at Vienna in 1750, aged 75.
STANZIONE, Cavaliere Massimo. According to Dominici, this painter was born at
Naples in 1585, and was a disciple of Giovanni Batista Caracciolo, whose style is dis
cernible in all his works ; but he received his best instruction in fresco painting from
Belisario Corenzio, one of the most eminent artists of his time. When Lanfranco visited
Naples, Stanzione had the advantage of profiting by his lessons, and was assisted in
portrait painting by Fabrizio Santafede. He afterwards visited Rome, where he applied
himself particularly to study the works of Annibale Caraeci, and having formed an in
timacy with Guido, he is said to have imitated the graceful design and amenity of co
louring of that master with such success, that he was styled II Guido Reni di Napoli.
On his return to Naples he displayed an ability that enabled him to compete with the
ablest of his contemporaries. There appears to have existed between this painter and
Spagnoletto a jealousy and animosity, which led the latter to the commission of as black
a treachery as the annals of art have produced.
Lanzi reports, that Stanzione had painted an altar-piece at the Certosa representing
the dead Christ, with the Marys, in competition with Ribera, who, on the occasion, had
painted his celebrated Deposition from the Cross. The picture of Stanzione having
turned somewhat lower in tone, Spagnoletto recommended the monks to permit him to
clean it, when he made use of a noxious preparation, by which the beauty of the work
was nearly annihilated. The fathers applied to Stanzione to repair it, which he de
cidedly refused to comply with, declaring it should remain as it was, that so foul a per
fidy might be exposed to public indignation. Among his other considerable works at
Naples are the vaults of the churches of S. Paolo and del Gesu Nuovo, which may be
considered as his best fresco works, and a large picture at the Certosa, representing S.
Bruno presenting the regulations of his order to his monks. He painted many easel
pictures for the private collections at Naples, which are highly esteemed. He died in
1656, aged 71.
STAREN, or Stern, Dirk van. A Dutch engravei^ who flourished about the year 1540.
He is ranked among what are denominated the little masters, on account of the small-
ness of his plates, which are very neatly executed. His drawing of the figure is gene
rally correct, and the extremities are well marked. His prints are very numerous, and
are dated from 1520 to 1550. He usually marked his plates with the initials D. and V.

divided by a star, to which he generally added the date, (jf^y • The following are his
principal plates, which are from his own designs :
The miraculous Draught of Fishes. 1523.
St. Peter sinking in the Water, calling to Christ.
Christ walking on the Water.
Christ tempted by the Devil.
The good Samaritan. 1525.
St. Luke painting the Portrait of the Virgin. 1526.
The Deluge. 1523.

STA S T E 429
STARNINA, Gherardo. This old Florentine painter was bora in 1354, and was a dis
ciple of Antonio Veneziano. He painted history in the dry, stiff style which prevailed
at the early period at which he lived, though somewhat less gothic and hard than the
immediate followers of Giotto. Vasari reports, that he was invited to the court of Spain,
where he painted some pictures for the King, for which he was richly rewarded. Among
the few of his works at Florence which have escaped the ravages of time, is a picture
in the church of S. Croce, representing St. Jerome delivering his doctrines to his disci
ples, when he was at the point of death; a production in which the design and expres
sion are perhaps superior to any performance of his contemporaries. He died at Florence
in 1403, aged 49-
STARRENBERG, John. According to Descamps, this painter was born at Groninguen
and flourished about the year 1650. He painted historical subjects, and was much cele
brated as a fresco painter of ceilings, and other considerable machinal undertakings
which he composed with ingenuity, and executed with promptness and facility.
STEE, P. This artist is mentioned by Mr. Strutt as the engraver of a portrait of Miss
Salethea Dawkins ; after Toer.
STEEN, John. This ingenious artist was born at Leyden in 1636. He was the son of a
respectable brewer, who, perceiving his inclination for drawing, placed him as a pupil
with Nicholas Knuffer, a painter of history, of some note, at Utrecht, under whom he
studied some time. Descamps, who has been followed by Mr. Pilkington asserts that
he was afterwards a scholar of Adrian Brower; but this inaccuracy is rendered palpable
by their own statements, by which it will be found that Brower died in 1640, when John
Steen was only four years old. They have probably been led into the error by the simi
larity of the subjects they represented, and the congenial profligacy of their habits. It
is more consistent with chronology, that he was a disciple of John van Goyen whose
daughter he married, though it is not likely that she became his wife until after the
death of her father, in 1656, when Steen was in his twentieth year. His father appre
hending that he could not depend on the produce of his early exertions as a painter for
a comfortable subsistence, established him in a brewery at Delft; but this indulgence
which might have placed him in easy circumstances, instead of answering his paternal
intentions, served only to supply him with the means of indulging his unfortunate pro
pensity to debauchery and excess. In a short time, from negligence and expensive
pursuits, the establishment was ruined; and after repeated attempts to reclaim him he
was abandoned by his father. He afterwards became a tavern keeper, but this under
taking was more promptly calamitous than the former, as he now found at home the
means of gratifying his excesses, and he is said to have drank more wine than any of his
guests. During these occupations, he continued to exercise his talents as a painter and
it is not easy to conceive how a man, in an almost continual state of inebriety could
have produced so many and such admirable proofs of extraordinary ability.
The pictures of John Steen usually represent merry-makings, and the frolics and festi
vities of the alehouse, which he treated with a characteristic expression of humorous drol
lery, which requites us for the vulgarity of the subjects. He sometimes painted conversa
tions and domestic assemblies, which he generally accompanied with some facetious trait
of wit or humour, which is admirably managed. Some of his pictures of that description

430 STE STE
are little inferior in delicacy of execution to the charming productions of Gabriel Metzu.
His compositions are ingenious and Interesting, his design is correct and spirited, his
colouring chaste and clear, and his pencil free and decided. Perhaps no painter of his
country has equalled him in the air of truth and nature which he gave to the expression
and character of his figures. The works of John Steen were for some time little known
or valued, except in Holland. But they are now generally held in high estimation, and
are deservedly placed in the choicest collections. He died in 1689, aged 53.
STEEN, Francis vander. A Flemish painter and engraver, born at Antwerp about the
year 1604. Little is known of his works as a painter, but he distinguished himself by
the plates he engraved for the collection of prints known by the name of Tenier's Gal
lery. He was much employed by the Archduke Leopold, who assigned him a pension.
Among others, we have the following prints by him :
PORTRAITS.
Cornelius Cort, Engraver, of Antwerp.
Theodore Coornhaert, Engraver, of Amsterdam.
Andrew del Vaulx, Professor of the University of Louvain.
SUBJECTS AFTER VARIOUS MASTERS.
The Holy Family ; after Titian.
The Holy Family, called La Madonna del Sacco ; after A. del Sarto.
Michael Angelo's Dream ; after M. Angelo.
Soldiers playing at Cards ; after Manfredi.
The Martyrdom of the Eleven Thousand Virgins ; from a drawing by Van Hoy, after the picture
by Albert Durer, in the imperial collection.
Silenus drunk, supported by Satyrs and Bacchante ; after Vandyck.
Cupid making his bow ; after Coreggio.
Jupiter and lo ; after the same.
Ganymede ; after ihe same.
The three last prints, which are scarce, are from designs by Van Hoy, after the pictures
in the gallery at Vienna. He also engraved from Teniers, and other masters.
STEENWYCK, Henry, the Elder. This painter was born at Steenwyck in 1550. He
was a scholar of John de Vries, an artist of some reputation, who excelled in perspec
tive and architectural views. Steenwyck painted similar subjects, in which he not only
surpassed his instructor, but in neatness and accuracy he has scarcely been equalled by
any artist who has succeeded him. His pictures represent the interiors of churches and
gothic temples, designed with surprising accuracy and precision. He frequently repre
sented these superb edifices by torch-light, and by a judicious management of the chiar
oscuro, gave a mysterious grandeur to the effect, which is extremely picturesque and
interesting. The pictures of the elder Steenwyck are usually decorated with figures by
Franck. He died in 1603, aged 53.
STEENWYCK, Henry, the Younger. He was the son of the foregoing artist, born at
Antwerp in 1589, and was instructed by his father. His pictures, like those of the
elder Steenwyck, represent the insides of temples, churches, and other gothic edifices

STE STE 431
which he usually designed on a larger scale than those of his father. He lived in habits
of intimacy with Vandyck, who painted a fine portrait of him, among the distinguished
artists of his country, of which we have a print by Pontius. His talents were recom
mended by Vandyck to the notice of Charles I. who invited him to England, where he
resided several years, and died in London, but the time of his death is not mentioned.
In the catalogue of King James are found ten of the principal works of Steenwyck.
The pictures he painted previous to his coming to England, are embellis-aed with figures
by John Breughel, Theodore van Thulden, and others.
STEENWYCK, Nicholas. According to Descamps, this painter was born at Breda in
1640. He excelled in painting vases, musical instruments, books, and other inanimate
objects, which he grouped in a pleasing manner, and represented with great truth and
precision.
STEFANESCHI, Giovanni Batista. According to Baldinucci, this artist was born at
Ronta, in the Florentine state, in 1582. He was a monk, and is generally called FEre-
mita di Monte Senario. He was instructed in design by Andrea Comodi, and chiefly ex
celled in copying, in miniature, the works of the most eminent Italian painters, in which he
was much employed by Ferdinand II. Grand Duke of Tuscany. He died in 165 1, aged 77.
STEFANI, Tommaso de. Dominici, in his Lives of the Neapolitan Painters, attempts to
prove, that the art was practised at Naples by this master, before the time of Cimabue,
and that it had, at that early period, reached a more improved state at Naples than it
had at Florence. Whatever may be allowed for the partiality with which the Italian
writers speak of their particular countrymen, Dominici appears to have established the
authenticity of his statement, by the indisputable authorities he produces in his Proemio.
According to that author, this venerable artist was born at Naples, about the year 1230.
He formed himself by the remnants of Grecian art, which had been preserved in the
temples and public edifices at Naples, and had painted several pictures for the churches
of S. Francesco and S. Maria delle Grazie, previous to the year 1260, at which time he
was employed by the Archbishop of Naples to ornament the chapel of his palace.
Several other works by him are particularly described by Dominici. He died in 1310,
aged about 80. He had a brother, Pietro de Stefani, who also was a painter, but was.
more celebrated as a sculptor.
STEFANI, Benedetto. The name of this artist is affixed to a print representing the
Battle of the Lapithse, copied from Marc Antonio. The style of engraving resembles
that of iEneas Vico.
STEFAN1NI, Giovanni. This artist was a native of Florence, and flourished about the
year 1760. We have by him an etching representing the Purification of the Virgin,
after Bartholomew Sprangher.
STEFANO, called II Fiorentino. This old Florentine painter was the grandson and the
disciple of Giotto. He was born at Florence in 1301, and, according to Vasari, greatly
excelled his instructor in every department of the art. The rules of perspective were
little known at the early period at which he lived, and he has the credit of establishing

432 STE STE
them on more regular principles. If he was less successful in his endeavours to vanquish
the difficulty of foreshortening, he has at least the credit of being the first artist who
attempted it, and succeeded, better than any of his contemporaries, in giving expression
to the airs of his heads, and a less gothic turn to the attitudes of his figures. His works
in the churches at Rome and Florence have perished, and Lanzi mentions, as the only
vestige remaining of his productions, a picture of the Virgin and infant Christ, in the
Campo Santo, at Pisa. He died in 1350, aged 49.
STEFANO, Tommaso. According to Baldinucci, he was the son and disciple of the
foregoing artist, born at Florence in 1324. He attached himself more to the style of
Giotto than that of his father, and followed the manner of that master with such exact
ness, that he acquired the appellation of II Giottino. Such are his frescoes at Assisi,
and his picture of the dead Christ, with the Virgin and St. John, in the church of S.
Remigio at Florence. He died at Florence, in the prime of life, in 1356, aged 32.
STEFANONE, Maestro. According to Dominici, this painter was born at Naples about
the year 1325, and was a disciple of Gennaro di Cola. In conjunction with that master,
he painted some fresco wofks in the church of S. Restituta, at Naples. In the church
of S. Maria della Pieta, there were several of his works, both in fresco and in oil, the
former have almost entirely perished, but the latter have resisted the ravages of time,
particularly the picture at the great altar, representing the Virgin Mary and Magdalen
weeping over the dead Christ, which is still well preserved. This is another proof that
' the practice of painting in oil was known long before the pretended discovery by Van
Eyck, in the year 1410. He died in 1390, aged about 65.
STEFANON1, Pietro. An Italian engraver, by whom we have a set of forty etchings,
from the designs of the Caraeci, intended as a drawing-book. He usually marked his
plates with the initials P. S. F.
STEFANONI. Giacomo Antonio. This artist was a native of Bologna, and flourished
about the year 1630. He is said to have been a painter as well as an engraver. We
have, among others, the following etchings by him :
The Virgin, with the infant Christ, St. John, and two angels; after Lod. Caraeci.
The Holy Family, with St. John; after An. Caraeci. 1632.
Another Holy Family, with St. John presenting cherries; after the same.
The Virgin and infant Christ, with St. John; after Agos. Caraeci.
The Murder of the Innocents ; after Guido.
The Martyrdom of St. Ursula ; after L. Passinelli.
STEIDNER, D. This artist is noticed by Mr, Strutt as the engraver of a variety of devout
subjects.
STELLA, James. An eminent French painter, bora at Lyons in 1596. He was the son
of Francis Stella, an artist, originally of Flanders, who had settled at Lyons on his return
from Italy. His father taught him the rudiments of design, but he was deprived of his
instruction when he was only nine years old. He had, however, at that early age, made
such progress in design, that he found himself sufficiently advanced, to be able to con-

STELLA. 433
tinue his studies without the direction of another master. When he had reached his
twentieth year he travelled to Italy, and passing through Florence, on his way to Rome,
he was employed by Cosmo de Medici to assist in the decorations preparing for the
solemnization of the marriage of his son Ferdinand II. He also painted several pictures
for the Grand Duke, who assigned him apartments in his palace, with a pension equal
to that of Callot, who was at that time in his service. After a residence of seven years
at Florence, where he left many proofs of his ability in painting and engraving, he pro
ceeded to Rome in 1623. His studies in that capital were pursued with unremitting
assiduity, particularly from the antique and the works of Raffaelle, which he contem
plated in the society of Nicollo Poussin, with whom he contracted an intimate acquaint
ance, and the conversation and advice of that learned artist contributed, in no small
degree, to the formation of that correct style for which he is distinguished.
The works of Stella were held in considerable estimation at Rome, where he resided
eleven years. In 1634 he returned to France, where his talents recommended him to
the favour of Cardinal de Richelieu, under whose patronage he was appointed painter
to the king, with a pension, and was presented with the order of St. Michael. His
'principal works at Paris are the Baptism of Christ by St. John, in the church of St. Ger
main le Vieux; the Annunciation, in the chapel of the Nuns of the Assumption ; and
Christ with the Woman of Samaria, at the Carmelites. Stella was more successful in
his easel pictures than his large works. His compositions are graceful and decorous,
though cold and inanimate, and his design rigidly correct; but we look in vain for the
sentiment and expression which characterise the admirable productions of Poussin. He
died at Paris in 1647, aged 51. We have some etchings by Stella, among which are the
following :
The taking down from the Cross; marked with a star.
The Ceremony of doing Homage to the Grand Duke of Tuscany on St. John's Day. 1621.
STELLA, Francis. He was the younger brother of James Stella, born at Lyons in 1601,
and was instructed in the art by his brother, who he accompanied to Italy. He painted
history, but never arrived at much eminence, and was very inferior to his instructor in
every respect. There are some pictures by him in the churches at Paris, among which is
an altar-piece, representing the dead Christ, with the Virgin Mary and St. John, at the
Augustines. He died at Paris in l66l, aged 60.
STELLA, Anthony Bousonnet. This artist was the nephew of James Stella, born at
Lyons in 1630. He was instructed by his uncle in the rudiments of design, and is said to
have been a reputable painter, and a member of the Royal Academy at Paris, where he
died in 1682, aged 52. We have a few etchings by him, among which is the following :
Moses defending the Daughters of Jethro; after Poussin.
STELLA, Claudine Bousonnet. This ingenious lady Was the niece of James Stella,
born at Lyons in 1636. She learned the principles of design from her uncle, but applied
herself to engraving, in which she greatly distinguished herself. Her plates are chiefly
after the pictures of James Stella and Nicholas Poussin; and perhaps no artist has been
so successful in their engravings after the latter painter, in which she has greatly sur-
Vol. II. 3 1

434 STE STE
passed John Pesne. Her design is correct, and the characters of the heads are admi
rably expressed. The following are her most esteemed prints :
A set of seventeen plates of pastoral subjects, including the title; after James Stella.
Fifty-plates of the Sports of Children, and rural subjects; after the same.
The Marriage of St. Catherine ; after the same.
Moses found in the Bulrushes ; in two plates ; after N. Poussin.
Moses striking the Rock ; after the same; very fine.
The Crucifixion, called the great Calvary ; after the same ; very fine.
St. Peter and St. John curing the lame Man ; after the same.
The Holy Family, with St. Elizabeth and St. John ; after the same.
Another Holy Family, with children bringing flowers; after the same.
STELLA, Antoinette Bousonnet. This lady was the sister of Claudine Bousonnet
Stella, born at Lyons about the year 1637, and had also the advantage of her uncle's
instruction in design. Although she was not equal to her sister in the use of the graver,
her prints possess considerable merit. Her drawing is generally correct and full of taste.
We have, among others, the following prints by her :
Romulus and Remus suckled by a Wolf; after Ant. Bousonnet Stella.
The Entry of the Emperor Sigismond ; after Giulio Romano.
STELZER, Jacob. A German engraver, who flourished about the year 1720. He en
graved part of the plates for the collection of prints from the antique marbles preserved
in the gallery of Dresden, published in 17S3.
STEMPS1US. See Sempelius.
STENT, Peter. He resided in London, and carried on a considerable business as a print-
seller. It is supposed that he occasionally engraved. A portrait of Andrew Willet, with
six Latin verses, and marked with the initials P. S. is generally attributed to him.
STERN, Ignazio. This painter was a native of Bavaria, born about the year 1698. He
went, early in his life, to Bologna, where he entered the school of Carlo Cignani. He
painted several pictures for the different churches in Lombardy, which possess consider
able merit. At Piacenza, in the church of the Nunziata, is an altar-piece representing
the Annunciation, which Lanzi describes as a graceful and elegant composition. He
resided several years at Rome, where he was much employed for the public edifices and
the private collections. In the Basilica of St. John of Lateran, there is a picture by
Stern of the Assumption ; and he painted some frescoes in the sacristy of S. Paolino.
His talents were not confined to historical subjects. He also painted concerts, conver
sations, and what are called by the Italians Bambocciate, which were much admired.
He died in 1746, aged 48.
STETTLER, William. This artist was a native of Berne, and, according to Fuessli, in
his Lives of the Swiss Artists, was first a scholar of Felix Meyer, at Zuric, and was after
wards instructed in miniature painting, at Paris, by Joseph Werner. His talents were

STE S T I 345
not confined to miniature, but he was much employed in designing historical and other
subjects for the publishers. He accompanied Charles Patin in his travels through Hol
land and Italy, and made the greater part of the designs for the plates in his publica
tions on medals and antiquities. He died in 1708.
STEVENS, John, or Stephanus. A German engraver, who flourished at Strasburg
about the year 1585. His plates are chiefly slight etchings, executed almost entirely
with dots ; and are frequently little more than outlines. They are from his own designs,
and prove him to have been a man of genius. He generally marked his plates with
the initials I. and S. with the date.
STEVENS, Peter. This artist was a native of Mechlin, and is mentioned as an engraver
of portraits, among which is that of Frederick, King of Prussia ; after de Plasse.
STEVERS. See Staevarts.
STEUDENER, M. G. We have by this artist some slight etchings, representing the
Loves of the Gods, and other mythological subjects, from his own designs. They are
not very creditable to his talents.
STIMMER, Tobias. This artist was born at Schaffhausen in 1544. It is not mentioned
under whom he studied, but he bad acquired some celebrity by decorating the facades
of the principal mansions of his native town, at Frankfort and Strasbourg, with histo
rical subjects painted in fresco, when he was invited to the court of the Marquis of
Baden, to paint a series of the portraits of his ancestors, which he is said by Huber to
have executed in a great style. His frescoes have unfortunately perished ; but we may
judge of his ability in composition and design, by the wooden cuts, which remain, exe
cuted from his works. Tobias Stimmer also engraved on wood, and in conjunction
with his brother, John Christopher Stimmer, executed part of the cuts for the Bible pub
lished at Basle in 1586, by Thomas Guarin, entitled, Nova Tobia Stimmeri sacrorum Bib-
liorumfigura versibus Latinis et Germanicis exposita. The compositions of these prints,
which are small, are by Tobias Stimmer; and it is no mean proof of their merit, that
Rubens declared he had studied them with attention, and had derived much instruction
from them. He usually marked his prints with a monogram, composed of a T. and an
S. thus, f .
STIMMER, John Christopher. He was the younger brother of Tobias Stimmer, bora at
Schaffhausen in 1552, and is said to have been instructed in design by his brother. He
distinguished himself as an eminent engraver on wood, and executed in a neat style
several cuts from the designs of Tobias, which possess considerable merit. He marked
his prints with a monogram composed of the letters C. S. T. M, thus, (fsj. Besides the
cuts in the Bible, mentioned in the preceding article, we have the following prints by
him :
A set of cuts for the New Testament, printed at Strasburg in 1588.
A set of prints of learned persons and theologians of Germany ; published by Bernard Jobio, at
Strasburg, in 1587.
A set of Emblems, entitled, Icones Affabrai, published by B. Jobio, at Strasburg, in 1591.
3 I 2

436 S T O S T O
STOCCADE, Nicholas de Helt. This painter was born at Nimeguen in 16 14, and was a
scholar of Martin Ryckaert, whose daughter he married. Hisfirst pursuit was landscape
painting, which he practised for some time, in the style of his instructor, but his genius
leading him more to the design of the figure, he applied himself with great assiduity to
historical painting, in which he had acquired some celebrity, when he determined to
visit Italy in search of improvement, and passed several years at Rome. His studies in
that capital were pursued with unremitting application, and his talents soon recom -
mended him to public attention. He was employed in painting some pictures for the
palaces and private collections, particularly for Christina, Queen of Sweden. After a
residence of eight years at Rome, he went to Venice, and improved his style of colour
ing, by studying the works of the best masters of the Venetian school. He visited Paris
'in his return to Holland, where he met with such distinguished encouragement, that he
was induced to establish himself for some time in that city, where he was much em
ployed, and was appointed one of the painters to the King. He did not long survive
his return to his native country, but the time of his death is not ascertained. His com
positions evince a ready and fertile invention, and his design bears the character of the
Roman school, from which he had principally formed his style. He was also distin
guished as a portrait painter.
STOCK, Ignatius Vander. A Dutch painter and engraver, who flourished about the
year 1620. As far as can be judged from his etchings, after his own designs, he was a
landscape painter of considerable ability. We have several plates by him, executed in
a slight but spirited style, some of which are from the designs of Fouquieres, and others
after compositions of his own.
STOCK, Andrew. This artist was a native of Holland, but resided chiefly at Antwerp,
where he flourished about the year 1625. He is supposed to have been a pupil of James
de Gheyn the elder, from the similarity which appears in their style. He engraved
several of the plates for the Academie de L'Espee, published at Antwerp, by Thibeau ,*
which he inscribed Andreas Stokius Haga Comitis sculp. We have also by him the fol
lowing prints. PORTRAITS.
Albert Durer, Effigies Alberti Dureri. And. Stock, sc. 1629.
Hans Holbein ; Effigies Holbeini, Pictoris celeberrimi. se ipse pinx. And. Stock, fecit,
Lucas of Leyden ; from a picture by himself.
Peter Sneyers, Painter ; after A. Vandyck. SUBJECTS.
The Sacrifice of Abraham; after Rubens.
Twelve plates of the Months in the Year ; after Wildens.
A set of eight Landscapes ; after Paul Brill.
STOCK, H. The name of this artist is affixed to a portrait of Robert Cecil, Earl of
Salisbury.
STOER, Lawrence. This artist was a native of Augbourg, and flourished about the year
1567. He is mentioned by Professor Christ as a painter, and an engraver on wood, and
is said to have executed several wooden cuts, which he marked with the cipher ^.

STO STO 437
STOLKER, J. A Dutch engraver in mezzotinto, by whom we have some portraits, among
which is that of Jacques de Masscher, painter ; after J. Ravestein.
STONE, Henry. This artist was the son of Nicholas Stone, a statuary and architect,
who was master mason to James I. He is usually called Old Stone, probably to distin
guish him from his younger brother John. Henry Stone is principally known as a
painter, by his excellent copies from the portraits of Vandyck and the Italian masters.
By his epitaph, which is preserved in the Anecdotes, it appears that he passed several
years in Holland, France, and Italy, and died in London in 1653.
STONE, John. He was the brother of Henry Stone, and followed the profession of his
father as a statuary. He also occasionally copied some of the most esteemed picture*"
of the old masters, in which he was not unsuccessful. Thomas Cross is said to have in
structed him in the art of engraving, though he did not much attend to it. He designed
and engraved one of the plates for Dugdale's History of Warwickshire. John Stone
died soon after the Restoration.
STOOP, Dirk, or Theodore. This eminent artist has escaped the notice of the bio
graphers of the painters, and is only briefly mentioned as the engraver of a few plates.
He was a native of Holland, and was born about the year 1610. A contemporary of
Peter de Laer, called Bamboccio, he adopted a similar style, and his best works are in no
way inferior to those of that celebrated painter. His pictures represent hunters and
sportsmen on horseback, the halts of travellers, farriers' shops, and similar subjects, which
are composed and designed with a spirit and taste, which has scarcely been surpassed by
Philip Wowermans, for whose works the pictures of Stoop have not unfrequently been
mistaken. We have by this able artist a set of twelve admirable etchings, which, for
picturesque effect and masterly execution, are equal to the most admired productions of
the point.
STOOP, Peter, sometimes called Roderigo. He is generally supposed to have been the
younger brother of the preceding artist, born in Holland about the year 1612. He
painted battles, huntings, and sea-ports, with considerable success, and went, when he
was young, to Portugal, and settled at Lisbon, where he adopted the name of Roderigo,
and placed the letter R. on his plates. He came to England in the retinue of Queen
Catherine, and resided in this country till his death, which happened about the year
1686. We have several etchings by this artist from his own compositions, and other
masters, which are executed in a spirited and masterly style. Among others, are the
following :
Eight Views of Lisbon ; dedicated to Queen Catherine.
A set of eight plates, representing the Procession of Queen Catherine from Portsmouth to Hamp
ton Court. 1662.
He also executed the plates for Ogilby's JEsop ; after the designs of Barlow.
STOOPENDAAL, B. Mr. Strutt calls this artist Daniel, and appears to have been led
into the error by Basan. The prints which bear his name are inscribed, B. Stoopendaal,
fee. He was a native of Holland, and flourished about the year 1710. In his best plates

438 STO STR
he appears to have imitated the style of Cornelius Visscher, though not always very suc
cessfully. We have, among others, the following prints by him :
A set of twelve Plates of figures and animals ; dated 1651. The first impressions are before they
were numbered.
Sixty Views in Holland, entitled, Les Delices du Diemer Meer ; engraved from his own designs.
A set of twenty-four Views near tbe Hague.
Four plates representing the Departure of King William from Holland for England, his Arrival,
his Meeting the Parliament, and his Coronation; inscribed, B. Stoopendaal,fec.
The Robbers ; after Bamboccio ; B. Stoopendaal, sc.
The Attack of a Military Convoy ; after the same; the same mark.
A Lime-kiln ; after the same.
The last three plates are very finely copied from the prints by Visscher. He also en.
graved the plates for Clarke's edition of Cesar's Commentaries, published in 1712.
STORER, Christopher. This artist was born at Constance in 1611. He travelled to Italy
when he was young, and studied at Milan under Ercole Procaccini. Lanzi mentions
him as a respectable painter of history. We have some etchings by him of historical
subjects from his own compositions. He died at Milan in 1671, aged 60.
STORK, Abraham. This painter was born at Amsterdam in 1650. It is not known by
whom he was instructed, but he proved one of the eminent painters of marines and
sea-pieces of the Dutch school. His pictures usually represent views of the Y, or the
Amstel, near Amsterdam, with a variety of shipping and boats, and a number of small
figures, correctly drawn, and touched with great neatness and spirit. He also painted
tempests and storms at sea, which he represented with a truth and fidelity little inferior
to the admired productions of Backhuysen or Vandervelde. The pictures of Stork are
ingeniously grouped, and the vessels, and their rigging, are drawn with precision and
accuracy. His colouring is clear and transparent, and his skies and water are light and
floating. In the collection of Mr. Bisschop, at Rotterdam, was one of his most capital
performances, representing the arrival of the Duke of Marlborough at Amsterdam
with a public procession of ships, barges, and yachts, decorated with 'flags, full of
figures, habited in their different costumes; the composition was arranged with great
ingenuity, and without the appearance of confusion, though the objects were so nume
rous. He died at Amsterdam in 1708, aged 58.
STOSS, Francis. This very ancient engraver was a native of Germany, and is supposed
to have flourished as early as the year 1460. Mr. Strutt believes him to have practised
engraving prior to either Martin Schoen or Israel van Mechelm, and gives it as his
opinion, that he was the tutor of Martin Schoen, from the resemblance which appears
in their style, though it was greatly improved by Martin. He is said to have engraved
a set of small plates, representing the Life and Passion of Christ, which were copied by
Schoen. His prints are marked with an F. and an S. with a cross, thus, f$§.
STRADA, Vespasiano. According to Baglione, this artist was of Spanish parentage,
but was a native of Rome. It is not mentioned under whom he studied, but he probably
learned the rudiments of the art from his father, who was an obscure painter. He
worked chiefly in fresco, and had embellished the churches and public edifices at Rome

STR STR 439
with several of his historical paintings, when his promising career was interrupted in the
prime of life. The following are amongst his most considerable works. In the cloister
of the monastery of S. Onofrio, are different subjects from the life of that saint; in the
church of S. Maria Maddalena al Corso, the Visitation of the Virgin Mary to St. Eliza
beth, and the Adoration of the Shepherds. He died at Rome, at the age of thirty-six
years, in the pontificate of Paul V. We have several etchings by this artist from his
own compositions, which prove him to have been a man of considerable genius. They
are executed in a slight hasty style, but they discover the hand of the master. He
usually marked his plates with the initials V. S. F. or V. S. I. F, and sometimes VES.
ST, I. FE. We have, among others, the following prints by him :
Christ shewn to the Jews.
Christ crowned with Thorns.
The Holy Family, with St. John.
The Virgin, supported by two Angels.
The Marriage of St. Catherine.
The Virgin and infant Christ.
STRADA, or Stradanus, John. This painter was born at Bruges in 1536, and was first
instructed by his father, who was an artist of little celebrity. He afterwards studied
under Peter Aertsen, until he found himself sufficiently advanced to undertake a journey
to Italy. He studied at Rome the antique, and the works of Raffaelle and Michael
Angelo, and attached himself to Francesco Rossi, called Salviati, whose style he in some
measure adopted. In conjunction with that painter and Daniello da Volterra, he was
employed in the decorations of f.he pontifical palace of Belvedere, where he acquired
considerable reputation. He was invited to Naples by Don John of Austria, to represent
his military achievements, in which he acquitted himself in a manner worthy of the
ablest artists of his time. Vasari engaged him to visit Florence, where he was employed,
conjointly with that painter, in several considerable works for the ducal palace, and the
churches and other public edifices. In the church of the Nunziata, at Florence, is one
of his most celebrated works, representing the Crucifixion, with the Virgin Mary, Mary
Magdalen, and St. John, with a great number of figures. In S. Croce is a fine picture
of the Ascension; and in S. Maria Nuova, the Baptism of Christ by St. John. In the
chapel of the Palazzo Pitti are two small altar-pieces by him, representing the Nativity
and the Adoration of the Magi, which are much admired. The talents of this artist
were not confined to historical subjects ; he was not less successful in painting huntings,
processions, and battles. Stradanus possessed a fertile invention, and a constant prac
tice had given him uncommon facility of execution, both in oil and in fresco. His
design was usually correct, though occasionally heavy and mannered, and his colouring
was vigorous and effective. He was a member of the Academy at Florence, where he
died in 1604, aged 68.
STRAETEN, Henry Vander. This artist was a native of Holland, born about the year
]665. It does not appear that he had any other means of improvement than his studies
after nature, and without the help of a master he reached an eminent rank in the art as
a'landscape painter. He visited England about the year 1690, where he met with great
encouragement, and his gain was considerable, which he squandered away as fast as he

440 STRANGE.
acquired it. The noble author of the Anecdotes records the following instance of his
eccentricity and dissipation. " One day sitting down to paint, he could do nothing to
please himself. He made a new attempt with no better success. Throwing down his
pencils, he stretched himself out to sleep, when thrusting his hand inadvertently into his
pocket he found a shilling; swearing an oath, he said, ' It is always thus when I have any
money — get thee gone,' continued he, throwing the shilling out of the window, and re
turning to his work, produced one of his best pictures. This story he related to the
gentleman who purchased the picture." The pictures of Vander Straeten resemble those
of Ruysdael and Hobbima; and some of his productions, soon after his arrival in this
country, are not very inferior to the works of those admired masters. Towards the latter1
part of his life, his expensive and profligate habits reduced him to the necessity of dis
patch, and his last pictures are the mere shadows of his former ability.
STRANGE, Sir Robert. This distinguished engraver was born in one of the Orkney
Isles, in 1721. He was descended from a younger son of the family of the Stranges of
Balcasky, in the county of Fife, who settled in Orkney at the time of the Reformation.
He was originally intended for the law, but some drawings and unfinished sketches,
which he had produced without the help of an instructor, having been shown to Mr.
Cooper, a drawing master at Edinburgh, they were so highly approved by him, that he
proposed that the young man should be placed under his tuition. The proposal being
entirely agreeable to his own inclinations, was immediately adopted. He had made con
siderable progress under that master's instruction, when a fatal interruption to the arts
took place in Scotland, by the unfortunate civil war which broke out on the arrival of
the young Chevalier. As soon as tranquillity was restored, Mr. Strange came to Lon
don, and soon afterwards formed the project of visiting Paris, for improvement in the
art of engraving, which he had begun to practise with success. On his way to the
capital of France, he made some stay at Rouen, where he frequented the Academy, and
obtained an honorary prize for design, though his competitors were numerous. On his
arrival at Paris he became a pupil of Le Bas, from whom he learned the use of what is
called the dry point, which he afterwards improved, and used with such success in his
engravings. In 1751 he returned to London, at a period when historical engraving had made little
progress in England, and he devoted himself to that arduous and difficult branch of the
art, of which he may be justly considered as the father in this country. In 1761 Mr.
Strange gratified a wish he had long entertained of visiting Italy, for the purpose of
making designs from the most celebrated pictures of the distinguished masters of the
different schools, from which he purposed engraving plates, some of which he executed
abroad, and others after his return to London. In his tour be was everywhere favoured
with the most flattering marks of attention and respect. He was made a member of the
academies of Rome, Florence, Bologna, Parma, and Paris.
In 1787 Mr. Strange received the honour of knighthood, but did not long survive that
mark of distinction, and died in 1792, aged 71. The works of Sir Robert Strange con
sist of about fifty plates, engraved from the most eminent painters of the different
schools of Italy, distinguished by a bold and intelligent execution, exhibiting an admi
rable union of the poiut with the graver, and producing a vigorous and harmonious
effect. The following are among his most admired prints :

STREATER. 441
PORTRAITS.
Charles I.; whole-length; after Vandyck. 1770.
Charles I. with a page, and his equerry holding his horse ; after the same. 1782.
Henrietta Maria, Queen of Charles I. with the Prince of Wales and Duke of York ; after the
same. 1784.
The Children of Charles I. ; after the same. 1758.
A Bust of Raffaelle; after a picture by himself; inscribed, Ille hie est Raphael, SfC. 1787,
A Portrait of himself; from a design by J. B. Greuze.
SUBJECTS AFTER VARIOUS MASTERS.
St. Cecilia; after the picture by Raffaelle; formerly in the church of S. Giovanni, at Bologna,
now in the French Museum. 1771.
The Virgin and infant Christ, with Mary Magdalen, St. Jerome and two Angels ; after the famous
picture by Coreggio, formerly at the academy at Parma ; now in the gallery of the Louvre.
1768.
Venus redlining; after the picture by Titian; in the Florentine Gallery.
Danae; after the same ; from the picture belonging to the King of Naples. 1768.
Venus and Adonis ; after the same ; from a picture in the same collection ; 1762.
Mary Magdalen, penitent ; after Guido. 1762.
The Death of Cleopatra ; after the same. 1777-
Fortune flying over a Globe ; after the same. 1778.
Venus attired by the Graces ; after the same. 1759.
The Chastity of Joseph ; after the same. 1769.
The Virgin, with a choir of Angels; Te Deum laudamus ; after C. Maratti.
The Virgin, with St. Catherine and Angels, contemplating the infant Jesus sleeping; Parce som-
num rumpere ; after the same.
Christ appearing to the Virgin after his Resurrection; after Guercino. 1773.
Abraham sending away Hagar; after the same. 1763.
Esther before Ahasuerus ; after the same. 1767.
The Death of Dido; after the same. 1776.
Belisarius; after Sal. Rosa, 1757.
Romulus and Remus; after P. da Cortona.
Caesar repudiating Pompeia; after the same.
Sappho consecrating her Lyre to Apollo ; after C. Dolci. 1787.
The Martyrdom of St. Agnes; after Domenichino. 1759.
The Choice of Herculus ; after N. Poussin.
The Return from Market ; after Ph. Wowermans. One of the first plates he published, engraved
at Paris in 1750.
STREATER, Robert. An English painter, born in London in 1624, and was a scholar of
du Moulin. He did not confine himself to any particular branch of art, but painted
history, portraits, landscape, architecture and still-life. At the Restoration, he was
appointed serjeant-painter to Charles II. His principal works were, the theatre at Ox
ford; some ceilings at Whitehall, which have perished; the Battle of the Giants, at Sir
Robert Clayton's ; and the pictures of Moses and Aaron, in the church of St. Michael's,
Cornhill. He died in 1680, aged 56. He occasionally amused himself with the point,
but his etchings are very indifferent. The following are by him :
The Battle of Naseby ; a large print on two sheets.
Some Architectural plates ; after J. Dinant V, S,c.
Vol. II. 3 K

442 STR STR
STREEK, Jurian van. This artist was born at Amsterdam in 1632. He occasionally
painted portraits, but is more known as a painter of dead game, musical instruments,
books, vases, and other inanimate objects, which he designed correctly, and finished with
uncommon neatness. He composed those subjects in a pleasing manner, and introduced
an effect of light and shadow, which is extremely picturesque. He died in 1678,
aged 46.
STREEK, Henry van. He was the son of the preceding artist, born at Amsterdam in
1659, and received his first instruction from his father, but was afterwards a scholar of
Emanuel de Wit. He was a reputable painter of architectural views, which his perfect
acquaintance with perspective enabled him to design with unusual accuracy and preci
sion. His pictures generally represent the interiors of magnificent buildings, churches,,
temples, and palaces, which were frequently embellished with figures by some other
artist. He died in 1713, aged 54.
STRETEN. See Straeten..
STRINGA, Francesco. This painter was born at Modena in 1635, and was a scholar of
Lodovico Lana. He improved his style by studying the works of Guercino, and the
best pictures which composed the celebrated Galleria Estense, of which he had the direc
tion. He painted several historical subjects for the churches, and the ducal palace at
Modena; and there are some of his works in the public edifices at Venice. He died in
1709, aged 74.
STRINGA, Ferdinando. This artist engraved part of the plates for the Antiquities of
Herculaneum, published at Naples in 175,0,
STROZZI, Bernardo, called II Cappuccino,, and sometimes II Prete Genoese. This
painter must not be confounded with Ippolito Galantini, also called 11 Prete Genoese.
He was born at Genoa in 1581, and was a disciple of Pietro Sorri. At an early period
of his life he became a monk of the order of St. Francis. This retirement did not, how
ever, oblige him to abandon his pursuits as an artist, and he distinguished himself as a
reputable painter of history. Of his fresco works at Genoa, the most considerable is
his representation of Paradise, in the church of S. Domenico, a copious and ingenious.
composition, and coloured with a vigour approaching to oil. At Novi and Voltri are
several altar-pieces by him. He was however more occupied for private collections' and
galleries than for the churches. In the Palazzo Brignole is a picture by this painter
representing the Incredulity of St. Thomas; it is in an apartment amidst the works of
the most distinguished cplourists, which appear languid, and subdued by its superior
vigour and brilliancy. His design is not sufficiently correct, and his forms are neither
select nor beautiful ; but the heads of his old men exhibit a grand and impressive cha
racter, and are painted with spirit and energy. He died in 1644, aged 63.
STRUDEL, Peter. This artist was a native of the Tyrolese, born in 1680. He studied
at Venice under Carlo Loti, under whose direction he became a reputable painter of
history. He had acquired considerable celebrity on leaving the school of that master
when his talents recommended him to the patronage of the Emperor Leopold, who*

STR SUA 443
invited him to his court, appointed hiin one of his painters, and was so satisfied with his
abilities, that he conferred on him the dignity of a baron. He had embellished several
of the churches and public edifices of Germany with his historical pictures, when he died,
at Vienna, in 1717, aged 37.
STRUTT, Joseph. An English engraver, and writer on art, born about the year 1745. He
engraved a variety of plates in the crayon and dotted manner, which are executed with
great neatness and delicacy. We are indebted to Mr. Strutt for a laborious and inte
resting work, his Biographical Dictionary of Engravers, which he embellished with
several plates, engraved by himself. He also published the Antiquities of England, with
plates of his own execution. Among others, we have the following prints by him :
The Birth of Venus. 1779.
Pandora presenting the fatal Box to Epimetheus. 1779.
Candaules presenting his Queen to his favourite Gyges; after Le' Sueur. 1787.
STUBBS, George. This eminent painter of animals was born at Liverpool in 1724. He
particularly excelled in the anatomy of the horse, and was much employed in painting
the portraits of the most celebrated racers of his time, which he not only designed with
correctness, but with a characteristic spirit for which he was particularly distinguished.
Though Mr. Stubbs was chiefly engaged in that branch of the art, his talents were ca
pable of higher exertions, as he has proved by his picture of Phaeton with the Horses
of the Sun, and his admirable delineation of the tiger. He died in 1806, aged 82. Mr.
Stubbs was an associate of the Royal Academy. In 1766 he published a work entitled,
The Anatomy of the Horse, with plates etched by himself, after his own designs.
STUVEN, Ernest. This artist was bom at Hamburg, in 1657, and was instructed in the
rudiments of design by an obscure painter, named Hins. In 1675, when he was eighteen
years of age, he went to Amsterdam, where he studied some time under John Voorhout,
a reputable painter of history and portraits. Finding that the pictures of flowers and
fruit by Abraham Mignon, were at that time in the highest estimation, and having him
self an inclination for that branch of the art he became his disciple, and though his
works are not so exquisitely finished, nor so delicately coloured as those of his instructor,
they entitle him to a respectable rank among the flower painters of his country. He
died in 1712, aged 57.
SUARDI, Bartolommeo, called Bramantino. He was a native of Milan, and flourished
about the year 1520. He acquired the name of Bramantino from his having been a
favourite disciple of Bramante Lazzari. Like his celebrated instructor, he distinguished
himself both as an architect and a painter. He accompanied Bramante to Rome, where
he improved his style of design, and acquired a chaster tone of colouring, and a broader
cast of his drapery. Lanzi notices as some of his principal worlcs a dead Christ, with
the Marys, in the church of S. Sepolcro, at Milan ; and a picture of the Virgin and
Infant, with St. Ambrose and St. Michael, in the Galleria Melzi. In the church of S.
Francesco are also some pictures by this master, composed and designed in a style su
perior to his contemporaries of the Milanese school.
3K2

444 SUA SUE
SUAVIUS- See Suterman.
SUBLEYRAS, Peter. A French painter, born at Us6z, in Languedoc, in 1699- He was
the son of Matthew Subleyras, an artist of little celebrity, from whom he learned the
elements of design. When he was fifteen years of age, he was placed under the tuition
of Anthony Rivalz, of Toulouse. On leaving that master he went to Paris, and fre
quented the Academy, where he obtained the first prize, by a picture representing the
Brazen Serpent. He was in consequence sent to Rome, under the pension of the King,
where he finished his studies. The mode of living at Rome, and the opportunity of
contemplating the interesting objects with which that capital is embellished, had for
him such attraction, that he established himself there for the remainder of his life. By
the exercise of his estimable talents he acquired such celebrity in that metropolis, where
the abilities of foreigners are not distinguished on slight pretensions, that he was en
gaged to paint an altar-piece for the Basilica of St. Peter, which he lived to see exe
cuted in mosaic. It represents St. Basil celebrating Mass before the Emperor Valens,
and is engraved by Domenico Cunego. He painted many historical works for the
churches at Rome, and other places in Italy, and was also much employed as a portrait-
painter. He died at Rome in 1749, aged 50. We have a few etchings by this artist,
executed in a spirited and tasteful style, among which are the following :
The Brazen Serpent.
The Martyrdom of St. Peter.
Mary Magdalen washing the Feet of Christ.
A set of four Plates from Fontaine's Fables.
SUBTERMANS, or Sustermans, Justus. This painter was bora at Antwerp in 1597,
and was a scholar of William de Vos. On leaving the school of that master he dis
covered an unusually promising talent, when he determined to visit Italy in search of
improvement. He travelled through Germany to Venice, where he passed some time,
and afterwards went to Florence, where his abilities recommended him to the notice of
Cosimo II. Grand Duke of Tuscany, who appointed him his painter, in whose service he
remained until the death of that prince, and was also favoured with the protection of
Cosimo III. Subterm'ans painted history and portraits, and in the latter" is considered
little inferior to Vandyck. When that distinguished painter visited Florence, he ex
pressed the greatest admiration of his works, and painted his portrait, of which we have
an etching by Vandyck among the eminent artists of the Flemish school. His historical
pictures are grandly composed, and his design, refined by his studies in Italy, is elegant
and correct. His colouring possesses the clearness and brilliancy of his country, and
he was well acquainted with the principles of the chiar-oscuro. One of his most con
siderable works is in the gallery at Florence, representing the Florentine nobility swear
ing fealty to Ferdinand II. In this immense composition, he has introduced the por
traits of the most distinguished personages of the time. He died in 1681, aged 84,
SUEUR, Eustachius le. This distinguished painter of the French school was born at
Paris in 1617. He was the son of an obscure sculptor, who, discovering his disposition
for painting, placed him under the tuition of Simon Vouet. He was more indebted for
the extraordinary reputation he afterwards acquired, to his studies from the antique
marbles which had been brought into France, and the pictures of the Roman school, to

SUEUR. 445
which he had access, in the principal collections, than to the precepts of his instructor.
His style exhibits little of the character of his country, and the simplicity of his com
positions and the purity of his design, procured him the honourable title of the French
Raffaelle. In 1640 he was received into the Academy at Paris, and painted for his
picture of reception St. Paul casting out a Devil. He was soon afterwards engaged in
his celebrated series of twenty-two pictures, representing the life of St. Bruno, formerly in
the cloister of the Carthusians, afterwards purchased by the King of France, and now
arranged in one of the apartments of the Luxembourg. Of the original beauty of these
interesting productions we can only form a very imperfect idea, as they have been so ma
terially damaged, and so injudiciously repaired, that, in the generality of them, little re
mains but the evanescent traces of their primitive character. A more precise opinion
of his powers may be conceived from his fine picture of St. Paul preaching at Ephesus,
painted for the ehurch of Notre Dame, now in the gallery of the Louvre, and the Descent
from the Cross, formerly in the church of St. Gervais. His compositions are noble and
elevated, and there is a naivete in the airs of his heads, and in his attitudes, which is ex
tremely interesting ; his draperies are simply and grandly cast, and though his colouring
is without vigour or force, it is tender and delicate, and well adapted to the particular
character of his works.
The French biographers do not hesitate to compare the talents of Le Sueur with those
of Raffaelle; and M. Watelet, certainly the least prejudiced of their critics, elevates his
talents to nearly a level with those of the illustrious head of the Roman school. What
ever allowance we may be disposed to make for the pardonable bias of national parti
ality, it will be readily allowed, that no painter of that school, N. Poussin only excepted,
who ought rather to be regarded as a Roman than a Parisian, divested himself so much
of the affected and theatrical style, which is the distinguishing characteristic of the
artists of his country. This eminent painter died in 1655, aged 38. We have a solitary
etching by Le Sueur, representing the Holy Family, half figures.
SUEUR, Peter le, called the elder. A French engraver on wood, born at Rouen in
1636. He was a disciple of du Bellay, and, according to Papillon, greatly surpassed
his instructor. Among other prints, he executed a wooden cut, representing Judith,
from Goltzius, dated 1670. He generally used a monogram composed of a P. an L. and
an S. thus, g. He died at Rouen in 1716.
SUEUR, Peter le, called the younger. He was the son of the preceding artist, born at
Rouen in 1663, and was instructed in the art of design and engraving on wood by his
father. His drawing was tolerably correct, and his cuts are executed with great deli
cacy. He engraved some devout subjects and biblical prints; and Papillon mentions
an emblematical subject by him, called Alpha and Omega, in which the Christian religion
is represented by a naked figure, and Idolatry concealed by a veil. He usually marked
his prints with the initials P. L. S.
SUEUR, Vincent le. He was the younger brother of the foregoing engraver, born at
Rouen in 1668. After being instructed in the principles of the art by his father, he
was sent to Paris where he became a pupil of John Papillon. He distinguished himself
as an engraver on wood, and his cuts were esteemed, though not very correct in the
design. Papillon mentions as his best print, the Soldier's Farewell, engraved in 1702.

446 SUE S U R
He executed several cuts in chiar-oscuro, among which is Mercury and Prometheus,
after P. Farinato. He marked his prints with the initials V. L. S.
SUEUR, Nicholas le. This artist was the son of Peter Le Sueur, the younger, born at
Paris in 1690. He also excelled as an engraver on wood, and was the most eminent of
his family. He executed several fine cuts for the Crozat collection, chiefly in chiar
oscuro, which gained hyn great reputation. He also engraved, in a very tasteful style,
the ornaments which embellish the edition of Fontaine's Fables, from the designs of
Bachelier. Among others we have the following cuts by him, executed for the Crozat
collection: Fishermen drawing their Nets; after Giulio Romano.
The Mass ; after Polidoro da Caravaggio.
The Egyptians overwhelmed in the Red Sea ; after Gio. Fran. Penni, called // Fattore.
Christ wilh the Apostles ; after Raffaelle del Colle.
The Man and the Lion ; after Bal. Peruzzi,
The Death of St. Francis Xavier; after Lod. Gimignani.
The Descent of the Holy Ghost; after G. B. Lenardi.
The Annunciation ; after G. M. Morandi.
The Virgin appearing to St. Philip Neri; after L. Garzi.
The Virgin on a Throne, surrounded by Saints ; after P. Pietri.
SUISSE, Le. An engraver on wood, mentioned by Papillon, who, among other prints,
executed a large cut, representing the Turkish Army arranged in order of battle. At
the bottom of the print is an eulogium in praise of the artist.
SUIZER, John. By this artist, who flourished about the year 1650, we have some book
plates and portraits, among which is a head of Felix Wyssius, an ecclesiastic, dated
1655.
SULIVAN, Luke. This artist was a native of Ireland, but came to London when he was
young, and became a pupil of Thomas Major. He practised miniature painting as well
-as engraving, and had considerable employment. As an engraver, he was chiefly en
gaged on plates from the pictures of Hogarth, and sometimes worked conjointly with
that artist. Among others, we have the following prints by him :
The infant Moses presented by his mother to the daughter of Pharaoh ; after Hogarth; W.
Hogarth, et L. Sulivan, sc.
Paul before Felix ; after the same ; L. Sulivan, sc. 1752.
The March to Finchley ; after the same. 1761.
The Temptation of St. Anthony ; after Teniers.
A set of six Views of Country-seats.
SURCHI, Giovanni Francesco, called Dielai. According to Superbi, this painter was a
native of Ferrara, and flourished about the year 1543. He was a disciple of the Dossi
who he assisted in several of their principal works in the palaces of Belriguardo, Gio-
vecca, and Cepario. He painted history with considerable reputation, and distinguished
himself also as a painter of grotesque ornaments and landscapes. In the Pitture di
Ferrara, by Barotti, are noticed several of the works of this master particularly the

SUR SUT 447
Marriage of St. Catherine, in S. Anna; and the Adoration of the Shepherds, in S. Gio-
vannino. The style of Surchi resembles that of Dosso Dossi in the graceful air of his figures,
and the lively expression of his heads. Flis colouring is more vigorous, though less
harmonious, than that of his instructor. He died in 1590.
SURRUGUE, Louis. A French engraver, born at Paris in 1695. He was instructed in
design and engraving by Bernard Picart, whose style he adopted with success, and, like
his instructor, united the point with the graver in a very agreeable manner. The effect
of his prints is pleasing, and he would have reached an eminent rank among the engravers
of his country, if his drawing had been more correct. He was a member of the Academy
of Paris, where he died, in 1769, aged 74. We have, among others, the following prints
by him : portraits.
Louis de Boullongne, Painter to the King ; after Matthieu.
Joseph Christopher Veirier, Sculptor.
SUBJECTS AFTER VARIOUS MASTERS.
St. Margaret ; after Raffaelle ; for the Crozat. collection.
St. Jerome in the Desert ; after Bal. da Siena ; engraved by N. Chateau, and finished by £,.
Surrugue; same collection.
Christ curing the ten Leprous Men ; after Girol. Genga ; for the same collection.
Abraham sacrificing Isaac ; after A. del. Sarto.
The Birth of the Virgin; after P. da Cortona,
Abraham sending away Hagar; after Le Sueur.
Venus nursing Love; after Rubens.
A Flemish Merry-making and the Fortune-teller; two plates ; after Teniers.
SURRUGUE, Peter Louis. He was the son of Peter Surrugue, born at Paris in 1717,
and was taught the art of engraving by his father. Flis style resembles that of his
father, though inferior to him. He engraved several plates of historical subjects and
portraits, among which are the following :
PORTRAITS.
Rene Fremin, Director of the Academy ; after Latour.
Simon Guillain, Sculptor to the King ; after N. Coypel,
SUBJECTS APTER VARIOUS MASTERS.
The Nativity ; after the celebrated picture by Coreggio in the Dresden Gallery ; called La
Notte.
The Virgin and Infant, accompanied by St. Jerome and two other Saints ; after Guido.
The Judgment of Paris ; after Henry Goltzius.
He also engraved after Charles Coypel, Paler, Chardin, Teniers, and other masters.
SUTERMAN, Lambert, or Suavius. It was for some time believed that Lambert Lom
bard and Lambert Suterman, or Suavius, were one and the same artist. Baron Heineken
bas, however, satisfactorily proved that Lambert Suterman was a painter and engraver,

448 SUYDERHOEF.
and a disciple of Lombard. He was a native of Liege, and flourished about the year
1550. We have several plates by him after Lambert Lombard, as well as from his own
designs. They are executed with the graver, in a neat, finished style. He usually signed
his prints with the initials L. S. Among others are the following :
SUBJECTS AFTER LAMBERT LOMBARD.
The Resurrection of Lazarus ; Lambert Lombard, inv. L. S. 1544.
Christ, with the Disciples at Emaus.
The Entombing of Christ.
St. Peter and St. John healing the Lame Man at the Gate of the Temple.
The taking down from the Cross.
SUBJECTS FROM HIS OWN DESIGNS.
The Twelve Apostles; dated 1545, 1547, and J 548.
The Head of Christ; circular. 1559.
The Head of the Virgin; the same.
Some portraits, among which is that of M. Angelo Buonaroti.
SUYDERHOEF, Jonas. This eminent designer and engraver was born at Leyden about
the year 1600. He was instructed in design and engraving by Peter Soutman, whose
style he followed, but excelled him in the delicacy and harmony of his execution. Al
though his plates are finished with uncommon neatness, they produce a vigorous as well
as a pleasing effect, and his prints exhibit an unusual intelligence of the chiar-oscuro.
He advanced his plates considerably with the point, and finished them with the graver
in a very picturesque style. He engraved a variety of subjects after different masters,
and a considerable number of portraits, which are admirably executed. His prints are
deservedly held in the highest estimation, of which the following are the most esteemed.
PORTRAITS.
The Emperor Maximilian ; after Lucas of Leyden.
The Empress Maria, his consort ; after the same.
Maximilian, Archduke of Austria ; after Rubens.
Philip III. King of Spain ; after the same.
Albert, Archduke of Austria, Governor of the Netherlands ; after the same.
Isabella Clara Eugenia, Infanta of Spain, his consort; after the same.
Charles I. King of England ; after Vandyck.
Henrietta Maria, his Queen; after the same.
Francis de Moncade, Count d'Ossonne; after the same.
John the Bold, Duke of Burgundy ; after P- Soutman.
Charles the Warlike, Duke of Burgundy ; after the same.
Aldus Swalmius, the old Man with the beard ; after Rembrandt.
Ren6 Descartes, Astronomer ; after F. Hals.
Anna Maria Schurmans ; after J. Lievens.
SUBJECTS AFTER VARIOUS MASTERS.
The Fall of the Angels ; after Rubens.
The Virgin embracing the infant Jesus ; after the same.
A Bacchanalian subject ; after the same.

SWA SWA 449
A Drunken Bacchus, supported by a Satyr and a Moor; after Rubens.
The Hunting of the Lion and Tiger ; after the same.
The Peace of Munster, containing the portraits of the Plenipotentiaries ; after G. Terburg; one
of his finest plates.
Dutch Peasants quarreling ; after the same.
The Burgomasters of Amsterdam ; after Theod. de Keyser.
Three old Women regaling ; after Ostade.
Three Boors, one playing on the violin ; after the same.
The Tric-trac players ; after the same.
Dutch Boors fighting with knives ; after the same.
Dutch Boors dancing, called the Ball ; after the same,
SWANENBURG, William van. A Dutch engraver, born at Leyden about the year 1581.
According to Huber, he was a disciple of John Saenredam. His style of engraving is
bold and free, and his prints bear some resemblance to the manner of engraving of Henry
Goltzius. He had a great command of the graver, but it is to be regretted that his
drawing is not more correct. The following are his most esteemed plates :
PORTRAITS.
Maurice, Prince of Orange Nassau.
Ernest Casimir, Count of Nassau.
John William, Duke of Cleves.
Daniel Heinsius, Historian. 1608.
Abraham Bloemaert, Painter. SUBJECTS AFTER VARIOUS MASTERS.
Esau selling his Birth-right to Jacob ; after P. Morelsen.
The Resurrection ; after the same.
The Adoration of the Shepherds ; after Ab. Bloemaert.
The six Penitents; after the same.
St. Jerome in the Desert ; after the same.
St. Peter penitent ; after the same.
Lot and his Daughters ; after Rubens.
Christ with the Disciples at Emaus ; after the same.
The Judgment of Paris; after M. Mirevelt.
Perseus and Andromeda; after J. Saenredam.
A Village Festival ; after D. Vinkenbooms.
A set of fourteen Plates, entitled, The Throne of Justice ; after Joachim Uytenwael. 1605,1606.
SWANEVELT, Herman. According to Huber, this eminent landscape-painter and en
graver was born at Woerden in 1620. He is said to have been first a scholar of Gerard
Douw, to whose style of painting he for some time applied himself; but his disposition
directing him particularly to landscape-painting, he left that master, and travelled to
Italy, whilst he was very young. On his arrival at Rome he was indefatigable in his
studies. He was frequently seen in the most sequestered places, designing the most
interesting views, and the most remarkable vestiges of antiquity in the vicinity of that
capital. These studious and solitary promenades procured him the appellation of the
Hermit of Italy. In 1640 he became the disciple of Claude Lorraine, whose admirable
productions he had long contemplated with wonder and delight. By the assistance of
Vol. II. 3 L

450 SWE SWI
so able an instructor, and his attentive observance of nature, Swanevelt became one of
the most celebrated painters of landscape of his time ; and though his scenery is less
extensive and select, and his colouring less brilliant and glowing than that of his inimi
table preceptor, few artists have surpassed him in the suavity and tenderness of his tints
or the delicate degradation of his aerial perspective. The forms of his trees and rocks
are grand and picturesque, and his plants and foliage are touched with characteristic
propriety and spirit. His pictures are usually embellished with the choicest reliques of
ancient architecture, and decorated with groups of figures and cattle, tastefully com
posed, and designed with elegance and correctness. The works of this painter are held
in the highest estimation in Italy, where he resided nearly the whole of his life, and died
at Rome in 1690, aged 70.
We are indebted to Herman Swanevelt for several of the most beautiful etchings
which are to be found in the portfolios of the collector. They are executed in a free,
masterly, and spirited style, though the point is handled with uncommon neatness and
dexterity. They are sufficiently interesting to call for a particular detail of them:
A set of eighteen small oval plates, representing Views in Itary, and rural subjects ; entitled,
Variai campestri fantasicc a Hermano Swanevelt, invent, et in lucem editce.
A set of thirteen Italian Landscapes, including the title ; dedicated to Gideon Tallement.
A set of twelve Views in and near Rome; entitled, Diver ses Vues dedans et dehors de Rome,
Sfc. 165S.
A set of seven Plates of Animals, with landscape backgrounds, and figures.
A set of four Arcadian Landscapes, with Nymphs and Satyrs.
A set of four Landscapes with Biblical subjects.
A set of four Mountainous Landscapes, with different representations of the Flight into Egypt.
A set of four Views of the Appenines, with pastoral subjects.
A set of six grand Landscapes, with the history of Venus and Adonis.
A set of four Landscapes, with different Saints and Mary Magdalen.
SWELINCK, John. A Dutch engraver, who resided at Amsterdam about the year 1620.
He engraved a set of emblematical subjects ; after A. V. Venne. They are executed
with the graver in a neat style, resembling that of the Wierixs.
SWERTS, or Sweerts, Michael. A Dutch painter and engraver, who flourished about
the year 1655. He etched several plates, chiefly from his own compositions, among
which are the following: PORTRAITS.
John van Bronchhorst, Painter.
Herman Saftleven, Painter.
His own Portrait.

SUBJECTS.

The Dead Christ, supported by the Marys and St. John.
A Man seated in a chair, smoking, and a Boy standing by him.
SWIDDE, William. This artist was a native of Holland, but chiefly resided in Sweden,
where he flourished about the year 1690. He engraved several of the plates for a work

SWI SYM 451
entitled, Suecia Antiqua et Hodierna, containing views of the principal buildings, &c. in
Sweden. We have also by him a set of six landscapes, with figures and cattle, after
Dirk Dalens. Fie usually marked his plates with the initials W. S.
SWITZER, Christopher. A German engraver on wood, who resided in England about
the year 1614. He was employed by Speed to cut the coins and seals for his History of
Great Britain, from the originals in the Cottonian collection. Speed calls him the most
exquisite and curious hand of that age. In the Harleian Library was a set of wooden cuts,
representing the broad seals of England, from the Conquest to James I. inclusive, neatly
executed, which Vertue believed to have been cut by Christopher Switzer, and were the
originals from which Hollar copied those published by Sandford. He had a son also
named Christopher, who also engraved on wood, and whose works are sometimes con
founded with those of his father.
SYBRECHT, John. This painter was born at Antwerp in 1625, and was the son of an
obscure painter, who taught him the rudiments of design. He afterwards imitated the
style of Nicholas Berghem and Karel du Jardin, with unusual success. The Duke of
Buckingham returning through Flanders from his embassy to Paris, found Sybrecht at
Antwerp, was pleased with his works, invited him to England, and employed him at
Cliefden. He painted landscapes and views of the Rhine, and his pictures were held in
considerable estimation. His pictures in water-colours are more frequently met with
than his oil paintings. He died in 1703, and was buried in St. James's church.
SYDER, Daniel, called II Cavaliere Danielle. He was boi-n at Vienna in 1647. After
being instructed in the principles of design by an artist, who is not mentioned, he went
to Venice, where he became a scholar of Carlo Loti, whose style he followed with such
success, that before he left his school it was difficult to distinguish the works of the
disciple from those of his master. He had painted some pictures for the churches and
private collections at Venice, when he determined to visit Rome, to improve his style of
design, by studying the antique, and the works of the great painters of the Roman
school. The works of Carlo Maratti were at that time in the highest reputation, and
he became a student under that eminent painter, of whom he was one of the most
favoured and most distinguished disciples.
Desirous of bringing the abilities of his pupil into public notice, Carlo Maratti pro
cured him the commission to paint two pictures for the church of S. Filippo Neri, called
La Chiesa Nuova, representing the Last Supper, and the Miracle of the Manna. These
works established his reputation, and his talents recommended him to the patronage of
the Duke of Savoy, who invited him to his court, appointed him his principal painter,
and conferred on him the order of knighthood. Syder painted portraits with not less
success than historical subjects. He possessed a fertile invention, and his compositions
are copious and ingenious. His figures are designed in the graceful style of Maratti,
and his colouring, formed on the principles of the Venetian school, is tender and natural.
He died at Rome in.l 721, aged 74.
SYLVESTRE. See Silvestre.
SYMPSON. See Simpson. 3L2

452 SYS T A L
SYSANG. By this engraver, who flourished about the year 1746, we have several por
traits, executed in a neat, clear style, for a work entitled, Portraits Historiques des Hommes
illustres de Danemark, published in the above year.
SYTICUS. See Serious.

XACCONE, Innocenzio. Innocenzio Taccone, a native of Bologna, was a disciple, and,
according to Baglione, a relative of Annibale Caraeci. He accompanied that great
artist to Rome, where he assisted him in many of his works. In the vault of the church
of S. Maria del Popolo, he painted three large frescoes, from the designs of Annibale,
representing the Crowning of the Virgin, Christ appearing to St. Peter, and St. Paul
taken up into the third heaven. Of his own compositions, the most considerable are
some pictures in S. Angelo in Pescheria, in the chapel dedicated to S. Andrea, repre
senting the principal events of the life of that Apostle. He died at Rome, in the prime
of life, in the pontificate of Urban VII f.
TAFFI, Andrea. To this ancient master, who was born at Florence as early as the year
1213, the Florentines were indebted for the revival of the art of working in mosaic.
Vasari reports, that some Greek painters in Mosaic being employed in ornamenting tbe
church of S. Marco at Venice, he visited that city, with the hope of becoming ac
quainted with their mystery, and succeeded so well, that one of them, named Apollonius,
not only instructed him in the art, but was prevailed on by him to accompany him to
Florence, where they executed, in conjunction, some devout subjects in the church of S.
Giovanni. He died in 1294, aged 81.
TAGLIASACCHI, Giovanni Batista. This painter was a native of Borgo S. Donnino,
near Piacenza, and flourished about the year 1730. He was a scholar of Guiseppe del
Sole, and for some time painted history in the style of his master; but acquired a more
graceful and elegant design, by studying the works of Coreggio, Parmegiano, and
Guido. Fie had not an opportunity of gratifying his desire of contemplating the works
of Raffaelle, as his parents would not permit him to visit Rome. His principal works
are at Piacenza; and Lanzi speaks in very favourable terms of a picture by him in the
cathedral of that city, representing the Holy Family. He died in 1737.
TALAMI, Orazio. He was born at Reggio in 1625, and was a scholar of Pietro Desani. He
afterwards visited Rome, where he passed some time, and applied himself particularly to
the study of the works of Annibale Caraeci. On his return to his native city, he dis-

T A L TAR 453
tinguished himself as a reputable painter of history and architecture, both in oil and
fresco. He died in 1699, aged 74
TALPINO. See Salmeggia.
TAMBURINI, Giovanni Maria. This painter was a native of Bologna, and was first a
scholar of Pietro Pacini, but afterwards studied under Guido Reni. He painted history
with considerable reputation, and was employed for several of the churches at Bologna.
His most esteemed works are his pictures of S. Antonio di Padona, in the church of La
Morte; and the Annunciation, in S. Maria della Vita. He flourished about the year
1640.
TANCREDI, Filippo. He was born at Messina in 1655. He studied some time at
Naples, and afterwards visited Rome, where he entered the school of Carlo Maratti. In
the Memorie de Pittori Messinesi, he is said to have possessed a ready and fertile invention,
a tolerably correct design, and an agreeable style of colouring. He resided a great part
of his life at Palermo, where he painted the ceiling of the church of the Teatini, and
that of II Gesu Nuovo. He died at Palermo in 1725, aged 70.
TANJE, Peter. A Dutch engraver, born at Amsterdam about the year 1700. He was a
very industrious artist, and engraved a great number of plates of portraits, and various
subjects, as well as vignettes, and other book-plates. The most considerable of his
works are five large plates, engraved from the famous paintings on glass in the windows
of the church of St. John, at Gouda. He also engraved some plates for the Dresden
Gallery. Among others we have the following prints by him :
PORTRAITS.
George II. King of England, &c. ; after Faber. 1752.
Charles VII. Emperor of Germany ; P- Tanje, sc.
Christina, Queen of Sweden ; after S. Bourdon.
His own Portrait ; after J. M. Quinckhard.
SUBJECTS AFTER VARIOUS MASTERS, FOR THE DRESDEN GALLERY.
A dead Christ ; after Francesco Salviati.
The Chastity of Joseph ; after Carlo Cignani.
Children dancing; after Albano.
The Card-players ; after M. Angelo Caravaggio.
Tarquin and Lucretia ; after Luca piordano.
TANZl, Antonio. This painter was born at Alagna, near Novara, in 1574. It is not.
mentioned under whom he studied, but he was a competitor with the Carloni in several
public works at Milan, and distinguished himself particularly by a picture he painted of
the Battle of Sennacherib, in the church of S. Gaudenzio, at Novara, a composition
exhibiting as much vivacity as intelligence. He died in 1644, aged 70.
TARDIEU, Nicholas Henry. An eminent French engraver, bora at Paris in 1674. He
was first a pupil of P. le Pautre, and was afterwards instructed by John Audran. This

454 TARDIEU.
artist may be ranked among the distinguished engravers of his country. His design,
though occasionally mannered, is generally correct, and by a judicious union of the
point and the graver, he finished his plates in a tasteful and effective style. He was
engaged in some of the most important publications of his time, and engraved several
plates for the Crozat collection, the Gallery of Versailles, and others. He was received
into the Academy at Paris in 1720, and died in that city in 1749, aged 75. The follow
ing are among his most esteemed prints :
PORTRAITS.
Louis Anthony, Duke d'Antiii ; after Rigaud; engraved for his reception plate at the Academy,
in 1720.
John Soanon, Bishop of Senez ; Nic. Tardieu ad vivum fecit. 1716.
SUBJECTS AFTER DIFFERENT MASTERS.
Four subjects of Roman History, in the form of friezes ; after Giulio Romano.
Jupiter and Alcmene ; after a cartoon by the same.
The Annunciation; after Carlo Maratti.
The Holy Family, with Angels presenting Flowers and Fruit; after Andrea Luigi d' Assisi.
Adam and Eve ; after Domenichino.
The Scourging of Christ ; after Le Brun.
The Crucifixion ; after the same.
An emblematical Subject, representing the principal qualifications of a perfect Minister, Se
crecy, Fortitude, and Prudence ; after Le Sueur. This print is scarce.
Christ and the Woman of Samaria ; after N. Bertin.
Christ appearing to Mary Magdalen ; after the same.
The Martyrdom of St. Peter; after Seb. Bourdon.
The Crncifixion ; after Joseph Parrocel.
The Conception ; after Anthony Coypel.
Apollo and Daphne ; after the same.
The Wrath of Achilles ; after the same.
The Parting of Hector and Andromeca ; after the same.
Vulcan presenting to Venus the Arms of jEneas; after the same.
Venus soliciting Jupiter in favour of iEneas ; after the same.
Juno directing iEolus to raise a Tempest against the Fleet of iEneas ; after the same.
The three last prints form part of a set of prints of the History of iEneas, painted in
the Palais Royal by Ant. Coypel.
TARDIEU, Elizabeth Clara. This lady was the wife of the preceding artist. Her
maiden name was Tournay, and, among other prints, she engraved the following :
The Concert ; after J. F. de Troy.
The Mustard Merchant ; after Charles Hutin.
Two plates of the charitable Lady and the Chatechist; after P. Dumesnil.
The Old Coquet ; after the same. '
The Repose ; after Jeaurat.
TARDIEU, James Nicholas. He was the son of Nicholas Henry Tardieu, bora at Paris
in 1718, and was instructed in the art of engraving by his father. In his mode of exe
cuting his plates he used the point less, and the graver more than his father ; hence his

TAR TAR 155
prints have the appearance of more neatness, though very inferior in spirit and pic
turesque effect. His plates, however, possess considerable merit. He was also a
member of the Academy at Paris. He engraved a considerable number of plates of por
traits, and other subjects, among which are the following :
PORTRAITS.
Louis XV. ; after Vanloo,
His Queen ; after Nattier.
Maria Henrietta of France ; after the same.
The Archbishop of Bourdeaux ; after Restout.
Robert Lorraine, Sculptor to the King; his reception plate at the Academy. 1749.
Bon Boullogne, Painter to the King ; the companion.
subjects after various masters.
Christ appearing to the Virgin ; after Guido.
Mary Magdalen penitent ; after Paolo Pagani.
The Pool of Bethesda ; after Hestout.
Diana and Acteon ; afer F. Boucher.
The Miseries of War ; after Teniers.
A pair of Landscapes ; after Cochin the younger.
He also engraved some plates for the gallery of Versailles ; after Le Brun. Louisa
Tardieu, his wife, who was the daughter of the celebrated medallist Du Vivier, also
engraved some plates.
TARDIEU, Peter Francis. This artist was cousin-german to the foregoing engraver,
by whom he was instructed in the art. He was born at Paris in 1720, where he engraved
several plates, which, though inferior to those of his relatives, are not without merit.
Among others, we have the following by him :
The Judgment of Paris ; after Rubens.
Perseus and Andromeda ; after the same.
These two pictures were engraved from the pictures in the collection of Count Bruhl.
He also engraved several architectural views, after Panini; a set of plates for Fontaine's
Fables, after Oudry; and several plates for Buffon's Natural History. Mary Ann Tar
dieu, his wife, whose maiden name was Roussellet, was also an engraver. We have by
her a print of St. John in the Wilderness, after Carl. Vanloo. She also assisted in the
plates for Buffon's publication.
TARDIEU, Peter Alexander. A modern French engraver, who was probably of the
same family with the preceding artists. He was born at Paris in 1756, and was a pupil
of J. G. Wille. We have by him, among other prints, the portrait of Henry IV. of
France, after Porbus, engraved for the collection of the Palais Royal.
TARICCO, Sebastiano. This painter was bora at Cherasco, in the Piedmoqtese, in
1645. Della Valle asserts, that he studied with Guido and Domenichino in the school
of the Caraeci; an inaccuracy altogether surprising in an Italian writer on art, as the
great founders of that school died many years before he was born. It is probable that

456 TAR T A S
he formed his style by an attentive study of their works, as is apparent in the pictures
he painted for the public edifices and private collections at Turin. He died in 1710,
aged 65.
TARUFFI, Emilio. He was born at Bologna in 1632, and was a fellow student with
Carlo Cignani, under Francesco Albano. In conjunction with Cignani he painted some
pictures in the Palazzo Publico, at Bologna, and accompanying him to Rome, was his
coadjutor in his frescoes in S. Andrea della Valle. Of his works in the public edifices
at Bologna, the most esteemed are his picture of the Virgin presenting the Rosary to
S. Domenico, in the church of S. Maria Nuova ; and the Virgin, with a glory of Angels
appearing to S. Celestino, in the church dedicated to that saint. He painted landscape
in the charming style of his instructor, which he decorated with figures elegantly
grouped and correctly designed. He died in 1694, aged 62.
TASCA, Cristoforo. According to Tassi, this painter was born at Bergamo in 1667, and
after learning the rudiments of design in his native city, studied at Venice the works of
Antonio Bellucci and Carlo Loti. He established himself in that city, where he "was
employed in painting several pictures for the public edifices, of which the most deserv
ing of notice are the Birth of the Virgin, in the church dell' Assunzione; the Death of
St. Joseph, in S.S. Filippo e Giacomo; and in S. Marta, the Nativity, and the Baptism
of Christ by St. John. He died at Venice in 1737, aged 70.
TASNIERE, G. According to, Basan, this artist resided at Turin, about the year 1670,
where he engraved part of a set of prints from the hunting subjects, and portraits of the
nobility, painted by John Miel, in the palace of the Duke of Savoy, which were pub
lished at Turin in 1674, entitled La Venamia reale, Palazzo di piacere, fyc. He also en
graved several plates from the pictures of Domenico Piola, a Genoese painter. They
are executed entirely with the graver, in a coarse, tasteless style.
TASSART, Peter Joseph. A Flemish painter and engraver, bora at Brussels about the
year 1736. His pictures are little known, but he etched several plates, particularly
after Rubens, among which are the following:
Jonas thrown into the Sea.
The Woman taken in Adultery.
The Virgin and Child, with St. Elizabeth and St. John.
The Martyrdom of St. Lawrence.
The Parting of Venus and Adonis.
TASSI, Agostino. The family name of this painter was Buonamici. Fie was born at
Perugia in 1566, and studied at Rome under Paul Brill, although he was desirous of
being considered a disciple of the Caraeci. He painted landscapes in the style of his
instructor, and was considered one of the ablest artists of his time, when, Lanzi informs
us, for some crime, which is not mentioned, he was sent to the gallies at Leghorn.
During the term of his confinement, he occupied himself in designing the maritime
objects with which he was surrounded, and after his liberation they became the favourite
subjects of his pictures. He painted with great success sea-ports and calms, with ship
ping and fishing-boats. Flis tempests and storms at sea were not less happily repre-

TAT TAV 457
sented, and were touched with unusual spirit and energy. He also excelled in architec
tural and perspective views, in which he distinguished himself by some admirable produc
tions in the pontifical palace of Monte Cavallo, and in the Palazzo Lancellotti. Agos
tino Tassi has the credit of having been the instructor of Claude Lorraine. He died in
1642, aged 76. We have a few slight but spirited etchings by this artist, representing
storms at sea, and shipwrecks.
TATORAC, V. According to Papillon, this artist executed a set of one hundred and fifty
wooden cuts for an edition of Ovid's Metamorphoses, published in 1537; and a print
of the Annunciation, fora prayer-book, dated 1530.
TAVARONE, Lazarro. According to Soprani, this painter was born at Genoa in 1556,
and was a favourite disciple of Luca Cambiaso. He accompanied that master to Spain,
whither he was invited by Philip II. in 1583, and not only assisted him in his great work
in the Escurial, but after the death of Cambiaso was employed to finish the paintings
left imperfect by that master. He remained for some years in the service of the King
of Spain, and returned to Genoa rich in the designs of his instructor, and munificently
rewarded. He particularly excelled in fresco painting, to which he gave a vigour
approaching to oil. His principal works at Genoa are his frescoes in the tribune of the
Cathedral, representing subjects from the Life of S. Lorenzo, and the facade of La.
Dogana, or Custom-house, representing St. George and the Dragon. He died in 1641,
aged 58.
TAVELLA, Carlo Antonio, called II Solfarola. This painter was born at Milan in
1668, and was a scholar of Peter Molyn, called II Tempesta, whose vigorous manner he
for some time followed with afire and spirit which acquired him the name of II Solfarola.
He afterwards adopted a style distinguished by more amenity and tenderness, from
studying the works of Benedetto Castiglione, and Gaspar Poussin, and is considered the
ablest landscape painter of the Genoese school, after Antonio Travi, called II Sestri.
There are many of his works in the private collections at Genoa, of which the principal
are in the Palazzo Franchi. His landscapes are sometimes decorated with figures by
Domenico and Antonio Piola, and more frequently by Stefano Magnasio. He died at
Genoa in 1738, aged 70. j
TAVERN ER, Mr. An English amateur painter, who followed the profession of a
proctor in Doctor's Commons. He, however, studied and practised the art of painting
landscapes, with a zeal and success which would not have been unworthy of an eminent
professor. The noble author of the Anecdotes mentions some pictures by Mr. Taverner
in the possession of the Earl of Harcourt, and Mr. Fauquier, which might have been
mistaken for the works of Gaspar Poussin, and were not unworthy of that celebrated
painter.
TAVERNIER, Melchior. A French engraver, who resided at Paris about the year 1630.
He was a printseller as well as an engraver, and on an inscription on one of his plates,
styles himself engraver and copper-plate printer to the king. His prints are chiefly por
traits; but he also engraved some ornaments, and other trifling subjects, from his own
Vol. II . 3 M

458 TAU TEM
designs. They are very indifferently executed with the graver. We have by him,
among others, the following :
A Bust of the Duke of Alenyon, crowned with laurel.
An Equestrian Statue of Henry IV. of France; inscribed, Melchior Tavernier a Paris, graveur
et imprimeur du Roi, 8,c. 1627.
TAURINI, R. This artist is mentioned by Papillon as a skilful engraver on wood, and a
disciple of Albert Durer.
TAYLOR, T. An English engraver, who flourished about the year 1735. He engraved
several plates for the collections published by Mr. Boydell, among which are the fol
lowing :
Democritus and Protagoras ; after Salv. Rosa.
A Flemish collation ; after Van Harp.
Two emblematical Vignettes for Boydell's collection ; from the designs of J. Gwyn.
TEMINI, Giovanni. The name of this artist is affixed to a portrait of Carlo Gonzales,
Duke of Mantua, it is slightly etched, and finished with the graver.
TEMPEL, Abraham Vanden. This artist was born at Leyden about the year 1618, and
was a scholar of George van Schooten. He painted small pictures of historical subjects,
conversations, and portraits. His works are very highly finished, and he had the eredit
of being the instructor of Francis Mieris, the elder. Although his pictures are not so
highly wrought up as those of Mieris, he holds a respectable rank among the artists of
his country, who distinguished themselves by the neatness of their pencil, and the deli
cacy of their colouring. He died at Amsterdam in 1672, aged about 54.
TEMPESTA, Peter. See Molyn.
TEMPESTA, Antonio. This artist was born at Florence in 1555, and was first a disciple
of Santi di Titi, but he afterwards studied under John Stradanus. Endowed with an
ardent and inventive genius, he in a short time surpassed both his instructors in the
fecundity of his ideas, and the facility of his execution. His favourite subjects were
battles, cavalcades, huntings, and processions, which he composed in a grand style, and
painted with unusual spirit and energy. He also painted historical subjects and grotesque
ornaments; and during a long residence at Rome was much employed by Gregory XIII.
in the gallery and loggie of the Vatican ; and by the Marchese Guistiniani, in the deco
rations of his palace. In the church of S. Stefano Rotondo, is a fine picture by Antonio
Tempesta, of the Murder of the Innocents. The extent of his genius, and the variety
of his powers, are evident in the numerous etchings he has left, which amount to up
wards of eighteen hundred. With the exception of an occasional extravagance in the
design, they are very able and masterly performances. He usually marked his plates
with one of these monograms, j^S.. jJJ. ^g. $g\. Among his numerous prints are the
following: A set of plates of subjects from the Old Testament, generally called Tempesta's Bible.
Twenty-four plates of the Life of St. Anthony.

T E M TEN 459
A set of one hundred and fifty prints from Ovid's Metamorphoses.
Thirteen plates of the Labours of Hercules.
The Four Ages of Man ; in four plates.
A variety of Huntings of different animals.
Several plates of Battles and Cavalcades.
The Entry of Alexander into Babylon.
Diana and Acteon.
The Crucifixion ; inscribed, Ant. Tempestes. 1612 ; scarce.
TEMPESTA, or Tempestino Domenico. According to Lanzi, this artist was born at
Florence in 1652, and was a scholar of Baldassare Franceschini, called II Volterrano.
He painted portraits and landscapes with some reputation, but distinguished himself
more as an engraver than a painter, and is said to have received instructions in engrav
ing from R. Nanteuil and Gerard Edelinck. Among other prints, he engraved a set of
portraits of the Electors Palatine.
TENIERS, David, the elder. This painter was born at Antwerp in 1582, and was edu
cated in the school of Rubens. He for some time applied himself to historical painting,
and visited Italy, for the purpose of studying the best works of the celebrated painters
of that school, but his genius leading him to landscape painting, he placed himself under
the tuition of Adam Elsheimer, at Rome, and studied under that master for six years.
On his return to Flanders he adopted a different style, and painted, with the most flat
tering success, rural sports, merry-makings, temptations of St. Anthony, fortune-tellers,
&c. He treated those subjects with considerable humour and ingenuity, and his pic
tures were universally admired, and were purchased with avidity. They would still have
been considered among the happiest efforts of the art in that particular branch, if they
had not been so greatly surpassed by the inimitable productions of his son. We have
a few etchings by this painter, but they are not easily distinguished from those of David
Teniers the younger, as they are very similar in the style, and bear the same mark. The
following are usually attributed to him :
A Pilgrim, with his staff and chaplet.
A Peasant putting a plaster on his hand.
The Bust of a Peasant with a fur cap.
TENIERS, David, the younger. This celebrated painter was the son of the preceding
artist, born at Antwerp in 1610, and received his first instruction from his father. He
afterwards studied for some time under Adrian Brower, and Is said to have had the ad
vantage of receiving the lessons of Rubens in the principles of colouring. He painted
similar subjects to those of the elder Teniers, but his compositions are infinitely more
varied and ingenious, his colouring is more chaste and transparent, and his pictures
exhibit the most spirited and captivating facility of execution. The talents displayed
by this extraordinaty artist soon excited universal admiration, and he was employed and
patronized by the most illustrious personages of his time. The Archduke Leopold
William, then governor of the Low Countries, appointed him his principal painter, and
gave him the superintendance of his gallery, which contained the works of the most
distinguished masters of the Italian as well as of the Flemish school. He painted small
copies of the principal pictures of that collection, in which he imitated the particular style
3M2

460 TENIERS.
of each master so successfully, that he was called the Proteus of painting. These imita
tions he caused to be engraved, and published in a folio volume, dedicated to his patron,
now generally called Tenier's Gallery. He did not limit his mimic powers to merely
copying, he painted several pictures, called pasticcios, of his own compositions, but exe
cuted so perfectly in the style of Titian, Tintoretto, Bassano, Rubens, and other eminent
masters, that they have frequently been mistaken for the originals work of those
painters. The author was present at the sale of one of the principal collections at Brus
sels, in which was a picture of Mary Magdalen kneeling in a grot, the figure as large
as life, which had been regarded, for many years, by the most experienced judges, as an
admirable production of Rubens; some difference of opinion arising, the picture was
taken out of the frame, when the name of David Teniers, jun. with the date, was disco
vered at the bottom of the picture, which had been concealed by the border of the
frame. It was not, however, to his imitative faculties that Teniers was indebted for his
greatest celebrity. He was a constant and faithful observer of nature, and in his favou
rite subjects, representing village festivals and merry-makings, Flemish fairs, and ker-
messes, gypsies, and incantations ; he has displayed a characteristic originality, and a
naivete of expression, in which he is unrivalled. That he might have an opportunity of
studying from life the rustic character of the peasantry, their rural sports and rejoicings,
their quarrels and their combats, he established himself in a retired situation in the
village of Perk, between Antwerp and Mechlin, where he could mingle with their pas
times, and observe, with a painter's eye, their character under the impulse of the various
passions; and it is surprising that he has been able to give such an admirable variet\'
to representations, which, in their nature, appear confined and uniform. His landscapes,
though perfect representations of nature, have an appearance of sameness and mono
tony, from his scenery being generally confined to the vicinity of the village in which
he resided, where the flatness of the country admits of little change ; but he amply com
pensates for this want of variety, by the truth and simplicity with which he has repre
sented these homely views. His pencil is light and dexterous, and by his continual
practice he had acquired a promptness of execution which is almost unexampled. His
trees, without choice or grandeur in their forms, are touched with a spirit and a taste
for which he is remarkable. His skies are light and floating, and there is a silvery
charm in the colouring of his best pictures, which is peculiar to himself.
He is not less admirable in his interiors of cabarets, with peasants smoking and regal
ing, corps de gardes, and chymist's laboratories, in which he surpassed Ostade in his
knowledge of perspective; and is not less master of the principles of the chiar-oscuro.
The works of Teniers, though extremely numerous, are justly held in the highest esti
mation. It was not unusual for him to finish a picture, of a medium size, in a day and
he used jocosely to observe, that to contain all the pictures he had painted, it would be
necessary to have a gallery two leagues long. Teniers was of infinite service to the
, landscape painters of his time, in decorating their works with his admirable figures • and
the value of the pictures of Artois, Van Uden, and others of his contemporaries, is con
siderably enhanced by such embellishment. This popular painter died at Brussels in
1694, aged 84. We have several etchings by this artist, executed in a slight but spirited
style; they are usually marked with the cipher Ji), as are those of the elder Teniers,
which renders it difficult to identify their prints. The following are said to be by
him : ,

TEN TER 461
Flemish Peasants dancing.
A Village Festival.
The Temptation of St. Anthony.
Peasants shooting at a mark.
The Inside of a Cottage, with a dead Calf hanging, and figures.
A Landscape, by moon-light, with a Cottage, and figures sitting near the fire.
TENIERS, Abraham. He was the younger brother of the foregoing artist, bom at
Antwerp about the year 1618, and was instructed in the art both by his father and
brother. He painted Flemish festivals in the style of David Teniers the younger, and
though his pictures are very inferior both in the colouring and execution, from the simi
larity of the subjects they are sometimes mistaken by the inexperienced for the produc
tions of his brother. ,
TEOSCOPOLI. See Greche.
TERASSON, H. This artist is mentioned by Mr. Strutt as the engraver of some plates
of insects, executed in a neat, but stiff style.
TERBURG, Gerard. This painter was bora at Zwoll, in the province of Over-Yssell, in
1608. He was the son of an artist, of whom little more is known than that he had
studied at Rome, by whom he was taught the rudiments of design. Without the help
of any other instruction, he had acquired some reputation, by painting small portraits,
when he formed the project of travelling through Germany to Italy. From the sub
jects which he painted, and the mode of finishing he had adopted, it was not very pro
bable that the beauties of Rome would have much influence on his style ; nor does it
appear that they had sufficient attraction to detain him long in Italy, as we find him
soon afterwards at Paris, where the polished neatness of his finishing, and the pleasing
subjects he painted, were so much admired, that he was induced to reside in that city
for some time. On his return to Hollaud, the encouragement he met with was not less
flattering, and he was considered the most popular and the most employed artist of his
time. He attended the congress assembled at Munster, in 1648, for the negociation for
the treaty of peace, and on that occasion painted his celebrated picture, representing the
portraits of the plenipotentiaries and principal personages assembled on that occasion,
which is regarded as his masterpiece. Of this interesting production we have an admi
rable print by Suyderhoef. Fie was invited by Count Pigorando, the Spanish ambas
sador at the congress, to visit Madrid, where he was very favourably received, and was
much employed by the court and the principal nobility. The King conferred on him
the order of knighthood, and rewarded him munificently for the pictures he had painted.
He returned to Holland, and settled at Deventer, where he died, in 1681, aged 73.
The pictures of Terburg generally represent conversations, musical parties, ladies at
their toilet, and similar domestic subjects. He also excelled in small portraits. Though
his works are well coloured, and finished with care, his design is neither elegant nor
correct, and his pencil has nothing of the taste and dexterity so much admired in the
pictures of Metzu. His chief excellence lies in ihe finishing of his draperies and other
accessories, particularly white satin, which he painted inimitably, and which he gene
rally introduced into all his pictures.

462 TER TER
TERENZI, Terenzio da Urbino, called II Rondolino. This painter was a native of
Urbino, and flourished about the year 1600. He was a scholar of Frederigo Baroccio,
and, according to Baglione, visited Rome, where he was favoured with the protection
of Cardinal Montalto. He is said to have possessed an extraordinary talent of imitating
the works of the old masters, to which he gave an appearance of antiquity, which
deceived some of the most experienced judges. Having practised one of these decep
tions on his benefactor, imposing on him a picture, painted by himself, for a work of
Raffaelle, he was discarded by his patron with disgrace and contumely. There is a
picture of his own composition in the church of S. Silvestro, at Rome, representing the
Virgin and Infant Christ, with several Saints. He died in 1620.
TERMISANO, Dezio. This painter was a Neapolitan, and a scholar of Giovanni Filippo
Criscuolo. He flourished about the year 1580. Dominici, in his Lives of the Neapo
litan Painters, mentions a picture by this master in the church of S. Maria detta
a Chiazza, at Naples, representing the Last Supper, signed with his name, dated
1597.
TERSAN. See Campion.
TERWESTEN, Augustine. This painter was born at the Hague in 1649. Without the
help of an instructor he had made sufficient progress in design, by drawing from prints
and plaster casts, to be employed by the goldsmiths as a chaser on gold and silver, which
profession he followed until he was twenty years of age, when he turned his thoughts
to painting, and became a scholar of an artist named Wieling, who had some reputation
as an historical painter, under whom he studied two years. His instructor being invited
to the court of the Elector of Brandenbourg, he placed himself under the tuition of
William Doudyns, an eminent painter of history, and in a short time found himself
sufficiently advanced to undertake a journey to Italy, on the produce of his talents. He
travelled through Germany to Rome, where he applied himself, with the greatest assi
duity, in studying the most interesting works of art in that capital, and where he met
with sufficient employment to enable him to continue his residence for four years. He
afterwards visited Florence and Venice, and in 1678 returned to Holland, where he dis
tinguished himself as one of the ablest artists of his time. His talents were chiefly em
ployed in painting historical, or emblematical subjects, for the decoration of the ceilings
and apartments of the principal mansions at the Hague, Amsterdam, and Dort, which
he embellished with subjects frequently taken from Ovid, which he composed with great
readiness and ingenuity, and by an extensive practice had acquired an unusual facility
of execution. One of his most admired performances was a saloon he painted for M.
Baarthont van Slingelandt, at Dort, which is spoken of by Descamps in terms of the
highest commendation. He had the credit of having been the principal means of re
establishing the Academy at the Hague on a respectable footing, which had for some
years been in a state of decadency.
In 1690 he was invited to the court of the Elector of Brandenbourg, afterwards King
of Prussia, who appointed him his principal painter, and made him director of the Aca
demy at Berlin, on the dismission of Joseph Werner from that situation. He decorated
the royal palaces vyith some of his best works, and continued to exercise his abilities to
the entire satisfaction of his protector, until the year 1711, when he died at Berlin, aged

TER TER 463
62. Terwesten possessed a ready and fertile invention ; his design is more correct than
the generality of the artists of his country; his colouring is chaste and natural, and he
was remarkable for the promptness of his handling.
TERWESTEN, Elias. He was the younger brother of the preceding artist, born at the
Hague in 1651. His inclination leading him to painting, he became the disciple of his
brother, and for some time applied himself to the design of the figure, but not succeed
ing to his expectation, he attempted to paint animals, flowers, fruit, and still-life, in
which he was more successful. Following the example of his brother, he travelled to
Italy, and settled at Rome, where his works were held in considerable estimation, and
where he died, in 1724, aged 73.
TERWESTEN, Matthew. This artist was the youngest brother of Augustine Terwesten,
born at the Hague in 1670. He was for some time instructed by his brother, but after
wards studied successively under Daniel Mytens and William Doudyns. Possessed of a
decided genius for the art, and aided by the instruction of those able masters, he disco
vered the most promising talents, and on the departure of Augustine Terwesten for the
court of Berlin, when he was twenty years of age, he was entrusted to finish some con
siderable works, which were left imperfect by his brother. He acquitted himself on
that occasion with so much ability, that he received several commissions, and met with
the most flattering success. One of his earliest patrons was M. Schuilenberg, the prin
cipal minister of King William, in Holland, for whom he painted a ceiling, representing
Diana and her Nymphs, which gained him great reputation. This encouragement, so
far from rendering him self-sufficient and conceited, only inspired him with a more
ardent desire of cultivating his talents with more alacrity and perseverance. He had
long entertained an ardent desire of visiting Italy, where his brother had studied with
so much advantage. The liberality of his protector enabled him to carry his favourite
plan into execution, and he arrived at Venice in 1694, where he attached himself to the
study of the works of Titian, II Tintoretto, and Paolo Veronese, and frequented the
school of Carlo Loti. He afterwards proceeded to Rome, where he found his brother
Elias, and passed three years in contemplating and designing after the works of the
most distinguished masters. On his return to Holland, he was received into the
Academy of the Hague, in 1699, and met with very extensive employment, in painting
historical and fabulous subjects for the decoration of the principal mansions at the
Hague. He was soon afterwards appointed director of the Academy, and exercised
the functions of his office with much credit to himself, and with great advantage to the
students. Among his most esteemed productions are the saloon and cupola at the hotel
of Mr. Fagel; some pastoral subjects painted for M. Van Boetslaer; and a picture of
Christ praying on the Mount of Olives, in the church of the Jansenists, at the Hague.
He died in 1735, aged 65.
TERZI, Franceso. This artist was born at Bergamo about the year 1520, and was a
disciple of Giovanni Batista Morani. According to Tassi, he painted history with some
reputation, and distinguished himself, whilst he was yet young, by two pictures he
painted for the church of S. Francesco, at Bergamo, representing the Nativity of
Christ, and the Assumption of the Virgin. He was invited to the court of the Emperor
Maximilian II. who appointed him his painter, and he passed the greater part of his

464 TER T E S
life in Germany. He died at Rome, at an advanced age, in 1600. He engraved a set
of portraits of the Princes of the House of Austria.
TERZI, Cristoforo. This painter was a native of Bologna, and flourished about the year
1740. He was a scholar of Guiseppe Maria Crespi, called II Spagnuolo, and acquired
considerable reputation as a painter of history. There are several of his works in the
public edifices and private collections at Bologna, among which the most worthy of
notice is his picture of S. Petronio kneeling before the Virgin, in the church of S. Gia
como Maggiore. He died at Bologna in the prime of life in 1743.
TESAURO, Filippo, or Pippo. According to Dominici, this old painter was born at
, Naples about the year 1260. He was a disciple of Tommaso de Stefani, and became
one of the ablest artists of that early period. Dominici describes several of the works
of Tesauro in the public edifices at Naples, of which none have escaped the ravages of
time, except some frescoes in the church of S. Restituta, representing the Life of S.
Niccolo Eremita. He died at Naples in 1320, aged 60.
TESAURO, Bernardo. This artist is supposed to have been of the same family with
Filippo Tesauro, and was born at Naples in 1440. He was a disciple of Silvestro Buono,
and was an artist in great reputation at the time in which he lived. Though many of
his works have been injured and destroyed by time, some of his pictures, remaining in
the public places at Naples, are mentioned by Dominici in very favourable terms. He
approached nearer to the modern style than any of his predecessors or contemporaries,
in the judicious arrangements of his compositions, and in the natural air and expression
of his figures. His chief performance was an altar-piece in the church of S. Giovanni
Maggiore, representing the Assumption of the Virgin.
TESAURO, Raimo Epifanio. He was the son and disciple of Bernardo Tesauro, and
flourished about the year 1490. He painted several considerable works in fresco in the
public edifices at Naples. In the church of the S. Nunziata is a fine picture by this
master representing the Visitation of the Virgin Mary to St. Elizabeth ; and at the great
altar of the church of S. Lorenzo, is one of bis most esteemed performances, represent
ing the Virgin and infant Christ, with St. Anthony, St. Jerome, and St. John Baptist,
painted in 1494.
TESTA, Pietro, called II Lucchesino. This artist was born at Lucca in 161 1, and is
supposed to have received his first instruction in the art from Pietro Paolini. He after
wards studied at Rome, first under Domenichino, and afterwards under Pietro da Cor
tona; but having spoken disrespectfully of the talents of the latter, he was dismissed
from his school. He applied himself with great assiduity to designing after the marbles
and the remains of architecture in that capital, and it is said that there is scarcely a
vestige of antiquity from which he had not made a design. He is said to have been of
a morose and melancholy disposition, and created himself a number of enemies, by the
injurious manner in which he spoke of the productions of his contemporaries. Of his
works in the public edifices at Rome, the most worthy of notice are his picture of the
Death of S. Angelo,in the church of S. Martino a. Monti ; and the Sacrifice of Iphigenia,
in the Palazzo Spada. His pictures are more frequently to be met with at Lucca, of

T E S T E S 465
which those in the church of S. Paolino, and in the Buonovisi Gallery, are regarded
amongst his finest works. Though his design is occasionally somewhat extravagant, it
is generally correct, and his colouring is vigorous and effective. His compositions are,
for the most part, crowded and confused, though their variety discovers a ready and
fertile invention. His female figures are without elegance, and the airs of his heads
have neither beauty nor expression. He was drowned in the Tyber, in 1650, at the age
of 39 ; it is doubtful whether by accident, or that he threw himself into the river in a
fit of despondency.
As an engraver, Pietro Testa is deserving of particular attention; and though his
prints have the same merits and defects as are found in his pictures, they are held in
considerable estimation. His style of etching is free and masterly, resembling that of
Antonio Tempesta, but of superior execution. In Mariette's collection were ninety-two
etchings by this master. He sometimes marked his plates with the cipher HP* which
are all from his own designs. The following are the most worthy of notice :
Abraham sacrificing Isaac; P. Testa, fee.
The Holy Family, with angels presenting refreshments.
>-The Virgin and Infant, who is embracing the Cross.
,>The Adoration of the Magi.
The Crucifixion.
Four Plates of the History of the Prodigal Son ; P- Testa, fe. Roma;.
The Martyrdom of St. Erasmus.
St. Jerome praying
>- St. Roch and two Bishops interceding for the cessation of the plague.
Thetis directing the infant Achilles. to be plunged into the river Styx; P. Testa, fecit.
Achilles dragging the Body of Hector round the walls of Troy ; P. Testa, aq. for.
J>Socrates at Table with his Friends ; P. Testa. 1648.
-7 The Death of Cato ; the same inscription.
The Sacrifice of Iphigenia.
Four plates of the Seasons of the Year, with the Signs of the Zodiac.
The Triumph of Bacchus.
He also engraved several allegorical and emblematical subjects.
TESTA, Giovanni Cesare. This artist was the nephew of Pietro Testa, born at Rome
about tbe year 1630, and is supposed to have received his instruction in design, and in
the use of the point, from his uncle, from the resemblance in their style. His etchings
are chiefly from the designs of Pietro Testa, though he engraved after other masters.
We have, among others, the following plates by him :
Tbe Portrait of Pietro Testa ; J. Cesar Testa, sc.
The Death of Dido ; after P. Testa.
The Centaur Chiron instructing Achilles to throw the javelin ; after the same.
The Emperor Titus consulting Basilides respecting his expedition against Jerusalem; after the
same.
The Communion of St. Jerome; after the celebrated picture by Domenichino.
TESTANA, Giovanni Batista. An Italian engraver, bora at Genoa about the year 1645.
He resided chiefly at Rome, where, in conjunction with William Vallet and Stephen
Picart, he engraved some, plates from medals and antique gems, for the work of Canini.
Vol. II. 3 N

466 T E S T H I
We have also some plates by him after some of the pictures at Rome, among which are
the following :
The Guardian Angel ; after Pietro da Cortona.
The Baptism of Constantine; after Agost. Caraeci.
TESTANA, Gioseffo. He was related to the preceding artist, born at Genoa about the
year 1650. He was established at Rome in 1680, and engraved part of the plates for a
work entitled, Effigies of the Cardinals now living, published in that year. We have also,
among others, the following prints by him :
St. Margaret ; after P. da Cortona.
An allegorical subject of Religion holding the Portrait of Pope Alexander VII.; after the same.
TESTELIN, Louis. A French painter and engraver, born at Paris in 1615, and was one
of the numerous scholars of Simon Vouet. He painted history with considerable repu
tation, and was made a member of the Academy of Paris in 1648. His principal pic
tures are the Resurrection of Tabitha, and the Scourging of St. Paul, in the church of
Notre Dame, at Paris. He died in 1655, aged 40. He etched several plates, most of
which are from his own designs. The following are his prints most worthy of notice :
The Israelites gathering the Manna ; after N. Poussin.
The Holy Family.
St. Michael vanquishing the Evil Spirit.
The Crucifixion.
Several sets of plates of the Sports of Children, amounting together to about fifty priuts.
TEUCHER, John Christopher. A German engraver, who resided in Paris about the
year 1750, where he engraved a print called the Virgin of the Rose, after Parmegiano,
for the collection called the Dresden Gallery.
THACKER, Robert. By this English artist, who styles himself designer to the King,
we have a large print, in four plates, representing the cathedral church at Salisbury.
He flourished about the year 1670.
THEODORE, A. This artist is mentioned by Mr. Strutt as the designer and engraver of
a print, representing a Procession in Holland, etched and retouched with the graver, in
a style resembling that of Hollar. It is dated 1636.
THEODORE,  . According to Basan, this artist was a scholar of Francis Mile,
and painted landscapes in the style of that master. He etched several plates from the
designs of his instructor, among which are the following:
A set ef large Landscapes.
Thirty-four Landscapes, of a middle size.
Six circular Landscapes.
THIBOUST, Benoit. A French engraver, born at Chartres about the year 1655. He
resided some years at Rome, where he engraved several plates after various Italian

T H I Till 467
masters, and a set of thirty-four plates, without the frontispiece, representing the Life
of St. Turribius, after Gio Batista Gaetano, entitled, Vita Beati Turribii, Archiepiscopi
Limani in Indiis, published at Rome in 1679. He worked with the graver only, in a
slight, open style, resembling that of Mellan, though very unequal to that artist. Besides
the above mentioned work, we have the following prints by him :
St. Theresa ; after a design of Bernini.
St. Bibiena; after the same.
, St. Thomas d' Aquinas ; after Giacinto Calandrucci.
St. Rosa kneeling before the Virgin ; after A. Baldi.
The Martyrdom of St. Peter; after the same.
St. Peter of Alcantara ; after the same.
The Crucifixion ; after Scipione Gaetano.
THIELE, John Alexander. This artist was born at Erfurt, in Saxony, in 1695. He is
said to have been a scholar of an obscure landscape painter, named Manyoky, but was
chiefly iudebted for the talent he afterwards displayed to his studies from nature. His
pictures represent the beautiful scenery on the banks of the Sala, and the Elbe ; and he
acquired sufficient celebrity to be appointed painter to the court of Dresden. J. A.
Thiele has the credit of having been the master of Dietricy. We have several etchings
by this artist, consisting of views in Saxony, from his own designs. They are dated from
1726 to 1743. Those of the latter dates are very superior to his early plates.
THIELEN, or Cowenberg, John Philip van. This artist was born at Mechlin in 1618.
He was of a noble family, and was Seigneur of Cowenberg, on which account he usu
ally signed his pictures J. P. Cowenberg. An early inclination for the art induced him
to take lessons of Daniel Segers, the celebrated flower-painter, and his progress was such,
that he afterwards followed it as a profession. His pictures, like those of his instructor,
usually represent garlands of flowers, surrounding some subjects of history ; festoons,
decorating vases ornamented with bas-reliefs, and bouquets in vessels of chrystal, which
he represented with surprising lustre and clearness. In competition with Segers, he was
engaged to paint a picture for the Abbey of St. Bernard, near Antwerp, on which occa
sion he exerted all his ability, and his performance was judged to be little inferior to
that of his master. He arranged his flower-pieces with great taste ; aud though his
pictures are less brilliant and forcible than those of Segers, they are \ery highly
finished and delicately coloured. He particularly excelled in representing the various
insects which he introduced into his pictures, which he designed with the utmost pre
cision, and they are surprisingly finished. He died in 1667, aged 49.
THIELEN, Maria Theresa, Anna Maria, and Frances Catherina van. These ladies
were the daughters of John Philip vanThielen, and were instructed in the art of flower-
painting hy their father, in which they arrived at considerable excellence. Maria
Theresa, the eldest, also painted portraits with some reputation.
THIERS, Baron de. A French amateur engraver, who etched a few plates of landscapes,
and small subjects, after Boucher. Fie lived about the year 1760.
3 N 2

468 THI THO
THIM, Moses. A German engraver, who resided at Wittenberg about the year 1613. I
find no specification of his prints, but he is said to have marked his plates with the
initials M. T. sometimes separate and sometimes joined together thus, }[J\
THOMAN, Christian Raymond. A German engraver, who flourished about the year
1613. He engraved some of the plates for the collection of prints from the antique
marbles in the Dresden Gallery. ^
THOMAS, John. This painter was born at Ypres, in Flanders, about the year 1610, and
had the advantage of being educated in the school of Rubens. After passing some
years under that able master, he travelled to Italy, with his friend and fellow student,
Abraham Diepenbeke. He proved a worthy disciple of that great school, and distin
guished himself by several considerable works, particularly in Germany, where he passed
the greater part of his life. The Emperor Leopold appointed him his principal painter
in 1662, with a considerable pension. In the church of the Barefooted Carmelites, at
Antwerp, is an altar-piece by this master, representing St. Francis kneeling before the
Virgin and infant Christ. We have a few etchings by this master, execute din a bold,
spirited style ; among which are the following :
A Lady at her Toilet, holding a Portrait ; J. Tliomas, inv. etfec.
A Shepherd and Shepherdess.
A Satyr embracing a Shepherdess.
A Pastoral Subject, composed of six figures, three Men and three Women, one of the Men play
ing on the Bag-pipes.
THOMAS, James Ernest. This painter was born at Hagelstein in 1588, and received
his first instruction in the art from an obscure painter, in his native place. At the age
of seventeen he travelled to Italy, and on his arrival at Rome became a disciple of Adam
Elsheimer, whose style he adopted, and imitated with such success, that it is sometimes
difficult to distinguish their works. During a residence of fifteen years in Italy, he
visited Naples and Genoa, where his pictures were held in no less estimation than at
Rome. After the death of his friend and preceptor he returned to Germany, and esta
blished himself at Landau. He painted landscapes of a small size, very neatly finished,
and, like those of his instructor, they are usually decorated with figures representing
historical or biblical subjects, correctly and tastefully designed. He died at Landau in
1653, aged 65.
THOMASSIN, Philip. A French engraver, born at Troyes, in Champaigne, about the
year 1536. He went to Rome when he was young, where he resided the greater part of
his life. According to Huber, he was a pupil of Cornelius Cort, and followed the style
of that artist with considerable success. He worked entirely with the graver, in a clear,
firm style. His plates are numerous, amounting to upwards of two hundred, of which
about fifty are from the antique statues at Rome. The following are his most esteemed
prints :
The Portrait of Philip Emanuel of Lorraine, Duke de Mercoeur.
A set of fourteen plates, with the title, of Christ and the Twelve Apostles ; after Raffaelle,
St. Margaret ; after the same.
St. Cecilia; after the same.

THOMASSIN. 469
The School of Athens ; after Raffaelle.
The Dispute on the Sacrament ; after the same.
The Defeat of the Saracens in the Port of Ostia; after the same.
The Conflagration of the Borgo Vecchio ; after the same.
The Holy Family ; after Federigo Zuccaro.
The Adoration of the Magi ; after the same.
The Miracle at the Marriage of Cana ; after Taddeo Zuccaro.
The Nativity ; after Ventura Salimbeni.
The Purification of the Virgin ; after F. Baroccio.
The Last Judgment ; after F. Vanni.
Apollo and the Muses; after Bal. Peruzzi; a frieze.
THOMASSIN, Simon. He was of the same family with the artist mentioned in the pre
ceding aiticle, born at Troyes, 1638. After being instructed in the rudiments of design
at Paris, he went to Rome, and studied for some time in the French Academy established
there. He devoted himself to engraving, which he practised with Considerable success.
His plates are executed entirely with the graver, in a neat, clear style, but without much
intelligence in the effect of the light and sh adow. His drawing is more mannered than
incorrect, and his extremities are not marked with that freedom and lightness which
distinguish the hand of the great master. He was a member of the Academy at Paris,
and was one of the engravers to the King. His most considerable work was a "folio
volume of plates from the statues and other marbles in the palace and garden of Ver
sailles. We have also, among others, the following prints by him :
PORTRAITS.
Louis, Duke of Burgundy. 1698.
Maria Adelaide of Savoy, Duchess of Burgundy.
Paul Beauvillier, Duke of St. Aignou. 1695.
Charles XII. of Sweden.
Peter Corneille ; after Le Brun.
SUBJECTS AFTER VARIOUS MASTERS.
The Miraculous Draught of Fishes ; after Raffaelle.
The Transfiguration ; after the same.
St. Paul taken up into the third heaven ; after N. Poussin.
Christ praying on the Mount; after Le Brun.
THOMASSIN, Henry Simon. He was the son of the foregoing artist, born at Paris in
1688, and was first instructed by his father, but was afterwards a pupil of Bernard Picart,
and accompanied that master to Amsterdam, where he passed two years, and engraved
some plates. He returned to Paris, and was received into the Academy in 1728. His
plates are executed with more freedom than those of his father, and he availed himself
more of the assistance of the point. He died at Paris in 1741, aged 53. We have,
among others, the following prints by him ;
PORTRAITS.
The Portrait of Louis XIV. presented to the Arts by Minerva ; after L. de Boulongne; engraved
for his reception into the Academy. 1728.
Louis, Dauphin of France ; after Tocque.

470 THO THO
The Bust of Cardinal de Fleury, supported Ly Diogenes, who had at length found an honest man ;
after Rigaud.
John Thierry, Sculptor to the King; after N. Largilliere.
Carlo Cignani, Painter; after a picture by himself.
SUBJECTS AFTER VARIOUS MASTERS.
Christ, with the Disciples at Emaus ; after P. Veronese ; for the Crozat collection. ,f
Adam and Eve driven from Paradise; after D. Feti; the same.
Melancholy ; after the same ; for the same.
The Magnificat, or the Song of the Virgin ; after Jouvenet.
Coriolanus overcome by the solicitations of his Family ; after La Fosse.
The Plague at Marseilles ; after J. F. de Troy.
He also engraved some plates from Coypel, Wateau, and other masters.
THOMPSON, R. A printseller, who resided in London, and died in 1693. He pub
lished several portraits in mezzotinto, some of which are supposed to have been scraped
by himself.
THOMSON, William. This artist was a native of Dublin, but practised portrait-paint
ing in London, where his name appears in the catalogues of the exhibition from the
year 1761 to 1777. Though he was not considered a painter of the first eminence, his
pictures possessed the merit of a faithful resemblance, and a natural tone of colouring.
He died in London in 1800.
THORNHILL, Sir James. This eminent English painter was the son of a gentleman of
an ancient family, in Dorsetshire, and was born at Weymouth in 1676. His father
having been reduced to the necessity of selling his paternal estate, his son was obliged
to look out for a profession for support. Having conceived an early inclination for
painting, he came to London, where he was assisted by Sydenham, the celebrated physi
cian, who placed him under the tuition of an artist of little note, whose name is not
mentioned; but he was more indebted to his own genius and application, than the pre
cepts of his instructor. He had acquired considerable celebrity as a painter of history,
when he travelled through Holland and Flanders, from whence he went to France. It is
somewhat surprising, and it is perhaps to be regretted, that he did not visit Italy, where
his taste would have acquired more correctness and delicacy. On his return to England,
his abilities soon excited public attention, and raised his reputation to the greatest
height. He was appointed by Queen Anne to ornament the cupola of St. Paul's Cathe
dral, where he painted, in eight compartments, the history of that Apostle, composed
and designed in a grand style. These have been engraved in eight prints, by Du Bosc,
Beauvais, Baron, G. Vandergucht, and Simmoneau. He was afterwards employed in
decorating an apartment at Hampton-court with some emblematical subjects, relative
to the history of Queen Anne and her consort, George, Prince of Denmark. Among
his principal productions are the great saloon and the refectory in Greenwich Hospital.
These considerable works display a bold and inventive genius, well adapted to the com
position of allegorical and emblematical subjects, in which he was chiefly employed.
Yet, high as his reputation was, we are informed, by the noble author of the Anecdotes,
that he was far from being generously rewarded for some of his works ; and for others he

THO THU 471
found it difficult to obtain the stipulated prices. His demands were contested for his
paintings at Greenwich ; and though La Fosse, the French painter, received two thou
sand pounds for his work at Montague-house, and five hundred pounds more for his
support, Thornhill could obtain only forty shillings a square yard for the cupola of St.
Paul's, and the same for Greenwich. He was honoured with the particular patronage
of George I., by whom he was knighted, and was elected to represent his native town
in parliament.
By the favour of the Earl of Halifax, Sir James was permitted to copy Raffaelle's
cartoons at Hampton-court, on which he employed three years. At the sale of his pic
tures, after his death, these fine copies were purchased by the then Duke of Bedford ,
and were placed in a gallery in Bedford-house, Bloomsbary, until that edifice was taken
down, when the late Duke made a present of them to the Royal Academy.
Sir James Thornhill died in 1734, aged 57, leaving a son, James, for whom he had
procured the appointment of serjeant-painter, and a daughter, who was married to the
inimitable Hogarth. We have a few etchings by Thornhill, executed in a bold, slight
manner ; among which is one representing Adam and Eve.
THOURNEYSER, John James. This artist was bora at Basle in 1636, and received his
first instruction in engraving at Strasburg, from Peter Aubry. He afterwards visited
France, where he engraved several plates in a style resembling that of F. de Poilly.
Some of his prints are executed with a single stroke, in the manner of Claude Mellan.
We have several portraits by this artist, chiefly of persons of his native country, and
that of Louis XIV. when young, supported by Minerva and Apollo. He also engraved
a variety of frontispieces and other book-plates, and executed part of the plates for a
set of prints published by Catherine Patin, in 1691, from select pictures. He usualty
marked his plates with a cipher composed of an H. for Hans or John, and a T. thus, Ifr.
THUFEL, or Teufel John. According to Professor Christ, this artist was a native of
Saxony, and flourished about the year 1570. He executed some wooden cuts, which he
marked with the initials I. T. F. the F\ for fecit.
THULDEN, or Tulden, Theodore van. This painter was born at Bois-le-Duc in 1607,
and was brought up in the great school of Rubens, of whom he was one of the most
distinguished disciples. His illustrious instructor held his talents in sufficient estima
tion to employ him as an assistant in some of his principal works, and he is said to have
had a considerable share in forwarding the paintings for the Luxembourg Gallery. He
visited Paris in 1633, where he was engaged to paint a series of twenty-four pictures of
the Life of St. John of Matha, for the choir of the church of the Mathurins, of which
he etched and published the plates. On his return to Flanders, he painted several pic
tures for the churches and public edifices at Antwerp, Mechlin, Ghent, Bruges, and
other cities in Flanders, some of which have been mistaken for the works of Rubens.
He did not confine himself to historical subjects, but sometimes painted rural pastimes,
and village festivals, in which he excelled. Among his most esteemed works are the
Martyrdom of St. Sebastian, in the church of the Bernardines, at Mechlin ; the Mar
tyrdom of St. Adrian, in the church of St. Michael, at Ghent; and the Assumption of
the Virgin, formerly in the church of the Jesuits at Bruges, which is considered his
finest work. He died in 1676, aged 69. We have a considerable number of etchings

472 THY TIB
by Theodore Van Thulden, both from his own designs and after the compositions, of
other masters. They are executed in a slight but dear and determined style, among
which are the following :
A set of twenty-four plates of the Life of St. John of Matha ; after the pictures painted by
himself. 1633.
The History of Ulysses, in fifty-eight plates ; from the pictures painted by Primaticcio at Fon
tainbleau. 1640.
Eight plates of the Triumphal Arches designed by Rubens for the entry of the Cardinal Infant
Ferdinand into Antwerp.
The Prodigal Son ; in eight plates ; from his own designs.
THYS, Gysbrecht. This painter was a native of Antwerp, and, according to M.
.Descamps, flourished about the year 1625. He was one of the ablest portrait painters
of his time, and his works in that branch of the art have been sometimes mistaken for
the pictures of Vandyck. He also excelled in painting landscapes, with figures and
animals.
TIARINI, Alessandro. He was born at Bologna in 1577, and was first a scholar of
Prospero Fontana, and afterwards of Bartolommeo Cesi. Being under the necessity of
flying f^>m Bologna, on account of a quarrel, he retired to Florence, where he studied
for some time under Domenico Cresti, called Passignano. He had painted some pic
tures at Florence, and in the state, in the style of the last master, when the fame of
Lodovico Caraeci induced him to venture on returning to Bologna, the circumstance
which had driven him into exile having subsided. He immediately applied himself to
the study of the works of Lodovico, not as a copyist or imitator, but for the purpose of
improving and aggrandizing his manner, by a contemplation of the great style of that
master. The attempt was not fruitless to an artist possessed of ingenuity and inven
tion, and already well grounded in the theory of the art. In a short time his works
assumed a new character, and in the taste of his compositions, the conduct of the chiar
oscuro; and the expression of the passions, he appeared to have been educated in the
school of the Caraeci. He still preserved an originality of character, featured by a
gloomy solemnity, corresponding with the melancholy turn of his disposition. His
attitudes and airs of his figures are serious and pathetic, and the tones of his colouring
quiet and subdued. The subjects he selected were not less congenial with the grave and
sedate character of the painter. La Madonna addolarata, the Sorrows of Magdalen, and
the Repentance of St. Peter, were represented by him in a manner extremely affecting
and impressive. Flis principal works in the public edifices at Bologna are a fine picture
of the Virgin, Mary Magdalen, and St. John, weeping over the instruments of the
Passion, in the church of S. Benedetto ; St. Catherine kneeling before a Crucifix, in
S.Maria Maddalena; a Pieta, in S. Antonio ; and S. Domenico resuscitating a dead
Person, in the church dedicated to that Saint. The last mentioned picture excited the
surprise and admiration of Lodovico Caraeci, who declared it was equalled by few pro
ductions of the time. He died in 1668, aged 91.
TIBALD1, Pellegrino, called Pellegrino da Bologna. According to Zanotti, this
eminent artist was born at Bologna in 1527. Fie was a disciple of Bartolommeo Ra-
vnenghi, called II Bagnacavallo, and distinguished himself as an architect as well as a

TIBALDI. 473
painter. His principal studies at Bologna were from the works of Giorgio Vasari, in
St. Michael in Bosco. In 1547 he went to Rome, where the works of Michael Angelo
were the particular objects of his attention. Baglione mentions as one of his earliest
works in that city, a picture of the Archangel Michael, in the Castel S. Angelo, which
gained him great reputation. He afterwards painted the ceiling of the chapel of St.
Denis, in the church of S. Luigi de Francesi, representing a battle, grandly composed.
In conjunction with Marco da Siena, he painted the ceiling of the Capella Rovere, in
the church of La Trinita de Monti, from the cartoons by Daniello da Volterra. These
performances recommended him to the protection of Cardinal Poggi, who employed
him in ornamenting his Vigna, near the Porta del Popolo, which he embellished with
some admirable works in fresco. His patron further employed him in the completion
of his palace at Bologna, now the Palazzo dell Instituto, which was finished from his
plan, and which is regarded as one of his principal works as an architect. The interior
of the palace is also decorated with some frescoes, representing subjects from the
Odyssey, which are considered by Vasari as some of his finest productions. He con
structed the chapel of his protector, in the church of S. Giacomo Maggiore, and em
bellished it with some admirable paintings, representing St. John preaching in the Wil
derness, and the Division of the Elect from the Reprobate. These were long the admi
ration of the Caraeci, and were models of study to them and their numerous disciples.
The Cardinal Poggi next employed him in the erection of a chapel in La Madonna di
Loreto, where he painted the Nativity, the Presentation in the Temple, the Transfigu
ration, and the Decollation of St. John.
In 1586 he was invited to Spain by Philip II. in the capacity of architect and painter,
and was employed in the Escurial, where he painted the greater part of the lower
cloister, having expunged the unsuccessful production of Frederigo Zuccaro. Pelle
grino acquitted himself in this invidious task, to the entire satisfaction of his royal
employer. The subjects represent the Purification, the Flight into Egypt, the Murder
of the Innocents, Christ tempted in the Wilderness, the Election of the Apostles, the
Resurrection of Lazarus, the Expulsion of the Money-changers from the Temple, and
the Resurrection of Christ. The compositions are grand and copious, the figures are
models of correctness, designed in a free and masterly style, with great attention to
truth and nature.
Several pictures by Tibaldi are to be seen in the great church at Madrid, representing
St. Michael with the fall of the Angels, the Martyrdom of San Lorenzo, and two very
grand compositions of the Nativity, and the Adoration of the Magi, which he executed
to replace those by Zuccaro, of the same subjects, which Philip had rejected. But the
work which above all others establishes his reputation in Spain, is the ceiling of the
library. In this ingenious composition he appears to have had in mind the School of
Athens, by Raffaelle. He has personified, in different compartments, the Arts and
Sciences, the four Doctors of the church, with the antient philosophers Socrates, Plato,
Aristole, and Seneca, accompanied with their characteristic attributes and insignia, with
beautiful groups of children and figures supporting the cornice and festoons, in a variety
of attitudes and foreshortenings, designed with a grandeur and expression which prove
him to have been a worthy emulator of the great style of Buonaroti. After a residence
of nine years in Spain, Pellegrino returned to Italy, richly remunerated for his services^
and died at Milan in 1600, aged 73.
Vol. II. 3 0

474 TIB TIE
TIBALDI, Domenico Pellegrino. He was the younger brother of Pellegrino Tibaldi,
born at Bologna in 1540, and learned the rudiments of design in his native city. He is
said to have been a painter, but on very slender authority. As an architect and an en
graver, he acquired a distinguished reputation. We have some etchings by him executed
in a spirited style, among which are the following :
The Virgin and infant Christ ; after Parmigiano.
The Trinity ; after Orazio Samacchini.
Peace subduing the God of War; after Pell. Tibaldi.
TIDEMAN, Philip. This painter was born at Hamburgh in 1657. He was of a respect
able and opulent family, who intended him for one of the learned professions, and gave
him a liberal education ; but his inclination for the art occasioned him to pay great
attention to drawing, without, however, neglecting his studies. He was at length per
mitted to indulge his propensity, and was placed under the tuition of Nicholas Raes, a
painter of history of some reputation, under whom he studied eight years. He had
made considerable progress under that master, when the fame which Gerard Lairesse
had acquired at Amsterdam induced him to visit that city, to contemplate the works of
that painter, which had produced so lively a sensation on the public opinion. On his
arrival at Amsterdam, he was admitted into the school of that eminent painter, who
soon discovered in his disciple sufficient ability to employ him as an assistant in some
of the numerous and important commissions in which he was at that time employed.
The talents he had displayed as a coadjutor of Lairesse, recommended him to public
notice, and on leaving that master he was extensively employed in ornamenting the
public edifices and the principal mansions with historical and allegorical subjects, which
he composed and painted in the ingenious style of his preceptor. The advantages of
classical instruction, aided by the learned precepts of Lairesse, enabled him to treat sub
jects of history and the fable with unusual intelligence and propriety; and some of his
compositions were regarded as models for the historical painters of his country. Among
his most admired productions was a saloon he painted for the family of Verschuur, at
Hoorn, in which he represented, in a series of pictures, the History of iEneas, which
he treated with a classical propriety, and an originality of invention, which was univer
sally admired. He died at Amsterdam in 1705, aged 48.
TIEPOLO, Giovanni Batista. Giovanni Batista Tiepolo, one of the last eminent
painters of the Venetian school, was born at Venice in 1697. He was a scholar of
Gregorio Lazzarini, whose careful and studied style was an useful check to the natural
impetuosity of his genius. At first he imitated the manner of Gio. Batista Piazetta
though in a clearer and livelier tone of colouring. Such is his picture of the Shipwreck
of S. Satiro, in the church of S. Ambrogio at Milan. He afterwards studied with suc
cess the works of Paolo Veronese, and, though very unequal to that distinguished painter
in the airs of his heads and the turn of his figures, he approached him in the splendour
of his colouring and in the breadth of his light and shadow. Possessed of a lively in
vention, and an uncommon facility of execution, he was admirably qualified for the
functions of a copious machinist, and his large fresco works, of ceilings, and other deco
rations, representing allegorical subjects, are considered his best performances. After
giving proofs of his ability at Milan, and in other cities in Italy, Tiepolo was invited to

TIE TIL 475
the court qf Spain. He painted several splendid frescoes in the new palace at Madrid,
which were sufficiently admired to excite some degree of jealousy in Mengs, the po
pular court painter, who was then in the height of his celebrity. Of these, a particular
description will be found in Mr. Cumberland's Catalogue of the paintings in the King
of Spain's palaces. He died at Madrid in 1770, aged 73. We have about fifty-six
etchings by this master, executed with taste, neatness, and spirit; of which the following
are the most deserving of notice :
The Adoration of the Magi. This is esteemed his best print.
A set of twenty-four Fancy Subjects.
Ten Fancy Subjects, of a smaller size.
TIEPOLO, Giovanni Domenico. He was the son of the preceding artist, born at Venice
about the year 1726, and was instructed by his father, and painted some historical sub-
jects'in the churches at Brescia. He accompanied Gio. Batista Tiepolo to Spain, where
he assisted his father in his works in the palace at Madrid. We have several etchings
by this artist, in some of which he has imitated the style of Benedetto Castiglione.
Among others are the following :
A set of twenty-seven plates of the Flight and the Repose of the Holy Family in Egypt.
The Passion of Christ ; in fourteen plates.
A set of twenty-six Heads, in the style of Benedetto.
The Virgin appearing to St. Theresa ; after Gio. Bat. Tiepolo.
St. Ambrose preaching to the People ; after the same.
TIEPOLO, Lorenzo. He was the younger brother of Gio. Domenico Tiepolo, and
painted and etched in the style of his father.
TILBURG, Egidius, or Giles van, the elder. According to Descamps, this painter was
born at Antwerp about the year 1578. He was a contemporary of David Teniers the
old, and painted similar subjects, representing Flemish wakes and festivals, which were
esteemed at the time in which he lived.
TILBURG, Giles van, the younger. He was the son of the artist mentioned in the
preceding article, born at Brussels in 1625, and was first instructed by his father; but
on the death of that painter he became a scholar of the younger Teniers, at the time
when Francis Du Chatel studied under that master. He imitated the style of his last
instructor with some success, and Teniers had sometimes the mortification of seeing the
works of Tilburg preferred to his own. His pictures represent peasants regaling, and
village feasts, which are ingeniously composed and vigorously coloured, though infi
nitely inferior to those of Teniers in the lightness and dexterity of his pencil, and in
the clearness and purity of his colouring. The works of the younger Tilburg are held
in considerable estimation in Flanders, where they are found in the best collections.
TILL, John Charles van. A German engraver, who flourished about the year 1644.
He was chiefly engaged in engraving portraits and other book-plates. His name is
affixed to an indifferent etching of a bust of Ferdinand Talientschger, crowned by
Minerva. It is inscribed Joh. Carl van Till, J644.
3 02

476 TIL TIN
TILLART, John Baptist. A French engraver, who resided at Paris when Basan pub
lished his Dictionary in 1760. We have by him several etchings of the national dresses
of the Savoyards and Russians ; after St. Aubin, Le Prince, and others.
TILLEMANS, Simon Peter. This artist was horn at Bremen about the year 1602. He
passed the early part of his life in Italy, where he was esteemed as a painter of land
scapes. He also painted portraits with reputation, and was invited to the court of
Vienna by the Emperor Ferdinand, whose portrait he painted, with those of several of
the most distinguished personages of the court. He was living in 1668.
TILLEMANS, Peter. He was born at Antwerp in 1684, and was instructed in land
scape painting by an indifferent artist, whose name is not mentioned. He visited Eng
land in 1708, and first attracted notice by his excellent copies after Borgognone and
other artists, particularly Teniers, of whose works he preserved the freedom and spirit.
He also painted landscapes, with small figures, sea-ports, and views, of his own compo
sition ; and when he came to be known was employed by several persons of distinction.
He also excelled in painting views of the principal country-seats, huntings, races, and
drew horses in perfection. He was favoured with the patronage of the Duke of De
vonshire, for whom he painted one of his best pictures, representing a view of Chats
worth, and was much employed by Lord Byron, whom he instructed in drawing. He
died at Norton, in Suffolk, in 1734, aged 50.
TIMOTEO, da Urbino. See Vite.
TINELLI, Cavaliere Tiberio. This painter was born at Venice in 1586, and for some
time was a scholar of Giovanni Contarini, but afterwards studied under Leandro Bassano,
whose style he followed, particularly in his portraits, in which he excelled. He intro
duced a mode of representing his portraits in some historical character, which met with
great encouragement. His small pictures of historical and fabulous subjects were no
less admired, and he was considered one of the popular painters of his day. Some of
his pictures found their way into the collection of Louis XIII. King of France, who
esteemed them sufficiently to confer on him the order of knighthood. He occasionally
painted large pictures and altar-pieces, in which he was less successful than in those of
a cabinet size. He resided the greater part of his life at Florence, where his works were
esteemed. According to Ridolfi, the pressure of some domestic afflictions sunk him
into a state of melancholy and despondency, and he is said to have put an end to his life
in 1638, at the age of 52.
TH1NGHIUS, A. M. This artist is mentioned by Basan as the engraver of a plate from
a drawing by Callot, formerly in the cabinet of M. de Julienne. He flourished about
the year 1760.
TINTI, Lorenzo. An Italian painter and engraver, born at Bologna in 1634. He was a
scholar of Gio. Andrea Sirani, and painted some altar-pieces for the churches at Bologna
in the style of his master, of which the most worthy of notice are his picture of the
Scourging of Christ, in the church of La Madonna del Piombo ; and the Virgin and
infant Christ, with several Saints, in S. Tecla. We have several etchings by this artist,

TIN TIN 477
among which is the frontispiece to the Funeral Pomp of Francis I. Duke of Modena ;
after Francesco Stringa. He also etched several plates from some of the painters of the
Bolognese school, particularly after Elisabetta Sirani.
TINTI, Camillo. He was born at Rome about the year 1738, and was employed by
Gavin Hamilton to engrave some of the plates for his Scola Italica; among which are
the following :
The Marriage of St. Catherine ; after Parmigiano.
Meleager and Atalanta ; after Polidoro da Caravaggio.
Christ praying on the Mount of Olives ; after Lanfranco.
TINTORETTO, Giacomo Robusti, called II. This distinguished painter was born at
Venice in 1512. He was the son of a dyer, on which account he acquired the name of
11 Tintoretto. From his infancy he discovered a marked disposition for the art, and
covered the walls of his father's house with those infantine and artless sketches which
are the sure indications of decided genius. His father, so far from controling this
marked propensity, had him instructed in the rudiments of design, and placed him as a
disciple of Titian, under whom he had the advantage of studying some time. The
rapidity of his advancement, which outstripped that of all his fellow students, alarmed
the jealousy of his instructor, who had the meanness to expel him from his academy.
This apparent indignity, so unjust and unmerited, did not however abate his courage,,
nor disconcert the progress of his career; it served only to inspire him with more vigo
rous and extensive conceptions. He formed the daring project of creating a new style,
founded on an union of the beauties of Venetian colouring with the Florentine grandeur
of design. In a short time he established a school of art, and, to excite the emulation
of his disciples, had the following precept inscribed on the wall of his painting room :
II Disegno di Michel Angiolo, e il Colorito di Tiziano. He furnished himself with the
best casts he could procure, from the antique marbles and bassi-relievi, and had models
sent him from Florence, taken by Daniello da Volterra from the figures of the tomb of
the Medici, by Michael Angelo jBuonaroti. From these, we are told by Lanzi, his
studies were unremitted, which he often continued by the light of the lamp, for the pur
pose of giving greater breadth and power to the effect of his light and shadow. To
acquire a perfect acquaintance with foreshortening, which was less studied by the
Venetians than the Lombards, he is said to have suspended the models of figures in the
air ; and frequented the lectures and dissections of the anatomist, to acquire a complete
knowledge of the muscular construction of the human figure. These pursuits he fol
lowed with a genius, which Vasari, though inimical to him, is forced to admire, and
calls the most daring that has appeared in the art ; an imagination rich in novel and ex
tensive ideas, and a picturesque enthusiasm, capable of conceiving and representing the
most violent and varied expression of the passions. Such were the endowments pos
sessed by Tintoretto, and such the system he for some time adopted in his studies. But
what avails the most unbounded genius, says Lanzi, or all the gifts necessary to form a
consummate artist, without diligence, a virtue, which, according toTully, includes every
other? Unfortunately for the fame of Robusti, this essential qualification is generally
found incompatible with the furor of dispatch. Of, the fecundity of his invention, and
the unexampled facility of his execution, he ga\e. a decided proof on the following

478 TINTORETTO.
occasion. The members of the Confraternity of S. Rocco, at Venice, having deter
mined to decorate their church with a painting representing the Apotheosis of their
patron saint, commissioned some of the popular artists of the time, Paolo Veronese,
Andrea Schiavone, Salviati, F. Zuccaro, and Tintoretto, to prepare sketches of the sub
ject, that the most approved might be carried into execution. On the day appointed
for the decision, when the other painters presented their designs, Tintoretto produced
his finished picture, to the surprise of all present. His astonished competitors rendered
justice to so extraordinary an exertion, and denominated him, II furioso Tintoretto, un
fulmine di Pennello.
The impetuosity of his genius, and the extraordinary promptness of his hand, together
with an ardent desire of embracing every opportunity of distinguishing himself, induced
him to paint several large works for the convents and monasteries at Venice, for little
more than the expense of the canvas and colours. It is not to be wondered at, that the
effect of this unusual readiness and dispatch, was the frequent production of works
unworthy of his more attentive exertions; and it was this inequality in his perform
ances, which occasioned Annibale Caraeci, in one of his letters to Lodovico, to remark,
that II Tintoretto was sometimes equal to Tiziano, and was often inferior to himself. Of
the merit of his principal works, he appears to have been himself fully sensible, as he
particularly distinguished three of them, by signing them with his name. These are his
admired picture of the Crucifixion, painted for the Scuola di S. Rocco, at Venice, of
which we have a fine engraving by Agostino Caraeci ; the Marriage of Cana in Galilee,
painted for the Refectory of I Crociferi, and now in the Sacristy of S. Maria della
Salute, of which there is a print by his disciple Odoardo Fialetti ; and his celebrated
picture called II Servo, representing the Miracle of the Venetian Slave, who having
been condemned to martyrdom by the Turks, invoked the protection of St. Mark, who
appearing to succour him, the instruments of the executioners are broken, and the
crowd of his persecutors is dispersed : it was formerly in the Scuola di S. Marco, and is
now in the gallery of the Louvre. This extraordinary picture is regarded as his master
piece. The composition is grand and judicious, the design is strictly correct, and the
forms select and dignified. The effect of the chiar-oscuro is striking and impressive,
and the colouring is not inferior to the finest works of Titian, either in purity or power.
Next in merit to these may be ranked his pictures of the Assumption, in the church of
i Crociferi ; and the Resurrection, in the Scuola di S. Rocco. Many other estimable
works of Robusti, in the public edifices at Venice, are particularly mentioned by
Zanetti in his Pittura Veneziana. On his inferior performances, the produce of an un
bridled imagination, and an ungovernable impetuosity, which, it must be confessed,
form the majority of his works, it will be less necessary and less agreeable to dwell.
" Of all the extraordinary persons," says Vasari, " that have practised the art of painting,
for wild, capricious, extravagant, and fantastical inventions, for furious impetuosity and
boldness in the execution of his works, there is none like Tintoretto; his strange
whimsies are even beyond extravagance, and his works seem to be produced rather by
chance, than in consequence of any previous design; as if he wanted to convince the
world that the art was a trifle, and of the most easy attainment." The enthusiasm of
his genius, and the energy of his pencil, are indeed beyond all conception : and, though
in the torrent of his executive powers, he frequently breaks through all the bounds of
reason and propriety, and outrages every rule of character and costume ; such is the se
ductive charm of his colour, and the fascinating magic of his chiar-oscuro, that we cannot

TIN TIS 479
refuse him the tribute of our admiration. A just idea of the strength and extent of his
faculties can only be formed by contemplating them in the immense works he has left
in the public edifices at Venice. What is to be seen of him elsewhere, affords only an
exhibition of his infirmities. This eminent painter, like the greater part of the artists
of his country, excelled in portraits; but in these will be found the same inequality that
is seen in his historical works. He died at Venice in 1594, aged 82. We have only
one etching by this painter, representing
The Portrait of the Doge Pacale Ciconia.
TINTORETTO, Marietta Robusti, called. This lady was the daughter of Giacomo
Robusti, born at Venice in 1560. She was instructed in the art by her father, and de
voted herself to portrait-painting, as the most suited to her sex, in which she acquired
considerable reputation. She painted many of the principal personages at Venice, but
her celebrity was not confined to her native country. She was invited to the court of
the Emperor Maximilian, and that of King Philip II. of Spain; but her father's affec
tionate attachment to her, could not be prevailed on to consent to a separation from her.
She died in the prime of life, in 1590.
TINTORETTO, Domenico Robusti, called. This artist was the son and disciple of
Giacomo Robusti, born at Venice in 1562. He followed the traces of his father, but, as
Ascanius followed those of iEneas, non passibus aquis. There is a great similarity in the
airs of the heads, in the colouring, and in the harmony of the effect; but his works are
greatly inferior to those of his father in invention, in the spirit of his pencil, and in the
vigour of his colouring. His principal works are in the Sala di Consiglio, and in the
Scuola di S. Marco, at Venice ; in some of which he is said to have been much assisted
by his father. He was more successful in portraits than in historical painting, and
painted many of the principal personages of his time. Fie died in 1637, aged 75.
TISCHBEIN, John Henry, the elder. This artist was born at Hayna, near Hesse-
Cassell, in 1722. He received his first instruction in the art from an obscure painter of
his own country, named Fries ; but he afterwards studied at Paris, under Carl Vanloo.
After passing some time under that master he went to Venice, where he frequented the
school of Gio. Batista Piazzetta. He painted history with some reputation, and was
appointed painter to the Landgrave of Hesse-Cassell. He etched several plates from his
own designs, among which are the following :
Venus and Cupid.
Cupid stung by a Bee complaining to Venus.
Nympths bathing.
Hercules and Omphale.
Menelaus and Paris.
Thetis and Achilles.
The Resurrection; after the picture he painted for the church of St. Michael, at Hamburg
TISCHBEIN, John Henry, the younger. He was the son of the preceding artist, born
at Flayna in 1751, and was taught the rudiments of design by his father. His genius
led him to landscape painting, though he occasionally practised portraiture. The pic-

480 TIS TIT
turesque views of Switzerland were the favourite subjects of his pictures. He engraved
several plates both with the point and in aqua-tinta, among which are the following :
Acis and Galatea ; after Moore.
Bacchus and Ariadne ; after the same.
A Stag-hunt ; after Ruthard.
A Landscape, with cattle ; after P. Potter.
A Mountainous Landscape ; after Rembrandt.
A Landscape, with animals ; after J. H. Roos.
TISCHLER, Anthony. A German engraver, who flourished about the year 1750. He
engraved part of the plates for the collection of prints from the pictures of the cabinet
of Gount Bruhl.
TISI. See Garofalo.
TITI, Santi di. This painter was born at Citta S. Sepolcro, in the Florentine state, in
1538, and was first a disciple of Agnolo Bronzino, but, according to Baldinucci, he
afterwards became a scholar of Baccio Bandinelli. But his principal improvement was
derived from his studies at Rome, during a long residence in that city, where he de
signed with great assiduity from the antique, and after the works of the best masters.
He returned to Florence a correct and graceful designer, and distinguished himself as
the ablest painter of his time among his countrymen, except in his colouring, which is
occasionally languid, with somewhat of a want of relief. He excelled in architecture
and perspective, with which he successfully embellished his pictures, and gave to his
compositions both dignity and variety. Among his most esteemed works are his picture
of Christ, with the Disciples at Emaus, in the church of S. Croce, at Florence ; and the
Resurrection of Lazarus, in the cathedral of Volterra. There are also several of his
works in the private collections in Florence, of which one of the most celebrated is the
Baptism of Christ by St. John, in the Corsini palace. It is an elegant and graceful
composition, correctly designed, with a more vigorous colouring than is usually found
in his works. He died at Florence in 1603, aged 65.
TITI, Tiberio. He was the son of the artist mentioned in the preceding article, bora at
Florence in 1578, and was instructed in design by his father. He did not, however,
follow the same style, but devoted himself to portrait painting, which he practised with
success. He also excelled in drawing small portraits with lead, in which he was much
employed by Cardinal Leopold de Medici, and a considerable collection of heads, de
signed by him for that prince, are carefully preserved in the Florentine Gallery. He
died in 1637, aged 59-
TITIAN, Tiziano Vecelli, da Cadore, called. This distinguished painter, the great
founder of the true principles of colouring, was of a noble family of Friuli, born at the
castle of Cadore, according to Ridolfi, in 1477. Having shown an early inclination for
the art, he was sent, when he was ten years of age, to Venice, and placed under the
protection of his uncle. Fie is said, by Lanzi, to have received his first instruction in the
art from Sebastiano Zuccati, and was afterwards successively the disciple of Gentile and

TITIAN. 481
Giovanni Bellini. Under these masters he followed a servile and laboured imitation of
nature ; and it was not until he had seen the works of Giorgione that he quitted the
tame and spiritless style which characterised the works of his first instructors, and
adopted a bolder outline, greater freedom of hand, and a broader effect of light and
shadow. When he was eighteen years of age he painted a portrait of the head of the
noble family of Barbarigo, which excited universal admiration, and soon afterwards
was employed, in conjunction with Giorgione, to paint, the two fronts of the Foudaco
de Tedeschi ; and his portion of the undertaking having been preferred to that of his
competitor, served to establish more firmly his growing reputation. On the death of
Giorgione, in 1511, he succeeded him in several important commissions, in which he
was employed. He was soon afterwards invited to the eourt of Alfonso, Duke of Fer
rara, for whom he painted his -celebrated picture of Bacchus and Ariadne, and two
other fabulous subjects, in which he still retained somewhat of the style of Giorgione.
It was at the court of Alfonso that he became acquainted with Ariosto, whose portrait
he painted, and was celebrated by the poet in his Orlando Furioso.
In 1523, the senate employed him to ornament the Sala del Gran Consiglio, where he
painted, among other considerable works, the famous Battle of Cadore, between the
Venetians and Imperialists. This grand performance was destroyed by fire, but its
composition has been preserved to us by the print engraved from it by Fontana. He
soon afterwards painted his celebrated picture of S. Pietro Martire, for the church of
S. S. Giovanni e Paolo, at Venice, which is generally regarded as his chef d'oeuvre in
historic painting. This admirable picture was one of the first objects of French spolia
tion, and is now one of the principal attractions in the gallery of the Louvre. Not
withstanding the importance of these works, the remuneration he received for them
was not sufficient to place him in easy circumstances, and he was even in a situation
bordering on indigence, when the praises bestowed on his works, in the writings of his
friend Pietro Aretino, recommended him to the notice of Charles V. and when that
monarch visited Bologna in 1530, to be crowned by Pope Clement VII. he was invited
thither to paint the portrait of the Emperor, and those of his principal attendants for
which he was liberally rewarded, and commissioned to paint several pictures for his new
patron. On the departure of Charles V. from Bologna, Titian returned to Venice, where
he found II Pordenone in possession of a considerable portion -of the public favour.
The superiority of his talents, however, triumphed over those of his respectable compe
titor, and he was extensively employed for the churches and public edifices. It was
about this time that he was invited to the court of Federigo Gonzaga, Duke of Mantua
whose portrait he painted, and a series of the twelve Caesars, for a saloon in the palace,
beneath which, Guilio Romano afterwards painted a subject from each of their histories.
Iu 1543 Pope Paul III. visited Ferrara, where Titian painted his portrait, and was
invited by that pontiff' to Rome : but having formed an engagement with Francesco
della Rovere, Duke of Urbino, he was under the necessity of declining the invitation.
Having accomplished his undertaking at Urbino, he was again invited to visit Rome by
the Cardinal Farnese, and arrived in that city in 1548, where he was received in the most
distinguished manner. He was lodged in the palace of the Belvedere, and painted for
the second time, the portrait of the Pope, whom he represented sitting between the Car
dinal Farnese and Prince Ottavio. It was about this time that Michael Angelo Buona
roti is said to have paid him a visit, whilst he was painting his famous picture of Danae
and, after expressing his admiration of the beauty of the colouring, lamented that the
Vol. II. 3 P

482 TITIAN.
Venetian painters paid so little attention to design. The Pope, to retain him at Rome,
is said to have offered him the lucrative office of Fratel del Piombo, vacant by the death
Fra Sebastiano del Piombo, but he declined accepting the appointment, from con
scientious motives.
Titian had no sooner returned to Venice from Rome, than he received so pressing an
invitation from his first protector Charles V. to visit the court of Spain, that he could
no longer refuse it, and he arrived at Madrid in the commencement of the year 1550.
During a residence of three years in Spain, he painted many admirable pictures, for
which he was richly rewarded. He was appointed a gentleman of the chamber to the
Emperor, who conferred on him the order of Saint lago, and constituted hiin a Count
Palatine of the empire. Charles did not only grace this eminent artist with the splendid
titles and ornaments above mentioned, he bestowed on him more solid marks of his
favour, appointing him rents in Naples and Milan, of two hundred ducats annually
each, besides a munificent compensation for every picture he painted.
Titian had quitted Spain before Philip took possession of the throne; the arts, how
ever, had rapidly advanced. As soon as Philip had finished building the Escurial he
conceived the idea of enriching it with every thing suitable to the magnificence of its
scale, and he cast his eye towards his father's favourite painter, Tiziano, then returned
to his native country. Whether he solicited him to return to Spain does not appear,
but it is certain that he employed him in many commissions. The pictures which
Titian painted in Spain, and those he sent thither, form, of themselves, a large and
magnificent collection. The catalogue of the Escurial, and of the palaces at Madrid
give but a very imperfect idea of the works of Titian in Spain. Many, and some of
those the finest of his productions, have been withdrawn from public view, by the
scruples of bigotry, among which is the inimitable picture of the sleeping Venus
which was made a present by Philip IV. to King Charles I. when Prince of Wales on
his visiting Spain, and which, after the death of that unhappy monarch, was purchased
by the Spanish Ambassador then resident in England. This admirable picture was one
of the few works of art which escaped the conflagration of the palace of the Pardo and
it is reported by Palomino, that when the dreadful accident was reported to the King
he earnestly demanded if the Titian Venus had escaped the flames ; on being assured
that it was safe, he calmly replied, " then every other loss may be supported."
In 1553 Titian returned to Venice, and was soon afterwards invited to Inspruck, where
he painted the portraits of Ferdinand, King of the Romans, his Queen, and family, in one
picture, which is said to have been one of his finest productions. The talents of this
eminent painter were permitted a career of unusual longevity, and he continued the exer
cise of his art until the year 1576, having lived within one year of a century, when he
died of the plague. Towards the close of so long a life, it may be reasonably imagined
that his works exhibited the infirmities of senility, and that his last works were little
more than the prattle of old age, but as it has been justly observed, it was the prattle
of Nestor.
From the foundation of the Venetian school, a mode of proceeding was adopted
which, though well calculated to give the painter a greater promptness of execution a
more commanding dexterity of hand, and a more chaste and lively colouring than is
to be found in the artists of the Roman or Florentine schools; was also the means of
introducing a want of correctness in their design, and a neglect of purity in their forms.
Their method was, to paint every thing without the preparation of a drawing, wheieas"

TITIAN. 483
the Roman and Florentine painters never introduced a figure of which they had not
studied and prepared a model or cartoon. Following the system of his countrymen;
Titian painted immediately from nature, and, possessed of a correct eye, tuned to the
harmony of effect, he acquired a style of colouring perfectly conformable to truth.
Satisfied with this identity of imitation, he was little sensible of the select beauty of
form, or the adaptation of that characteristic expression, so essential to the higher order
of historic painting. In his works of that description, if we look for the fidelity of
the historian, he will be found, like the other artists of his country, little scrupulous in
point of accuracy. He neither presents us with the precise locality of the scene, the
strict propriety of the costume, nor the accessories best suited to the developement of
the subject; attributes so estimable in the works of those painters who consulted the
best models of antiquity.
" Raffaelle and Titian," says Sir Joshua Reynolds, " seem to have looked at nature
for different purposes, they both had the power of extending their view to the whole ;
but one looked for the general effect produced by form, the other as produced by colour.
We cannot refuse to Titian the merit of attending to the general form of his object,
as well as colour, but his deficiency lay, a deficiency at least when he is compared with
Raffaelle, in not possessing the power, like him, of correcting the form of his model, by
any general idea of beauty in his own mind."
As Titian contented himself with a faithful representation of nature, his forms were
fine, when he found them such in his model. If, like Raffaelle, he had been inspired
with the genuine love of the beautiful, it might have led him to have courted it in se
lected nature, and in her more attractive charms to be found in the polished graces of
the antique ; the purity of his design, thus united with the enchanting magic of his
colouring, would have stamped him the most accomplished painter that the art has pro
duced. But, although Titian cannot with propriety be placed among those artists who
have distinguished themselves by the excellence of their choice, and the purity of their
sentiment, he is not altogether wanting either in grandeur or dignity. Like Michael
Angelo, he occasionally exaggerated or agrandized his design, but it was rather to render
nature more tender and fleshy, than, like Buonaroti, to render it more vigorous and
muscular. A genial feeling for colour, rather than a correct principle of composition,
induced him to make prominent the most beautiful parts of his figures, as affording the
best masses and the boldest relief. His female figures and children are preferable to
those of his men, and he has given them an air of vaivite and ease, which, though not
absolutely grace, is nearly allied to it, and it is generally supposed that both N. Poussin
and the sculptor Fiammingo, who excelled in the design of infantile beauty, formed
their idea of it by contemplating the works of Titian.
As a colourist, Titian holds an unrivalled dominion over every competitor. No
painter has viewed nature with so chaste an eye, and to none were the tender blandish
ments of her tinting more confidentially communicated. In his pictures, the tones are
so subtilely melted, as to leave no intimation of the colours which were on his palet;
and it is perhaps in that respect that his system of colouring differs so materially from
that of Rubens, who was accustomed to place his colours one near the other, with a
slight bending of the tints. He had observed, that in nature every object offered a par
ticular surface or character, transparent, opaque, rude, or polished, and that all these
objects differed in the strength of their tints, and the depth of their shadows. It was in
3P2

484 TITIANO.
this diversity, that he found the generality and perfection of his art. Hence, as Mengs.
remarks, in imitating nature he took the prevalent for the whole, and represented his
fleshy tones, chiefly composed of demitints, totally by demitints, and divested of demi-
tints those passages in which few were discernible in nature. By these means he arrived
at an undescribable perfection of colouring, which approaches to illusion.
In invention and composition, he confined himself to a representation of what ap
peared to him to be naturally necessary to the subject; and this strict adherence to
individuality, prompted him to introduce into his historical pictures, instead of ideal
characters analogous to the subject, heads designed from life, with a precision which
gave to the most interesting subjects of history the formality of portraiture. That he
was capable of occasionally venturing beyond this boundary, he has given proof in his
fine picture of S. Pietro Martire, in which his friend and admirer, Algarotti, asserts, that
the most fastidious critic, " cannot find the shadow of a defect." The composition of
this celebrated picture is admirable, and, though composed of very few figures, they are
spiritedly designed, full of action, and marked with a grandeur seldom found in the
works of this artist.
As a painter of portraits, Titian is indisputably entitled to the highest rank. To the
nobleness and simplicity of character which he always gave them, he added, what Sir
Joshua Reynolds calls, " a sort of senatorial dignity,'' a natural and unaffected air,'
which distinguishes his personages from those of every other artist, and, to his transcen
dent excellence in this branch, he is indebted for a great portion of his fame.
To the celebrity of Titian as a painter of history and portraits, is to be added his
excellence in landscape painting. Whether it is predominant, or introduced as an
accessory, it is always treated by him in the grandest and most picturesque style. Such
is the admirable back-ground of his famous picture of S. Pietro Martire, than which it
would be difficult to find in the whole range of art, a more sublime and impressive
accompaniment, so artfully conducive to the terrific effect of the subject.
This great artist is said to have engraved both on copper and on wood. The copper
plates attributed to him are several large landscapes, from his own designs, which are
etched in a slight, but masterly style, among which is one with a shepherd leading his
flock to a brook and playing on his pipe. Of his wooden cuts the following are con
sidered the most authentic :
The Marriage of St. Catherine ; inscribed, Titianus Vecellius Inventor lineavit.
Samson and Delilah ; no mark.
The Triumph of Faith, represented by a procession of Patriarchs, Evangelists, Saints, Martyrs,
&c. a long frieze of eight or ten prints; dated 1505,
TITIANO, Girolamo Dante, called II. According to Ridolfi, the family name of this
artist was Dante. He was brought up in the school of Titian, and was employed by
that master to assist him. in several of his works. By frequently painting in conjunc
tion with him, and sometimes copying his works, some of his pictures, retouched by
Titian, have been taken for the original productions of that painter. He sometimes
painted from his own designs, and his picture in the church of S. Giovanni, at Venice,
representing S. S< Cosine- e Damiano, is worthy of the school in which he was educated.

TIT TOL 485:
TITO, Pompilio. According to Professor Christ, this engraver resided at Rome about
the year 1685. He has not, however, specified any of his prints, but says, that he
marked them with the initials P. T. with the date.
TIVOLI, Rosa di. See Roos.
TOBIN, J. This artist was a native of England, and flouiished about the year 1770. He
etched several plates of landscapes, from H. Grim. He also executed some tinted platei
after Both, Ostade, and other masters.
TOCQUE, John Louis. A French painter, born at Paris in 1696. He was first a scholai
of Nicholas Bertin, and afterwards studied under Hyacinth Rigaud. Tocque devoted
himself chiefly to portrait painting, in which he acquired considerable reputation, and
was made a member of the Academy at Paris. He was invited to the court of Peters
burg by the Empress Elizabeth, where he painted the portrait of that princess, and met
with the most flattering encouragement. He died in 1772, aged 76.
TOEPUT, Louis. This painter was born at Mechlin in 1550, but, according to Descamps,
went into Italy at an early period of his life, where he passed the remainder of his days.
He was much esteemed as a landscape painter, and also represented fairs and markets,
which were well painted and finely coloured. He chiefly resided ac Trevigi, in the
Venetian state, where he was living in 1604.
TOL, Van. This artist was a copyist and imitator of the style of Gerard Douw. Although
his works are very inferior to those of the admired painter he followed as his model,
some of his pictures are very highly wrought up, and are well coloured. He painted
conversations and family subjects similar to those of Douw.
TOLEDO, Juan de. A Spanish painter, born at Lorca, in the kingdom of Murcia, in
1611. He was the son of Miguel de Toledo, an obscure artist, by whom he was in
structed in the rudiments of design. According to Palomino, he went to Italy when
he was young, and first studied at Naples, under Anniello Falcone. Fie afterwards went
to Rome, where he became the disciple and friend of Michael Angelo Cerquozzi, called
delle Battaglie. On his return to Spain he established himself at Granada, and ac
quired a distinguished reputation as a painter- of battles and sea-pieces. His abilities
were not, however, confined to those subjects. He gave proof of considerable talent as
a painter of history; and there are several of his works in the churches at Granada,
Murcia, Madrid, and Alcalade Henares, of which the most creditable to his reputation
are the Assumption of the Virgin, at the Colegio de San Estevan, at Murcia ; and the
Conception, in tbe church of las Monjas, at Madrid. He died in 1665, aged 54.
TOLOSANO. See Baron.
TOM BE, N. La. This painter was born at Amsterdam in 1616. After learning the
rudiments of.theartin his native city, he travelled to Italy, and resided some years at
Rome, where he was chiefly employed in painting small landscapes and architectural
subjects, which he decorated with figures in the Italian costume. He sometimes painted

486 TOM TOR
views of the vestiges of ancient buildings and monuments, in the vicinity of Rome, with
landscapes in the back-grounds, in which he appears to have imitated the style of Cor
nelius Poelemburg. He also occasionally painted small portraits, in which he was much
employed after his return from Italy. He died at Amsterdam in 1676, aged 60.
TOMOLIUS, Luca. The name of this engraver is affixed to a small portrait of F. Lselius
Contesino, executed with the graver in a coarse style.
TOMS, W. H. An English engraver, who flourished about the year 1740. He engraved
several views and architectural subjects, some book-plates, and a few portraits. The
following are among his prints most worthy of notice:
The Portrait of Sir Philip Percival ; after Vandyck.
Two Views of Greenwich Hospital ; after Lawranson.
Four Views of Gibraltar ; after Mace.
A set of eight Views in the Island of Jersey.
TOORNVLIET, James. This painter was born at Leyden in 1641, and was instructed
in the rudiments of design by an obscure artist, who is not mentioned. He for some
time applied himself to portrait painting, and had acquired some reputation in that
branch, when, in 1670, he was induced to accompany his friend, Nicholas Rosendael, in
a journey to Italy. On his arrival at Rome, the works of Raffaelle were the particular
objects of his admiration, and he was inspired with the ambition of distinguishing him
self as a painter of history. He pursued his object with great assiduity, and became a
careful and correct designer. To improve himself in the principles of colouring, he
visited Venice, where he resided some time, and studied with attention the works of
Titian, Tintoretto, and Paolo Veronese. After an absence of six years he returned to
Holland, where he commenced his new career with the most sanguine expectations.
These flattering prospects were, however, never accomplished. His style of design,
founded on the taste of the Roman school, was either not intelligible, or not agreeable
to his countrymen ; and, notwithstanding the respectability of his talents, they were
neither admired nor employed. His compositions are ingenious, his design more
correct than is usual in the painters of his country, and his colouring clear and natural.
He died at Leyden in 1719, aged 78.
TORBIDO, Francesco, called II Moro. This painter was born at Verona about the
year 1500, and was for a short time a scholar of Giorgione, but he afterwards became
a disciple of Liberale da Verona. With somewhat of the rich colouring of Giorgione,
his works exhibit the correct design and the careful finishing which distinguish the pro
ductions of Liberale. His process was extremely slow, which may account for the
paucity of his -pictures. There are few of his works in the churches; among those
most deserving of notice are some frescoes representing the Life of the Virgin, in the
cathedral at Verona, of which that of the Assumption is deservedly esteemed. There is
also an admired picture by him in the church of S. Maria Maggiore, at Venice, repre
senting the Transfiguration. Flis easel pictures are frequently found in the private col
lections at Verona and Venice. He was much employed in painting portraits, which
he finished with extraordinary neatness and precision, and they are said to have pos
sessed the merit of a faithful resemblance. He died in 1581, aged about 81.

TOR TOR 487
TORELLI, Cesare. According to Baglione, this painter was a native of Rome, and a
disciple of Giovanni de Vecchi. Fie flourished in the pontificate of Sixtus V. and was
employed both as a painter and a mosaicist in the library of the Vatican, and in the
Scala Santa, in St. John of Lateran. In the church of La Madonna del Orto, he painted,
in fresco, two sybils larger than life, which are considered as his finest works.
TORNIOLI, Niccolo. According to Malvasia, this artist was bora at Siena, and
flourished about the year 1640. He resided some time at Bologna, where he painted
two pictures for the church of S. Paolo, representing Cain slaying Abel, and Jacob
wrestling with the Angel.
TORRE, Flaminio. This artist was bora at Bologna in 1621, and was first a scholar of
Jacopo Cavedone, but afterwards studied under Guido Rheni. His greatest excellence
was the exactness with which he copied the pictures of the most eminent masters, which
he did with such precision, that it was difficult for the most experienced eye to distin
guish his copy from the original. He painted, however, some pictures of his own com
position for the churches at Bologna, of which the most esteemed is a Deposition from
the Cross, in S. Giorgio. We have a few etchings by F. Torre, among which are the
following :
The Virgin and Infant, with St Francis and St. Jerome; after L. Caraeci.
The Patron Saints of the city of Bologna ; after Guido.
Pan conquered by Love ; after Agos. Caraeci.
TORRENTIUS, John. According to Descamps, this artist was born at Amsterdam in
1589, and was not less remarkable for the talents he possessed as a painter, than for the
depravity of his morals. In the early part of his life he painted conversations, domestic
subjects, and still-life; and his pictures were greatly admired for the beauty of the
finishing, and the truth and delicacy of the colour. But he afterwards fell into a disso
lute and abandoned course of life, and he selected for the subjects of his pictures the
most disgusting indecencies, surpassing even the most licentious outrages of Petronius
or Aretin, which his extraordinary ability only rendered more objectionable. To profli
gacy he added impiety, and attempted to justify his atrocities, by propagating tenets
subversive of every moral principle, and all the bonds of society. The magistrates at
length found it necessary to interfere. He was arrested as the head of this detestable
sect, underwent the question, and was sentenced to twenty years imprisonment. By the
intercession of some persons of consideration, among whom his biographer places the
English Ambassador, he obtained his liberty. Torrentius came over to England, but
giving more scandal than satisfaction, he met with no encouragement, and returned to
Amsterdam, where he remained concealed till his death, in 1640.
TORTEBAT, Francis. A French painter and engraver, bora at Paris about the year
1610. He was a disciple of Simon Vouet, whose daughter he married, and was a.repu-
table painter of portraits. We have several very spirited etchings by Tortebat, exe
cuted in a style resembling that of Michael Dorigny. Fie engraved the plates for
V Anatomic des Peintres, by De Piles, from designs by John Calcar. The following are
also by him :

488 TOR TRA
Peace descending upon earth ; after S. Vouet.
St. Louis carried up to Heaven by Angels; after the same.
Samson breaking the Pillars of the Temple of the Philistines ; after the same.
TORTOREL, J. This artist was a native of France, and flourished about the year 1570.
He engraved both on wood and on copper, and, in conjunction with James Perison,
executed a set of twenty-four large prints, representing the War of the Huguenots.
They are coarsely engraved, but not without some spirit.
TOSS, J. The name of this artist is affixed to a spirited etching, representing the Adora.
tion of the Shepherds ; after C. Hochfield,
TOUN IER, Robert. A French engraver, born at Caen in 1676. He engraved several
of tbe plates for the architectural work by Antoine Desgodetz, entitled, Les Edifices
Antiques de Rome. He also executed a set of vases from the designs of Charles Errard,
and some plates of Madonnas, after Guido,
TQWNLEY, Charles, An English mezzotinto engraver, by whom we have several por
traits, and other subjects, executed in a superior manner. Among others are the fol

lowing:

portraits.

Lionardo da Vinci ; after a picture by himself.
Annibale Caraeci ; the same.
Domenichino ; the same.
Peter Paul Rubens ; the same.
Rembrandt ; the same.
Sir Joshua Keynolds; the same.
Percival Pott, Surgeon, f. R. s. ; after Reynolds.
Joseph Allen, m. d. ; after Romney.
Sir Hyde Parker, V*ce- Admiral; after the same.
subjects.
Agrippina weeping over the Tomb of Germanicus ; after Cosway.
Bulb fighting ; after Stubbs.
TRABALLESI, Francesco. According to Baglione, this artist was a native of Florence
and flourished at Rome in the pontificate of Gregory XIII. In the Chiesa de Greci
which was founded by that Pope, are two altar-pieces by this painter, one representing
the Annunciation, and the other Christ disputing with the Doctors.
TRABALLESI, Guilio. An Italian designer and engraver, born at Florence about the
year 1728. He made the greater part of the designs for the collection of portraits of
the illustrious men of Florence, which were engraved by Allegrini and others. We
have several etchings by him, from the most eminent Bolognese painters ; among which
are the following:
The Communion of St. Jerome ; after Agos. Caraeci.
The Conversion of St. Paul; after L. Caraeci.

Xra TRE 489
St. Alo and St. Petronius kneeling before the Virgin ; after Cavedone.
The Circumcision ; after Guido.
The Communion of St. Catherine; after F. Brizzio.
TRAINI, Francesco. This painter was a native of Florence, and fiourished about the
year 1400. He was the most distinguished disciple of Andrea Oreagna. Vasari men
tions a picture by him, in the church of S. Caterina at Pisa, representing S. Tommaso
d'Aquino, which, in point of composition, colouring, and effect, surpassed the works of
his master.
TRAMAZINO, Franco. This artist is noticed by Florent le Comte as the engraver of
a print, representing a solemn entry into the city of Rome, which he speaks of as
scarce.
TRASI, Lodovico. This painter was bora at Ascola in 1634, and was a scholar of Andrea
Sacchi, at the same time with Carlo Maratti ; he afterwards became the disciple of his
fellow student. In his easel pictures he resembles the style of Maratti, but in his larger
works and altar-pieces he imitated the less laboured and more spirited manner of Sacchi.
Such is his fine picture of S. Niccolo, in the church of S. Cristoforo, at Ascola, which is
esteemed one of his best works. In the cathedral are some frescoes by him, of which
the most admired is the Martyrdom of S. Emidio.
TRAVI, Antonio. This painter was born at Sestri, in the Genoese territory, in 1613.
On account of his deafness, he is generally known by the name of II Sordo di Sestri.
He was originally a colour-grinder to Bernardo Strozzi, who instructed him in design,
and he afterwards studied landscape painting under Godfrey de Wael, a Flemish painter
of some celebrity. He acquired considerable reputation in that branch of the art, and
painted a great number of pictures at Genoa, and in the state, which possess sufficient
merit to find a place in the best collections. He died in 1668, aged 55.
TREMOLLIERE, Peter Charles. A French painter, born at Chollet, in Poitou, in
1703. He was sent to Paris when he was young, where he became a scholar of John
Baptist Vanloo, under whom his progress was remarkable. Having gained several
prizes at the academy, he was sent to Rome, under the pension of the King, where he
studied six years. On his return from Italy he resided some time at Lyons, where he
painted three pictures for the church of the Carmelites, representing the Nativity, the
Adoration of the Magi, and the Presentation in the Temple, which gained him consi
derable reputation. In 1734 he returned to Paris, and in 1737 was made a member of
the Academy there, on which occasion he painted, as his picture of reception, Ulysses
shipwrecked on the Island of Calipso. He painted several historical and fabulous sub
jects for the Hotel de Soubise, and was engaged to prepare the cartoons for a set of
tapestry for the King, representing the Four Ages of the World, but he died of a con
sumption in 1739, aged 36. Tremolliere was considered as one of the most promising
artists of his country, at the time at which he lived. He possessed an extensive genius;
his compositions were noble and judicious, and his design graceful and correct. He
etched a set of studies, after Wateau, and had commenced the seven Works of Mercy,
from his own designs, but he only lived to finish two of them.
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490 TRE TRE
TRENTO, Antonio da. This artist was born at Trent, in the Venetian states, about the
year 1508. He studied painting for some time under Parmigiano, but, by the recom
mendation of that master, he afterwards devoted himself to the art of engraving on
wood, in the manner called chiar-oscuro. It is supposed that he was instructed in the
process by Ugo da Carpi, to whom the invention of it is attributed. He executed several
cuts from the designs of Parmigiano, which are justly esteemed. He generally used
three blocks to each print ; the first for the outline, the second for the dark shadows,
and the last for the demitint. We have, among others, the following prints by him :
The Virgin embracing the infant Jesus ; after Beccafumi.
The Holy Family ; after A. del Sarto.
The Decollation of St. Peter and St. Paul ; after Parmigiano.
The Tiburtinian Sybil showing the Virgin and the infant Christ to the Emperor Augustus ; after
the same.
Circe receiving the Companions of Ulyses ; after the same.
Psyche saluted by the People with the Honours of Divinity ; after the same.
TREVIGI, or' Trevisi, Girolamo da. This painter was bora at Trevigi in 1508. He
went to Rome when he was very young, and formed a correct and graceful style of
design, by studying the works of Raffaelle, and the best masters of the Roman school.
He afterwards resided some time at Bologna, where he painted several pictures for the
churches, of which the most esteemed were a series of pictures in S. Petronio, represent
ing the Life of S. Antono di Padoua ; and the Presentation of the Virgin, in the church
of S. Salvatore. According to Ridolfi, he afterwards visited England, in the reign of
Henry VIII. and was employed by that monarch as a painter, an architect, and a mili
tary engineer. He attended the King in his expedition into Picardy, and assisted at the
siege of Boulogne, where he was killed, in 1544, at the age of 36.
TREVILLIAN, William. The name of this engraver is affixed to a portrait of Oliver
Cromwell's Porter, dated 1650.
TREU, Martin. A German engraver, who flourished about the year 1540. He was con
temporary with John Sebald Beham, and Henry Aldegrever, and, from the small size of
his prints, is generally placed among what are called the little masters. His plates are
engraved from his own designs, and they prove him to have been a man of genius,
though inferior to the artists above mentioned in the clearness and precision of the exe
cution, and in the correctness of his drawing. His compositions are judiciously ar
ranged, in which he appears to have studied the style of Lucas van Leyden. He some
times marked his plates with the initials M. T. with the date, and sometimes with a
monogram composed of those letters, thus, yW". He engraved a variety of moral and
emblematical subjects ; and, among others, we have the following prints by him :
A set of six small prints, called the Progress of the Prodigal ; dated from 1541 to 1543.
Two Figures playing on Musical Instruments.
TREVISAN I, Cavaliere Francesco. This painter was born at Trevigi in 1656. He
was the son of Antonio Trevisani, an architect of some reputation, by whom he was
instructed in the first rudiments of design. He afterwards became the disciple of

TRE TRI 491
Antonio Zanchi, at Venice. He afterwards visited Rome, where he renounced his first
principles, and adopted those of the most popular artists then resident in that city,
where he was favoured with the patronage of Cardinal Chigi, who employed him in
several considerable works, and recommended him to the protection of Pope Clement XL
who not only commissioned him to paint one of the Prophets in St. John of Lateran,
but engaged him to ornament the cupola of the cathedral at Urbino, where he repre
sented, in fresco, emblematical subjects of the four Quarters of the World, in which
he displayed great invention and ingenuity. The churches and public edifices at Rome
abound with his works, of which the most esteemed are his picture of the Death of
St. Joseph, in the church of the Roman College ; the Virgin contemplating the Instru
ments of the Passion, in S. Maria, in Vallicella; and his picture of Anthony and Cleo
patra, in the Palazzo Spada, painted as a companion to the Rape of Helen, by Guido.
He possessed an extraordinory talent of imitating the style of the old masters, in which
he was much employed by the Duke of Modena, in copying- the works of Coreggio,
Parmigiano, and other distinguished painters. He died in 1746, at the advanced age
of 90.
TREVISANI, Angelo. He was a native of Venice, and flourished about the year 1750.
Though he occasionally painted historical subjects, in which he has given proof of con
siderable ability in his altar-piece in the church of la Carita, and other pictures in the
public edifices at Venice ; he was more esteemed and more employed as a portrait
painter, by which he acquired both fame and fortune.
TRINGHAM. This artist is noticed by Mr. Strutt as the engraver of a portrait of the
Reverend Samuel Clark; and several book plates. He flourished about the year 1750.
TRISTAN, Luis. A Spanish painter, born at a village near Toledo in 1594. He was a
scholar of Dominico Teotocopoli, called il Greco, under whose tuition he became an
eminent artist, and is said by Palomino to have surpassed his master in the correctness
of his design and the purity of his taste. This superiority, so far from exciting any
jealousy on the part of his master, he was one of the first to applaud his talents, and
brought them into practice and display, with all the advantages in his power. The
monks of La Sisla, in the neighbourhood of Toledo, had applied to Dominico Greco for
a picture of the Last Supper; he was under the necessity of declining the commission,
on account of indisposition, but recommended his pupil, Luis Tristan, to the undertak
ing, whose services were accepted. On the delivery of the picture, the monks were
satisfied with the performance, but considered the price demanded for it, of two hundred
ducats, as exorbitant, and it was agreed to refer the matter to Dominico. Having deli
berately surveyed the picture,he turned to his disciple with a menacing tone and air, and
upbraided him with depreciating his talents, by demanding for his work a recompence
so unequal to its merit; directing him to roll up his picture, and offering himself five
hundred ducats for it. The fathers made the due atonement, and the money was paid.
Some of his most esteemed works are in the cathedral, and the church of St. Clara, at
Toledo. It is no mean proof of the respectability of his talents, that the celebrated
Velasquez professed himself his admirer, and quitting the precepts of Pacheco, his in
structor, formed his style from the works of Tristan. He died at Toledo in 1649,
aged 54.
2 QS

492 TRI TRO
TRIVA, Antonio. According to Tiraboschi, this painter was bora at Reggio in 1626,
and studied under Guercino, at Bologna. He was a reputable painter of history, and
distinguished himself by some pictures he painted for the churches at Reggio and Pia
cenza, which have been celebrated by the poet Boschini. He was invited to the court
of the Elector of Bavaria, in whose service he died, in 1699, aged 73.
TROGER, Paul. A German painter and engraver, born at Zell, in the bishopric of
Brixen, in 1695. After acquiring the rudiments of design in his native town, he visited
Fiume, and became a scholar of Domco- Guiseppe Aiberti. He afterwards established
himself at Vienna, where he acquired considerable reputation as a painter of history,
and was made director of the Imperial Academy. We have several spirited etchings of
historical subjects and landscapes, by this artist from his own designs. Among others
are the following :
The Holy Family ; Paul Troger, fee. 1721.
St. Joseph embracing the infant Jesus.
The Dead Christ in the lap of the Virgin.
Six Landscapes, with ruins and figures.
TRONCHON. A modern French engraver, who flourished about the year 1760. He
engraved several plates after Noel Nicholas Coypel, and other masters.
TROOST, Cornelius. This artist was bora at Amsterdam in 1697, and was a scholar of
Arnold Boonen. He occasionally painted conversations and gallant subjects, in a pleas
ing style, and acquired the appellation of the Dutch Watteau ,- but he also distinguished
himself as a portrait painter, and was much employed in painting large pictures for the
halls of the different companies at Amsterdam. Of these the most considerable is a
picture in the College of Physicians, containing the portraits of the most eminent prac
titioners of the time ; and another in Surgeon's Hall, representing the principal mem
bers of that corporation. He painted in crayons as well as in oil, and his works are
highly esteemed in Holland. He died in 1750, aged 53. We have a few prints bv this
artist, chiefly executed in mezzotinto ; among which are the following :
The Portrait of Pietro Locatelli, Painter.
The Bust of an Old Man with a beard. 1734.
A Girl drawing by the light of a lamp.
TROSCHEL, Hans, or John. A German engraver, who resided at Nuremberg about
the year 1620. He was a disciple of Peter Isselbourg, but afterwards studied in Italy
under Francesco Villamena. His style of engraving is, however, very inferior to that of
Villamena, both in drawing and execution, and his plates, though neatly engraved, are
stiff and laboured. He engraved several emblematical subjects from the designs of
various Italian masters, as well as frontispieces and other book plates ; together with
some portraits : among which is one inscribed, Fortunius Licetus, Philosoph. He fre
quently marked his plates with a cipher composed of an H. and a T. thus W\
TROSCHEL, P. This artist was probably a relation of the engraver mentioned in the
preceding article. He resided at Nuremberg about the year 1650, and appears to have
been chiefly employed by the booksellers. He engraved some frontispieces and other

TRO. TRO 493
book ornaments, which are executed- with the graver in an indifferent style. He usually
marked his plates with the initials P. T.
TROSCHEL, James. Professor Christ mentions an engraver of this name, to whom he
attributes, as his mark, the initials 1. T. F.
TROST, Andrew. According to Professor Christ, this engraver was a native of Carniola,
and flourished about the year 1680. He usually marked his plates with the cipher ^.
TROST, C. See Troost.
TROTTI, Cavaliere Giovanni Batista, called II Malosso. This painter was born at
Cremona in 1555, and was brought up in the school of Bernardino Campi, of whom he
was the most distinguished disciple. He was employed by the court of Parma; in con
junction with Agostino Caraeci ; and though the works of the latter were preferred,
Agostino allowed that he had found in Trotti, " a hard bone to crack," on which ac
count he acquired the name of II Malosso. He did not attach himself to the style of
Bernardino Campi, but studied the works of Coreggio, and imitated the gay and bril
liant manner of Bernardo Gatti, called II Sojaro, the most successful follower of the
style of that great master. The airs of his heads are graceful and expressive, like those
of II Sojaro ; but he was apt to repeat himself, and there is frequently a sameness both
in his characters and attitudes; a defect which ought perhaps to be attributed to negli
gence and dispatch, as he cannot be accused of sterility of invention ; of this he has
given ample proof in the pictures he painted for the churches of S. Francesco and S.
Agostino, at Piacenza, and in the other public places, representing tbe Conception of
the Virgin, which subject he has treated with a varied originality of idea, which evinces
the most extensive capacity of invention. His most esteemed works, and those for
which he received the order of knighthood, are his frescoes in the cupola of S. Abbondio,
and in the Palazzo del Giordani, at Parma. One of his last works was a picture of a
Pieta, in the church of S. Giovanni Novo, at Cremona, which bears the date 1607.
TROUVAIN, Anthony. A French engraver, born at Montdidier in 1666. His plates
are executed entirely with the graver, which he handled with great neatness and dexte
rity, and his prints produce a very pleasing effect. If he was not a pupil of Bernard
Picart, he appears to have been an imitator of his style. Among others, we have the
following prints by him : PORTRAITS.
Peter Daniel Huet, Bishop of Avranches. 1695.
Francis le Bouthellier, Bishop of Troyes.
John Pesne, Painter and Engraver. 1698.
Rene Anthony Houasse, Painter ; after Tortebat.
John Jouvenet, Painter ; after a picture by himself.
SUBJECTS.
The Annunciation ; after Carlo Maratti.
Christ restoring Sight to the Blind ; after Ant. Coypel.

494 TRO TRO
The Marriage of Mary of Medicis with Henry IV. and the Minority of Louis XIII. ; after the
pictures by Rubens in the Luxembourg Gallery.
Silenus drunk ; after Ant. Coypel.
TROY, Francis de. This artist was born at Tholouse in 1645. He was the son of
Nicholas de Troy, a painter of little celebrity, from whom he received the first rudi
ments of design ; but he was sent to Paris when he was young, where he became a dis
ciple of Nicholas Loir, and for some time applied himself to the study of historical
painting, and had made sufficient progress to become a member of the Academy at
Paris, in 1674, on which occasion he painted for his picture of reception Mercury and
Argus. The brilliant success of Claude Le Fevre as a portrait painter, induced him to
abandon historical subjects, and attach himself to the more lucrative and more certain
branch of painting portraits, in which he became one of the most celebrated artists of
the French school. One of his principal public works is a large picture, in the church
of St. Genevieve, representing the magistrates of Paris invoking the protection of that
Saint. For the Hotel of the Duke de Maine, he painted an admired picture of iEneas
relating his adventures to Dido. He was sent by Louis XIV. to the court of Munich,
to paint the portrait of Maria Christiana, of Bavaria, afterwards Dauphiness of France,
which was placed in the gallery of Apollo. The portrait of Francis de Troy, painted by
himself, is in the gallery of artists at Florence. He died at Paris in 1730, aged 85.
TROY, John Francis de. He was the son of the preceding artist, born at Paris in 1676.
After receiving the instruction of his father, until he had made considerable progress in
the art, he travelled to Italy, where he studied some years, and soon after his return to
Paris was made a member of the Academy. He was employed by Louis XIV. for whom
he painted a series of cartoons for tapestry, representing the history of Esther ; and
several large allegorical subjects for the Hotel de Ville. The King appointed him
director of the French Academy at Rome, where he resided great part of his life, and
acquitted himself, in the administration of his office, in the most respectable manner.
The King conferred on him the order of St. Michael, and honoured him with other
marks of his particular esteem. He was not less distinguished as a painter of portraits
than historical subjects. He died in 1752, aged 76.
TROY A, Felix. A Spanish painter, born at San Felipe, near Valencia, in 1660. He was
a disciple of Gaspar de la Huerta, and painted history with considerable reputation.
Flis pictures are found in almost every church or public edifice in the district of Spain
in which he resided, and are more remarkable for vigour of colouring, than correctness
of design. His most esteemed works are in the church of S. Agostino, at Valencia,
where he died in 1731, aged 71.
TROYEN, Rombout van. This painter was born at Antwerp about the year 1600. It is
not known by whom he was first instructed in the art, but in the Chronological Tables,
by Harms, it is said that he went to Italy, where he studied some time. He distin
guished himself as a painter of the ruins of ancient architecture and other interesting
objects, in the neighbourhood of Rome, which he embellished with figures representing
subjects of history or the fable. His pictures bear some resemblance to those of
Cuylenburg, and, like the works of that artist, they have darkened considerably since

TRO TUR 495
they were painted. His cabinet pictures are preferable to those of a larger size. He
died in 1650, aged about 50.
TROYEN, John van. This artist was a native of the Netherlands, and flourished about
the year 1650. He engraved some of the plates from the pictures in the collection of
the Archduke Leopold, commonly called Tenier's gallery. They are slightly executed,
and the drawing is incorrect. Among others are the following :
The Daughter of Herodias with the Head of St. John; after L. da Vinci.
Magdalen penitent ; after Coreggio.
Christ healing the Sick ; after P. Veronese.
The Adoration of the Magi ; after the same.
The Entombing of Christ ; after Pordenone.
TRUCHI. This artist was a native of France, but resided in London in 1730, and, in con
junction with William Philip Benoist, engraved a set of twelve plates of subjects taken
from the novel of Pamela, from the designs of Highmore.
TSCHERNINGK, D. A German engraver, who flourished about the year 1639. He
engraved several frontispieces and other book-plates, which are executed with the
graver in a very indifferent style.
TSCHERNINGK, John. This artist was probably of the same family with the preceding
engraver. He engraved some portraits and other book ornaments in a neat but formal
style.
TUCARRI, Giovanni. According to Hackert, this artist was born at Messina in 1667
and was the son of an obscure painter, by whom he was instructed in the rudiments of
design. He excelled in painting battles and skirmishes, and possessed such extraordi
nary facility of execution, that the number of his pictures is almost incredible. There
are many of his works in Germany, where they are held in considerable estimation.
He died in 1743, aged 76.
TULDEN. See Thulden.
TURA, Cosimo, called Cosme da Ferrara. This painter was born at Ferrara in 1406
and was a disciple of Galasso Galassi. He painted sacred subjects in the dry gothic
style which prevailed at the time at which he lived. Several of his works remain in
the churches and public edifices at Ferrara, of which a particular account is given by
Cesare Barotti, in his Pitture e Sculture di Ferrara. He was also much employed in
illuminating missals; and his oil pictures are finished with the laboured minuteness of
miniature. Borso d'Este, Duke of Ferrara, employed him in the decoration of one of
the apartments in his palace, where he painted the Twelve Months of the Year, in fresco
which are mentioned by Baruffaldi as very masterly performances for that early period.
Of his altar-pieces, the most worthy of notice are his pictures of the Annunciation and
the Nativity, in the cathedral; and Christ praying in the Garden, at the Cappuccini.
He died in 1469, aged 63.

496 TUR TYS
TURCHI, Alessandro, called L'Orbetto. D'Argenville, and the other French biogra
phers, who have been followed by Mr. Pilkington, date the birth of this artist in 1600,
and at the same time assert that he was a disciple of Felice Riccio, called Brusasorci,
who died in 1605. This infraction of the order of chronology, is to be repaired by a
reference to the more authentic evidence of the Italian writers on art, and we find, on
the authority of Passeri and II Padre Andrea Pozzo, that he was born at Verona, in
1582, and died at Rome in 1648. He acquired the name of L'Orbetto, from his having
been occupied, when a boy, in the humble station of conductor to a blind beggar. In
this lowly condition he was noticed by Brusasorci, who discovered in him so decided a
disposition for the art, that he took him under his protection, and with the assistance of
his instruction, in a few years he surpassed his master. On leaving the school of Riccio,
he went to Venice, where he studied some time under Carlo Cagliari, and acquired a
chaste and natural style of colouring. To improve himself in design, he afterwards
visited Rome, and by studying the works of the best masters of that school, he formed
a style peculiarly his own, in which he attempted to combine the Roman taste of design
with Venetian colouring. In competition with Andrea Sacchi and Pietro da Cortona,
he painted some pictures in the church of la Concezione, which were not discreditable
to his talents as a rival. He painted several other altar-pieces for the churches at
Rome, of which the most esteemed are, a picture of the Flight into Egypt, in the church
of St. Romualdo ; the Holy Family, in St. Lorenzo in Lucina; and St. Carlo Borromeo,
in S. Salvatore in Lauro. He was much employed in cabinet pictures, representing
historical subjects, which he frequently painted on black marble. His best perform
ances, however, are at Verona, and of these the most worthy of notice, are his picture of
the Forty Martyrs, in the church of St. Stefano ; and a Pietd, in the church of La Mise-
ricordia, in which he appears to have emulated the great style of the Caraeci, in the
grandeur of the composition, the admirable expression of the heads, and the impressive
solemnity of the colouring.
TURK, the  — . See Liotard.
TUSCHER, M. This artist was a native of Germany, and flourished about the year 1743.
He painted conversations and dramatic subjects, and etched some plates from his own
designs, among which is a theatrical scene, spiritedly executed, bearing the date 1743.
TUTIANI, Bartolommeo. This artist is said to have been an engraver on wood
though his works are not specified. He marked his prints with a gothic inono°-ram
thus, g.
TYROFF, Martin. A German engraver, who resided at Nuremberg, and engraved a
considerable number of book-plates and portraits. Among the latter is that of Charles
a Linue, architect to the King of Sweden.
TYSON, Michael. This gentleman was a fellow of Bennet College, Cambridge. He
painted for his amusement, and etched some plates, particularly the portrait of Arch
bishop Parker, taken from the illumination of a manuscript by T. Berg, preserved in
the library of Bennet College. It is probable, from the precise resemblance in the prints*

TYSSENS. 497
that the portrait of that prelate, by Remigius Hogenbergh, was engraved from the same
painting. He also engraved a portrait of Sir William Paulet, from an old picture, the
painter of which is unknown ; and that of Jane Shore, from a picture at King's College,
Cambridge.
TYSSENS, Peter. This painter was born at Antwerp in 1625. It is not mentioned by
whom he was instructed in the art, but, from the resemblance of his works to those of
Vandyck, it is probable that he principally formed his style by studying the works of
that master. He distinguished himself both as a painter of history and portraits; and,
in both, he approaches so near to the correct design and chaste colouring which charac
terise the productions of the eminent artist above mentioned, that it is not always easy
to discriminate between their performances. After the death of Rubens and Vandyck
he was considered one of the ablest painters of his time, and was made director of the
Academy at Antwerp in 1661. His compositions are copious and ingenious ; his design
more correct than is usual in the painters of his country, and his colouring is clear,
chaste, and harmonious. There are several altar-pieces by him in the churches in
Flanders, which sustain his reputation, in the vicinity of the works of the most cele
brated artists of the Flemish school. Among those most worthy of observation are his
picture of the Martyrdom of St. Benedict, in the church of the Capuchins at Brussels ;
the Crucifixion, at the Barefooted Carmelites ; and the Assumption of the Virgin, in the
church of St. James, at Antwerp ; the last-mentioned has frequently been mistaken for
a work of Vandyck. He died in 1692, aged 67.
TYSSENS, Augustine. He was the son of the preceding artist, bom at Antwerp about
the year 1655. He was instructed in the rudiments of the art by his father, but his
genius leading him to landscape painting, he applied himself to studying the works of
Nicholas Berghem, of whose style he became one of the most successful followers. His
pictures, representing landscapes, with ruins, embellished with figures and cattle cor
rectly drawn and neatly touched, were highly esteemed, and placed in the choicest col
lections. He was director of the Academy at Antwerp in 1691.
TYSSENS, N. This artist was the younger son of Peter Tyssens, born at Antwerp in
1660. He learned the first principles of design from his father, and is said to have
visited Italy, and passed some time at Rome, Naples, and Venice. It can hardly be
supposed that his journey was undertaken for the improvement of his style, as he never
aspired to a higher branch of the art than a painter of still-life. His pictures repre
sented dead game, flowers, fruit, armour, sabres, and other military weapons, which he
rendered interesting, by a correct and faithful delineation, a picturesque and ingenious
arrangement, and an intelligent conduct of the chiar-oscuro.

Vol. II. 3 R

498 V A A V A D

VAART, John Vander. This artist was born at Haerlem in 1647, and was a scholar of
Thomas Wyck. He visited England in 1674, and was first employed by William
Wissing in painting his draperies, but he afterwards distinguished himself as a painter of
landscapes, objects of still-life, and dead game, in the last of which he particularly ex
celled. He died in London in 1721, aged 74.
We have by this artist a few portraits, engraved in mezzotinto, which are but very
indifferently executed. He had the credit of instructing John Smith in the art of scrap
ing in mezzotinto. Among others are the following portraits by him :
King Charles II. ; after Wissing.
Ann Scott, Duchess of Monmouth ; after Kneller.
Edward Wetenhall, Bishop of Cork ; ad vivum del.
Robert Fielding, called the Beau ; after Lely.
VACCARO, Andrea. This painter was born at Naples in 1598, and was a disciple of
Massimo Stanzioni. He for some time attached himself to an imitation of the style of
Michael Angelo Caravaggio, and some of his early productions were sometimes mis
taken for the works of that painter. By the advice of Stanzione, he afterwards aban
doned that manner, and adopted principles founded on the grace and amenity of Guido.
Such are his pictures at the Certosa, and in the church of the Teatini, at Naples. After
the death of Massimo, he was considered the ablest artist of the Neapolitan school,
and was without a rival until the arrival of Luca Giordano from Rome, to whom he
was little inferior. He died in 167Q, aged 72.
VACCARO, Francesco. An Italian painter and engraver, born at Bologna in 1636. He
was a scholar of Francesco Albano, and is chiefly known as a painter of perspective and
architectural views. He published a treatise on perspective, embellished with plates
engraved by himself, from his own designs. His prints consist of twelve perspective
views of Ruins, Fountains, and other edifices in Italy, inscribed, Fr. Vaccaro,fec.
VACCELLINI,  . See Vascellini.
VADDER, Louis de. This painter was born at Brussels in 1560. It is not known hy
whom he was instructed, but he may be ranked amongst the ablest landscape painters of
his country. From the grandeur of his style, and the picturesque beauty of his scenery,
it is probable that he resided some time in Italy, where he appears to have made the
works of Titian the particular objects of his study : as his best productions bear a
striking resemblance to the admirable landscapes of that distinguished master. His
touch is uncommonly firm and free, and his colouring, though vigorous, is tender and
chaste. The forms of his rocks and trees are noble and select, and his distances are

VAGA. 499
distinguished by a vapoury degradation, which is only to be found in the works of the
most faithful observers of nature. The pictures of Vadder are deservedly esteemed in
his native country, where they are found in the choicest collections. His merit would
have been more generally known in England, had not his works been frequently imposed
upon the public under borrowed names. We have a few spirited etchings of landscapes
by this artist, executed in the style of Lucas Van Uden.
VAGA, Pierino del. The name of this artist was Pietro Buonacorsi, but he was called
del Vaga, from having been instructed in the art, and conducted to Rome, by a painter
of that name. He was born at a village near Florence in 1500, of very indigent
parents ; his father was killed in battle, and his mother dying of the plague before he
was two months old, he is said to have been reared by the milk of a goat ; and, as a
destitute orphan, was taken under the protection of an artisan named Andrea de Ceri,
whose house was frequented by several young artists of Florence.
At an early age, Pierino discovered a decided inclination for the art, and when he was
eleven years old was placed under the tuition of Ridolfo Ghirlandaio, by whose instruc
tion he became an expert and correct designer, and had made considerable progress,
when his talents were noticed by a Florentine painter of some reputation, who con
ducted him to Rome, in 1515, where he had an opportunity of studying after the
antique, and the works of Michael Angelo. His merit became known to Giulio Romano
and Gio. Francesco Penni, called II Fattore, two of the principal disciples and the
coadjutors of Raffaelle in his works in the Vatican, by whom he was recommended to
that illustrious artist, who discovered in him sufficient ability to employ him in the exe
cution of his designs in the Loggie of the Vatican. Such was the utility and variety of
his powers, that he was equally successful in assisting Giovanni da Udine in the stucco
and grotesque ornaments, Polidoro da Caravaggio in his antique subjects in chiar
oscuro, and in executing the biblical subjects from the designs of Raffaelle. Of these
the most remarkable are the Battle of Joshua, the Israelites passing the Jordan, the
taking of Jericho, Abraham preparing to sacrifice Isaac, Jacob wrestling with the
Angel, and Joseph and his Brethren. He is ranked by Vasari as the1 greatest designer
of the Florentine school, after Michael Angelo Buonaroti ; and the partiality of that
biographer does not hesitate to pronounce him the most distinguished of the disciples
of Raffaelle. After the death of that master he was employed by Leo X. and Cle
ment VII. in conjunction with Giulio Romano and Gio Francesco Penni, to finish the
great works in the Vatican. One of the earliest productions he exhibited at Rome, of
his own composition, was a picture he painted for the church of S. Marcello, repre
senting the Creation of Eve, in which he discovers with what success he had studied
the works of Michael Angelo.
Pierino del Vaga was in full possession of the public esteem, when the arts and
artists experienced a disastrous visitation, on the sacking of Rome, in 1527. Compelled
to fly from the capital, and plundered of all he possessed, he took refuge in Genoa,
where he was graciously received by Prince Doria, who at that time projected the em
bellishment of his superb palace, near the gate of St. Thomas. It was upon this occa
sion that Pierino displayed the extent of his powers, and the fecundity of his invention;
and it has been made a matter of dispute, whether the decorations of the Palazzo del
T, at Mantua, by Giulio Romano, or those of the Doria Palace at Genoa, by del Vaga,
do more honour to the great school in which they were educated. In one of the apart-
3 R2

500 VAJ VAI
ments he has represented Jupiter fulminating the Giants ; and in others, several subjects
from Roman History, and the Metamorphoses of Ovid. He also designed a series of
cartoons of the History of iEneas. In these considerable works he was assisted by
coadjutors, in the choice of whom he is reproached with not being sufficiently scru
pulous, and the grandeur of the design is occasionally impoverished by the feebleness
of the execution. He died at Rome in 1547, aged 47-
VAJANI, Anna Maria. This lady resided at Rome about the year 1650, where she en
graved part of the plates for the Justinian Gallery.
VAJANO, Orazio. This painter was a native of Florence, and flourished about the year
1600. He resided chiefly at Milan, and acquired considerable reputation by some pic
tures he painted for the churches of S.Carlo, and S. Antonio Abate, which are judi
ciously composed, and designed with correctness, though feeble and languid in the
colouring. There are also several of his works in the churches and public edifices at
Genoa.
VAILLANT, Wallerant. This artist was born at Lisle in 1623. After learning the
rudiments of design in his native city he went to Antwerp, at that time the residence of
many eminent painters, where he became the disciple of Erasmus Quellinus. On leaving
the school of that master he adopted portrait painting, as the most lucrative branch of
the art, as well as that most adapted to his genius, and met with very encouraging suc
cess. He was advised to visit Frankfort, at the time of the coronation of the Emperor
Leopold, whose portrait he painted, and those of several of his attendants. The Marshal
Grammont invited him to accompany him to Paris, where he was so fully employed,
and so liberally remunerated, that in a few years he returned to Flanders, with
a competent fortune. He is said to have visited England in the suite of Prince Rupert,
who communicated to him the then newly-discovered process of scraping in mezzotinto.
He engraved a great variety of plates in that manner, as well from his own designs as
after other masters, among which are the following :
?ORTRAITS,.
Prince Rupert.
His own Portrait.
The Portrait of his Wife.
Desiderius Erasmus.
John Frobenius, the celebrated Printer of Bask-.
Sir Anthony Vandyck.
Barent Graat, Painter. SUBJECTS AFTER VARIOUS MASTERS.
St. Barbara ; after Raffaelle.
Judith ; after Guido.
The Holy Family; after Titian.
The Temptation of St. Anthony ; after Cam. Procaccini.
The Bust of a Warrior; after Tintoretto.
Venus lamenting the Death of Adonis ; after Eras. Quellinus.

VAI VAL 501
The Prodigal Son ; after Mark Gerard.
Judith and Jael ; after Gerard Lairesse.
He also engraved several subjects from Terburg, Metzu, Francis Hals, Brower, Bega,
and others. He died at Amsterdam in 1677, aged 54.
VAILLANT, Bernard. He was the younger brother of the preceding artist,! born at
Lisle in 1625. The success of Wallerant Vaillant as a portrait painter, induced him to
adopt the same pursuit, and he received his principal instruction in the art from him.
He chiefly excelled in painting portraits in crayons, and having accompanied his brother
in his journies to Frankfort and Paris, he was much employed in that branch. On his
return to the Low Countries he established himself at Rotterdam, where he resided the
remainder of his life. He engraved several portraits in mezzotinto, among which are
the following :
John Lingelbach, Painter ; after Schwarz.
Paul Dufour; after Wallerant Vaillant.
Charles de Rochefort ; B. Vaillant ad vivum facibat. 1671.
He also engraved two busts of St. Peter and St. Paul ; from his own designs.
VAILLANT, James. This artist was also the brother and scholar of Wallerant Vaillant,
born at Lisle in 1628. Whilst young, he visited Italy, and passed two years at Rome.
On his return to Flanders he was invited to the court of the Elector of Brandenburg,
who employed him in painting some considerable historical subjects, which he executed
to the satisfaction of his employer. He was sent by the Elector to Vienna, to paint the
portrait of the Emperor, who presented him on the occasion with a gold medal and
chain. On his return to Berlin, the Elector expressed great satisfaction, and on seeing
the portrait, highly applauded the performance. He died young, to the great regret of
his employer and the artists of his time.
VAILLANT, Andrew. He was the youngest brother of Wallerant Vaillant, by whom
he was instructed in design, and in the art of engraving. He etched a few plates of
portraits, after the pictures of Bernard and James Vaillant, among which are the fol
lowing: Aloisius Bevilaque ; after Bernard Vaillant.
John Ernest Schrader ; after James Vaillant.
VAL, Du. This artist is mentioned by Papillon as an engraver on wood, who flourished
about the year 1650, and was remarkable for the neatness and delicacy of his execution.
He notices twenty cuts by him for the Miraculous History of Notre Dame de Liesse,
which he says were highly esteemed. His other prints are chiefly from the designs of
James Stella, and N. Cochin.
VAL, Du, Mark. He was probably of the same family with the preceding artist. His
name is affixed to a plate representing the Adultress before Christ, from his own design.
It is executed with the graver in a neat, but tasteless style. The letters of the name are.
reversed on the plate..

502 VAL VAL
VALDEZ, Don Juan de. This Spanish artist was born at Seville in 1631, and distin
guished himself as a painter, a sculptor, and an architect. Palomino informs us, that
it is uncertain by whom he was instructed, but that he was more indebted to his own
genius, and his assiduous application, than to the lessons of his preceptor. Of his
works as a painter, the most worthy of notice are a series of pictures of the history of
the Prophet Elias, in the church of the Carmelites ; the Martyrdom of St. Andrew, in
the church of S. Francesco, at Cordova ; and the Triumph of the Cross, in la Charidad,
at Seville. He lived in habits of intimacy with Murillo, who was a great admirer of his
works. He died at Seville in 1691, aged 60.
VALDOR, John. He was a native of Liege, and flourished about the year 1620. At an
early period of his life he went to Paris, where he chiefly resided. We have a consi
derable number of plates by him, representing saints and subjects of devotion, which
are executed with extraordinary neatness and precision. He also engraved part of the
plates for a book, entitled, Les Triomphes de Louis le Juste, published at Paris in 1638,
which are his best performances. We have besides, by him, a Repose of the Holy
Family, after Herm. Swanevelt; and a Head of St. Ignatius, very highly finished.
VALENTIN, Peter. This painter was born at Colomiers en Brie in 1600, and studied
some time under Simon Vouet, but he left that master before he had made any consi
derable progress, and travelled to Rome, where he passed the remainder of his life. He
may therefore be rather considered of the Roman than the French school. The power
ful and vigorous style of Michael Angelo Caravaggio, made so strong an impression on
him, that he attached himself to an imitation of it, with a devotion that was never di
minished. Like that artist, he indulged in an extravagant, but effective contrast of
light and shadow ; like him, he was a faithful follower of nature, and was equally indif
ferent and unfortunate in his choice of it ; like him, he was frequently incorrect, and
always ignoble. He was, however, an intelligent master of the chiar-oscuro, and his
masses are disposed so as to produce the most striking effect. Though he occasionally
painted altar-pieces for the churches, his powers appear to have been better adapted to
other subjects, which he also appears to have painted in preference. His best pictures
represent fortune-tellers, gamesters, "concerts of music, and corps de gardes ; to which
his taste was more competent than to the dignity of historic painting. The patronage
of Cardinal Barberini, nephew to Urban VIII. procured him the commission to paint a
large picture for the Basilica of St. Peter, representing the Martyrdom of S. S. Processo
e Martiniano, which is esteemed his best historical picture. He also painted for his
patron the Decollation of St. John, in the Palazzo Barberini; and there is an admired
picture by him in the Corsini palace, of Peter denying Christ. This artist died in 1632,
at the early age of 32, of a fever, brought on by going into a cold bath when he was
heated.
VALERIANO, Padre Guiseppe. According to Baglione, this painter was a native of
Aquila, and flourished at Rome in the pontificate of Clement VIII. It is not said under
vhom he studied, but he imitated the style of Sebastiano del Piombo, though more
heavy in his style of design, and more gloomy in the tone of his colouring. In this
manner he painted for the church of S. Spirito in Sassia, two pictures representing the
Transfiguration, and the Descent of the Holy Ghost. He afterwards became a religious

VAL VAL 503
of the Society of the Jesuits, and painted several pictures of the Life of the Virgin for
the Chiesa del Gesu, of which the Annunciation is considered his best performance.
VALESIO, or Valegius, Giacomo. An Italian engraver, who was a native of Verona,
and flourished about the year 1574. His plates are executed with the graver only, in a
style resembling the works of Cornelius de Cort, but very inferior. Among other prints,
we have one of St. Michael vanquishing the Evil Spirits, after P. Veronese, bearing the
date 1574.
VALESIO, or Valegius, Francesco. This artist is mentioned by Florent Le Comte as a
painter as well as an engraver. He certainly engraved several plates from his own com
positions, which are executed with the graver in a neat, but formal style. We have a
variety of frontispieces and other book ornaments by him; but his most considerable
work is a set of plates of Hermits, engraved for a book, entitled, Illustrium Anachore-
torum Elogia, written by Jacobus Cavacius, a Benedictine monk, published at Venice
in 1612. According to Le Comte, he also engraved some portraits, and other prints,
after the designs of Pietro Pacini, and other masters.
VALESIO, Giovanni Luigi. This artist was a native of Bologna, and was brought up in
the school of Lodovico Caraeci. He painted some pictures for the churches of his
native city, but is more known as an engraver, and painter of miniatures. Among his
works at Bologna are a picture of the Scourging of Christ, in the church of S. Pietro ;
the Annunciation, att he Mendicanti; and St. Roch curing the persons afflicted with
the plague, in the church dedicated to that saint. According to Baglione, he died at
Rome, in the pontificate of Urban VIII. He etched several plates from his own designs,
and those of other masters, as well as a variety of emblematical subjects, frontispieces,
and other book-plates. Among others, we have the following prints by him, from his
own designs :
The Virgin, with the infant Christ seated on her lap.
Venus threatening Cupid.
Venus chastising Cupid.
VALET, or Vallet, William. A French engraver, born at Paris in 1636. He is sup
posed to have been a pupil of Francis Poilly, and afterwards studied some time at Rome.
He engraved several plates from the Italian and French masters, which are executed
chiefly with the graver, which, though inferior to the works of Poilly, possess consider
able merit. Among others, we have the following prints by him :
PORTRAITS.
Charles Emanuel, Duke of Savoy.
Louis, Duke of Mantua.
Alessandro Algardi, Sculptor.
Andrea Sacchi, Painter ; after C. Maratti.
The Bust of Peter Corneille, crowned by Melpomene and Thalia ; after Paillet.
SUBJECTS AFTER VARIOUS MASTERS.
The Nativity; after Raffaelle.
The Holy Family ; after the same.

504 VAL VAL
The Last Supper ; after Raffaelle.
The Holy Family; after Guido. Cornelius Bloemart has engraved the same subject.
The Holy Family ; after Albano.
A Repose in Egypt ; after C. Maratti.
The Virgin, with the infant Christ and St. John ; after An. Caraeci.
The Annunciation ; after Courtois.
The Resurrection ; after N. Loir.
St. John the Baptist before Herod ; after Le Brun.
The Adoration of the Magi; after Poussin.
The Assumption of the Virgin; after J. Miel.
The Holy Family ; after James Stella.
The Crucifixion ; after the same.
VALK, Peter. This artist was born at Lewarde, in Friesland, in 1584, and formed his
manner of painting by studying the works of Abraham Bloemaert. He afterwards
visited Italy, and passed some years at Rome. On his return to Holland, he distin
guished himself as a historical painter, and excelled also in portraits and landscapes.
He engraved a few plates, in which he imitated the style of Philip Galle, and are chiefly
copied from the prints of that master ; among which is one representing Time and Truth.
VALK, or Valck, Gerard. A Dutch engraver, born at Amsterdam, about the year 1626.
He was first a servant to Abraham Blooteling, but having married his sister, was in
structed by him in the art of engraving, and was afterwards in partnership with him.
He visited England with his brother-in-law, and was employed for some time by David
Loggan. He also assisted Peter Schenk in the publication of the large Dutch Atlas, in
two folio volumes, in 1683. We have several portraits, and other subjects, engraved by
him, both in mezzotinto and with the graver, some of which possess considerable merit.
Among others are the following :
PORTRAITS WITH THE GRAVER.
Hortensia, Duchess of Mazarin; after Lely; one of his best plates.
Robert, Lord Brooke.
John, Duke of Lauderdale.
Eleanor Gwyn ; after Lely. PORTRAITS AND SUBJECTS IN MEZZOTINTO.
William, Prince of Orange ; after Lely.
Mary, Princess of Orange ; after the same.
Louisa, Duchess of Portsmouth ; after the same.
Mary Davis, Actress; after the same.
A Girl holding a Lamp ; after G. Douw.
David and Bathsheba ; after B. Graat.
VALKENBURG, Theodore. This painter was born at Amsterdam in 1675, and was first
a scholar of Cuilenburg, but he afterwards studied under Michael van Muscher, and
ultimately under John Weeninx. By the lessons of the last-mentioned master, he ar
rived at an unusual ability in painting animals, huntings, and especially dead game, in
which he particularly excelled. He also painted portraits with considerable success.

VAL VAN 505
In 1696 he travelled to Germany, with the intention of visiting Italy, but he was com
missioned to paint some pictures at the court of tbe Duke of Baden, which were greatly
admired, and he was persuaded to visit Vienna with a particular recommendation to the
Prince of Lichtenstein, who received him in the most gracious manner. He was em
ployed and caressed by the principal personages in that capital ; and such was the repu
tation he acquired, and the liberal remuneration he received for his works, that he re
nounced his project of visiting Rome, and, during a residence of a few years at Vienna,
he amassed a competent fortune. The desire of revisiting his native country induced
him to abandon these advantages, and to resist the flattering offers made him, to prevail
on him to remain in Germany. He returned to Holland, where his works were not less
esteemed, and he was employed to paint some pictures for the palaces at Loo. He con
tinued to exercise his talents with reputation until the year 1721, when he died of an
attack of apoplexy, at the age of 46. Though Valkenburgh was an eminent portrait
painter, his most esteemed works are his pictures of dead game, which are not much
inferior to the admired productions of Weeninx.
VALLENBURGH,  . This painter was born at Nuremberg in 1555, and was instructed
in the first elements of design by an obscure artist, who is not mentioned. He travelled
to Venice when he was young, where he studied the works of Titian and P. Veronese,
and returned to Germany with an agreeable and harmonious style of colouring, and
great facility of execution. Though he occasionally painted historical subjects, he was
more successful in representing perspective views of public places, with markets, fairs,
and festivals, in which he usually introduced a great number of figures, designed with
tolerable correctness. His works ate little known except in Germany, where they are
held in considerable estimation. He died in 1623, aged 68.
VALPUESTA, Pedro. A Spanish painter, born at Osma, in Old Castile, in 1614. He
was a disciple of Eugenio Caxes, and, according to Palomino, was the most successful
follower of his style. His principal works are in the churches and convents at Madrid,
of which the most remarkable are a series of pictures of the Life of the Virgin, in the
church of San Miguel ; the Holy Family, with St. Joachim and St. Anne, in the chapel
of the Hospital del Buensuccesso ; and six pictures representing the life of St. Clara, in
the convent of the Franciscan Nuns. He died at Madried in 1668, aged 54.
VAN,  . Van, Vande, Vanden, and Vander, being only articles preposed to
the Dutch, Flemish, and German names, when the artist is not found under the letter V,
the article will be met with by referring to its proper initial letter ; as Van Achen under
Achen, Vande Velde under Velde, Vanden Berg under Berg, Vander Borcht under
Borcht, &c. &c.
VAN BALEN. See Balen.
VANDERBURGH, Adrian. This painter was born at Dort in 1693, and was first a
scholar of Arnold Houbraken, but he afterwards acquired a more finished style, by
imitating the works of Mieris and Metzu. He painted with considerable success small
portraits, domestic subjects, and conversations, which were agreeably coloured, and
painted in a neat polished manner, though very inferior to the artists he adopted as his
Vol. II. 3 S

506 VAN VAN
models. His pictures are, however, found in the collections in Holland, where they are
held inconsiderable estimation. He died in 1733, aged 40.
VAN, Diest. See Diest.
VANDYCK, Sir Anthony. The memoirs of this admirable painter are so interestingly
connected with the history of English art, that we can scarcely avoid considering him
as our own countryman. He was born at Antwerp in 1599, and, according to Hou
braken, was the son of a painter on glass, by whom he was instructed in the elementary
principles of design,, and was afterwards placed under the tuition of Henry Van Balen,
a painter of considerable reputation, who had studied in Italy. He had already made
a rapid progress under that master, when the brilliant reputation of Rubens, and the
sight of some of his finest works, inspired him with the ambition of becoming his dis
ciple, and by the intercession of some mutual friends, he was received into the academy
of that illustrious painter. It was not long before tbe intelligent eye of Rubens disco
vered in his disciple talents of no ordinary cast; he soon found him of sufficient ability
to effectually assist in the numerous commissions in which he was engaged, find he was
entrusted to forward several of the works of Rubens, from his designs, to at point which
required little more than the ultimate touches of his master. Whilst he was a pppil of
that distinguished painter, an accident occurred which established bis superiority over
all his fellow students.
It was the custom of Rubens, as a relaxation from his laborious application, to
take an airing on horseback in the evening, when his painting-room was locked up,
under the care of, a confidential domestic. The numerous students, desirous of an op
portunity of examining the mode of his process, from the commencement to the finish
of his works, prevailed on the guardian, by frequent presents, to admit them into his
attelier. At the time when he was engaged on his celebrated picture; of the Descent
from the Cross, their curiosity was more particularly excited, and, as they eagerly
pressed forward to examine the work, Diepenbeck, pushed by one of his fellow-students
fell against the picture, and effaced an essential part of it, the fa.ce of the Virgin, and
the arm of Mary Magdalen, which had been just finished. Consternation seized every
countenance, the dread of their master's displeasure, and the consequent dismissal from
his school, was the prevalent feeling, when John Van Hoeck assumed a presence of
mind, and addressing his companions, proposed, as they had yet three hours of day
light, that the ablest of them should immediately undertake to repair the damage the
picture had sustained, and named Vandyck as the most likely to succeed. Everyone
applauded the nomination, and Vandyck, apprehensive of the consequences, was pre
vailed on to undertake the office, though, despairing of success. J On the succeeding
morning, Rubens entered his painting-room, attended by his disciples, and, regarding
the picture, he pointed to the part repaired, observing, " there is a head and an arm
that are by no means the worst of what I did yesterday;" and, though on approaqhing
nearer to the picture he discovered the alteration, he was so satisfied with what had been
done, that he did not think proper to change it. .
It has been asserted by D'Argenville, and others, that this circumstance, and the
growing ability of Vandyck, alarmed the jealousy of his instructor, and, in consequence
of it,he advised him to renounce historical subjects, and devote himself \o portrait paint
ing, in which branch he had already discovered extraordinary ability. But this calumny

VANDYCK. 507
is easily refuted by the established generosity and liberality of Rubens's nature, and a
reference to facts. If Rubens had really been jealous of the uncommon powers of his
disciple, it is not very probable that he would have endeavoured to promote them, by
recommending him to visit Italy, where he had himself studied with so much advantage.
On this subject, Lord Orford justly observes, that " Addison did not advise Pope to
translate Homer, but assisted Tickell in a rival translation." It is, however, certain,
that Rubens not only urged him to undertake the journey, but pointed out to him the
objects, the study of which he conceived would most conduce to his improvement.
It is no less incontrovertible, thatVandyck painted a great variety of historical pictures,
after he left the school of Rubens, of which Descamps gives a particular account of
seventy -seven pictures by him, in the churches and public edifices, which form only a
part of his works.
Vandyck did not hesitate to follow the advice of his instructor, and, as a proof that
they separated on the most amicable terms, he presented Rubens, previous to his de
parture, with two historical pictures, and the portrait of Rubens's second wife, Helen
Forman, as a proof of his gratitude and esteem, and received in return one of Rubens's
finest horses.
In 1619, when he was twenty years of age, Vandyck left Antwerp, on his travels to *
Italy, and first visited- Venice, so attractive to the artists of his country, as the great
theatre of colouring, where he studied with attention the works of Titian, and imbibed
so deeply the tints of that admirable painter, that he is generally allowed to approach
nearer to the delicacy and purity of his carnations, than even Rubens. He afterwards
went to Genoa, where the fine style he had acquired recommended him to the notice
of the principal nobility, many of whose portraits he painted, as well as several pictures
for tbe churches and private collections, which excited universal admiration. Desirous
of visiting the great objects of art which embellish the capital of Italy, he left Genoa
for Rome, and soon after his arrival was introduced to Cardinal Bentivoglio, who had
been Nuncio from the Pope into Flanders, and to-whom his talents were already known.
He soon afterwards painted his celebrated portrait of that eminent prelate, which has
always been considered one of the most admirable productions of portraiture. This
fine picture was long an ornament of the gallery at Florence, and is now in the Museum
of the Louvre. He painted sbme historical subjects for the Cardinal, and several por
traits of the most distinguished personages; but finding his works reviled and criticised
by the artists of his country, then resident at Rome, because he could not be prevailed
on to partake of the carousals and nocturnal orgies of the Bentevogel society, he left
that capital, and returned to Genoa, where he was received in the most flattering man
ner, and met with constant employment. Whilst at Genoa, he was invited to Palermo,
where he painted the portrait of Philibert, Prince of Savoy, the Viceroy of Sicily, and
was engaged in several commissions for the court, when the breaking out of the plague
obliged him to leave Palermo, and he soon afterwards returned to Flanders,
The promising genius Vandyck had displayed before he left Antwerp, and the bril
liant reputation he had acquired in Italy, had excited an anxious curiosity in his coun
trymen, to witness the improvement of his talents by the advantages of travel, and the
different religious communities were desirous of employing his pencil. His first public
work, after his return, was his celebrated picture, painted for the church of the Augus-
tines, now in the gallery of the Louvre, representing St. Augustine in ecstasy, supported
by angels, with other saints, of which we have a print by P. de Jode. This performance
3S2

508 VANDYCK.
procured him great reputation ; Rubens was one of the most zealous of its admirers,.
and one of the loudest extollers of his fame. Of this picture, Sir Joshua Reynolds
observes, that " it is of great fame, but that in some measure it disappointed his expec
tations; that it has no effect, from the want of a large mass of light, the two angels
making two small masses of equal magnitude; and adds, that the figure of St. Augus
tine is dressed in black, though in the print it makes the principal light." In confirma
tion of the justness of this criticism, and in vindication of the judgment of the painter,
it is worthy of remark, that in the picture, as originally painted by Vandyck, the drapery
of St. Augustine was white, and, with the two angels who support him, formed one
principal mass of light. It is upon record, that the ignorance of the monks obliged
Vandyck to alter the dress of their patron saint from white to black, and the painter
was reluctantly obliged to submit to so mortifying a dilemma, before he could obtain
payment for the picture.
He was now loaded with commissions, and the principal public edifices at Antwerp,
Brussels, Mechlin, and Ghent, were embellished with the productions of his pencil. It
was about this time that he painted the series of inimitable portraits of the eminent
artists of his time, which have perhaps never been equalled, for the admirable variety
of attitudes, and the characteristic expression in the airs of the heads. They were en
graved by the most eminent artists of the time, Vorstermans, Bolswert,. Pontius, and
others, and several of them were etched by Vandyck himself. One of the most admired
of his performances, and which, more than any other of his works, evinced the advan
tage he had derived from his studies in Italy, was the picture he painted for the church
of the Recollets, at Mechlin, representing Christ crucified between the two Thieves,
with Mary Magdalen and St. John. This admirable picture is. worthy of the best time
of the Caraeci, in composition and expression, in the variety and ex.tensiveness of the
design, and the judicious disposition of the whole. In the efforts which the Thieves-
make to detach themselves from the Cross, he has successfully encountered the greatest
difficulties of the art, and the look of grief and resignation in the Virgin, is above all
praise. In the opinion of Sir Joshua Reynolds, " this, upon the whole, may be consi
dered as one of the finest pictures in the world, and gives the highest idea of Vandyck's
powers; it shows that he had truly a genius for history painting, if he had not been
taken off by portraits." This fine picture is now in the gallery of the Louvre, as is also
another of his most admired works, formerly in the church of the Recollets, at Ant
werp, representing a Pieta, or the dead Christ, in the lap of the Virgin, with St. John
and two Angels, which has been finely engraved by Bolswert. In this admirable per
formance he appears to have had in mind the famous dead Christ, with the Marys, by
Annibale Carracci, to which the exquisite expression in the head of the Virgin is hardly
inferior. The general admiration excited by these able productions, and the applause bestowed
on them by Rubens, did not fail to rouse the jealousy and envy of his contemporaries,
particularly those who had been his fellow-students, and whose works were not equally
successful. They accused him of a tameness and littleness of invention, and asserted,
that he was incapable of handling a brush ; the delicacy and correctness of his design,
and the finesse of his touch, they represented as meanness and timidity, and they were
indefatigable in their intrigues, to revile and calumniate his works. These cabals were
not the only unpleasant circumstances which conspired to render his situation in
Flanders disagreeable,

VANDYCK. 509
In addition to the indignity he had experienced from the Augustine Monks already
mentioned, he was destined to encounter one more humiliating from another quarter.
The Canons of the Collegiate church at Courtray commissioned him to paint a picture
for their principal altar, and, on this occasion, he was desirous of surpassing himself.
He chose for his subject the Elevation of the Cross, and bestowed on it all his art to
render the performance accomplished. The picture was sent to Courtray, and was no
sooner placed, than the Canons hurried with impatience to examine it. To the asto
nishment and mortification of Vandyck, the chapter viewed him and his production
with the utmost contempt, they declared the picture to be detestable, and the author a
miserable dauber. After pronouncing this notable decree, they withdrew from the
church, and it was with difficulty that he could procure payment for the picture. In a
short time, the altar-piece having been seen by several artists and persons of judgment,
was declared not only to be one of bis finest works, but a chef d'osuvre of art. The worthy
Canons now became sensible of their error, and as some reparation for the outrage they
had offered him, they resolved to commission him to paint two more pictures for their
church. But Vandyck, with becoming indignation, refused to comply with their de
mand, observing, that there was a sufficient number of daubers at Courtray to answer
their purpose, and that he had determined never more to expose himself to the brutality
of insolence and folly.
Wearied and disgusted with these continued contrarities, he readily accepted an invi
tation from Frederick, Prince of Orange, to visit the Hague, whose portrait he painted,
and those of his family, the principal personages of his court, and the foreign ambas
sadors. The encouragement given to the arts by Charles I. induced Vandyck to visit England
in 1629. He was lodged with his friend and countryman, George Geldorp, the painter,
and for some time entertained hopes of being introduced to the notice of the King ;
and the neglect he experienced is not easily accounted for. Not meeting with the
encouragement he expected, he returned to Antwerp, not a little chagrined and disap
pointed, and had made up his mind to establish himself there for the remainder of his
life, when a portrait of Sir Kenelm Digby, painted by him, being shown to the King, he
expressed a desire that Vandyck should be invited to return to England.
In 1631 he arrived a second time in London, and was presented by Sir Kenelm to the
King, by whom he was most graciously received. He was lodged at Black-Fryars,
among the King's artists ; thither his Majesty frequently went by. water, and viewed his
performances with delight, not less charmed with his conversation than the beauties of
his pencil. Charles frequently sat to him himself, and bespoke several pictures of the
Queen, his children, and courtiers. On the 5th of July, 1632, the King conferred on him
the honour of knighthood, at St. James's, and soon afterwards granted him an annuity
of two hundred pounds a year for life. The patent is preserved in the Rolls, and is dated
1633, in which he is styled painter to his majesty.
Vandyck now became the most popular artist of his time; he was overwhelmed with
business, and though he was indefatigable, and possessed an almost unexampled faci
lity, it was with difficulty he could keep pace with the commissions with which he was
loaded. The liberal remuneration he received for his pictures enabled him to support
a splendid establishment ; he kept a sumptuous table, which was frequented by persons
of the highest distinction, and he is said to have often detained his sitters to dinner,
for an opportunity of studying their countenances, and of retouching their pictures.

510 VANDYCK.
again in the afternoon. His natural disposition led him to indulge in pleasure and
expense. He was fond of music, and liberal to the professors of it, and was a generous
encourager of all such as excelled in any art or science, many of whose portraits he
painted gratuitously. Fie married the daughter of the unfortunate Lord Goury, who
brought him no other dower than a noble name and great personal beauty. Soon after
his marriage he left England with his lady, and went to Antwerp, on a visit to his family
and friends, and afterwards proceeded to Paris.
Emulous of the glory Rubens had acquired by his splendid works in the Luxembourg,
Vandyck is said to have visited that capital with the hope of being employed in the
then projected decoration of the gallery of the Louvre; but on his arrival, he found
the commission already disposed of to Nicholas Poussin, who had been brought from
Rome for that purpose. Vandyck returned to England, and still retaining the same
ambition of executing some public work in competition with his master, he proposed
to the King, through the channel of Sir Kenelm Digby, to decorate the walls of the
Banqueting-house, of which the ceiling was already adorned by Rubens, with the his
tory and procession of the order of the garter, for which the sum demanded was eight
thousand pounds. The proposal was more agreeable to the King's wishes than suited
to the state of his finances. The approaching troubles of the times would, at all events,
have prevented its completion. Vandyck did not long survive the rejection of his pro
posal. His luxurious and sedentary life brought on the gout, and injured his fortune.
He endeavoured to repair it by the egregious, but then prevalent folly, of the pursuit of
the philosopher's stone, in which he was. perhaps encouraged by the example or advice
of Sir Kenelm Digby. He died in Black-Fryars, December 9th, 1641, at the age of 42,
and was buried in St. Paul's cathedral, with a funeral pomp suited to his extraordinary
abilities, and the universal esteem he had acquired by the urbanity of his manners, and
. the liberality of his heart.
It is, perhaps, without example in the history of the art, that a painter, cut off in the
vigour of his life, should have left such a multiplicity of works, the number of which
is perhaps not exceeded by those of Rubens, though he died so young. If we cannot,
in a general view, place him on an equality with Rubens as an historical painter, it will
be allowed that he surpassed him in the correctness of his design, in the delicate expres
sion of his heads, in the truth and purity of his colouring, and in the tender melting of
his tones. If he had less boldness of conception, and less fecundity of invention, his
compositions are regulated by judgment and propriety, and it may be reasonably pre
sumed, that if, like his illustrious instructor, he had devoted himself to that branch, and
had not been chiefly engaged in portrait painting, he possessed a genius, as well as every
other requisite, to have reached the highest rank among the painters of history.
In portraiture, Vandyck will not be denied the most honourable place after Titian,
and it will then be admitted that Titian only retains this superiority in the heads of his
portraits, and that in the hands and accessories he was inferior to our painter, both in
correctness and elegance, liis attitudes are easy and natural, and they captivate by
an air of unaffected simplicity for which his portraits are singularly remarkable. His
beads are full of life and expression, without any thing of the coldness and insipidity,
which are frequently found in the productions of the portrait painter. Independent of
the many admirable pictures he painted of the King and the royal family, there are in
England many fine portraits of distinguished personages, which are among the prin
cipal ornaments of the mansions of the nobility.

VAN VAN 511
This distinguished painter occasionally amused himself with the point, and has etched
several plates, which are executed with a spirit and fire bordering on enthusiasm. They
consist chiefly of portraits of the most eminent artists of his time, from his own de
signs. Little attentive to the neatness or minuteness of his execution, his point is
animated with a vigour and energy which are perhaps without example. The following-
are his principal works :
Christ crowned with Thorns ; A. Vandyck, inv.
PORTRAITS of artists.
Adam van Oort, Painter; Ant. Vandyck, fecit aquaforti.
Justus Suttermans, Painter, of Antwerp.
.- Peter Breughel, Painter.
Lucas Vorstermans, Engraver.
Judocus de Momper, Painter.
Paul du Pont, or Pontius, Engraver.
John Breughel, Painter.
Francis Frank, Painter.
Jon de Wael, Painter.
John Snellinx, Painter.
Peter Sneyers, Painter.
Titian, with his Mistress, who is leaning on a casket, with a scull ; Titiano, pinx. A. Vandyck,fec,
VANDYCK, Philip. This painter was bora at Amsterdam in 1680, and was a scholar of
Arnold Boonen, under whose tuition he remained until he surpassed his instructor. He
painted small portraits, in the style of his master, but was more successfully employed
in painting similar subjects to those of Mieris and Metzu, representing conversations
ladies at their toilets, and gallant assemblies, which are ingeniously composed, and
painted with neatness and delicacy, though unequal to the admired productions of the
masters he imitated. In 1710 he established himself at Middleburg, where he was much
employed. He was afterwards invited to the Hague, and was patronised by the families
of Wassemaer, Fagel, and Schuylenburg, for whom he painted some of his best pictures.
The reputation he had acquired recommended him to the notice of William, Prince of
Hesse, who not only engaged him to paint several pictures, but Commissioned him to
purchase the choicest works of art he could meet with in Holland and Flanders, for the
jrich collection he was then forming at Cassel. In this undertaking he acquitted him
self with judgment and taste, and entirely to the satisfaction of his protector. On his
return to the Hague, he painted the portraits of the Stadtholder, and those of his family
as well as several pictures for the cabinet of that prince, and continued to exercise his
talents with great respectability until the year 1752, when he died at the Hague, at the
age of 72. Two of his happiest productions have been thought worthy of being placed
in the gallery of the Louvre. They represent a young lady at her toilet, and a lady
playing on the guitar.
VANGELISTl, Vincenzio. A modern Italian engraver, born at Florence about the year
1744. He visited Paris when young, where he became a pupil of John George Wille.
He has engraved several plates in a neat finished style, among which are the following :

512 VANLOO.

PORTRAITS.

Amand de Bourbon, Prince of Conty.
George Louis, Count de Buffon ; after A. Pujos,
SUBJECTS.
The Virgin and Infant; after Raffaelle.
Venus chastising Cupid ; after Agos. Caracei.
Pyramus and Thisbe ; after Guido.
VANLOO, James. This painter was born at Sluys, in Holland, in 1614, and learned the
rudiments of design from his father, an obscure artist, who sent him to Amsterdam,
where he had an opportunity of profiting by the instruction of a master who is not
named. He became a reputable painter of history and portraits, and, in the prime of
life, established himself at Paris, where he was principally employed in portraiture. He
became a member of the Academy there, and painted for his picture of reception the
portrait of Michael Corneille, the elder, which is a creditable specimen of his abilities.
Of his historical pictures, Houbraken mentions as the most considerable the Bath of
Diana, and the discovery of the Pregnancy of Calisto. He is said to have been a cor
rect designer of the naked, and an agreeable colourist. He died at Paris in 1670,
aged 56.
VANLOO, John Baptise. He was the grandson of the preceding artist, born at Aix in
Provence, in 1684. His father, a painter of little celebrity, taught him the elements of
design, and, possessed of a decided genius for the art, his advancement was extraordinary,
without the aid of superior instruction. He had already acquired considerable repu
tation by some pictures he painted for the churches and public edifices at Toulon, when
the siege of that place, in 1707, obliged him to return to Aix. He was soon afterwards
taken under the protection of the Prince of Carignan, who enabled him to indulge the
desire he had long expressed, of visiting Rome, where he studied the works of the best
masters, and received some lessons from Benedetto Luti. His talents were not neglected
at Rome ; he painted some pictures for the churches and palaces, of which one of the
most esteemed is the Scourging of Christ, in S. Maria in Monticelli. He was invited
to the court of Turin, where he was for some time employed by the Duke of Savoy,
whose portrait he painted, with those of the principal nobility. He afterwards passed
some time at Paris, where he became a member of the Academy, and painted for his
picture of reception Diana and Endymion. For the church of St. Martin des Champs,
he painted the Entry of Christ into Jerusalem ; and in St. Germain des Pres, is a picture
by him of St. Peter delivered from Prison.
In 1737 he came to England, where, according to the Anecdotes, his first works were
the portraits of Colley Cibber and Owen Mac Swinney, whose long silver hairs were
extremely picturesque, and contributed to give the new painter reputation. He was
favoured with the patronage of Sir Robert Walpole, by whom he was introduced to the
Prince and Princess of Wales, whose portraits he painted. Vanloo soon bore away the
chief business of London from every other painter. His likenesses were very striking,
though not often flattering, and his heads were coloured with force. His draperies and

VAN VAN 513
other accessories were usually painted by Van Aken, and Vanloo's scholars, Eccardt and
Root. In 1742 he found his health considerably impaired, and he was advised to try the
effect of the air of his native country, Provence, where he died in 1746.
VANLOO, Charles Andrew, called Carlo. This artist was the younger brother of
John Baptist Vanloo, born at Nice in 1705. He was instructed in the rudiments of
design by his brother, whom he accompanied to Rome, and studied for some time under
Benedetto Luti. He returned to Paris in 1723, where he gained the first prize for his
torical painting, and was employed, with his brother, to repair the paintings by Prima
ticcio, in the Gallery of Fontainbleau. In 1727 he again visited Italy, and passed some
lime at Rome, studying the works of the best masters. He was invited to the court of
Turin, and passed some years in the service of the King of Sardinia, where, among
other considerable works, he painted a series of subjects taken from Tasso.
In 1734 he returned to France, and was received into the Academy the following
year; his reception picture represented Apollo and Marsyas. He now became one of
the most popular artists of his time, and in 1752 the King conferred on him the order
of St. Michael, and afterwards appointed him his principal painter, in which capacity
he died, in 1765, aged 60. His principal works at Paris are his pictures in the church
of the Augustines, called les Petits Peres, and one of his esteemed productions is in the
gallery of the Louvre, representing the Marriage of the Virgin. By his studies in
Italy, he acquired a correctness and simplicity of style, which had an useful influence
in reforming the modern French school from the affected and theatrical manner intro
duced into it by Coypel and de Troy. His countrymen have not scrupled to attribute
to him the design of Raffaelle, the grace of Coreggio, and the colour of Titian. A
juster homage to his talents would have been to compare him to the best of the
modern Italian painters. His merit, though eclipsed by a comparison with the brilliant
luminaries of the brighest era of the art, appears to a respectable advantage, when com
pared with his contemporaries.
VANLOO, Louis Michael. This artist was the son of John Baptist Vanloo, bora at
Toulon in 1707- He received his instruction in the art from his father, and acquired
considerable reputation as an historical painter, though he was more distinguished for
his excellence in portraiture. He was made a member of the Academy at Paris, and
painted for his reception a picture of Apollo and Daphne. Philip V. of Spain invited
him to the court of Madrid, and appointed him his principal painter. After the death
of that monarch he returned to Paris, and continued the exercise of his talents with
great success. He died in 1771, aged 64.
VANMANDER,Chahles. This painter and writer on art was born at Meulebeke, near
Courtray, in 1548. He was of a noble family, and received an education suited to his
rank. At an early age he discovered a lively genius for poetry and the belles-lettres
and a decided disposition for painting. To cultivate the latter, on finishing his literary
pursuits, he was placed under the tuition of Lucas de Heere, a painter and poet of
Ghent, with whom he studied some time, and afterwards became a disciple of Peter
Vlerick, an historical painter of some eminence at Courtray. He had acquired consi
derable reputation by some pictures he had painted for the churches in Flanders, when
Vol. II. 3 T

514 • VANNI.
he determined to visit Italy, and passed three years at Rome* where he was assiduously
employed in designing the remains of antiquity, and studying the works of the best
masters. He formed an intimate acquaintance with Bartholomew Sprangher, and, in con
junction with that artist, was employed for some of the public places and private coIt
lections at Rome. For the town of Terni, in the Roman state, he painted one of his
most esteemed pictures, representing the Martyrdom of St. Bartholomew. After a
residence of three years in Italy, he had thoughts of returning to Flanders, when he
was prevailed on, by his friend Sprangher, to accompany him to Vienna, where he met
with the most flattering encouragement, and received a pressing invitation to enter the
service of the Emperor; but his attachment to his native country prevented him from
accepting so honourable a mark of distinction.
He experienced from his friends and countrymen the most lively expressions of kind
ness and favour, and received commissions for a variety of considerable works. One of
his earliest productions after his return from Italy, was a picture of Adam and Eve in
Paradise, in which he evinced how much his style of design had been reformed by his
studies at Rome. This performance was followed by a more arduous undertaking,
representing the Deluge, in which he described the horror of the scene, and the
varied expression of terror, grief, and despair, in the most striking and pathetic
manner. He was in full possession of the public estimation, both as a painter and a
poet, when this state of tranquil prosperity was interrupted by the calamities of war,
with which the Low Countries became at that time afflicted. He took refuge in Hol
land, and settled at Haerlem, where he formed an intimacy with Henry Goltzius, and,
in conjunction with that artist, established an academy there, in which he introduced
the style of design he had acquired in Italy. Among his principal works in Holland,
were St. John preaching in the Wilderness ; the Adoration of the Magi ; and Christ
bearing his Cross. In 1604 he removed to Amsterdam, and died in that city in 1606.
We are indebted to Vanmander for an account of the painters of antiquity, and those of
the Italian and Flemish schools from the year 1366 to 1604.
VANNI, Francesco Cavaliere. This painter was born at Siena in 1563, and was taught
the rudiments of design by his father, an artist of little celebrity, who died when he was
very young. He afterwards became the disciple of Arcangiolo Salimbeni, who had
married his mother. According to Baglione, he visited Rome when he was sixteen years
of age, where he entered the school of Giovanni de Vecchi, under whose direction he
designed from the antique, and studied the works of the best masters; the style of
Baroccio particularly attracted his attention, which he imitated with great success, and
returned to Siena a graceful and correct designer. He afterwards visited the different
cities of Lombardy, and at Parma was some time occupied in copying the works of
Coreggio and , Parmigiano. By the recommendation of Cardinal Baronio, he was in
vited to Rome, to assist in the decoration of St. Peter's, where he painted his celebrated
picture of Simon the Magician, which, although considerably damaged by imprudent
cleaning, still excites admiration. It is designed and coloured in the style of Baroccio.
For this performance, Clement VIII. conferred on him the order of Christ. He painted
several other pictures for the public edifices at Rome, of which the most considerable are
St. Miehael, vanquishing the rebel Angels, in the sacristy of St. Gregorio ; a Pieta, in S.
Maria in Vallicella ; and the Assumption, in S. Lorenzo in Miranda. His best perform-

VAN VAN 515
ances are, however, to be met with at Sienna, in some of which he approached nearer
to the graceful style of Baroccio, than even the disciples of that master. Such are his
pictures of the Marriage of St. Catherine, in the chapel of II Refugio ; and S. Raimondo
walking on the Sea, in the church of the Dominicans. The latter is considered the
finest work of art in that city.
Although Vanni appears to have generally adopted the style of Baroccio for his
model, his design is usually more correct, particularly in the hands, and his touch is
more animated and facile. His compositions, though seldom abundant, are character
ised by judgment and propriety, tbe airs of his heads are dignified and expressive, and
his colouring is tender and harmonious. He died at Siena in 1610, aged 47- We have
a few etchings by this able artist, which are designed and executed in so correct and
spirited a style, that it is to be regretted that he did not more frequently amuse himself
with the point; among others are the following «
The Virgin with the infant Jesus sleeping.
St. Catherine of Siena.
St. Francis receiving the Stigmata.
The ecstatic Vision of St. Francis.
VANNI, Raffaelle. He was the son of Francesco Vanni, born at Siena in 1596, and
received his first instruction in the art from his father, who he had the misfortune to
lose when he was only thirteen years of age. He was afterwards sent to Rome, and re
commended to the care of Antonio Caraeci, under whose tuition he is said, by Mancini,
to have acquired an ability superior to his father. Posterity, however, has not ratified
so favourable a decision. He is generally allowed to have been a bold and correct
designer, and to have possessed a judicious management of the chiar-oscuro. The
works of his contemporary, Pietro da Cortona, appear to have had for him peculiar
attraction, and he has imitated the splendid style of that master in the greater part of
his works. His picture of the Birth of the Virgin, in the church of La Pace, is entirely
Cortonesque ; as are also the angles and cupola of S. Maria del Popolo. He was made
a member of the Academy of St. Luke in 1655.
VANNI, Giovanni Batista. According to Baldinucci, this artist was born at Florence
in 1599, other authorities state him to have been a native of Pisa. He was a disciple of
Cristoforo Allori, and painted history with some reputation. Of his works as a painter,
the most considerable is a picture of S. Lorenzo, in the church of S. Simone, at Florence.
He is, however, more known as an engraver than a- painter. We have by him several
etchings, executed in a spirited and masterly style, although the drawing is not very
correct. Among others are the following :
A set of fifteen plates from the paintings by Coreggio, in the cupola of S. Giovanni, at Parma.
The Martyrdom of S. Placido ; after the same.
The Marriage of Cana ; after P. Veronese.
VANNINI, Ottavio. This painter was bora at Florence in 1585, and was first a disciple
of Gio. Batista Mercati, but he was afterwards instructed by Anastagio Fontebuoni, and
ultimately entered the school of Domenico da Passignano, whom he assisted in many of
his principal works. In the pictures he painted from his own designs his execution is
3T2

516 VAN VAN
laboured and cold ; and though he is diligently attentive to the individual parts, the
whole is feeble and ineffective. He died in 1643, aged 58.
VANNUCCHI. See Sarto.
VANNUCC1. See Perugino.
VANSOMER, Paul. This artist was born at Antwerp about the year 1576, and, accord
ing to Vanmander, resided at Amsterdam in 1604, with his brother Bernard, where they
practised portrait painting with great success. Paul Vansomer soon afterwards visited
England, as there are several English portraits by him, dated from 1606 to 1620. He
was one of the ablest painters of portraits who visited this country previous to Vandyck.
His portrait of the Lord Chamberlain, William, Earl of Pembroke, in St. James's Palace,
is equal to any production of the time. He painted two pictures of James 1. one of
which was engraved by Vertue; his Queen, Anne of Denmark, and several of the
nobility. Vansomer died about the age of forty-five, and was buried in St. Martin's in
the Fields, as appears by the register, January 5, 1621 : Paulus. Vansomer pictor eximius
sepultusfuit in ecclesia.
VANUDEN, Lucas. This painter was the son of an artist of little repute, born at Ant
werp in 1595, and was taught the rudiments of design by his father. He had not the
advantage of any superior instruction, but, endowed with a decided genius for landscape
painting, he was indefatigable in his studies from nature, and passed his leisure hours
in the fields and forests, where he designed with fidelity every object which appeared
to him picturesque or remarkable, and was particularly attentive to the peculiar appear
ance of the atmosphere, from the time the rising sun dissipates the vapours, till it sinks
in the horizon. He represented these effects with uncommon truth and precision and
by an attentive study of the admirable landscapes of Rubens, he acquired an excellent
tone of colouring, and a vigorous and animated touch. His extraordinary merit recom
mended him to the particular attention of Rubens, at a period when Antwerp was the
residence of so many able artists. That distinguished master assisted him with his
advice; he frequently employed him to paint the landscapes in the back-grounds of his
historical pictures; and occasionally embellished the landscapes of Vanuden with his
admirable figures. The congeniality of their taste and execution gave to these perform
ances the appearance of being the productions of the same hand.
Some of the small landscapes of Vanuden, which are esteemed his best works, bear so
strong a resemblance to those of Rubens, that they are only distinguishable by a less
daring execution, and have the effect of those of Rubens viewed through the medium
of a diminishing optic. His pictures represent views in Flanders; and though the local
eonfines of his country do not admit of the extensive vistas which we admire in the
expansive scenery of Claude or Poussin, he compensates, in a great degree, for this
privation, by a faithful and interestingly simple representation of nature. Some of the
latter works of Vanuden are decorated with the figures of David Teniers • and this em
bellishment is no small enhancement of the value of his pictures. We have several
etchings by this able artist, which are executed in a picturesque and masterly style •
among which are the following :

VAN VAR 517
Ten Landscapes and Views in Flanders, of various sizes ; from his own designs.
Four Landscapes ; after Rubens. The first impressions are before the name of Rubens was
inserted.
Two Landscapes with figures; after Titian; one with a Holy Family, and the other with the
Good Samaritan.
VANUDEN, James. He was the brother and scholar of the preceding artist, and painted
landscapes in the style of Lucas Vanuden ; but his pictures are in every respect very
inferior.
VANVITELLI, or Vanvitel, Gaspar, called Dagli Occhiali. This painter, though
generally considered of the Italian school, was born at Utrecht in 1647. He excelled
in painting architectural and perspective subjects, and has represented the views of
modern Rome, and of different cities and sea-ports in Italy, with a precision approach
ing to those of Venice by Canaletti. His delineation and admeasurement of the build
ings and other objects are exact, and his tints are natural and agreeable ; though he is
very inferior to Canaletti in the spirit and animation of his touch, and in the lustre and
brilliancy of his colouring. He died at Rome in 1736, aged 89-
VARCO, Alonso de. According to Palomino, this Spanish painter was born at Madrid
in 1645, and was a disciple of Don Josef Antonilez. He painted landscapes in the style
of his instructor, and was much employed for the convents and the private collections
at Madrid, in which city he died in 1680, aged about 40.
VARDY, John. An English engraver, who flourished about the year 1749, by whom we
have a print representing the Gothic hall at Hampton-Court, executed in a neat, spirited
style.
VARELA, Francisco. A Spanish painter, born at Seville in 1606. He was a scholar of
Pablo de las Roelas, and painted history with considerable reputation. Amongst his
most considerable works are his pictures of the Martyrdom of San Vicente, in the
church dedicated to that Saint; and an altar-piece representing St. Michael, in the
convent of la Merced. There are also several of his pictures in the private collections
at Seville, where he died in 1656, aged 50.
VARGAS, Luis de. De Vargas was one of the most eminent Spanish painters of the
sixteenth century. According to Palomino, he was born at Seville in 1528. Having
learned the elements of the art in his native city he went to Italy and passed seven
years at Rome, where his studies were principally directed to the works of Pierino del
Vaga. On his return to Seville he found himself unable, to compete with Pedro Cam-
panna, whose works were at that time in great repute, and he returned to Rome, where
he renewed his studies with increased alacrity. A second residence of seven years in
that capital, and an attentive study of the works of Raffaelle and Michael Angelo,
which were the models he now consulted, enabled him to return to Spain an able and
correct designer. Soon aftei his arrival at Seville he gave proof of extraordinary ability
in two pictures he painted for the cathedral, representing Christ bearing his Cross, and
Adam and Eve. The latter gained him great reputation, and was so much admired by

518 VAR VAS
Matteo Perez Alesio, a painter of eminence, that, on contemplating his performance, he
exclaimed, that one limb of the Adam of de Vargas was worth more than the whole
composition of his colossal St. Christopher ; and returning soon after to Italy, gave that
honourable testimony of his own candour, and the merit of de Vargas, which is noticed
in the life of that artist. He executed several other works for the churches at Seville,
both in oil and in fresco ; among the most esteemed of which are the principal altar-
piece in the cathedra], and a picture of the Virgin holding a rosary, in the convent of
San Pablo.
De Vargas was not less distinguished for his excellence in portrait painting, than for
his historical pictures ; some of his productions in that branch are b}r his Spanish bio
grapher compared to the works of Raffaelle. He died at Seville in 1590, aged 62.
VAROTARI, Dario. This painter was born at Verona in 1539, and was a scholar of
Paolo Veronese, though he did not entirely follow the principles of that master, but
endeavoured to imitate the style of Titian, particularly in the airs of his heads. His
chief residence was at Padua, where he became the founder of a respectable school.
Some of his principal works are in the church of S. Egidio, in that city. There are also
several of his pictures in the churches at Venice, and in the state. He died in 1596
aged 57-
VAROTARI, Alessandro, called II Padouanino. He was the son of the preceding
artist, born at Padua in 1590. His father dying when he was only six years of age,
he was instructed in the art by a painter who is not mentioned. He, however, derived
his principal improvement by studying the fresco works of Titian, which remained at
Padua, and his juvenile copies of some of them were the surprise and admiration of
the artists. He was sent to Venice when he was very young, where the talents he dis
covered at so early an age, procured him the name of II Padouanino. At Venice he
continued his studies after the works of Titian, and at length entered so entirely into
his manner, that he was considered one of the most successful followers of his style.
If his design had been equal to his colouring, few painters of the Venetian school would
have surpassed him. He generally selected subjects which admitted the introduction
of the naked, in which he was as successful in the beauty and tenderness of his carna
tions, as deficient in the correctness of his drawing. His most considerable works at
Venice are the Marriage at Cana, in the Capitolo della Carita; four pictures represent
ing subjects from the Life of St. Dominick, in the refectory of S.S. Giovanni e Paolo -
and a Miracle of the Virgin, in S. Maria Maggiore. He died in 1650, aged 60.
VAROTARI, Chiara. This lady was the daughter of Dario Varotari, and flourished at
Venice about the year 1648. She was instructed in the rudiments of design by her father
and is celebrated by Ridolfi, and in the poetry of Boschini, for her extraordinary talents
in portrait painting. In the Florentine gallery of the portraits of artists is that of
Chiara Varotari, painted by herself.
VASARI, Giorgio. According to Bottari, in his Note alle Vite del Vasari, this painter and
eminent writer on art, was born at Arezzo in 1512. He is said to have received his
first instruction in design from a glass painter, named Guglielmo da Marsiglia, com
monly called II Prete Gallo; but he afterwards studied under Michael Angelo Buonaroti

VASCELLINI. 519
and Andrea del Sarto. His greatest improvement was derived from his studies at Rome,
whither he was conducted by Cardinal Ippolito de Medici, who had taken him under
his protection, and by whose family he was afterwards loaded with riches and honours.
He designed from the antique marbles, the works of Michael Angelo in the Sistine
chapel, and the frescoes of Raffaelle in the Vatican; and formed to himself a style in
which he discovered his predilection for the works of Buonaroti.
Having acquired some reputation as a painter, he applied himself to the study of
architecture, in which he became one of the ablest professors of his time, and united in
himself the various acquirements by which Giulio Romano and Pierino del Vaga, fol
lowing the example of Raffaelle, had so eminently distinguished themselves. He was
employed in several public works at Rome, particularly in different parts of the Vatican,
and in the Sala della Cancellaria, where he painted, by the direction of Cardinal Farnese,
a series of frescoes, representing the principal actions of Pope Paul 111. In the church
of S. Giovanni Decollato he painted for the principal altar the Martyrdom of that Saint,
which is one of his most esteemed pictures in oil.
There are many other works b)' Vasari in the different churches in Italy, among
which the most remarkable are three sacred subjects in the refectory of S. Michele in
Bosco, at Bologna ; the Feast of Ahasuerus, in the church of the Benedictines, at
Arezzo ; and the Adoration of the Magi, at the Conventuali, at Rimini.
In 1553 he was invited to visit Florence, by Cosimo I. who employed him in the
superintendance of the important works in which he was then engaged in the Palazzo
Vecchio, where the decorations were executed by Vasari and his disciples. Of these
the most considerable was the apartment of Clement VI I., in which he has represented
that Pope crowning the Emperor Charles V. ; and in the other compartments the prin
cipal actions and victories of that monarch.
He is allowed to have been an able designer, and to have been a competent master of
the ornamental style. But, from the extent and variety of his undertakings, he occa
sionally fell into negligence and manner, and he was at all times languid and cold in his
colouring. Vasari is more celebrated as a writer than as a painter. His principal work was a
History of the Painters, Sculptors, and Architects, from the period of Cimabue till his
own time, entitled, Vite de piu eccellenti pittori, scultori, e architetti, first published at
Florence in two volumes in 1550, and republished with large additions, and the heads of
the artists, in three volumes, in 1568. He died at Florence in 1576, aged 64.
VASCELLINI, Gaetano. A modern Italian engraver, born at Castello S. Giovanni, in
the Bolognese state, in 1740. He learned the principles of design from Ercole Graziani,
and was instructed in engraving by Carlo Faucci at Florence. We have by him some
portraits from those in the Florentine Gallery, and several subjects after various Italian
masters, among which are the following :

Andrea Vanuucchi, called del Sarto.
Daniello Ricciarelli, da Volterra.

PORTRAITS.

SUBJECTS.

St. Joseph and St. Francis of Paula ; after Seb. Conca.
Mary Magdalen penitent ; after F. Furino.

520 V A S V A S
Venus ; after Titian.
Danae ; after the same.
VASCONI, Filippo. By this engraver, who flourished about the year 1720, we have
several plates of views in Venice and the vicinity.
VASQUEZ, Alonso. A Spanish painter, born at Ronda in 1589, and was educated at
Seville, under Luis de Vargas. He painted history with considerable reputation, and
was a contemporary and rival of Francisco Pacheco. His design is correct, and disco
vers an intimate acquaintance with anatomy, and his pictures are painted with freedom
and facility. His principal works are in the monastery of the Barefooted Carmelites at
Seville. He died in that city, in 1650, aged 61.
VASSALLO, Antonio Maria. This artist was a native of Genoa, and flourished about
the year 1670. He was a scholar of Vincent Malo, of Cambray, who had studied under
Rubens. Vassallo excelled in painting landscapes, animals, fruit, flowers, &c. which
were admirably coloured, and touched with great spirit and freedom. He also occasion
ally painted historical subjects, in which he had given proof of considerable ability, but
died young.
VASSEUR, John Charles le. A modern French engraver, born at Abbeville in 1734.
He was a pupil of Daulle and Beauvarlet, and has engraved several plates, chiefly after
the works of the modern French painters, in a neat, finished style. Among others are
the following :
The Triumph of Venus ; after Boucher.
The Death of Adonis ; after the same.
The Continence of Scipio ; after Le Moine.
Diana and Endymion ; after J. B. Vanloo.
Apollo and Daphne ; after Luca Giordano.
The Triumph of Galatea ; after J. F. de Troy.
The Parting of Hector and Andromecha; after Restout.
Alexander and his Physician ; after the same.
Tarquin and Lucretia ; after A. Peters.
The Milk-maid ; after J. B. Greuze.
Thais, or the beautiful Penitent ; after the same.
He also engraved from Aubry, Krause, Lagrenee, Dietricy, and others.
VASS1LACCHI, Antonio, called L'Aliense. This painter was born in the Grecian
island of Milo, in the Archipelago, in 1556. He was sent to Venice when he was
young, where he became a scholar of Paolo Veronese. Ridolfi informs us, that his
progress under that master was such as to excite the jealousy of his instructor, who
dismissed him from his academy, and advised him to Confine himself to pictures of a
small size. Confident in his powers, and suspecting that Paolo was practising towards
him the same disgraceful illiberality which Titian had shown to Tintoretto, he applied
himself to his studies with redoubled alacrity. One of his earliest public works was a
picture of St. Sebastian, with a glory of angels, for the church of S. Maria delle Vergine,

VAUGHAN. 5*2*
and, on its being reported that it was from a design'of Paolo, he determined to dispose of
all the drawings he had made in the school of that master, as a proof of his determina
tion to abandon his style. He now applied himself to study the works of II Tintoretto,
and acquired a boldness and energy of style which approached the best productions of
that master. Such are his pictures in the Chiesa de S.S. Apostoli, at Venice, represent
ing Abraham sacrificing Isaac, Cain slaying Abel, and the Brazen Serpent. In the Sala
dello Scrutinio are several of the best productions of Aliense, which prove him to have
possessed a fertile and inventive genius, an excellent tone of colouring, and an unusual
facility of execution. He died at Venice in 1629, aged 73.
VAUGHAN, Robert. An English engraver, who flourished about the year 1650. He
was chiefly employed in executing portraits, and other plates, for the booksellers, which
are more sought after for the characters they represent, than the merit of the prints.
He engraved a monument in Dugdale's Warwickshire, and some of the maps ; the prints
for Morton's Ordinal, and part of those for Ashmole's Theatrum Chemicum, in 1651.
Vertue informs us, that during the inter-regnum, Vaughan engraved a portrait of
Charles II. to which he affixed so offensive an inscription, that after the Restoration an
accusation was preferred against him. We have, among others, the following portraits
by him :
James I.
Launcelot Andrews, Bishop of Winchester.
Sir John Wynn, of Gwedur, Bart.; scarce.
George Clifford, Earl of Cumberland.
John Fisher, Bishop of Rochester.
Sir Francis Drake.
Arthur Hildesham, Preacher at Ashby-de-la Zouch.
Sir Walter Raleigh.
Sir Thomas Lyttleton, Chief Justice of the King' Bench.
Thomas Wilsford, Mathematician.
Edward Terry, Rector of Greenford, Middlesex. 1655.
Henry Vere, Earl of Oxford.
Robert Vere, Earl of Oxford.
Thomas Wentworth, Earl of Strafford.
James Usher, Bishop of Armagh.
Sir George Crooke, Chief Justice of the King's Bench.
Benjamin Jonson, Poet.
Edward Turgis, Poet ; scarce.
VAUGHAN, William. This English engraver was probably a relation of the artist men
tioned in the preceding article. He flourished about the year 1660, and, like Robert
Vaughan, was principally employed by the booksellers in frontispieces and other book
ornaments. We have by him three prints, engraved for a small folio pamphlet, describ
ing the Sufferings of Sir William Dick, of Braid, which are now become scarce. He also
engraved a set of thirteen plates of animals, entitled, " A Book of such Beasts as are most
useful for drawing, graving, or arms painting and chasing ;" designed by F. Barlow, and
engraved by William Vaughan. 1664.
Vol. II. 3 U

5-22 VAU UDI
VAUQUER,  : — . This artist was a native of France, and probably followed'the
profession of a goldsmith. He engraved, from his own designs, several plates of flowers
and ornamental foliage, which he entitles, Livres des Fleurs, propres pour vrfevres et gra-
veurs.
UBERTINI, Francesco, called IlBachiacca. According to Baldinucci, this painter was
a native of Florence, and flourished from about the year 1530 till 1557. He painted
history with considerable reputation, and also excelled in the grotesque and ornamental
style. One of his best historical works is his picture of the Martyrdom of S. Arcadio,
in the church of S. Lorenzo, at Florence. The latter part of his life was passed in the
service of the Grand Duke Cosimo, for whom he executed several cartoons for tapestry,
and painted some historical pictures for his gallery.
UCCELLO, Paolo Mazzocchi, called. This old painter was born at Florence in 1349,
and was a disciple of Antonio Veneziano. He was one of the earliest artists who
applied themselves to the study of perspective, in which he was greatly assisted by
Giovanni Manetti, a celebrated mathematician of the time. He distinguished himself
as a painter of animals, but he particularly excelled in designing all sorts of birds, of
which he had formed a large collection of the most curious, on which account he ac
quired the appellation of Uccello. In the church of S. Maria Novella, at Florence, are
several subjects of the Old Testament, which he had selected for the purpose of intro
ducing a variety of beasts and birds, designed with surprising neatness and precision.
Among others, are Adam and Eve in Paradise, the Family of Noah entering the Ark, the
Deluge, &c. These subjects he treated with so much truth and nature, that he may be
styled the Bassano of his time. He also painted landscapes, with ruins and figures,
which, from his knowledge of perspective, were designed with a correctness and intel
ligence unknown to his contemporaries.
Lanzi mentions a colossal portrait of Gio. Aguto on horseback, painted by Paolo, in
the cathedral at Florence, which is considered one of the boldest designs of that early
period. He died in 1432, aged 83.
UDINE, Giovanni Nanni, called da. The family name of this painter was Nanni,
though he is occasionally called by Vasari Ricamatore. He was bora at Udine in 1494,
and having discovered an early disposition for the art, by designing the animals and
birds pursued by his father in the chase, he was sent to Venice, where he was placed
under the tuition of Giorgione, and acquired a competent acquaintance with the prin
ciples of the chiar-oscuro, and an excellent tone of colouring. The fame of Raffaelle
had reached Venice, and inspired Giovanni da Udine with an ardent desire of visiting
Rome, to contemplate the works of that illustrious artist. His protector, the patriarch
Grimani, desirous of promoting his wishes, furnished him with letters of recommenda.
tion to Count Baldassare Castiglione, by whom he was introduced to Raffaelle, and was
admitted into his school. He was employed by that great master in painting the orna
mental accessories in many of his works, consisting of animals, birds, fruit, flowers, &c.
At the time he was thus employed by his illustrious preceptor, the discovery was made
of the precious remains of antiquity in the baths of Titus. Giovanni da Udine was
selected by Raffaelle to make designs from the beautiful grotesque ornaments in stucco,
found in the different apartments. He not only succeeded in his commission to the

TJ D I V E A 523
entire satisfaction of his master, but discovered a process of compounding a stucco,
which had the same appearance, and probably the same durability, as that used by the
Romans. He was now employed by Raffaelle to execute the greatest part of the
arabesque and grotesque ornaments in stucco, in the loggie and apartments of the
Vatican, which he finished in so tasteful and masterly a style, that they have ever been
the objects of universal admiration.
After the death of Raffaelle he was employed by Clement VII. in conjunction with
Pierino del Vaga, to ornament that part of the Vatican called La Torre di Borgia, where
they represented the Seven Planets; the emblematical figures were designed by del
Vaga, but the grotesque ornaments and symbolical decorations were executed by Gio
vanni da Udine. In 1527 he was compelled, by the sacking of Rome, to fly from that
city, and he took refuge at Udine, where he was for some time employed. He was
afterwards engaged at Florence, by the family of the Medici, in several considerable
works. He returned to Rome in the pontificate o.f Pius IV. where he died in 1564, and
was buried in the church of La Rotonda, near the tomb of Raffaelle.
UDINE, Martino da, called Pellegrino di san Daniello. This painter was bora at
the castle of San Daniello, ten miles distant from Udine, about the year 1480, and was
a disciple of Giovanni Bellini, during that painter's residence at Udine. He acquired
the name of Pellegrino from an expression of approbation bestowed on his talents by
his master Bellini, who, on seeing some of his early productions, exclaimed, Pellegrino !
or excellent! He painted several pictures for the churches at Udine, which raised his
reputation to a level with that of his instructor, whose works were at that time in the
highest estimation. In the cathedral is one of his admired productions, representing
St. Joseph, with the infant Christ and St. John, which was esteemed not inferior to the
picture of S. Marco, by Bellini, in the same church, which is considered his master.
piece. But his most celebrated performance is an altar-piece in S. Maria de Battuti,
representing the Virgin, with several female saints, and St. John the Baptist, in which
he displayed a dawning of the breadth of style, and the mellowness of colouring, which
were afterwards carried to such perfection by Giorgione. In the church of S. Antonio,
at San Daniello, are some paintings in fresco by Pellegrino, representing the Life of
Christ, which are highly commended by his biographer Renaldis. He died soon after
in 1545.
VEAU, John Le. A French engraver, born at Rouen about the year 1736. He went to
Paris when he was young, where he became a pupil of J. P. Le Bas, and has engraved
several plates, in the neat and spirited style of that eminent artist, among which are
the following :
A pair of Views in Flanders, by moonlight ; after Vander Neer.
A View of Montserrat; after Vernet.
The Fishermen ; after the same.
The Cascade of Tivoli; after La Croix.
A View of Puzzoli ; after the same.
The Village Blacksmith ; after Berghem.
A Landscape, with a Shepherd watching his Flock ; after Ruysdael,
Abraham sending away Hagar; after Dietricy.
The Shepherdess of the Alps ; after Aubry.
3U 2

524 VEC VEC
VECCHI, Giovanni de. This painter was bora at Borgo S. Sepolcro, in 1536. He went
to Rome when he was young, where he first became a disciple of Raffaelle delle Colle,
but he afterwards studied under Taddeo Zuccaro, who was at that time employed by
Cardinal Alessandro Farnese, in the embellishment of his palace of Caprarola, where, in
conjunction with his instructor, he executed several considerable works. There are
many of his pictures in the churches at Rome, of which a particular description is given
by Baglione. In S. Lorenzo in Damaso, is one of his most esteemed productions,
representing the Martyrdom of St. Lawrence ; in the cupola of the Chiesa del Gesu, he
painted in fresco the four Doctors of the church ; and in S. Maria d'Aracaeli are several
pictures of the life of St. Jerome. He died at Rome in 1614, aged 78.
VECCHIA, Pietro. He was born at Venice in 1605, and was brought np in the school of
Alessandro Varotari, called II Padouanino. He did not, however, adopt the style of
that master, but applied himself to .an imitation of the works of Giorgione and II Por
denone, in which he was so successful, that some of his pictures have been mistaken for
the productions of those masters. His powers were better adapted to familiar and
fancy subjects than to the dignity of history, and his best pictures represent armed sol
diers, banditti, and corps-de-gardes, which he painted with great vigour and effect. His
talent in imitating the works of the old masters induced the Doge and Senate of Venice
to employ him to copy, in oil, the historical works in mosaic, which are iu the church
of St. Mark, which he executed with great ability, and painted two altar-pieces of his
own composition, for the same church, representing the Crucifixion, and our Saviour
driving the Money-changers out of the Temple. His colouring is warm and tender,
and he was well versed in the principles of the chiar-oscuro. He died in 1678, aged 73.
VECELLI, Tiziano. See Titian.
VECELLI, Francesco. He was the brother of Tiziano Vecelli, the great luminary of
the Venetian school, and was born at Cadore, in Friuli, in 1483. After being instructed
by his brother in the elements of the art, he served some years in the army, and he was
probably induced to turn his thoughts to painting as a profession, by the extraordinary
success of his brother. He painted some pictures for the churches and public edifices
at Venice, which possessed sufficient merit to alarm the jealousy of Titian, particularly
a picture of the Transfiguration, in the church of S. Salvatore, which gained him great
reputation. But his most celebrated performance, and which frequently has been taken
for a work of Titian, is a picture of the Nativity, in the church of S. Guiseppe, at Bel
luno. By the persuasion of Titian, he is said to have abandoned painting in 1531, and
devoted himself to commercial pursuits.
VECELLI, Orazio. This artist was the son and disciple of Titian, born at Venice in
1540. He distinguished himself chiefly as a painter of portraits, some of which were
esteemed little inferior to those of his father ; though he occasionally painted historical
subjects, one of the most considerable of which was in the ducal palace at Venice, but
was destroyed in the conflagration. He died in the same year with his father, in 1576,
aged 36.

VEC V E E 525
VECELLI, Marco, called Marco di Tiziano. This artist was the nephew of Titian, born
at Venice in 1545, and accompanied that distinguished painter in his journies to Rome
and Germany. He was the favourite disciple of his great instructor, and approached
nearer to his style, both in composition and colour, than any of his relatives. There are
several considerable works by him in the palazzo di S. Marco, among the most esteemed
of which is an allegorical subject on the peace of Italy, in the antichamber to the Sala
del Consiglio. Another admired work of Marco Vecelli is a picture in the Sala della
Bussola, representing the Doge Leonardo Donato kneeling before the Virgin and Infant
Christ. He also painted several considerable works for the churches at Venice, Trevigi,
and in the Friuli, particularly a picture of Christ fulminating the world, and the Virgin
and several Saints interceding, in S. S. Giovanni e Paolo, at Venice. He died in 1611,
aged 66.
VECELLI, Tiziano, called Tizianello. He was the son of the preceding artist, and in
the beginning of the seventeenth century acquired some reputation by the pictures he
painted for the public edifices at Venice. The excellent principles which had been
established by the great founders of the Venetian school, had, however, now given way
to negligence and manner, which lis evident in all his works. His best productions are
his portraits, which possess the merit of resemblance, and a natural tone of colour.
VECELLI, Cesare. This artist was the younger brother of the celebrated Titian, and
flourished about the year 1590. We have by him a set of prints engraved from the de
signs of Titian, in a spirited and masterly style, representing the ancient and modern
habiliments of various parts of the world, published at Venice in 1590, entitled De gli
Habiti Antichi e Moderni di diverse parte del mondo, Libri duefatti da Cesare Vecellio. A
second edition of this work appeared in 1664, with a more explanatory title, as follows :
Raccolta di figure delineate dal gran Tiziano, e da Cesare Vecellio suo fratello diligerdem-
ente intagliate.j
VECQ, James la. This painter was born at Dort in 1625, and was educated in the school
of Rembrandt, whose excellent manner of colouring, and admirable conduct of the
chiar-oscuro, he successfully imitated. After leaving that excellent school, by an un
accountable caprice and want of judgment, he abandoned the principles of his able
instructor, and adopted the feeble and flimsy manner of John de Baan. He painted
history and portraits, but attached himself chiefly to the latter.
A singular anecdote is reported by Houbraken in his life of this artist. Whilst he
was in France, he was applied to by an old priest, at Sedan, to paint his portrait : when
La Vecq attended him for that purpose, he informed him, that some years before he
had his portrait painted by a Fleming, but that it was so little to his liking, that he had
ordered it to be put into his garret. La Vecq expressed a curiosity to see this wretched
performance, but his surprise was not little, when he discovered, on wiping away the
dust, one of the finest heads Vandyck had ever painted. How many are there of the
laity who do not judge better than this ecclesiastic i
VEEN, Martin van. See FIemskirk.
VEEN, Otho and Gilbert van. See Venius.

526 VEE VEL
VEENHUYSEN, J. A Dutch engraver, who flourished at Amsterdam about tbe year
1656. He engraved a set of views of the public buildings in that city, which are exe
cuted in a neat, slight style. They are embellished with figures, which are designed
with tolerable correctness. They were published at Amsterdam in 1656, with descrip
tions in Dutch and French.
VEGEL, J. S. Mr. Strutt has considered this artist worthy of record, though he pro
nounces him " an obscure engraver of frontispieces and other book plates, which he
executed in so bad a style, that they by no means merit notice."
VELA, Christoval. A Spanish painter, born at Jaen in 1598, and was first a scholar
of Pablo de Cespedes, but afterwards studied under Vincenzio Carducci. He chiefly
resided at Cordova, where he painted history with some reputation, and was esteemed a
correct designer, though languid and weak in his colouring. In the cloister of the con
vent of San Augustin, at Cordova, is a series of the Prophets, designed in a grand style.
He died at Cordova in 1658, aged 60.
VELASCO, Don Antonio Palomino. This Spanish painter, and the principal biographer
of the artists of his country, was a native of Valencia, where he flourished about the year
1700. He painted several pictures for the churches and convents at Valencia, Salamanca,
and Granada, and was one of the .painters to Philip V. of Spain. He is, however, more
known as a writer on art than as a painter. He published an elaborate treatise on. the Art
of Painting, in two folio volumes, published at Madrid, in which he notices upwards of
two hundred painters and sculptors, who flourished in Spain, from the time of Ferdinand
the Catholic to the conclusion of the reign of Philip IV. Of this work there was an
abridgment, in Spanish, published in London in 1742, entitled, Las Violas delos Pintores
y statuarios eminentes Espanoles. Of which there is an English translation.
VELASQUEZ, de Silva, Don Diego. Don Diego Velasquez de Silva, the most distin
guished painter of the Spanish school, was bora at Seville in 1594. He was of a noble
family, originally of Portugal, which had been reduced by the troubles of their country,
and had established itself in Andalusia. His parents, although in very narrow circum
stances, gave their son a liberal education, and as he had evinced, during his literary
studies, an extraordinary genius for drawing, he was permitted to indulge his inclina
tion, and was accordingly placed under the tuition of Francesco Herrera the elder, a
rigid instructor, but of considerable ability. The morose manner and brutal temper of
that master becoming insupportable to the gentle nature of the young Velasquez, he
quitted his school, and entered the academy of Francisco Pacheco, a man of letters, and
an able designer. Under that master his talents began to display themselves in a variety
of sketches from nature, of peasants and ordinary people, in peculiar habits and occupa
tions, as they struck his fancy in the streets. In these first sallies of his genius, he gave
a faithful and striking representation of the manners and characters of the lower orders
of the people, and the various accessories and objects of still-life, with which he accom
panied them, were designed and painted with unusual fidelity and spirit. Of these
early productions, one of the most celebrated is his picture, now in the new palace at
Madrid, of the old Water-carrier of Seville, portrayed in a tattered garment, which,
through its rents discovers naked parts of the body, giving water to a boy to drink out

VELASQUEZ. 527
of his barrel, in which he exhibits a wonderful character of nature and expression, with
an unusual degree of science in muscular anatomy. Velasquez continued to paint sub
jects of this familiar description for some years, and, when urged by some of his friends
to aspire to a higher department of the art, he replied, that he preferred being the first
in that humble walk, to holding a second place in the higher cast of historic painting.
He had studied five years in the Academy of Pacheco, when that master bestowed on
him his daughter in marriage, and his father-in-law having received from Italy some
pictures by Guido, Caravaggio and others, the contemplation of them excited Velasquez
to a more elevated idea of his art. He now turned his thoughts to history and portrait,
and conceived an ardent desire of visiting the rich treasures of art amassed in the royal
collections at Madrid, in the Escurial, and in the palace of Bueno Retiro.
In 1622 Velasquez left Seville to visit the metropolis of Spain, where he had passed
upwards of a year, when his talent recommended him to the notice of Conde de
Olivarez, the favourite minister of Philip IV. who took him under his immediate pro
tection, and accommodated him with apartments in his palace. He afterwards intro
duced him to the King, who expressed his desire to have his portrait painted by Ve
lasquez. This was the most immediate crisis of his fame and fortune. Philip had been
painted by the most eminent artists of the time, who had successively exerted them
selves in portraying a young sovereign, in possession of every thing which could excite
their emulation, and reward their ability. He painted a portrait of Philip on a large
scale ; the King was drawn in armour, mounted on a magnificent steed, with a back
ground of beautiful scenery. In this trying attempt he succeeded beyond his most
sanguine expectation, and all the cognoscenti joined in giving the palm to Velasquez,
above all his predecessors. So complete was his triumph, that Olivarez was directed
to inform his inmate, that the royal person of Philip would in future be entrusted to no
other pencil but his.
When Velasquez had finished the portrait of the King, he received permission to ex
hibit it in a public street in the city; the courtiers applauded it to the skies, and the
poets wrote sonnets in his praise. He was next employed to paint the infants Don
Carlos and Don Fernando, and the portrait of the minister, his patron, mounted, like
his royal master, on a noble Andalusian courser, richly caparisoned.
Fortune now began to shower her favours on him. He was appointed principal
painter to the King, with a liberal salary, besides a munificent remuneration for his.
pictures. Great rewards being thus heaped upon Velasquez, great things were ex
pected from him, and though he had distinguished himself beyond all his contempo
raries as a portrait painter, he had not yet attempted any considerable historical com
position. Vincenzio Carducci, Eugenio Caxes, and other artists, who had preceded him in the
public favour, had signalised themselves by painting a subject of great public interest,
the expulsion of the Moors from Spain by Philip III. He now determined to enter the
lists with these competitors, by painting a picture of this popular event. On this occa
sion he produced a superb composition ; in the centre he placed the King, armed, and
in the act of commanding a party of soldiers, who are escorting a group of Moors, of
different ages and sexes, to an embarkation, which awaits them in one extremity of the
picture ; on the other side is personified the Kingdom of Spain, as a majestic matron,
in armour, with part of a stately edifice. This distinguished performance he signed
with the following inscription : Didacus Velasquez Hispalensis Philip IV. Regis Hispanm
pictor ipsiusquejussu fecit, anno 1627. Velasquez had no sooner completed this celebrated

528 VELASQUEZ.
picture, than he again experienced the favour and munificence of his sovereign. He
was made one of the chamberlains to the King, and received an additional stipend, in
support of his new dignity.
In the same year, 1627, Rubens visited Madrid, in his quality of Ambassador, and
formed an intimacy with Velasquez, for whose extraordinary talents he had the highest
respect. This intercourse led to frequent dissertations, on the part of Rubens, respecting
the state of the arts in Italy, which inspired his friend with an irresistible desire of
visiting Rome and Venice, for the purpose of contemplating the beauties of antiquity,
and the works of the best masters.
Velasquez was now in such favour, that he had no sooner expressed his desire for a
tour to Italy, than he found his wishes anticipated by every facility and indulgence on
the part of his royal protector. The Duke d'Olivarez was directed to furnish him with
a sum, amply sufficient for the expenses of his journey, and to supply him with the
warmest recommendatory letters.
In 1629 he embarked at Barcelona, and, on his landing at Venice, was lodged in the
hotel of the Spanish ambassador. The works of Titian, in the palace of St. Mark,
excited his admiration, nor was he less surprised and delighted on seeing the admirable
productions of Tintoretto, in the Scuola di S. Rosco, particularly the Crucifixion and
the Resurrection. After a residence of a few months at Venice, he proceeded to Rome,
where he was most graciously received by Cardinal Barberini, nephew to Urban VIII.
who procured him apartments in the Vatican, where he had, at all times, access to the
productions of Michael Angelo Buonaroti and Raffaelle. He studied the works of
those illustrious artists with unremitted attention and delight. During his residence at
Rome, he painted his celebrated history of Jacob when his sons present him the bloody
garment of Joseph, one of his most capital performances. He also painted at Rome
his fine picture of the Discovery of the Infidelity of Venus, as related by Apollo to
Vulcan, who is represented at his forge, attended by the Cyclops; a subject which en
abled him to display his art in its fullest extent. The light and shadow from the reflec
tion of the forge, and the sparks which fly from their hammers, produce a surprising
effect. The athletic forms and dusky hues of the Cyclops are artfully contrasted with
the beautiful proportions and fine tints in the figure of Apollo. The character of Vulcan
is finely conceived, and the composition is arranged with infinite judgment. Both these
performances were transmitted to King Philip, by whom they were placed in the most
distinguished situations in his palace.
After an absence of a year and a half Velasquez returned to Spain, passing through
Naples in his way, where he painted the portrait of Donna Maria of Austria, Consort of
Ferdinand III. Absence had not impaired his favour with the King, who made him
one of the gentlemen of his wardrobe, and appointed him a painting room in his palace,
of which the King himself kept a private key, for the purpose of visiting his painter
without the forms of ceremony, as Charles V. had done to Titian.
In 1638 Velasquez painted his celebrated picture of our Saviour on the Cross, now in
the convent of S. Placido, at Madrid. This single figure would be sufficient to immor
talize the fame of Velasquez. It is designed with great simplicity and nature, but with
an expression in the features, an affecting air in the reclining of the head, and a har
monious tone of colouring, at once so tender, and of such effect, that nothing can ex
ceed it. It was about this time that he painted his famous picture representing the
celebrated General Pescara receiving the keys of a Flemish citadel from the governor
of the place. The group of generals, soldiers, citizens, horses, &c. and the striking

VELDE. 529
effect of the town and landscape, in the back-ground, have established the fame of this
noble picture, as one of the finest productions of the master. Mengs decidedly calls it
the chef d'oeuvre of Velasquez, and has pronounced it to be faultless, except in the cir
cumstance of the soldiers'lances, which he criticises as being too long. Surely this is
a very trivial remark, to fall from the pen of such an authority, and, trivial as it is, there
is great reason to doubt if it is founded in truth. After all, who would expect that any
eminent critic, after pronouncing the performance to be faultless, in every essential or
noble part, would seriously state this trifling remark as an exception ? It is not sur
prising that the productions of this period of his life were executed in his best style,
when his taste had been refined by his studies at Rome, his judgment matured by expe
rience, and his fire not yet abated by years; caressed by his sovereign, applauded by
his contemporaries,. and at the summit of all worldly prosperity.
In 1643, the minister d'Olivarez was dismissed from his employment, and banished
from court, to his town of de Toro. The good fortune of Velasquez received no shock
by the disgrace of his patron. In the year 1648, the king intrusted him with a parti
cular embassy to Pope Innocent X. and he was,, at the same time, commissioned to
purchase the finest works of art, both statues and pictures, which he could meet with
in Italy, for the royal collection. On this expedition he embarked at Malaga, and
having landed at Genoa, he passed through Milan, Padua, and from thence to Venice,
where he passed some time in reviving his acquaintance with the admirable productions
of Titian, Tintoretto, and Paolo Veronese; and had the good fortune to purchase some
capital pictures by the best Venetian masters. He afterwards visited Bologna, where
he was not less fortunate in making several valuable acquisitions, artd engaged Michael
Angelo Colonna, and Agostino Mitelli, to visit Spain, to assist in the decoration of the
royal palaces. On his arrival at Rome he was received with great favour and distinc
tion by the Pope, and, as the business confided to him afforded him leisure to exercise
his professional talents, he was engaged to paint the portrait of Innocent X. and those
of several of the Cardinals and the nobility of Rome. The Pontiff, in token of his
satisfaction, presented him with a gold medal. The academicians of Jiome elected him
of their body,£nd sent his diploma after him to Spain.
After an absence of nearly three years, in 1651, Velasquez took his departure from
Genoa, on his return to Spain, freighted with a magnificent collection of antique
statues, busts, and a variety of pictures by the most distinguished Italian painters.
He arrived in safety with his cargo, and was received by his royal master with his ac
customed kindness and favour. In 1656 Philip conferred on him the order of Santiago
an honour only bestowed on persons of eminent pretensions, either in rank or for service.
He continued to experience the protection of his sovereign, and the public estimation
until the. year 1660, wheii he died at the age of 66. He was buried, with the most distin
guished funeral honours, in the superb church of San Juan.
VELDE, Esais van de. This artist was born at Leyden about the year 1590 and was
instructed in the art by an obscure painter, called Peter Denyn. He painted landscapes
with figures and cattle, but particularly excelled in battles, skirmishes of cavalry, and
attacks of banditti, which were ingeniously composed, and touched with a light and
spirited pencil. The neatness of his touch, and the correctness of his design, in
duced several of his contemporaries to engage him to decorate their pictures with his
• figures. We have several etchings by Esais van de Velde, which are executed with
Vol. II. 3 X

530 VELDE.
neatness and spirit, they consist of landscapes and views from his own designs, and are
usually marked with the initials of his name.
VELDE, John van de, Fie was the younger brother of the preceding artist, and was
bora at Leyden about the year 1595. He painted landscapes and merry-makings, but
distinguished himself more as an engraver than as a painter. We have a considerable
number of prints by him, which are executed in two different styles, directly opposite
to each other. His plates of landscapes and views are chiefly etched, and his point is
free and spirited ; the lights are broad and clear, and, though his shadows occasionally
want strength, they in general produce a pleasing and masterly effect. His other prints
are executed with the graver, sometimes assisted with the dry-point, in a highly finished
style, resembling that of Count Goudt. They chiefly consist of night-pieces, or scenes
by candle-light, and such subjects as require great depth of shadow. The following are
his principal works :
j PORTRAITS.
John Acronius, Theologian; after Francis Hals.
Jacob Mattham, Engraver ; after P. Soutman.
John Torrentius, Painter ; 1628.
Lawrence Coster ; after J. van Campen.
SUBJECTS CHIEFLY FROM HIS OWN DESIGNS.
The Twelve Months, in twelve plates ; numbered. 1616.
Another set of the Twelve Months ; larger.
The Four Seasons; in four plates; after Valck. 1617-
A set of four plates of the History of Tobit.
The Four Elements ; after W. Buytenwegh.
The Four Times of the Day.
The Magic Lantern ; after P. de Molyn.
The good Samaritan.
The Pancake Woman. »
A set of six Landscapes, with ruins, figures, and cattle.
The Sorceress ; considered his best plate ; engraved in 1626.
The Trictrac-players.
A Village Festival. 1623.
A View in Italy ; after Tempesta.
A View of the Chateau of Brussels, with a tournament.
A set of thirty-six Landscapes, entitled, Playsante Landschappen, door Jan van der Velde. C.
Visscher, exe.
St. Francis kneeling, with a book and a scull before him ; after W. van Boons.
The Mountebank selling Medicines.
He engraved besides a great variety of landscapes, views, and other subjects.
VELDE, William van de, the elder. This painter was born at Leyden in 1610, and,
in the early part of his life, followed the occupation of a mariner. It is not mentioned
at what time he turned his thoughts to painting, or by whom he was instructed in the
art; but before he was twenty years of age he had acquired considerable reputation as
a painter of marine subjects, which he usually represented in black, and white, in imi-

VELDE. 531
tation of drawings in Indian ink. His technical acquaintance with every description of
shipping, with their various forms and rigging, particularly qualified him for a precise
and faithful representation of these objects. His talents recommended him to the
notice of the States of Holland, and Descamps acquaints us, that he was accommodated
by them with a small vessel for the facility of accompanying their fleets, for the purpose
of designing their different manoeuvres, and was present in various sea-fights, in which
he exposed himself to the most imminent danger, in the prosecution of his studies. He
is said to have been a witness of the sea-fight between the Duke of York and the Dutch
Admiral Opdam, in 1665 ; and the more memorable engagement, the following year,
between the English fleet, under the command of the Duke of Albemarle, and the Dutch
under Admiral de Ruyter.
King Charles IL, who had become acquainted with his talents during his residence in
Holland, invited him to England, where he arrived some time before 1675, as, in that
year, the King settled a salary of an hundred pounds per annum on him. He continued
in the same capacity in the service of James II. until his death, in 1693, and was buried
in St. James's church, with the following inscription on his tomb-stone. " Mr. William
Van de Velde, senior, late paintei\of sea-fights to their majesties King Charles II. and
King James, died in 1693."
VELDE, William van de, the younger. This inimitable marine painter was the son of
the artist mentioned in the preceding article, and was born at Amsterdam in 1633. He
received his first instruction in the art from his father, but afterwards studied some time
under Simon de Vlieger, an eminent painter of sea-pieces, whose works were then held
in high estimation. His progress under that master was extraordinary, and he not only
surpassed his instructor, and all his contemporaries, but he arrived at a perfection, in
the particular branch to which he devoted himself, which is universally allowed to be
unrivalled. " The palm," says Lord Orford, " is not less disputed with Raffaelle, for
history, than with Van de Velde, for sea-pieces." He had acquired the most distin
guished reputation in his native country, by the admirable cabinet pictures with which
he enriched the collections in Holland, when his father prevailed on him to join him in
London. His talents soon recommended him to the notice of the King, who engaged
him in his service, with an equal salary to that of his father. He resided chiefly at
Greenwich, which had been chosen as a situation best suited to his professional pursuits.
During the life of the elder Van de Velde, he was principally employed by the King
in painting pictures from the designs of his father, as appears from the following privy
seal, purchased by Dr. Rawlinson, the antiquary, among the papers of Secretary Pepys.
" Charles the Second, by the grace of God, &c. to our dear cousin, Prince Rupert, and
the rest of our commissioners for executing the place of Lord High Admiral of England.
greeting. Whereas we have thought fit to allow the salary of one hundred pounds per
annum unto William Vande Velde the elder, for taking and making draughts of sea-
fights ;'and the like salary of one hundred pounds per annum unto William Van de Velde
the younger, for putting the said draught into colours, for our particular use ; our will
and pleasure is, and we do hereby authorize and require you to issue your orders for the
present and future establishment of the said salaries to the aforesaid William Van de
Velde the elder, and William Van de Velde the younger, to be paid unto them, or either
of them, during our pleasure, and for so doing, these our letters shall be your sufficient
3X2

532 VELDE.
warrant and discharge. Given under our privy-seal, at our palace of Westminster, the
20th day of February, in the 26th year of our reign."
The exercise of his extraordinary talents was not confined to the service of the King,
he was employed by the nobility, and painted an infinite variety of sea-pieces, calms,
and storms, which are still the ornament of the principal collections.
The compositions of the younger Van de Velde are distinguished by a more tasteful
arrangement of his objects, than is found in the productions of any other painter of
marines. His vessels are most correctly designed, and, from the improvement which
had taken place in ship-building, are of a more graceful and pleasing form than those of
his predecessors ; the cordage and rigging are finished with a delicacy, and at the same
time with a freedom, which are without example ; and his small figures are drawn with
a correctness, and touched with a spirit which are inimitable. In his calms, the sky is
brilliant and sunny, and in the glassy smoothness of the water, every object is reflected
with a luminous transparency, which is only to be met with in the works of this admi
rable artist. In his squalls or fresh breezes, the swell and curl of the waves is delineated
with a truth and fidelity which could only be derived from an attentive and accurate
observance of nature ; and in his storms and hurricanes, the tremendous conflict of the
elements, and the horrors of shipwreck, are represented with a striking solemnity that
affects the beholder.
This eminent artist died in 1707, as appears by this inscription under the print of his
portrait : Gulielmus Van de Velde, junior, navium et prospectuum marinarum pictor, et ob
singularem in ilia arte peritiam a Carolo et Jacobo 2 do. Magna Brittarmia regibus annua
mercede donatus. Obiit 6 Apr. A. D. 1707. at. sua. 74.
VELDE Adrian van de. This admired painter was born at Amsterdam in 1639. It does
not appear that he was related to the two preceding artists. He discovered, whilst he
was yet at school, a decided disposition for painting, and covered the walls of his father's
house with sketches of every description of animals, designed with an intelligence very
unusal at that early age. This marked inclination for the art induced his father to place
him under the tuition of John Wynants, under whom his progress was so extraordinary
that it surprised his instructor. Wynants was one of the ablest landscape painters of his
time, and he educated his pupil in the system he had himself pursued, of studying every
thing from nature. Our artist passed the greater part of the day in the fields, designing
every thing that was essential to his pursuit; and he was soon convinced, that in the
particular branch of the art to which he devoted himself, the conceptions of the happiest
and most inventive genius fall short of the abundance, the variety, and the truth, which
the study of nature affords. He did not, however, confine himself to landscape and
animals, he drew from the model, and became a correct designer of the human figure.
Wynants, who was himself deficient in this respect, had hitherto been under the neces
sity of applying to other artists, to decorate his landscapes with figures and animals
which service was usually rendered him by Philip Wowermans or John Lingelbaek.
Fie now found a more than adequate resource in the talents of his disciple, and some of
the finest landscapes of Wynants are adorned with figures and cattle by Adrian Van de
Velde, which form no inconsiderable part of their value. Such was his excellence in
these auxiliary embellishments, that many of his contemporaries applied to him for

VEL VEN 533
similar assistance, and the pictures of Vander Heyden, Hackaert, Hobbema, &c. have
frequently the advantage of being ornamented with his figures and animals.
Although Adrian Van de Velde was brought up in the school of a landscape painter,
and had not the advantage of a regular education in the higher, walk of historic painting,
such was the extent of his genius, and the variety of his powers, that he acquired con
siderable reputation by an altar-piece he painted for the Roman Catholic church at
Amsterdam, representing the taking down from the Cross, which was not less admired
for the correctness of the design, than the beauty of the colouring. He painted, for the
same church, several historical subjects taken from the life of Christ, which sufficiently
prove that he would have distinguished himself as a painter of history, if he had not
chiefly devoted himself to another branch of the art. The scenery in his landscapes is
frequently confined to the pasture in which his cattle are grazing; but this humble
prospect is always represented with so much truth and nature, that it captivates by its
simplicity. The colouring of his trees, his herbage, and plants, is fresh and juicy, and
they are touched with as much spirit as delicacy. His skies are brilliant and clear, and
his pictures exhibit a sparkling glow of sunshine, which is almost peculiar to himself.
His animals, particularly the cows, sheep, and goats, are designed with a correctness and
perfection which has never been surpassed. His pictures are deservedly held in the
highest estimation, and as he died in the prime of life, the number of them, though al
ways very highly finished, establishes his indefatigable application, as well as his un
common facility of execution. He died at Amsterdam in 1672, aged 33. We have by
this charming artist about twenty etchings, executed in a finished, but masterly style.
They are usually marked with the initials of his name. A. V. V.
A set of three small plates of Cows grazing.
A set of ten plates, representing Cows, and other domestic animals, with a Bull for the title.
Three plates of Sheep.
A Return from the Chase.
A large Landscape ; lengthways.
A Landscape with historical figures. This print is scarce.
VELDNER, John. A German engraver on wood, who flourished about the year 1480.
He is said to have executed a set of cuts for a book entitled, Speculum Humana Salva-
tionis, translated into the German language, published in 1483. They are cut in the
rude style in which the art was practised at that early period.
VELI, Benedetto. This artist was a native of Florence, and flourished about the middle
of the seventeenth century. He painted history with some reputation, and Lanzi men
tions in favourable terms a large picture by him in the cathedral at Pistoja, represent
ing the Ascension.
VENANZI, Francesco. In the Memorie de Pittori Pesaresi e Urbinati, by Gioseffo Mon-
tani, this painter is said to have been a native of Pesaro-, and flourished about the year
1670. He was for some time a disciple of Guido, but afterwards studied under Simone
Cantarini. He did not, however, attach himself to the style of either of those masters,
preferring the more vigorous and effective manner of Guercino and the Gennari. In
the church of S. S. Gervasio e Protasio, at Bologna, is a fine picture by him, represent-

534 V E N V E N
ing the Descent of the Holy Ghost; and in the church of S. Antonio, at Pesaro, are two
subjects from the life of that saint, which are considered his finest works.
VENENTI, Giulio Cesare. A Bolognese gentleman, who was a great admirer of the
art, and studied it with the zeal of a professor. He was born at Bologna about the year
l609, and was instructed in design by Filippo Brizio, who had studied under Guido.
We have several etchings by this amateur artist, executed in a spirited style; among
which are the following :
The Guardian Angel; after Dom. Maria Canuti.
Tancred and Clorinda; after the same.
The Virgin of the Rose ; after Parmigiano.
A Landscape, with the Holy Family ; after An. Caraeci.
He usually marked his plates with the monogram ^p.
VENEZIANO, Antonio. See Musis.
VENEZIANO, Sebastiano. See Piombo.
VENEZIANO, Carlo. See Saracino.
VENEZIANO, Antonio. Vasari and Baldinucci are at variance respecting the place of
nativity of this painter; the former states him to have been born at Venice, in 1310,
and to have studied at Florence, under Agnolo Gaddi ; the latter, whose pretensions to
accuracy are highly respectable, asserts that he was a native of Florence, and acquired
the name Veneziano from his long residence at Venice, where he executed several works
in the Ducal Palace. His principal works are at Pisa and Florence. Some of his pic
tures are still preserved in the Campo Santo at Pisa, representing the history of S.
Ranieri ; and at Florence is his most celebrated performance, of the Miracle of the
Loaves and Fishes. His style was less dry and formal than the generality of his con
temporaries, and he is said to have carried fresco-painting to a higher degree of perfec
tion than it had attained previous to the period at which he lived. He died in 1384,
aged 74.
VENEZIANO, Domenico. This painter was born at Venice in 1420, and, according to
Vasari, was a disciple of AntQnio da Messina after he had learned the secret of oil-paint
ing from John van Eyck, by whom he was made acquainted with the recent discovery.
He afterwards resided some time at Loreto and Perugia, and ultimately settled at Flo
rence, where his works, both on account of their merit, and the novelty of the process,
were greatly admired. He formed an intimacy with Andrea del Castagno, an eminent
Tuscan painter, to whom his friendship induced him to intrust the secret.
Urged by the ambition of remaining the sole possessor of so valuable a discovery,
Castagno conceived the horrible design of assassinating his friend, and effected his trea
cherous project in 1476, when Domenico Veneziano was in his fifty-sixth year. His
principal works are in the church of S. Lucia, and in the monastery degli Angeli, at
Florence.

V E N V E N 535
VENIER, Nicholas. This artist is mentioned by Mr. Strutt as the engraver of a set of
twelve plates, representing the Months of the Year, after Bassano.
VENIUS, or Van Veen, Otho. This estimable artist was of a distinguished family of
Holland, and was born at Leyden in 1556. He was carefully educated by his parents
in the belles-lettres, and though his progress in the study of the classics was remarkable,
they did not oppose the decided inclination he discovered for painting. He received
some lessons in design from Isaac Nicholas, and was afterwards a scholar of Jodocus van
Winghen. When he had reached the age of fifteen, the civil wars obliged him to leave
his native country, and to retire to Liege, where he continued to prosecute his studies,
both in literature and in the arts. His talents recommended him to the notice of Car
dinal Grosbeck, at that time Prince Bishop of Liege, who, desirous of procuring him
the best means of improvement, advised him to visit Italy, and furnished him with let
ters of particular recommendation to Cardinal Maduccio at Rome. On his arrival in
that capita], he was received by his eminence with the greatest kindness, and was accom
modated with apartments in his palace. He became a disciple of Federigo Zuccaro,
and by the instruction of that master, and an attentive study, of the best productions of
the art, and the beauties of antiquity, he acquired a correctness of design, and a more
elevated taste, than was possessed by any of his Flemish competitors.
After a residence of seven years in Italy, Otho Venius visited Germany, where he
passed some time in the service of the Emperor, who made him the most flattering pro
posals, to retain him at his court. The desire of returning to the Low Countries induced
him to decline so honourable an invitation, and passing through Munich and Cologne,
where he painted some pictures for the Duke of Bavaria and the Elector, he arrived at
Brussels, where Alessandro Farnese, Prince of Parma, who was at that time the governor
of the Netherlands, appointed him his principal engineer, and painter to the court.
He drew the portrait of his protector, and executed several other works, which esta
blished his reputation as the most eminent painter of his time.
After the death of the Prince of Parma, Otho Venius established himself at Antwerp,
where he embellished the churches and public edifices with several celebrated pictures.
It was at this time that Rubens became his disciple, and it is no mean claim to celebrity,
to have been the instructor of that illustrious artist.
When the Archduke Albert, who succeeded the Prince of Parma in the government of
the Low Countries, made his public entry into Antwerp, Otho Venius designed the
triumphal arches which were erected on the occasion, and the ingenuity of the compo
sitions was so much admired by the Archduke, that he invited- him to the court of Brus
sels, appointed him his principal painter, and master of the mint, which situations he
filled with great respectability until his death, in 1634, at the age of 78.
The works of Otho Venius exhibit a fertile and inventive genius ; his compositions are
learned and judicious, and his design, formed by his studies at Rome, is more graceful
and correct than that of any of his contemporaries of the Flemish school. The airs of
his heads are graceful and expressive, his draperies are cast with ease and propriety, and
he was one of the earliest of the Flemish artists who had a perfect intelligence of the
principles of the chiar-oscuro. Among his principal works in the public edifices in the
Low Countries are the Marriage of St. Catherine, in the church of the Capuchins at
Brussels; the Last Supper, in the Cathedral at Antwerp; the Resurrection of Lazarus, in

536 V E N V E N
the church of St. Bavon at Ghent; and the Adoration of the Magi> in the cathedral at
Bruges. Otho Venius distinguished himself in literature as well as in the arts, and published
several works, which were all embellished with plates, chiefly engraved by his brother
Gilbert Venius, from his designs. Among others are the following ; a history of
the War of the Batavians against Claudius Civilis and Cerialis, from Tacitus; Horace's
Emblems, with observations; the Life of Thomas Aquinas; and the Emblems of Love,
divine and profane.
VENIUS, or Van Veen, Gertrude. This lady was the daughter of Otho Venius, and
was born at Brussels about the year 1600. She was instructed in the art by her father,
and excelled in painting portraits. There is a print of a portrait of Otho Venius,
painted by her, engraved by Rucholle.
VENIUS, or Van Veen, Gysbert, or Gilbert. He was the younger brother of Otho
Venius, and was born at Leyden about the year 1566. He engraved a variety of plates,
executed with the graver, in a style resembling that of Cornelius Cort. He probably
visited Italy with his brother, as we have several .prints by him, after the works of the
Italian masters. His drawing is tolerably correct, and the character of his heads is not
without- expression. 'He also-engraved a great number of plates from the designs of his
brother, chiefly emblematical subjects, and some portraits, which possess considerable
merit. The following are his most esteemed prints :
portraits.
Ernest, Duke of Bavaria; in a medallion, supported by Fame.
Cardinal Alessandro Farnese; after Otho Venius.
Giovanni da Bologna. 1589. subjects after various masters.
The Four Seasons; after Raffaelle del Colle. 1589. These have been incorrectly stated to be
from the designs of Raffaelle d'Urbino.
The Espousal of Isaac and Rebecca; after Bal. Peruzzi; in five sheets, in the form of a frieze;
fine aud scarce.
The Visitation of the Virgin to St. 'Elizabeth ; after F. Baroccio.
The Crucifixion ; after the same.
The Emblems of Horace; afttr Otho Venius.
The Emblems of divine, and, profane Love ; after tlie same.
The Life of St. Thomas Aquinas; a set of several plates ; after the same.
VENTURINf, Giovanni Francesco. This artist was born at Rome about the year l6l9.
From the style of his engraving, it is probable that he was a disciple of Giovanni Batista
Galestruzzi. Fie etched several plates from the works of Italian masters, among which
are the following :
A set of Plates, after Polidoro da Caravaggio ; from the designs of Galestruzzi.
Diana and her Nymphs at the Chase; after Domenichino.
The Pulpit of St. Peter's ; after Bernini.
i A bird's-eye View of the iPalaces and Gardens in and near Rome.

V E N VER 537
VENUSTI, Marcello. This painter was born at Mantua in 1515, and was a scholar of
Pierino Buonacorsi, called del Vaga; but he was more indebted for the reputation he
acquired, to his study of the works of Michael Angelo Buonaroti, and the pictures
he- painted from the designs of that master. He executed several works, from his own
compositions, in the churches and public edifices at Rome, which are mentioned by
Baglione, among which he particularly notices the Martyrdom of St. Catherine, in the
church of S. Agostino ; and St. John preaching in the Wilderness, in S. Caterina alii
Funari. The Cardinal Alessandro Farnese employed him to copy the stupendous picture
of the Last Judgment, by Michael Angelo, on a small scale, which he accomplished in
so perfect a manner, that it excited the admiration of that illustrious artist, who en
gaged him to paint, from' his design, an altar-piece for the Capella de Cesi, in the
church of La Pace, representing the Annunciation ; and in various other works. In the
palazzo Borghese is a fine picture by him of Christ bearing his Cross, from a design by
Michael Angelo. He died in 1576, aged 61.
VERAT, Darius. Mr. Strutt notices this artist as the engraver of a print representing
two Women, half-length, one of which is combing her hair. It is slightly etched, and
inscribed Alex. Verat, pinx. Darius filius sculp.
VERBEECK, or Verbeecq, Philip. A Dutch engraver, who flourished about the year
1620. He engraved several plates in a style so nearly resembling that of Rembrandt,
though anterior to that artist, that his prints have been sometimes confounded with
those of that distinguished master. Among others we have the following :
A Bust of a young Woman, with a hat and a pelisse.
A Bust of a Man, with a turban and feather.
Esau selling his Birth-right to Jacob.
A King seated on his Throne, with a Man kneeling before him.
A Shepherd seated at the foot of a tree. 1619.
VERBRUGGEN, Henry. This painter was born at Utrecht in 1588, and was brought
up in the school of Abraham Bloemart. As soon as he was able to subsist on the pro
duce of his talents, he determined on visiting Italy, and resided ten years at Rome and
Naples, where his merit recommended him to the notice of several of the nobility, and
he painted many pictures for the public edifices and private collections, which were
admired for the correctness of the design, and for the boldness of his handling.
He particularly distinguished himself by an altar-piece he painted for one of the prin
cipal churches at Naples, representing a Deposition from the Cross, composed in a grand
and impressive style. On his return to Holland, he chiefly resided at Middleburg,
where he continued to exercise his talents with great respectability, until his death in
1640, at the age of 52. When Rubens made his tour through Holland, he was parti
cularly struck with the works of Verbruggen, and pronounced him to be one of the
ablest painters of his country.
VERBRUGGEN, Gaspar Peter. This painter was born at Antwerp in 1668. He was
tbe son of Peter Verbruggen, an artist of whom nothing further is known, than that he
was director of the Academy at Antwerp in 1659; and he probably learned the rudi-
Vol. II. 3 Y

538 VER VER
ments of design from his father. Having acquired considerable reputation in his native
city as a painter of flowers and fruit, he established himself at the Hague in 1706. The
Greffier Fagel employed him, in conjunction with Matthew Terwesten, in the decoration
of his hotel. The figures were painted by Terwesten, who was an eminent historical
painter, and the festoons of flowers and fruit, with the other ornaments, were executed
by Verbruggen. In 1708 he was made a member of the Academy at the Hague, where,
during a residence of several years, he amassed a competent fortune, with which he
returned to Antwerp.
The works of Verbruggen evince an uncommon facility of execution, and his style
exhibits the loose and spirited touching of John Baptist Monnoyer, rather than the
polished finishing of Van Huysum, or Rachel Ruysch. Towards the latter part of his
life he became negligent, and his productions of that period are very inferior to those of
an earlier date. He died in 1720, aged 52.
VERCHIO. See Civerchio.
VERCRUYS. See Kruger.
VERDIZOTTI, Giovanni Maria. This artist was born at Venice in 1525, and, according
to Ridolfi, was the scholar and friend of Titian. He excelled in painting landscapes, in.
the great style of his instructor, though generally of a small size, and embellished them
with figures, usually representing some subject of history or the fable. Tradition speaks
of him as a man of letters and a poet. Among other literary works, he published a Trans
lation of Ovid's Metamorphoses, and the iEneid; and, on the death of Titian, cele
brated the memory of his master with a Latin poem. He died at Venice in 1600,
aged 75.
VERDOEL, Adrian. This painter was a native of Holland, and was born about the year
1620. He was brought up in the school of Rembrandt, whose manner he followed.
His design was more correct, and his compositions more elevated than those of his
master, but he was unequal to him in the harmony of his colouring, and the effect of the
chiar oscuro. His pictures are little known, as he quitted the art, and engaged in com
mercial pursuits.
VERELST, Simon. This artist was bora at Antwerp in 1604, and distinguished himself
as a painter of flowers and fruit. He visited England in the reign of Charles IL, where
his works were extremely admired: he was extensively employed, and his prices were
the highest that had ever been given for similar subjects. The noble author of the
Anecdotes has given so whimsical a picture of the vanity and conceit of this eccentric
artist, that the insertion of it will not be deemed uninteresting. " The Duke of Buck
ingham patronized him, but having too much wit to be only beneficent, and perceiving
the poor man to be immoderately vain, he piqued him to attempt portraits. Verelst
thinking nothing impossible to his pencil, fell into the snare, and drew the Duke him
self, but crowded it so much with fruit and sun-flowers, that the King, to whom it was
shown, took it for a flower-piece. However, as it sometimes happens to wiser buffoons
than Verelst, he was laughed at till he was admired, and Sir Peter Lely himself became
thereal sacrifice to the jest; he lost much of his business, and retired to Kew, whilst,

VER VER 539
Verelst engrossed the fashion, and for one half-length was paid an hundred and ten
pounds. His portraits were exceedingly laboured, and finished with as much delicacy
as his flowers, which he still continued to introduce into them. Lord Chancellor Shaftes
bury going to sit to him, was received by him with his hat on. " Don't you know me ?"
said the peer. " Yes," replied the painter, " you are my Lord Chancellor : and do you
know me? I am Verelst. The King can make any man chancellor, but he can make
nobody a Verelst." Shaftesbury was disgusted, and sat to Greenhill. He called him
self the god of flowers, and went to Whitehall, saying, he wanted to converse with the
King for two or three hours. Being repulsed, he said, " he is king of England, I am
king of painting, why should we not converse familiarly together." He showed an
historic piece, on which he had laboured twenty years, and boasted that it contained all
the several manners and excellencies of Raffaelle, Titian, Rubens, and Vandyck." His
absurdities were not diminished by the inconsiderate applause bestowed on his works,
and the homage paid him by the poets of his time; among which were the following
lines by Mr. Prior :
When fam'd Verelst this little wonder drew,
Flora vouchsaf ' d the growing work to view ;
Finding the painter's science at a stand,
The goddess snatch'd the pencil from his hand,
And finishing the piece, she smiling said,
Behold one work of mine, that ne'er shall fade.
He died in 1710, aged 46.
VERELST, Herman. He was the brother of the preceding artist, and chiefly resided at
Vienna, until it was besieged by the Turks in 1683, where he acquired some reputation
as a. painter of fruit and flowers, and sometimes attempted history. The success of his
brother induced him afterwards to visit England, where he passed the remainder of his
life, and died in 1700.
VERELST, Cornelius. He was the son of Herman Verelst, born at Vienna in 1667, and
accompanied his father to England, where he met with success in painting similar
subjects.
VERELST, Maria. This accomplished lady was the daughter of Herman Verelst, born
in 1630, and learned the first rudiments of design from her father, but was more indebted
to the instruction of her uncle, Simon Verelst, with whom she principally resided.
She excelled in painting portraits of a small size, and occasionally attempted history.
She had received an excellent education; was a great proficient in music, and spoke
Latin, German, Italian, and other languages.
VERENDAEL, N. This artist was born at Antwerp in 1659- It is not known by whom
he was instructed in the art, but he acquired considerable celebrity as a painter of flowers
and fruit. His works are very highly wrought up, and he appears to have been desirous
of imitating the delicate finishing of Abraham Mignon. Every object is faithfully
copied from nature, and the insects, which he was fond of introducing into his pictures,
are designed and touched with surprising minuteness and precision. His flower-pieces
are tastefully arranged, and they are generally preferred to his pictures of fruit. Although
3Y2

540 VER yER
the works of this painter are little inferior to those of Mignon, they are still veiy unequal
to the admirable productions of John van Huysum and Rachel Ruysch.
VERGAZON, Henry. A Dutch painter of landscapes and ruins, who resided in England
in the reign of William III. He also painted portraits of a small size, but was chiefly
employed in painting the back-grounds of Sir Godfrey Kneller's pictures.
VERHAECHT, Tobias. This painter was bora at Antwerp in. 1566. It is not known
who was his instructor, but he had acquired some celebrity as a landscape painter, when
he determined to visit Italy, in search of improvement. He resided some time at Flo
rence, where his talents recommended him to the notice of the Grand Duke qf Tuscany,
for whom he painted several large landscapes and views, and afterwards visited Rome,
where his works were held in no less estimation. On his return to Flanders, he was con
sidered one of the ablest landscape painters of his time, and had the credit of being the
first master of Rubens. His scenery is grand and extensive, and he possessed a more
perfect acquaintance with aerial perspective, than any of his contemporaries. He em
bellished his landscapes with the ruins of antiquity, of which he had made a variety of
designs during his residence at Rome. As he was not very successful in painting figures,
his pictures are usually embellished by the eminent painters of his time, particularly by
Franck. He* died in 1631, aged 65.
VERHELST, Egidius, or Giles. According to Huber, this artist was a native of Bavaria,
and was born about the* year 1742. After being instructed in the rudiments of design in
his native country he went to Paris, where he became a pupil of John George Wille,
and on his return to Germany engraved several portraits and other subjects, in the neat
and finished style of that master. Among others, we have the following by him:
portraits.
Charles Theodore, Elector of Bavaria. 1790.
Elizabeth Augusta, his consort.
The Elector of Treves.
A. W. Ifland. subjects.
A set of five plates for a Translation of Tasso's Jerusalem.
Two Heads, characteristic of Innocence and Simplicity ; for the work of Lavater.
VERHEYDEN, Francis Peter. This painter was born at the Hague in 1659. He fol
lowed the profession of a sculptor until he was forty years of age, and was one of the
artists employed in modelling the figures and ornaments for the triumphal arches erected
on the public entry of William III. into the Hague, in 1691. Having seen somepictures
of animals by Francis Snyders, he was so struck with them, that he determined to
abandon sculpture, and devote himself to painting. In this change of profession, con
trary to the expectations of his friends, he was very successful. Fie painted huntings of
various animals, which were ingeniously composed„and designed with a spirit and cor
rectness little inferior to the distinguished artist he had adopted as his model. He also

VER VER 541
excelled in painting fowls and dead game, in the style of Hondecooter, and acquired a
freedom of touch, and a boldness of pencilling, that is surprising, when we consider the
late period of his life at which he commenced painting. His pictures are little known,
except in Holland, where they are held in considerable estimation. He died in 1711,
aged 54.
VERHOEK, Peter Cornelius. A Dutch painter, bora at Boodegraven in 1642. He
was a disciple of Abraham Hondius, under whom he became an able designer of animals.
He afterwards travelled to Italy, where he studied attentively the works of 11 Borgog
none, and distinguished himself as a painter of battles and skirmishes of cavalry. He
met with very flattering encouragement both at Rome and Naples, where his works
were generally admired. His small figures and horses are correctly drawn, and touched
with great spirit and animation. He also painted landscapes in. a pleasing style, which
he decorated with figures in the manner of Callot.
VERHOEK, Gysbert, or Gilbert. This artist was born at Boodegraven in 1644; he
was the younger brother of the painter mentioned in the preceding larticle, from whom
he received his first instruction in the art, but he afterwards became a scholar of Adam
Pynaker. He did not, however, attach himself to the style of that- mastery but painted
similar subjects to those of his brother, representing battles, marches of cavalry, and
encampments. He particularly excelled in the. drawing of horses, in every action or
attitude, and the animated touch of his pencil was peculiarly adapted to the subjects
he painted. The works of this artist are frequently found in the collections in Holland,
though little known in this country. He died in 1690, aged 46.
VERKOLIE, John. He was born at Amsterdam in 1650, and was the son of a lock
smith, who brought him up to his own profession ; but having met with an accident
when he was about twelve years of age, which confined him for three years to his bed, he
amused himself^ during a painful and tedious confinement, with copying whatever prints
or other objects of art he could procure. After his recovery he was permitted to indulge
the propensity which he had discovered, and he became a disciple of John Lievens, by
whose instruction he was in a short time sufficiently advanced to dispense with further
assistance. The works of Gerard Pietersz van Zyl were at that time held in the highest
estimation, and instead of following the style of his instructor, he endeavoured to imi
tate the high-finished manner of that master. He was chiefly employed in painting
portraits of a small size, though he occasionally painted historical subjects and conver
sations, which were well coloured, and touched with <neatness and delicacy. He died in
1693, aged 43.
John Verkolie was one of the earliest engravers in mezzotinto in Holland. We have
among others, the following prints by him :
PORTRAITS.
Stephen Wolters ; AmatorArtium ; after Kneller.
William Henry, Prince of Orange.
Hortensia de Mancini, Duchess of Mazarin ; after Lely.
His own Portrait ; after de Leeuw.

542 VER VER
SUBJECTS.
Diana and Calisto ; after Gasp. Netscher.
Venus and Adonis ; after his own design.
Venus and Cupid. 1682.
Pan and Flora.
VERKOLIE, Nicholas. This artist was the son and the disciple of John Verkolie, and
was born at Delft in 1673. His father died when he was twenty years of age, but he
had made sufficient progress in the art to continue the prosecution of his studies without
the aid of another master. For some time he painted small portraits and domestic sub
jects in the style of his father, but he afterwards applied himself to historical painting,
in which he became one of the ablest artists of his time. Amongst his most esteemed
works are three pictures, formerly in the collection of M. de Neufville, at Amsterdam,
representing David and Bathsheba, Moses saved from the Nile, and St. Peter denying
Christ. His compositions are simple and judicious, his design is more correct and
graceful than is usual with the artists of his country; his colouring is tender and har
monious, and his pencil is firm, though delicate. The pictures of Nicholas Verkolie are
found in the choicest collections in Holland, where they are deservedly admired. He
died at Amsterdam in 1746, aged 73. This artist also distinguished himself as a mezzo
tinto engraver, and carried that art to a much higher degree of perfection than his
father. The following are his principal plates ;
portraits.
Bernard Picart ; after Nattier.
John Peter Van Zomer, holding a print in his hand ; after A. Boonen.
SUBJECTS.
The Holy Family ; after Ad. Vander Werff.
Diana and Endymion ; after Gas. Netscher.
Bacchus and Ariadne ; after the same.
A Shepherd and Shepherdess ; after the same.
An Entertainment in a Garden ; after J. B. Weeninx.
VERMEULEN, Cornelius. A Flemish engraver, born at Antwerp in 1644. In the early
part of his life he passed some time in France, but afterwards chiefly resided in his
native city, where he engraved many plates, of which the most estimable are his por
traits, as his drawing was not sufficiently correct to succeed in historical subjects. He
worked entirely with the graver, in a neat, clear style. The following are his most
esteemed prints : PORTRAITS.
Anne Bolen, Queen of Henry VIII. ; engraved for Larrey's History.
Catherine Howard; for the same.
Catherine Parr ; for the same.
Lady Jane Grey ; for the same.
Robert, Earl of Leicester ; for the same.
Oliver Cromwell ; for the same.
William III. ; for the same.

VER VER 543
Maria Louisa of Orleans ; after Rigaud.
Philp V. of Spain ; after Vivien.
Maximilian Emanuel, Elector of Bavaria ; after the same.
Louis de Luxembourg, Marshal of France ; after Rigaud.
Maria Louisa de Tassis ; after Vandyck.
Peter Mignard, Painter ; from a picture by himself.
Nicholas Vander Borcht, Painter; after Vandyck.
SUBJECTS.
Bacchus and Erigone ; after Guido ; for the Crozat Collection.
Mary of Medicis escaping from the city of Blois ; after the picture by Rubens, in the Luxem
bourg Gallery.
VERMEYEN, John Cornelius. This painter was bora at Beverwyck, near Haerlem, in
1500. It is not mentioned by whom he was instructed, but his ability recommended
him to the protection of the Emperor Charles V. who engaged him in his service, and
he attended that monarch in many of his expeditions. In 1535 he was present at the
taking of Tunis by the Emperor, where he made designs of the most remarkable events
of the siege, from which he executed the cartoons for the suit of tapestry, which is said
to ornament the Escurial. Towards the latter part of his life he principally resided at
Brussels, where he painted some pictures for the churches and public edifices, which are
mentioned by Vanmander in very favourable terms ; particularly two altar-pieces in the
church of St. Gery, representing the Nativity and the Resurrection. He died at Brus
sels in 1559, aged 59.J
VERMIGLIO, Guiseppe. This painter was a native of Turin, and flourished about the
year 1675. He painted history, and was esteemed one of the ablest artists of the Pied-
montese school. There are several of his works in the churches and public edifices at
Novara and Alessandria, but his most esteemed work is a large picture of Daniel in the
Den of Lions, in the library della Passione, at Milan. This picture is regarded by Lanzi
as one of the ablest productions which had appeared at Milan since the time of Gau-
denzio Ferrari. In the expression of his heads, he appears to have studied the works
of the Caraeci, and his colouring is warm and harmonious. One of his last works was a
large picture painted for the refectory of the Padri Olivetani, at Alessandria, represent
ing Christ and the Samaritan Woman, in which he introduced an admirable landscape,
with the City of Samaria in the distance.
VERNET, Joseph. This eminent artist was born at Avignon in 1712. After receiving
some instruction in the rudiments of design in his native city, he went to Rome, where
he became a disciple of his countryman, Adrian Manglard, a painter of landscape and
sea-pieces, of some celebrity. His progress under that master was extraordinary, and
it was not long before he surpassed his instructor. During a residence of many years at
Rome and Naples, he painted a great variety of landscapes, sea-ports, and other marine
subjects, which were greatly admired, not only by the Italians, but by the collectors of
every country. He gave to his landscapes and views the beauty and freshness of nature,
and ornamented them with groups of charming figures, arranged with unusal taste, cor
rectly designed, and touched with uncommon neatness and spirit. The reputation he

544 VER VER
had acquired in Italy induced Louis XV. to invite him to return to France, where he
was engaged to paint a set of pictures of the sea-ports of that kingdom. He executed
his commission with great ability, though the exactness and precision requisite for the
representation of his subjects, deprived them of the picturesque and striking effect
which we discover in the views of his own selection, and gave them somewhat of the
formality of portraiture. He afterwards painted many pictures of views near Rome,
the environs of Tivoli, and of Italian sea-ports, which were justly held in the highest
estimation ; and he continued the exercise of his extraordinary talents with undimi
nished reputation, until he reached the age of 77, when he died, in 1786. We have a
few small etchings by this ingenious artist, executed in a neat and spirited style ; among
which are the following :
A Landscape, with a Bridge and part of a Village.
A Shepherd and Shepherdess.
A View of a Market-place.
A Canal, with Fishermen.
VERNICI, Giovanni Batista. According to Malvasia, this painter was a native of
Bologna, and was brought up in the school of the Caraeci. He painted history with
considerable reputation, and distinguished himself by several pictures he painted for the
churches and public edifices at Pesaro and Urbino, particularly in the latter city, where
he was appointed principal painter to the Duke, in whose service he died in 1617.
VEROCCHIO, Andrea. This artist was born at Florence in 1432. He distinguished
himself more as a sculptor than a painter. As he was one of the ablest designers of his
time, his academy was much frequented, and he had the credit of counting among his
disciples Pietro Perugino and Lionardo da Vinci. Tradition states him to have aban
doned painting on the following occasion. The monks of S. Salvi, at Valambrosa, hav
ing engaged him to paint a picture representing the Baptism of Christ by St. John,
Lionardo da Vinci, who was at that time his scholar, was engaged by his master to paint
the^figure of an angel, which made a part of the group; the pupil performed his task in
a manner that so far surpassed the rest of the picture in the beauty of the design, and
the superiority of the execution, that Verocchio, chagrined at being thus outdone by a
youth, resolved to relinquish the pencil for ever. Baldinucci asserts, that he practised
painting rather as a pastime than a profession, and that his greatest excellence was in
the founding of metals. He died in 1488, aged 56.
VERONA, Maffeo. This painter was born at Verona in 1576, and was a disciple of Luigi
Benfatto, but he derived more advantage from studying the works of Paolo Veronese
than the instruction of his master. He is said, by Ridolfi, to have painted with uncom
mon celerity, and to have particularly excelled in fresco. There are many of his works
in the public edifices at Venice, among which are two pictures in the chapel dedicated
to S. Isidoro, in the church of St. Mark, representing Christ bearing his Cross, and the
Crucifixion. In the same church are two altar-pieces by him, of the Deposition from
the Cross, and the Resurrection. He also painted several pictures for the cathedral at
Udine, and for the churches of his native city. He died in 1618, aged 42.

VER VER 545
VERONESE, Paolo. See Cagliari.
VERONESE, Alessandro. See Turchi.
VERRIO, Antonio. This artist was born at Naples in 1634. It is not mentioned by
whom he was instructed, but as soon as he had made sufficient progress in the art to
travel on the produce of his talents he went to France, and settled at Thoulouse, where
he met with employment, and painted a picture for the principal altar of the church of
the Carmelites, which is described in Du Puy's Traite sur la Peinture. Charles II. wish
ing to revive the manufacture of tapestry at Mortlake, which had been interrupted by
the civil war, invited Verrio to England, but instead of engaging him in that pursuit,
he employed him in ornamenting Windsor Castle, where he executed most of the ceil
ings, one side of St. George's Hall, and the chapel. On the ceiling of the former he
has represented Anthony, Earl of Shaftesbury, in the character of Faction : and in a pic
ture representing Christ healing the Sick, he absurdly introduced himself, Sir Godfrey
Kneller and Baptist May, surveyor of the works, in long periwigs, as spectators of the
miracle. He has recorded himself as the author of these gaudy works in the following
inscription, over the tribune at the end of the hall.
Antonius Verrio Neapolitanus
non ignobili stirpe natus
ad honorem Dei,
Augustissimi Regis Caroli secundi
et
Sancti Georgii
Molem hancfelissima manu
Decoravit.
The King rewarded him liberally. It appears by a memorandum preserved by
Vertue, that he received near seven thousand pounds for his performances at Windsor.
On the accession of James II. Verrio was again employed at Windsor, in Cardinal
Wolsey's, tomb-house, then destined for a Romish chapel.
The Revolution was by no means agreeable to Verrio's religion or principles. He is
even said to have refused, for some time, to work for King William. He was employed
by Lord Exeter at Burleigh, where he painted several apartments, which are reckoned
among his best productions; and afterwards executed many considerable works at
Chatsworth, among which the altar-piece in the chapel, representing the Incredulity, of
St. Thomas, is considered one of his best pictures. By the persuasion of Lord Exeter,
he at length consented to serve King William, and was employed to paint the great
staircase at Hampton-court, which is so wretched a performance, that Lord Orford
observes, " it appears as if he had spoiled it from principle." He died at Hampton-
court in 1707, aged 73.
VERSCHURING, Henry. A Dutch painter, born at Gorcum in 1627. His father was
a captain of infantry in the Dutch service, who was desirous of bringing him up to the
profession of arms, but the feeble constitution of his son prevented him from carrying
his project into effect, and perceiving the boy's disposition for designing, he .placed him
under the tuition of Theodore Govertz, a portrait painter of some reputation, by whom
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546 VER VER
he was instructed, until he was thirteen years of age. His genius leading him to a
different department of the art, he quitted his first instructor, and became a scholar of
John Both, at Utrecht, and had studied six years under that distinguished artist, when
he was recommended, by his preceptor, to visit Italy for improvement, where he had
himself studied with so much advantage. On his arrival at Rome he frequented the
Academy, and employed himself in designing after the best models. His taste leading
him to paint animals, huntings, and battles, he particularly studied every thing that
could be useful to him in that branch of the art. He designed the most remarkable and
picturesque views in the vicinity of Rome, with the remains of ancient architecture,
with which he enriched the back-grounds of his pictures. His works were greatly ad
mired, not only at Rome, but at Florence and Venice, where he passed some time.
After a residence of ten years in Italy, he returned to Holland, where the troubles of
his country afforded him but too frequent opportunities of witnessing the melancholy
calamities of warfare. He followed the armies into the field, and designed with the
greatest truth and fidelity the disastrous events of which he was an eye witness. Al
though he occasionally painted landscapes, his best pictures represent battles, attacks
of banditti, and the plundering of villages. He possessed a fertile and inventive genius,
and there is a great deal of fire and animation in all his works. His figures and horses
are correctly designed, and touched with lightness and spirit. He was a. man of so re
spectable a character, that he was chosen to be one of the Burgomasters of the city he
lived in, and he accepted the office, with the condition that he should not be obliged to
quit his profession.
Verschuring was honoured as a magistrate, esteemed as an artist, and beloved by his
fellow citizens, when, going on an excursion by water, he was unfortunately drowned,
near Dort, in 1690, in the sixty-third year of his age. We have a few slight, but spirited
etchings by this artist, representing battles and skirmishes, which are now become scarce.
VERSCHURING, William. He was the son of the artist mentioned in the preceding
article, born at Gorcum in 1657, and was for some time instructed by his father; but
his inclination leading him to a different branch of the art, he was permitted to indulge
his propensity, and became a disciple of John Verkolie. He painted with success small
portraits, conversations, and domestic subjects, which were finished in the pleasing style
of his instructor, and by which he had acquired considerable celebrity, when he aban
doned painting, and applied himself to commercial pursuits.
VERSTRAELIN, J. A Dutch engraver, who flourished about the year 1620. We have
by him a plate representing Maurice, Prince of Orange, lying dead, surrounded by his
officers and guards. In the fore-ground are two children holding his atchievement.
This print is more valued for its rarity, than the merit of the execution.
VERTANGEN, Daniel. According to Descamps, this artist was born at the Hague in
1508, and was a disciple of Cornelius Poelemburg. He painted similar subjects to
those of his master, representing landscapes, with small figures, principally Nymphs
bathing, Bacchanals,' and subjects from Ovid. His pictures are pleasingly com
posed, and are, like those of his instructor, finished with great neatness, and agreeably
coloured. They are, however, very inferior to those of Poelemburg, both in respect to
force and the beauty of the colouring. From the similarity of the subjects, the best

VERTUE. 547
works of Vertangen have occasionally been mistaken for those of Poelemburg, but this
can only happen to the inexperienced collector.
VERTUE, George. The memoirs of this estimable artist and antiquary have been de
tailed in so interesting a manner, by the noble author of the Anecdotes of Painting in
England, a work, chiefly digested and published from the manuscript notes of Mr.
Vertue, that we cannot present our readers with a more satisfactory account of him than
by giving the following extract from it.
George Vertue was born in the parish of St. Martin's in the Fields, London, in the
year 1684. His parents were more honest than opulent. About the age of thirteen he
was placed with a master who engraved arms on plate, and had the chief business of
London ; but who being extravagant, broke and returned to his country, France, after
Vertue had served him about three or four years.
Returned to his parents, Vertue gave himself entirely to the study of drawing for two
years, and then entered into an engagement with Michael Vandergucht for three more,
which term he protracted to seven, engraving copper-plates for him, when, having re
ceived instructions and advice from several painters, he quitted his master on handsome
terms, and began to work for himself. This was in the year 1709. The first twelve
months were passed in drawing and engraving for books. The art was then at the lowest
ebb in England. The best performers were worn out; the war with France shut the
door against recruits ; national acrimony, and the animosity of faction, diverted public
attention from common arts of amusement. At that period the young engraver was
recommended to Sir Godfrey Kneller, whose reputation, riches, parts, and acquaintance
with the first men in England, supported what little taste was left for virtu, and could
stamp a character wherever he deigned to patronize.
At intervals of'leisure he practised drawing and music, learned French and a little
Italian. It appears that he afterwards acquired Dutch, having consulted in the originals
all that had been written in those three languages on the art to which he was devoted.
His works began to draw attention, and he found more illustrious patronage than that
of Kneller. Lord Somers employed him to engrave a plate of Archbishop Tillotson,
and rewarded him nobly. The print will speak for itself. It was the groundrwork of
his reputation, and deserved to be so. Nothing like it had appeared for some years
nor at the time of its production had he any competitors. Edelink was dead in France
White in England, Van Gunst in Holland.
In 1711 an Academy of Painting was instituted by the chief performers in London Sir
Godfrey Kneller was placed at the head; Vertue was one of the first members, and drew
there for several years. To the end of that reign he continued to engrave portraits from
Kneller, Dahl, Richardson, Jervas, Gibson, and others.
On the accession of the present Royal Family he published a large plate of the head of
the King, of which a great many were sold, though by no means a laborious or valuable
performance. However, it was shown at court, and was followed by those of the Prince
and Princess. All concurred to extend his business. In any recess from that he prac
tised in water-colours, sometimes attempting portraits; oftener copying from ancient or
curious pieces, which he proposed to engrave. So early as the year 1713, he commenced
his researches after the lives of our artists, and began his collections, to which he added
prints by former masters, and every thing that could tend to his great work, the History
of the Arts in England. His thirst after British antiquities soon led him to a congenial
SZ2

548 VERTUE.
Mecaenas. That munificent collector, Robert Harley, second Earl of Oxford, early dis
tinguished the merit and application of Vertue. Another patron was Heneage Finch,
Earl of Winchilsea, whose picture he painted and engraved, and who, being President
of the Society of Antiquaries, on its revival in 1717, appointed Vertue, who was a
member, engraver to it. The plates published by that society from curious remains,
were most of them by his hand, as long as he lived.
The university of Oxford employed him for many years to engrave their almanacks •
instead of insipid emblems that deserved no longer duration than what they adorned
he introduced views of public buildings and historic events. In 1730 appeared his
twelve heads of poets, one of his capital works. Vertue's next considerable production
was a set of heads of Charles I. and the loyal sufferers in his cause, with their characters
subjoined, from Clarendon. This was scarce finished, before Rapin's History of Eng
land appeared. The two brothers, Knaptons, engaged Vertue to accompany it with
effigies of kings, and suitable decorations. This undertaking employed him for three
years. He next engaged with the Knaptons to engrave some of the illustrious heads
the greater part of which were executed by Houbraken, and undoubtedly surpassed
those of Vertue ; yet his performances by no means deserved to be condemned, as they
were by the undertakers, and the performer laid aside. In 1740 he published his pro
posals for the commencement of a very valuable work, his historic prints, drawn with
extreme labour and fidelity, and executed in a most satisfactory manner.
To the indefatigable exertions of this laborious artist, we are indebted for the preser
vation of many valuable antiquities, besides the numerous portraits he engraved for the
illustration of English history. He continued his researches, and the exercise of his art,
until he reached his seventy-second year, when he died in 1756, and was buried in the
cloisters of Westminster Abbey. His works are extremely numerous, and consist of
portraits, copies from old pictures, and antiquities of every kind. • Lord Orford has
given a complete list of them at the end of his catalogue of engravers. The following is
as ample a list of his prints as our limits will permit :
portraits.
King Richard II. ; from the painting in Westminster Abbey.
Queen Elizabeth ; after Isaac Oliver.
Mary, Queen of Scots ; after Zuccaro.
Queen Anne ; after Kneller.
King George I. 1715; very large.
The same ; smaller ; 1718 ; a better print.
George, Prince of Wales.
The Princess of Wales, with an Angel bringing a Crown ; after Amiconi.
Frederick, Prince of Wales ; after Boit.
Princess Anne.
William, Duke of Cumberland ; after Jervas.
Princess Mary.
William Seymour, Duke of Somerset.
Henry Somerset, Duke of Beaufort.
William Cavendish, Duke of Newcastle.
John, Duke of Marlborough.
John, Duke of Buckingham.
Philip, Duke of Wharton; after Jervas.

VER VER 549
Lionel, Duke of Dorset.
Henry Howard, Earl of Surrey.
Francis, Earl of Bedford.
Edward, Earl of Dorset.
Heneage, Earl of Winchilsea.
Edward, Earl of Oxford, sitting ; with many pieces of his collection round him.
Sarah, Duchess of Somerset.
Elizabeth, Countess of Shrewsbury.
Dorothy, Countess of Sunderland.
Sophia, Countess of Granville.
Archbishop Warham.
Archbishop Cranmer.
Archbishop Parker.
Archbishop Tillotson.
John Robinson, Bishop of London.
Edward Chandler, Bishop of Durham.
Gilbert Burnet, Bishop of Salisbury.
William Loyd, Bishop of Worcester, sitting in his library ; one of his best prints.
John Spencer, Dean of Ely.
Humphrey Prideaux, Dean of Norwich.
Sir Thomas More.
Sir Nicholas Bacon.
Sir Francis Bacon.
Sir Joseph Jekyll, Master of the Rolls, sitting ; fine.
Sir John Vernay, Master of the Rolls ; fine.
historic prints, and prints with two or more portraits.
Henry VII. and his Queen, with Henry VIII. and Jane Seymour.
Three Children of Henry VII.
Charles Brandon, Duke of Suffolk, and Mary, Queen of France.
Frances, Duchess of Suffolk, with Adrian Stoke, her first husband.
Thomas, Earl of Arundel, his Countess and children ; a private plate.
Thomas, Earl of Strafford, and his Seretary.
The Earl of Strafford's three Children.
William, Duke of Portland, his Duchess, and Lady Mary Wortley.
The Procession of Queen Elizabeth to Hunsdon-house.
The Tomb of Lord Darnley. James I., when a child, Earl and Countess of Lenox, &c. praying
by it.
The Battle of Carberry-hill.
Edward VI. granting the palace of Bridewell for an hospital:
The Court of Wards, with an explanation.
VERVEER, Ary Hubertsz. This artist was bora at Dort in 1646. He painted history,
and is said to have been a correct designer, but was heavy and black in his colouring.
In attempting to imitate the magical effect of Rembrandt, his tints became gloomy and
obscure, and his best performances appear to have been the productions of negligence
and dispatch.
VERW1LT, Francis. This artist was bora at Rotterdam in 1593, and was a scholar of
Cornelius de Bois, a landscape painter of little celebrity, whom he soon surpassed. He

550 VEY VIA
was a successful imitator of the works of Cornelius Poelemburg, and his landscapes are
decorated with figures, in the style of that master. His pictures are highly finished,
and his colouring is brilliant and clear.
VEYTH. See Vyth.
UGGIONE, or Oggione, Marco. He was a native of Oggione, near Milan, and was born
about the year 1480. According to Lanzi, he was one of the most favoured disciples of
Lionardo da Vinci, and may be regarded as one of the ablest painters of the Milanese
school. He did not adopt the elaborate and finished style which was followed by the
majority of the scholars of Lionardo, but principally distinguished himself by his ex
tensive works in fresco, which were admired for the beauty and boldness of his design,
and the purity of his colouring, which has lost nothing of its original freshness. Such
are his great works in the church of La Pace, at Milan, and, above all, his picture of the
Crucifixion, in the refectory, composed in the grandest style, correctly designed, with
an admirable expression in the heads, which would not have disgraced his illustrious
instructor. He copied the celebrated Last Supper, painted by Lionardo da Vinci for the
refectory of the Padri Domenicani at Milan, for the Carthusians at Pavia, in so ex
quisite a manner, that it almost compensates for the loss of the original. Of his oil
pictures, two of the most esteemed are in the churches of S. Eufemia, and S. Paolo in
Compito, at Milan, which, though highly respectable, are inferior to his fresco works.
He died in 1530, aged about 50.
UHLICK. An obscure German engraver, who resided at Leipsic. The name of this
artist is affixed to a portrait of John Melchior Jacob, dated 1719. It is neatly engraved,
but in a stiff, formal style.
VIANEN, John van. A Dutch engraver, born at Amsterdam about the year 1660. He
engraved several portraits, as well as frontispieces and other book-plates. We have
also by him several views in Amsterdam. His plates are chiefly executed with the
graver, in a neat style, though without much taste. Among his portraits are the fol
lowing: Frederick William I. King of Prussia.
Augustus Pfeiffer, superintendant at Lubec.
John Turetin, Theologian, of Geneva.
VIANI, Giovanni. This painter was born at Bologna in 1637, and was a fellow-student
with Pasinelli, in the school of Flaminio Torre. Few of his contemporaries equalled him
in the correctness of his design, which he continued to improve by a constant attendance
at the academy, to draw from the model, and to cultivate his knowledge of anatomy, a
practice he continued till the end of his life. To his perfect acquaintance with the
figure, he added an elegance in his forms, a grace in his attitudes, and an amenity in
his colouring, which remind us of the admirable productions of Guido. In the public
edifices at Bologna, he has left several proofs of his ability, of which the most esteemed
are the Annunciation, in the church of S. Guiseppe; and S. Filippo Benizi carried up to
heaven ; and the Crowning of the Virgin, at the Servi. He died in 1700, aged 63.

VIA VIC 551
VIANI, Domenico. He was the son of the artist mentioned in the preceding article, born
at Bologna in 1670, and was educated under his father, who kept a rival academy to
that of Carlo Cignani, which was much frequented. Guidalotti, who has written the
life of this artist, extols his talent as superior to that of his father ; an opinion to which
few of the judicious will be inclined to subscribe. He is not only inferior to the elder
Viani in the correctness of his design, but in the beauty of his forms, and in the truth
and delicacy of his colouring. He is, however, bolder in his outline, and more vigorous
in the opposition of his lights and shadows, in which he appears to have imitated the
works of Guercino ; and more extravagant in his ornaments, which he acquired by his
studies after the Venetian masters. In the church of La Nativita, at Bologna, is a series
of the Prophets and the Evangelists by him ; and in the church of S. Spirito, at Bergamo,
is a picture representing a Miracle wrought by S. Antonio, which is mentioned by Lanzi
in very favourable terms. He died at Pistoja in 1716, aged 46.
VICARO, Francesco. By this artist we have a set of neat etchings of landscapes, exe
cuted in a spirited style, and as they appear to be the productions of a painter, are pro
bably from his own designs.
VICENTINO, Andrea. This painter was born at Venice in 1539, and was a scholar of.
the elder Palma. He painted history in the style of his instructor, and was employed
in several considerable works, representing subjects from.the history of the Republic, in
the Sala del Gran Consiglio, in the palace of St. Mark. He also painted easel pictures
for private collections, of which Lanzi particularly notices one in the Florentine Gal
lery, representing the Anointing of Solomon, King of Israel. He died in 1614,
aged 75.
VICENTINO, Francesco Maffei. He was a native of Vicenza, and flourished about
the year 1630, and he was a scholar of Santo Peranda ; but he afterwards improved his
style by studying the works of Paolo Veronese. He painted many pictures for the
churches and public edifices at Padua, where he principally resided, and died in that city
in 1660.
VICENTINO, Batista. An Italian engraver, who was a native of Vicenza, and flourished
at Venice about the year 1540. In conjunction with Giovanni Batista del Moro, he
engraved a set of fifty plates of landscapes, with ruins and architecture, which are exe.
cuted in a bold, spirited style. He usually marked his prints Batista, P. V. F. and ac
companied them with Latin inscriptions, descriptive of the particular views they repre
sented.
VICENTINO, Niccolo. See Boldini.
VICENTINO, Giovanni Niccolo, called Rossigliani. An Italian painter, and engraver
on wood, born at Vicenza about the year 1510. His cuts are executed in chiar-oscuro,
in which he made use of three blocks ; among others are the following :
Hercules killing the Lion ; after Raffaelle.
A Sibyl reading a Book ; after the same.

552 VIC VIC
Venus embracing Cupid.
The Death of Ajax ; ' after Polidoro da Caravaggio.
VICO, or Vicus, or Vighi, Enea. This artist was born at Parma about the year 1512.
He is said to have been instructed in design by Giulio Romano. The distinguished
reputation Marc Antonio had acquired at Rome by his engravings, excited his curio
sity, and he visited that capital, where he became his disciple. Naturally of an ardent
disposition, he appears not to have been endowed with sufficient patience to finish his
plates in the beautiful style of his instructor ; and, although he perfectly understood the
design of the figure, his impetuosity did not permit him to pay proper attention to the
correctness and beauty of his outline, a quality so justly admired in the works of Marc
Antonio. His prints, notwithstanding these defects, are held in considerable estimation.
Enea Vico was also an engraver on wood; we have by him a wooden cut of the por
trait of Charles V. Emperor of Germany, surrounded by emblematical figures, composed
with taste and well drawn. It is executed with great care, and the hatchings, in imita
tion of strokes, are well expressed. He engraved a variety of medals, and a set of
thirty-six antique gems. When he did not sign his plates with his name at length, he
marked them with the initials M. V., sometimes upon a tablet, and sometimes without
it. His prints are extremely numerous, of which the following are the most worthy of
notice : portraits.
Charles V., surrounded by emblematical figures, inscribed, Inventum scULPTUMgUE AS
Aenea Vico Parmense, mdl.
Bust of Giovanni de Medici, in a border. 1550.
Bust of Cosimo de Medici, when young.
Bust of Alfonso II. Duke of Ferrara. VARIOUS SUBJECTS.
The Army of Charles V. passing the Elbe ; from his own design.
The Battle of the Amazons; inscribed, Bellum Amazonum. 1543.
A Female Figure, with her arms extended, over which appears an Owl flying in the air; after
Parmigiano. 1548.
A free subject of Vulcan and Venus; after the same. 1543.
The Battle of the Lapithae and Centaurs ; after II Rosso. 1542.
The Dispute of Apollo with Cupid; after Baccio Bandinelli.
The Academy of Baccio Bandinelli; after the same.
The Conversion of St. Paul ; after F. Salviati.
Judith with the Head of Holofernes ; after M. Angelo Buonaroti.
The Entombing of Christ ; after Raffaelle. 1548.
The Death of Lucretia. 1541.
Jupiter and Leda ; after M. Angelo Buonaroti.
A Bacchanalian Subject ; after the same.
The Annunciation ; after Titian.
A set of twelve Vases ; from the designs of Polidoro da Caravaggio.
A set of fifty plates of the Habiliments of different Nations ; from his own designs.
VICTOR, or Fictoor, John. A Dutch painter, who, according to the dates found on his
pictures, flourished about the year 1640. This able artist has escaped the notice of every

VIC VIE 553
biographer, although his works are found in the choicest collections, a distinction to
which their extraordinary merit deservedly entitles them. From his style of pencilling,
and his intelligent management of the chiar-oscuro, it is more than probable that he was
educated in the school of Rembrandt; and, though there is less depth and glow in his
colouring than in some of the best productions of that admired master, his tints are
clearer, and not less chaste. His pictures usually represent subjects taken from the Old
Testament, which are treated entirely in the manner of Rembrandt. He sometimes
signed his name Fictoor, as appears from a picture by him in the Gallery of the Louvre,
which is inscribed Jan Fictoor. 1640.
VICTORIA, Vicente. This Spanish painter was born at Valencia in 1658. He went to
" Rome when he was young, where he became a scholar of Carlo Maratti. Fie distinguished
himself in Italy as a painter of history, and was taken into the employment of the Grand
Duke of Tuscany. His portrait is among those of the distinguished artists, in the Flo
rentine Gallery. He also painted several pictures for the churches and convents at
Valencia. He died at Rome in 1712, aged 54. We have a few etchings by this artist;
among which are the following :
The Virgin and infant Christ in the clouds, with a glory of angels, and St. John, St. Francis, and
St. Jerome below ; after Raffaelle.
The Last Supper ; after Ciro Ferri.
The Resurrection; after the same.
VIDAL, Gerald. A French engraver, bora at Toulouse in 1742. He resided chiefly at
Paris, where he engraved a variety of plates after the modern French painters, among
which are the following :
Jupiter and lo ; after Ch. Monnet.
Jupiter and Antiope ; after the same.
Venus and Adonis ; after the same.
Rinaldo and Armida ; after the same.
Paris and Helen ; after David.
VIEHL, Peter. A modern French engraver, born at Paris in 1755. He was a pupil of
B. L. Prevost, and has engraved several plates, in a neat, finished style ; among others
are the following :
The Judgment of Paris ; after Rottenhamer.
The Bath of Diana ; after Mettai.
A pair of Landscapes ; after Ruysdael.
VIEN, Joseph Maria. This artist was born at Montpellier in 1710, and studied at Paris
under Charles Natoire. He afterwards visited Rome, where he passed some years in
designing from the antique, and the best masters of the Roman school. On his return
to France he was admitted a member of the Academy at Paris, and was afterwards ap
pointed professor of painting. He painted several pictures for the churches at Paris
and at Versailles, which gained him considerable reputation. We have a few etchings
by this artist, among which is a set of thirty small plates, representing the different
Vol. II. 4 A

554 VIE V I L
habits of the Turkish masquerade given at Rome by the pensioners of the Royal Aca
demy of France. He also engraved the following prints :
Lot and his Daughters ; after de Troy.
A set of five Bacchanalian subjects ; from his own designs.
VIENOT, Nicholas. A French engraver, who flourished about the year 1630. He imi
tated, with considerable success, the style of engraving adopted by Pontius. We have
the portraits of Philip IV. King of Spain, and his Queen Elizabeth of Bourbon, copied
by him on a smaller scale, from the prints engraved by Pontius, after Rubens. He also
engraved some plates from John Both, Pellerin, and other masters.
VIGHI,  . See Vico.
VIGNALI, Jacopo. This painter was born at Florence in 1592, and was a disciple of
Matteo Rosselli. His style resembles that of Guercino, not so much in his forms as in
the breadth of his masses, and in the vigorous effect of his light and shadow. His prin
cipal works in oil are in the church of S. Simone, at Florence; but he appears to greater
advantage in the frescoes with which he has decorated the chapel of Buonaroti. He
died in 1664, aged 72.
VIGNON, Claude. A French painter and engraver, born at Tours in 1590. He studied
several years in Italy, where he attached himself to the style of Michael Angelo Cara
vaggio, which he followed with some degree of success, though he was equally ignoble
in the selection of his forms, and without his excellence in colouring. He died in 1670,
aged 80. We have by this artist several etchings executed in a spirited and masterly
style, among which are the following :
A set of thirteen plates of the Life of Christ.
St. John in the Desert.
St. Philip baptising the Eunuch of the Queen of Candace.
The Martyrdom of St, Andrew.
The Crowning of the Virgin.
VIGRI, Caterina. This paintress was born at Bologna in 1413. She is sometimes called
S. Caterina di Bologna, from the sanctity of her life, which was chiefly passed in a
cloister. She rarely painted in oil, being principally engaged in illuminating missals,
and painting in miniature. She died in 1463, aged 50.
VILA, Senen. According to Palomino, this Spanish painter was a native of Valencia,
and a disciple of Estevan Marc. He resided chiefly at Murcia, where he painted a great
number of pictures for the churches and public edifices, particularly for the convent of
Santa Isabel, the monastery of Santo Domingo el Real, and the Enfermaria di San
Francisco. He was a more able designer than a colourist, and gave great expression to
his heads. He died in 1708.
VILA, Lorenzo. He was the son and disciple of the artist mentioned in the preceding
article, and was born at Murcia in 1682. Fie painted history in the style of his father,

VIL VIL 555
anc" '

cmd had gained considerable reputation by the pictures he painted for the churches, par
ticularly a Holy Family, for the refectory of S. Fulgenzio, at Murcia, when he became
an ecclesiastic, and died in 1713, at the age of 31.

VILADOMAT, Don Antonio. This painter was born at Barcelona in 1678. He is said
to have made a surprising progress in the art, without the help of an instructor, and
when he was twenty-one years of age, was engaged to paint a set of pictures of the Life
of St. Bruno, for the Carthusians at Monte Allegre, in which he evinced extraordinary
powers of native genius, unassisted by the advantages of a technical education, or im
proved by travel. He also painted three subjects from the Life of St. Francis, for the
cloisters of the Franciscans, at Barcelona, which were greatly admired. He died in
1755, aged 77.
VILLACIS, Don Nicholas de. This Spanish painter was of a noble family of Murcia,
and, after receiving some instruction in design in his native city, his parents sent him to
Madrid, to enter the school of Don Diego Velasquez. He afterwards travelled to Rome,
where he improved his style, by studying the most remarkable works of art in that
capital. On his return to Spain he established himself at Murcia, where he distinguished
himself by several considerable works, of which the most important was a series of pic
tures of the Life of San Bias, in the convent of la Santissima Trinidad de Calzados ; and
the Martyrdom of S. Lorenzo, in the church of the Dominicans.
VILLAFRANCA, Pedro. This artist is mentioned by Mr. Strutt as the engraver of a
Head of Frederick Ordez de Valais.
VILLAIN, G. R. A French engraver, who flourished about the year 1760. He engraved
a portrait of M. Dufour de Ville Neuve ; after Mauperin.
VILLAMENA, Francesco. This eminent designer and engraver was born at Assisi about
the year 1566. According to Baglione, he visited Rome in the pontificate of Sixtus V.
where he applied himself with great assiduity in designing from the antique, and the
works of the most distinguished masters. It is not certainly known by whom he was
instructed in the art of engraving, but he is generally supposed to have been a fellow-
student with Agostino Caraeci, under Cornelius Cort. His style of engraving is bold
and open, and he handled the burin with uncommon facility. The effect of his prints is
more clear than powerful, from the lights being too equally diffused over the whole sub
ject, which gives them a slight and unfinished appearance. This defect is, however,
discernible in most of the productions of that time, and is compensated in a great
degree by the correctness of the drawing, and the expression in the heads.
The prints by Villamena are numerous, they are occasionally signed with his
name at length, sometimes with the initials F. V. F. and he sometimes used the
monogram ^y^^- The following are his most considerable works :
PORTRAITS.
Caesar Baronius Soranus, Cardinal. 1602.
Christophorus Clavius, Bambergensis e Societ. Jesu. 1606.
Robertus Bellarminus Politianus.
4 A2

55© VIL VIN
Christiern IV. King of Denmark.
Galilee Galilei, of Pisa, famous Mathematician.
SUBJECTS FROM HIS OWN DESIGNS.
St. Theresa meditating in her Cell.
Mary Magdalen penitent, crowned by an Angel.
St. Francis praying before a Crucifix.
A set of six grotesque Figures, one of which is a Monk begging, accompanied by two Children.
A print called The Boxers, representing a man fighting against a crowd of people.
Another print, called The Antiquary, representing John Alto standing in one of the streets of
Rome. SUBJECTS AFTER VARIOUS MASTERS.
Moses showing the Brazen Serpent to the Israelites; after Ferrau da Faenza.
The Virgin and infant Christ, with St. Francis; after the same.
The Holy Family, with St. John, St. Elizabeth, and St. Anne ; after Raffaelle. 1602.
The same subject; engraved at Rome in 1611.
St. Bruno, with his companions doing penance in the Desert; after Lanfranco.
The taking down from the Cross ; after Baroccio.
The Presentation in the Temple ; after Paolo Veronese. This plate was begun by Agostino
Caraeci, and was finished by Villamena ; it is scarce.
St. Bernard, with the Virgin in the clouds ; after Vanni.
A set of twenty Scriptural subjects, from the paintings by Raffaelle, in the Vatican, called
Raffaelle's Bible.
VILLAVICENCIO, Don Pedro Nunez. This Spanish painter was of a noble family of
Seville, and was born in 1635. He was taught design as an accomplishment, in which
his progress was so uncommon, that he was induced to enter the school of Bartolome
Estevan Murillo, for the purpose of cultivating painting, rather as an amusement than
as a profession. He afterwards studied at Malta, under Matteo Preti, called II Cala-
brese, and for a short time followed the vigorous style of that master, but he returned
to the tender and harmonious tinting of Murillo. He made presents of several of his
works to the convents at Seville, where he died in 1700, aged 65.
VILLE, A. de. The name of this artist is affixed to a slight etching of an architectural
frontispiece, ornamented with figures, from his own design. It is very indifferently ex
ecuted.
VILSTEREN, Van. A Dutch engraver in mezzotinto, by whom we have some portraits,
among which is that of the Burgomaster Bikker.
VINCENT, Hubert. A French engraver, who resided at Rome about the year 1691.
He engraved a few plates in a very indifferent style ; among others are the following :
The Nativity, called The Nolte ; after Coreggio.
The Judgment of Paris ; after Paolo Veronese.

VINCI. 557
VINCI, Lionardo da. Vasari, and other biographers, have dated the birth of this illus
trious artist in 1445, but it has been satisfactorily ascertained by Carlo Amoretti, in
his Memorie Storiche di Lionardo da Vinci, and by Durazzini, in his Elogio degli Illustri
Toscani, that he was born at the castle of Vinci, situated in the lower vale of the Arno,
in 1452. He was the son of Pietro da Vinci, a notary of the Signory of Florence, who
perceiving, from the infantine sketches he amused himself with in his childhood, a
decided inclination for the art of painting, determined to assist his natural propensity,
by procuring him the advantages of a technical education. He was placed under the
tuition of Andrea Verocchio, a friend of his father, who was an eminent master of de
sign, and possessed a distinguished reputation as a sculptor, an architect, and a painter.
The extraordinary faculties of the pupil secured the attentive cultivation of the pre
ceptor, and his progress in the art was such, that in a short time he was able to assist
his instructor as a coadjutor. Verocchio having been employed by the monks of S.
Salvi, at Valombrosa, to paint an altar-piece for their church, representing the Baptism
of Christ, Lionardo was intrusted to paint the figure of an angel, and performed his task
with such beauty and correctness of design, and such felicity of execution, that the rest
of the picture was totally eclipsed; and tradition reports, that Verocchio was so much
mortified at the discomfiture, that he relinquished the pencil for ever.
Lionardo now entered the world with the sanguine expectations of youth, beloved
for the grace and urbanity of his manners, and beheld with admiration for the extent
and variety of his acquirements. His studies had not been confined to painting. He
was an able architect, had a perfect knowledge of anatomy, was extremely well skilled
in mechanics, a master of optics and geometry, and had applied himself thoroughly to
the study of nature and her operations. To arts and literature he added the accom
plishments of the body. His person was vigorous and finely formed; he was a poet, a
skilful musician, and a master of all the favourite exercises. He understood the ma
nagement of the horse, and was very dexterous in the use of arms. The possession of
such extraordinary qualities soon spread his reputation over all Italy.
After painting some time at Florence, Lodovico Sforza, Duke of Milan, invited him
to his court, in 1494, where he appointed him director of the academy of painting and
architecture, which he had recently revived with additional splendour and encourage
ment. Lionardo had no sooner entered on his office, than he banished all the gothic
principles established by his predecessor Michelino, and introduced the beautiful sim
plicity and purity of the Grecian and Roman style.
Desirous of rendering the extensive capacity of Lionardo useful as well as ornamental
to his state, the Duke of Milan engaged this distinguished engineer in the stupendous
project of conducting the waters of the Adda, from Mortesana, through the Valteline,
and the valley of Chiavenna, to the walls of Milan, a distance of nearly two hundred
miles; an enterprise which had hitherto been regarded as impracticable. Lionardo was
not insensible of the arduousness of such an undertaking, and, in order to pursue, with
greater tranquillity, his studies of those branches of philosophy and mathematics, which
are most applicable to mechanics, he sought retirement at Vaverola, the seat of his
friend, Francesco Melzi, where he devoted himself to the most profound research into
history and antiquity. He observed how the Ptolemys had conveyed the waters of the
Nile through the several parts of Egypt, and how Trajan had opened a commerce with
Nicodemia, by rendering navigable the lakes and rivers lying between that city and the
sea. The impediments of nature gave way to the daring efforts of genius and science.

553 VINCI.
and he accomplished this immense work, to the astonishment and admiration of all
Italy. Having thus served his patron in the capacity of engineer, the Duke next employed
him to embellish his metropolis with the productions of his pencil. His principal work
at Milan was his celebrated large picture of the Last Supper, painted for the refectory
of the Padri Dominicani, in the church of S. Maria delle Grazie, a performance which
history ranks amongst the most admirable productions of the art. He chose that inte
resting moment of the subject, when our Saviour declared to his disciples, that one of
them would betray him. The surrounding apostles appear thunderstruck by such a
prediction; the most distant from the Redeemer, doubtful if they have heard it right,
are anxiously inquiring of their nearer neighbours, the precise meaning of the prophecy.
Some express their astonishment, some their indignation, whilst others exhibit the most
candid expression of their innocence. Judas alone, though anxious to conceal his guilt,
unequivocally discovers himself to be the betrayer. The head of our Saviour he did
not finish, not being able to design a character equal to the conception he had formed
in his mind. - It was afterwards completed by Gio. Batista Armenini. It has long
afforded matter of infinite regret, that this admirable picture had not been painted in
distemper, instead of a composition of oil and varnish, which occasioned it to begin to
crumble, and fall to pieces, fifty years after it was painted. Of this extraordinary pro
duction, only three heads remain of the original, and of those, little more is now dis
cernible than the outline. The world of art is, however, compensated, in some degree,
for its loss, by several excellent copies, some of which are by his most distinguished
disciples. Of these, the most worthy of the original, are that by Marco Uggione, at
the Carthusians at Pavia ; another in the refectory of the Franciscans, at Lugano, by
Bernardino Luini; and one in La Pace, at Milan, by Giovanni Paolo Lomazzo. He also
painted an altar-piece of the Nativity, which was presented to the Emperor.
The wars of Italy now began to interrupt the progress of Lionardo. In 1500, his
patron, the Duke of Milan, was overthrown in battle by the French, made prisoner, and
conducted to France, where he soon after died in the castle of Loches. These disastrous
events proved fatal to the arts at Milan, the Academy was suppressed, its professors
dispersed, and Lionardo lost every thing, except his talents, his application, and attrac
tions. The disorders of Lombardy, and the downfall of the Sforzi, his protectors,
obliged Lionardo to quit Milan, and to take refuge at Florence, where the arts were still
sheltered by the genial patronage of the Medici.
In 1503, the Council having determined to decorate their chamber with the works of
the best masters, Lionardo was appointed to execute one side of it, and Michael Angelo
Buonaroti, who was then in his twenty-ninth year, and whose gigantic powers had
already displayed themselves, was fixed on as his competitor, in undertaking the other.
Jealousy of each other's ability, as is usual, excited animosity between them, and the
rivalry of these great artists divided Florence into parties, who embittered their dis
putes, without endeavouring to reconcile their differences.
Raffaelle, who had recently left the school of Pietro Perugino, was induced, by the
fame of this great contest of their transcendant powers, to visit Florence. The grace
and delicacy of Lionardo's style, compared with the dry and gothic manner of Perugino,
excited the admiration of the young painter, and inspired him with a more modern taste.
During a residence of thirteen years at Florence, he produced some of his best works,
among which may be ranked his cartoon of St. Anna, intended for an altar-piece for the

VINCI. 559
church of the Padri Servi; his celebrated cartoon of the battle, designed for the great
council-chamber; and his much famed portrait of Mona Lisa, called La Gioconda,
which is said to have occupied him four years.
Lionardo had not hitherto seen Rome, when the elevation of Leo X. to the papal
throne, whose love and protection of the arts were universally known, induced him to
visit that capital in 1513, whither he went, under the protection of Giulano di Medici.
He was graciously received by the Pope, who determined to employ him, when, Vasari
informs us, he was discouraged from proceeding, by a bon mot of the Pontiff, who, on
being informed that Lionardo, in consequence of his holiness's commission, had begun
to distil his oils, and prepare his varnishes, observed, that " nothing good could be
expected from a painter, who thought of finishing his works before he had begun them."
It is more probable, that being now declined into the vale of years, he found himself
unable to contend with such rivals as Michael Angelo and Raffaelle, then in the zenith
of their fame. His residence at Rome not proving agreeable to him, he was induced to
accept of an invitation he received from Francis I. to visit the court of France. He
was received by that splendid monarch with the most flattering attention. The fatigues
of the journey, and the change of climate, reduced him to a state of languor and infir
mity, which rendered him incapable of undertaking any work of importance. During
an indisposition of five years, he continued to receive the most attentive marks of that
monarch's esteem, who frequently visited him during his illness, and he is said to have
expired in the arms of the King, in 1519, aged 67.
As a painter, Lionardo may be regarded as the first who attempted to reconcile minute
and elaborate finish, with grandeur of idea, and dignity of form. He particularly
attached himself to the expression of character, and the just delineation of the affec
tions of the mind. If, in this sublime department of the art, he was afterwards excelled
by Raffaelle, he had, at least, the glory of having surpassed in it every painter who had
preceded him, and of having opened a path, unknown before, which was afterwards so
successfully trod by Raffaelle himself. His design is correct and pure, and, if he did
not, like Raffaelle, venture into the region of the beautiful ideal, he selected nature in
her most perfect forms, and gave to his figures a grace with which the artists of his time
were entirely unacquainted.
In his compositions, like the painters of antiquity, he was an enemy to confusion, and
to avoid it, like them, he only introduced into his pictures such figures as were essen
tially necessary to his subject. Although it does not appear that he ever sedulously
cultivated an acquaintance with the antique, he distinguished himself by an elevated
taste, and a perfectly correct imitation of the models he consulted. To him we are
chiefly indebted for the establishment of the principles of the chiar-oscuro, which gave
birth to that magical relief, for which his works, and those of his disciples, are so pecu
liarly remarkable.
An artist of such universality of talents and habits of industry, for some years at the
head of an academy, may be supposed to have left behind him various writings on art.
He composed several treatises and discourses on different subjects, among which are,
A Treatise on Hydraulics, explaining the nature, equilibrium, and motion of Water, with
designs.
A Treatise on Anatomy.
The Anatomy of the Horse. This work is noticed by Vasari, Borghini, and Lomazzo. Lie-

560 VINCKENBOOMS.
nardo had a peculiar talent in drawing that noble animal, and designed this treatise for the
use of those who painted battles and triumphs.
A Treatise on Perspective.
A Treatise on Light and Shadow.
His principal work is a Treatise on Painting . It was first published, in folio, at Paris,
in 1651, entitled, Tratatto della Pittura di Lionardo da Vinci. Novamente data in Luce;
cOn la vita dell' istesso autore, scritta da Raffaelle du Fresne, #c, Parigi, 1651, with figures
designed by Nicholas Poussin. It was translated into English, and published by John
Senex, London, 1721.
Of the above compositions, the last is the only one which is in possession of the pub
lic, the others remain in manuscript in different libraries.
One of the volumes of his drawings, with his manuscript observations, is preserved in
his Majesty's collection. It consists of a variety of heads, portraits, caricatures, single
figures, horses, and animals; botany, optics, perspective, mechanics, and anatomical
subjects. It may perhaps gratify curiosity to be informed in what manner this inte
resting assemblage should have contributed to enrich the collection of the King. The
whole of Lionardo's works and papers were left by will to his friend Francesco Melzi,
as a token of his regard. They were collected, after his decease, into thirteen volumes,
and deposited at Vaverola, where they remained, after the death of Melzi, in the pos
session of his infant heirs. Those invaluable treasures were afterwards obtained from
the children of Melzi, by the nefarious pretences of Lelio Gavardi, their tutor. He was
however, induced, by the zealous remonstrances of Gio. Ambrogio Mazzenta, a noble
Milanese, to return the whole to Orazio Melzi. In gratitude for the restoration of this
valuable bequest, Melzi presented Mazzenta with six of the volumes. Of these, Car
dinal Borromeo had one, which is now in the Ambrosian library; Ambrogio Figini had
another, which has since descended to Ercole Bianchi, his heir ; Charles Emanuel, Duke
of Savoy, had a third volume ; and the other three became the property of Pompeo
Leoni, one of which is that now in the royal collection. On the cover of the volume
is inscribed, in gold letters, Disegni di Lionardo da Vinci restaurati da Pompeo Leoni. It
is probable that this inestimable curiosity was acquired for Charles I. by the Earl of
Arundel, when he was ambassador to the Emperor Ferdinand II. in 1636. It was for
tunately preserved during the civil wars, and was discovered in the same cabinet in
which Queen Caroline found the portraits of the principal personages of the court of
Henry V1IL, by Hans Holbein.
VINCKENBOOMS, David. This painter was born at Mechlin in 1578. He was the
son of Philip Vinckenbooms, an obscure painter in distemper, by whom he was taught
the elements of the art, and it does not appear that he had the advantage of superior
instruction. Fie painted landscapes in the style of Roland Savery, and John Breughel.
They are sometimes decorated with subjects from the Bible, and sometimes with fairs
and merry-makings, which are ingeniously composed, and the design of his figures is
tolerably correct, though his touch is dry and hard. One of his most considerable works
is a picture in the hospital of the Old Men, at Amsterdam, representing a crowd of
people attending the drawing of a lottery by torch light. He occasionally painted
historical subjects, in which the landscape served as a back-ground. Of this descrip
tion is a picture of Christ bearing his Cross, in the collection of the Elector Palatine •
and another at Frankfort, representing Christ restoring sight to the Blind. He en-

VIN VIO 561
graved a few plates of landscapes, from his own designs, which he usually marked with
a monogram, composed of a D, a ,V, and a B, thus, BJS .
VINKELES, Renierj A Dutch engraver, born at Amsterdam in 1741, . He was a pupil
of J. Punt, and engraved some plates of historical, subjects, landscapes,: and conversa
tions; but he was principally employed in portraits,, among which are: his, own, with
those of J. Schmidt, and J. Andriessen ; and the portrait of M. Braamcamp.
VINNE, Vincent Vander. This painter was bora at Haerlem in 1629. From his in
fancy he discovered a marked disposition for drawing,, and had made considerable pro
ficiency without the help of a master, when he was placed under the tuition of Francis
Hals, one of the most eminent artists of his timeT Under so excellent an instructor, hu
advancement was such, that he was able in a short time to travel by the produce of
his talents. He visited Germany, Switzerland, and resided some time at Paris ; and
wherever he went, his ability insured him employment and protection.
In 1657 he returned to Haerlem, where he passed the remainder of his life. He
painted history, portraits, landscapes, and drolleries ; and in each of those branches dis
covered an uncommon facility of execution, an admirable tone of colouring, and afaith-
ful imitation of nature. Towards the latter part of his life, the desire of gain induced
him to grasp at every commission which was offered him, and his last works are the
productions of negligence and dispatch. His best performances are his portraits, in
many of which he approaches to the spirited touch and truth of character, which we
admire in the productions of Hals. He died in 1702, aged 73.
VINNE, Lawrence Vander. He was the son of the artist mentioned in the preceding
article, born at Haerlem in 1658, and was instructed by his father, whose style he
attempted to follow, but never rose above mediocrity.. His principal merit consisted in
painting flowers and plants, and he was much employed by the, botanists of his time.
He died in 1724, aged 66. He had two younger brothers, John and Isaac, who both
practised the art, but lived and died in obscurity. ,
VINNE, John Vander. A Dutch engraver, who flourished at Haerlem about the year
1730. We have a set of twelve plates of views in the environs of Haerlem, by this
artist, after Peter Bout, executed in a very neat style.
VINSAC, Claude Dominick. This artist was born at Toulouse in 1749. He engraved
several portraits, and designs for goldsmiths, in the dotted manner, which are neatly
executed. Among the former are,
Frederick Henry Louis of Prussia ; after his own design.
P. Camper, a celebrated Physician ; after Pujos.
VIOLA, Giovanni Batista. This painter was born at Bologna in 1576, and was a scholar
of Annibale Caraeci, whose admirable manner of painting landscape he very success
fully adopted. In company with his fellow student, Francesco Albano, he visited
Rome, and, in conjunction with him, was employed in ornamenting the palaces of the
nobility, and his landscapes are frequently embellished with beautiful figures by Albano.
Vol. II. 4 B

562 VIS VIS
One of the works which first brought him into repute, was a large landscape, painted
for the Vigna of Cardinal Alessandro Montalto, where Paul Brill was employed at the
same time, and whose pictures were then highly esteemed. The grandeur, both of the
style and subject, of Viola's landscape, greatly excelled the production of the Fleming,
and acquired him great reputation. Some of his most admired performances are in
the saloon of Apollo, in the Villa Aldobrandini. He died at Rome in 1622, aged 46.
VISPRE,  . A French painter and engraver, bora at Paris about the year 1730.
He engraved several portraits in mezzotinto, among which are those of Louis XV. and
others of the Royal Family of France. Fie visited London about the year 1765, where,
among other prints, he engraved a portrait of the Chevalier D'Eon.
VISSCHER, Cornelius. This celebrated designer and engraver was born at Haerlem
about the year 1610. He was a pupil of Peter Soutman, though he did not follow the
style of that master, but adopted a manner of his own, which he carried to a perfection
that has hardly been equalled. He drew with correctness and taste, and the plates that
he executed from his own designs, which are esteemed the finest of his works, sufficiently
attest the extent of his genius. His execution is clear and delicate, and no artist has
surpassed him in the talent of harmonising the operation of the point with that of the
graver. His plates of the portrait of Gellius Bouma, the Pancake-woman, the Rat
catcher, and the Bohemian woman, may be cited as models of perfection in that style of
engraving. It will be allowed, however, that he is less successful in the plates that he
executed of historical subjects, from the Italian and Flemish painters, particularly in
the prints he has engraved after Rubens, which are inferior to the productions of Vors-
termans, Bolswert, and Pontius. The following are his most esteemed prints :
portraits.
A Portrait, supposed to be that of himself, with a high-crowned hat, and his hand on his breast;
inscribed, Corn. Visscher, fecit, anno 1649.
Another Portrait of Cornelius Visscher, with a similar hat, and enveloped in .his cloak; Corn.
Visscher, fecit, anno 1651.'
Andreas Deonyszoon Winius, called the Man with the Pistol. The scarcest and most valuable
of hie portraits.
Gellius de Bouma, Minister of the Gospel, at Zutphen ; fine.
William de Ryck, Occulist, of Amsterdam ; fine. This portrait and the preceding one, are
commonly called the great Beards.
Cornelius Vosbergius, Pastor of Spaerwouw, with a book in his hand. 1653 ; fine and scarce.
William Vanden Zande, Theologian ; after Soutman ; fine ; and very rare.
David Peiterz de Vries, Grand-master of Artillery to the States of Holland ; scarce.
Jacob Westerbaen, Lord of Brandwyck, &c; very rare.
Coppenol, called the Writing-master. 1658.
Constantine Huygens, Lord of Zuylichem; inscribed with his motto, Const ant er. 1657.; fine
and scarce.
William, Prince of Orange ; after G. Honthorst. 1649.
Mary, daughter of Charles I., his consort ; after the same, 1649.
Charles II. King of England ; after the same. 1650.

Visscher. 563
SUBJECTS FROM HIS OWN DESIGNS.
The Pancake-woman. The first impressions are before the address of Clement de Jonghe.
The Rat-catcher. The best impressions of this plate are before the name of Clement de Jonghei
and without the title.
The Bohemian Woman, with three Children, one of which she is suckling. In the first impres
sions the name of Visscher is upon the margin, at the bottom of the print. It was afterwards
effaced, to make room for the inscription, and placed on the upper part of the plate.
-^ A Boy holding si candle, and a Girl with a mouse-trap.
A Cat sleeping on a napkin ; fine, and extremely rare.
A Cat sleeping, with a Rat behind her.
The Coronation of Carolus Gustavus and the Queen of Sweden.
SUBJECTS AFTER VARIOUS MASTERS.
The Angel directing the Departure of Abraham ; after Bassano.
Abraham's Arrival at Sichem ; after the same.
Susanna and the Elders ; after Guido.
Magdalen penitent ; supposed to be after Parmigiano ; very fine.
The Entombing of Christ; after Tintoretto.
The Resurrection ; after P. Veronese.
The Holy Family, with St. John presenting a Pear to the infant Christ ; without the name of the
painter.
The Last Judgment; after Rubens. The best impressions of this plate are before the address
of Soutman.
The Virgin and Infant, crowned by Angels ; after the same.
Achilles discovered by Ulysses at the court of Lycomedes; after the same.
The travelling Musicians ; after A- Ostade ; very fine.
Two Men, and a Woman holding a Glass ; after the same.
TheSkaiters; after the same ; very fine.
The Surgeon; after A. Brower.
A Man playing on the Violin, others singing; after the same.
- A Landscape, called the Attack of the Convoy; after P. de Laer.
>" Another Landscape, called the Coach robbed ; after the same.
- ¦ The Lime-kiln ; after the same.
A set of four Landscapes; after Berghem.
Another set of four Landscapes ; after the same.
VISSCHER, John. He was the younger brother of Cornelius Visscher, and flourished
about the year 1650. Although he did not possess the extensive talents of his brother,
he has left proofs of his ability as an engraver, which rank him amongst the most emi
nent artists of his country. His plates are more forwarded with the point than those
of Cornelius, and his style of etching is uncommonly picturesque and effective.
Hia prints after Berghem and Ostade are among the happiest productions of the art.
He also engraved several portraits, which sufficiently establish his ability in the use of
the graver. Of his numerous prints, the following are the most deserving of notice :
PORTRAITS.
John de Uytenbogaert ; Joh. de Visscher, sc.
Peter Proelius, Minister of the Gospel at Amsterdam.
4132

564 VISSCHER.
Abraham Vander Hulst, Vice-Admiral of Holland.
Peter Paul Rubens ; after Vandyck.
Michael de Ruytei1, Admiral of Holland ; after Berchmansi
' Portrait of a Negroii holding a Bow and Arrow in his handjtafter a design by Cornelius Visschet
SUBJECTS AND LANDSCAPES AFTER VARIOUS MASTERS.
Peasants playing at Trictrac; after A. Ostade.
A Woman spinning and a Man reeling ; after the same.
-j- Peasants dancing ; called Ostade's Ball ; after the same.
Peasants regaling at the door of an Ale-house;, after the same.
A Country Wedding, called Ostade's Bride ; after the same.
Several Peasants dancing in a Cottage, called Berghem's Ball; after Berghem.
A set of four landscapes, the Four Times of the Day ; after the same.
Several Sets of Landscapes with figures and animals; after the same.
A set of six plates of figures and animals ; after K. du Jardin.
A set of four plates of various subjects; after P. van Laer. These prints have been sometimes
•incorrectly attributed to Cornelius Visscher.
Several Landscapes, &c. after Ph. Wowermans.
A set of twelve Landscapes and Views ; after J. Van Goyen.
A set of twelve Landscapes and Sea-ports ; after Herm. Swanevelt.
VISSCHER, Lambert. According to Huber, this artist was the brother of Cornelius and
John; Visscher, and flourished about the year 1664. He resided several years at Rome
and Florence, where, in conjunction with Cornelius Bloemaert and Francis Spierre, he
engraved some plates from the paintings by Pietro- da Cdrtona, in the palace of the
Grand Duke of Tuscany. We have also some portraits by him. The following are his
prints most deserving of notice: PORTRAITS.
Maria Theresa of Austria, Queen of France; after Vanloo.
Anne of Austria, Queen of France j after the same.
John de Wit, Pensionary of Holland.
Cornelius Tromp, Vice-Admiral pf Holland; after F. Bol.
SUBJECTS AFTER P. DA CORTONA.
Seleucus yielding Stratonice to Antiochus.
Virtue withdrawing a young Man from the embraces of Voluptuousness. One of the ceilings of
the palace.
VISSCHER, Nicholas J6hn. An engraver and printseller, who resided at Amsterdam
about the year 1600. He was probably of the same family with the artists already men
tioned. We have a variety of etchings by him, executed in a spirited and masterly
manner, and consist of small landscapes, with figures and animals, views, &c. He also
engraved several portraits. Among others, we have the following prints by him, which
are sometimes marked with a monogram, composed of a C, an I, and a V: the first
letter for Claus, which is an abbreviation of Nicholas, thus, -&.
portraits.
j
Charles I. King of England, with a round hat ; marked with his monogram.
William Laud, Archbishop of Canterbury.

V I T v I T 565

James II.
James, Duke of Monmouth.
John Calvin.
Desiderius Erasmus.

SUBJECTS.

An Allegorical subject on human Life.
A set of Views of Country Seats in Holland.
A View of the Castle of Lovensteyn, which was used as a state prison for Hogerbeets and Gro-
tius. On each side of the plate are medallions exhibiting the legends of the two illustrious
prisoners ; scarce.
He also engraved after Jodocus Momper, and other masters.
VITALBA, Giovanni. An Italian engraver, who flourished about the year 1760. He
was a pupil of Wagner, whose style he imitated. In 1765 he came to England, and
engraved several plates for Mr. Boydell. Among others, we have the following prints
by him :
Cupid, with two Satyrs ; after Agostino Caraeci.
A pair, Spring and Summer ; after Fil. Lauri.
Herodias with the Head of St. John; after L. Pasinelli.
VITALI, Candido. This painter was born at Bologna in 1680. He was brought up in
the school of Carlo Cignani, and was advised by his instructor, who was always atten
tive to the particular genius of his disciples, to devote himself to painting animals, birds,
flowers, and fruit. His pictures of those subjects were greatly admired at Bologna, and
through all Italy, for the delicacy of his touch, the beauty of his colouring, and the
tasteful arrangement of his compositions. He died in 1753, aged 73.
VITALI, Gioseffo. This artist was a native of Bologna, and flourished about the year
1700. He was a scholar of Giovanni Gioseffo dal Sole, and painted history with some
reputation. There are several of his works in the churches at Bologna, of which the
most worthy of notice are a picture of the Annunciation, in the church of S. Antonio ;
S. Petronio, in SS. Sebastiano e -Rocco ; and the Martyrdom of S. Cecilia, in the
church dedicated to that saint.
VITE, Timoteo* della, da Urbino. This painter was born at Urbino in 1470, but was
educated at Bologna under Francesco Francia, with whom he remained until he was
twenty-six years of age, when he returned to Urbino, and had given proof of great
ability, when the fame acquired by Raffaelle his countryman and relation, by his great
works in the Vatican, induced him to visit Rome, where his talents recommended him
to the particular favour of that illustrious artist. Lanzi informs us that Raffaelle en
gaged him to assist him in painting the celebrated Sibyls, in the church of La Pace, and
was so satisfied with his performance, that he permitted him to retain the cartoons. His
residence at Rome was not of long duration, and he returned to Urbino, where, in con
junction with Girolamo Genga, he executed several important woris for the cathedral,
and other public edifices in his native city. Siena and Forli also possess some of his
most considerable works. His first style retained somewhat of the dry and gothic

560 VI T VI V
manner of Francia, as is evident in his earliest works at Urbino, after his return from
Bologna ; but by his connection with Raffaelle, and his attentive study of his works, he
became a graceful and correct designer, though he never possessed great powers of in
vention, nor a bold and vigorous execution. His most esteemed productions are his
picture of the Conception, in the church of the Osservanti, at Urbino ; and Christ ap
pearing to Mary Magdalen, in S. Angelo, at Cagli. He died in 1524, aged 54.
VITE, Pietro della. He is believed to have been the brother of tbe artist mentioned in
the preceding article, who was probably his instructor in the art, as he painted history
in a similar style, though very inferior to him. Lanzi conjectures that this is the artist
mentioned by Baldinucci by the denomination of II Prete di Urbino, who was a relative
and one of the heirs of Raffaelle.
VITE, Giovanni della. See Miel.
VITUS, Domenico. An Italian engraver, born about the year 15S6. The circumstances
of his life are little known. He is supposed to have been instructed in engraving by
Agostino Veneziano, called de Musis, whose style he imitated with some success. In
the prime of life he became a religious of the monastery of Valombrosa, in the Apen
nines. We have by him several prints, executed with the graver, among which are the
following: St. Bartholomew ; inscribed, Dom. Vitus ordinis Valisumbrosce Monachus excidit Roma. 1576.
St. Joachim holding a Censer ; after A. del Sarto.
Jupiter and Calisto; inscribed, Dominicus V. F.
A River God ; after the antique.
A set of small plates, representing the Passion of our Saviour, with borders, ornamented with
birds, beasts, &c.
A set of plates from the Antique Statues; Dom. Vitus, fee.
V1VARES, Francis. This artist was a native of France, but he passed the greater part
of his life in England. He was born at Montpellier about the year 1712, and was in
debted for his principal instruction in design and engraving, to J. B. Chatelain, after his
arrival in London. Being a man of considerable genius, he improved upon the style of
his instructor, and became one of the most eminent engravers of landscape of his time
He was particularly successful in his plates after the works of Claude Lorraine, and his
prints preserve much of the air and picturesque beauty, which distinguish the' produc
tions of that admirable painter. Among others, we have the followings prints by him :
A set of four Views of Ruins ; after J. Smith.
Eight Views in Derbyshire; after Thos. Smith of Derby.
A Landscape, called the Hop-gatherers; after Geo. Smith.
A Landscape ; after Gainsborough.
A View in Holland, by moonlight; after Vander Neer.
A Land-storm; after Gasper Poussin.
A Tempest, with the history of Jonas; after the same.
A Landscape, Morning; after Claude Lorraine.
The Companion, Evening; after the same.

V I V ULE 567
The Enchanted Castle ; after Claude Lorraine.
A View in the Environs of Naples ; after the same.
VIVEROJSI, F. This artist is mentioned by Mr. Strutt as the engraver of some very in
different views in Ireland.
VIVIEN, Joseph. A French painter, born at Lyons in 1657. He was brought up under
Charles Le Brun, and, for some time, painted portraits in oil, with considerable success.
But he afterwards adopted painting in crayons, which he carried to a perfection unknown
before him, and established a reputation which will probably survive the transient and
perishable nature of the vehicle of his talent. The merit of his portraits was not con
fined to a perfect resemblance; his heads exhibited an uncommon appearance of life
and nature, and an admirable expression. His carnations were fresh and pure, his touch
vigorous and spirited, and the general tone of his pictures was tender and harmonious.
He occasionally accompanied his portraits with historical or emblematical subjects, illus
trative of the character or history of his model; in which he did credit to the school
in which he was educated. He passed the latter part of his life in the service of the
Elector of Bavaria, for whom he painted some of his best pictures. His portrait, by
himself, is placed among the distinguished artists in the Florentine Gallery. He died
in 1735, aged 78.
VIVIER, John du. This artist was born at Liege in 1687, but chiefly resided at Paris,
where Jie was received into the Academy in 1718. He particularly excelled in engrav
ing dies for medals, and was appointed medalist to Louis XV. in 1735. We have also
a few plates by him, which are executed in a neat, clear style ; among which are the
following : PORTRAITS..
Bartholet Flemael, Painter.
Peter de Gouges, Advocate in Parliament ; after Tourniere.
SUBJECTS.
The Entombing of Christ; after A. van Heuvel.
The Temptation of St. Anthony ; after the same.
The Dutch Cook ; after the same.
VLERICK, Peter. This painter was born at Courtray in 1539. He was the son of a
lawyer, who, perceiving his inclination for the art, placed him under the tuition of
William Snellaert, a painter in distemper, with whom he only continued a short time.
The reputation of Charles d'Ypres, an able designer and painter of history, who had
studied in Italy, induced him to leave his first instructor, and to become his disciple.
The morose and capricious disposition of that master, prevented his remaining with him
longer than two years ; but he had already made sufficient progress in the art to under
take a journey to Italy on the produce of his talents. He travelled through France,
and met with such encouragement, during a short residence at Paris, that he was enabled
to proceed to Venice, where he entered the school of II Tintoretto. Aided by the
advice and example of that able artist, he acquired an admirable style of colouring,
and a prompt and vigorous execution.

568 U L F V L I
Descamps reports, that II Tintoretto held the talents of Vlerick in such estimation,
that he offered him his daughter in marriage : but his desire of visiting Rome, and his
attachment to his native country, prevented his accepting the proposal. After a resi
dence of four years at Venice, he proceeded to Rome, where he applied himself, with
uncommon assiduity, in designing from the antique, and studying the works of the best
masters. During his residence at Rome, he executed some considerahle works in con
junction with Girolamo Muziano. In 1568, he returned to Flanders, and established
himself at Tournay, where he resided the remainder of his life. Van Mander, who was
his disciple, mentions the following as his principal works, and states him to have been
an artist of great ability. The Brazen Serpent; Judith wilh the Head of Holofernes ;
the Four Evangelists; and the Crucifixion, with the Virgin Mary and St. John. He
died in 1581, aged 42.
ULFT, Jacob Vander. This painter was born at Gorcum about the year 1627. It is not
known under whom he studied the art, but his first occupation appears to have been
painting on glass ; and there are some windows executed by him in the churches of
Gorcum, and in Guelderland, which are little inferior to the works of the celebrated
brothers, Dirk and Wouter Crabeth, in the beauty and vivacity of the colouring. He
afterwards distinguished himself as a painter of historical pictures, of a cabinet size
which are ingeniously composed, and the small figures, with which they generally
abound, are correctly drawn, and touched with great neatness and spirit. From the
subjects and scenery he represented, it would be presumed that he had resided some
time at Rome, but it is satisfactorily ascertained, by the Dutch biographers,, that he
never was out of Holland. His pictures usually represent subjects of the Roman His
tory, processions, and markets, in which he introduced the most remarkable views in
Rome, and the vicinity. He was perfectly acquainted with perspective and architec
ture, and copied this scenery from the best prints and drawings he could meet with
which he selected with judgment and taste. His works are generally crowded with
figures, tastefully grouped, and in their respective habiliments, he showed a marked
attention to the propriety of costume. As his pictures are very highly finished and his
time was much occupied by the duties of his office (being one of the burgomasters of the
city), his works are rarely to be met with, and are scarcely known, except in Holland
where they are highly esteemed.
VLIEGER, Simon de. He was born at Amsterdam about the year 1612, and acquired a
considerable reputation as a painter of sea-pieces and landscapes ; although it is not
known by whom he was instructed. He had the credit of being the master of William
van de Velde the younger, and, though his merit was eclipsed by the brilliant talents of
his disciple, his pictures are deservedly placed in the choicest collections. We have a
few etchings by this artist, representing views in Holland and rural subjects, executed
in a spirited and masterly style.
VLIET, John George van. A Dutch painter and engraver, born at Delft in 1610 and
was one of the numerous disciples of Rembrandt. Of his works as a painter little is
known ; but we have a considerable number of prints by him, which are executed in
imitation of the style of his master. His plates amount to about ninety, most of
which are from the designs of Rembrandt, a few after J. Lievens, and some from his

V L I U L R 569
own designs. They produce a surprising effect ; the lights being broad and clear, and
the shadows dark. His drawing is very incorrect, and his draperies clumsy and man
nered. Notwithstanding these defects, the prints by Van Vliet are held in considerable
estimation. He sometimes signed them with his name, and sometimes used the mo
nogram a? . The following are his principal works :
PORTRAITS AND HEADS; AFTER REMBRANDT.
Bust of a Man, with his face in shadow. 1634.
Bust of an old Man, with a turban and aigrette.
The Head of a Warrior.
An old Man with his hands joined, apparently in great affliction. 1634.
Bust of an Oriental Character, with a fur cap.
An old Woman reading. One of his best prints.
SUBJECTS AFTER REMBRANDT.
Lot and his Daughters; very fine.
The Baptism of the Eunuch.
St. Jerome praying in a cavern, with a book and a crucifix. This is his finest print.
SUBJECTS AFTER J. LIEVENS.
Jacob obtaining his Father's Blessing instead of Esau.
Susanna and the Elders.
The Resurrection of Lazarus. SUBJECTS FROM HIS OWN DESIGNS.
An Assembly of Peasants regaling.
The Rat-catcher.
A set of twenty-two plates of the Arts and Trades.
VLIET Henry van. This painter was born at Delft in 1608, and was instructed in the
art by his uncle, William van Vliet, a reputable portrait painter. For some time he
practised portraiture, but afterwards distinguished himself as a painter of perspective
and views of the interior of churches and temples, in the style of Emanuel de Wit,
which are frequently represented by torch-light, and produce a picturesque and pleasing
effect. They are decorated with figures neatly and correctly drawn.
ULIVELLI, Cosimo. He was born at Florence in 1625, and was a disciple of Baldassare
Franceschini, called II Volterrano. He was a successful follower of the style of his
instructor; and Lanzi observes, that he painted history so much in the manner of Fran
ceschini, that his works have been sometimes mistaken for those of that master, though,
to the intelligent observer, they will appear less elegant in the forms, less chaste and
effective in the colouring, and mannered and laboured in the execution.
ULRIC, John. This artist was a native of Germany, and is mentioned by Mr. Strutt as
a very skilful engraver on wood, in the manner distinguished by the appellation of chiar
oscuro. Baron Heineken conjectures that he liyed before Ugo da Carpi, and prior to
the commencement of the sixteenth century; but the style of composition, the drawing,
and the execution of his prints, render it more probable that he flourished about the
middle of the sixteenth century, and he apparently formed his taste by studying the
Vol. II. 4 C

570 ULR VOE

works of the Italian masters. He usually marked his prints with a monogram formed
of an I. and V. separated by two swords crossing each other, between which is a small
tree, if$jftj] . Among others we have the following cuts by him :
A Naked Figure shooting Arrows at a Snake which is entwined round an Infant.
A Knight armed by his Esquire.
The Crucifixion.
ULRICK, Henry. A German engraver, who flourished about the year 1590. We have
by him a few portraits, executed in a stiff, formal style, and a small circular print, repre
senting the Crucifixion, with the Virgin Mary and St. John.
UMBACH, Jonas. This artist is mentioned by Baron Heineken as a German painter and
engraver, but his works are not specified.
VOEIRIOT,  -— . See Woeiriot.
VOERST, Robert Vander. This artist was born at Arnheim about the year 159fj. His
style of engraving resembles that of Giles Sadeler, and his plates are executed with the
graver, in a clear, neat manner. He visited England when he was young, as he engraved
a considerable number of English portraits, and his latest works in that country are dated
1635. Vanderdoort, who mentions him three or four times in King "Charles's Catalogue
expressly calls him the King's engraver, for whom he executed two plates, one of his
Majesty's sister, the other from Vandyck's picture, of the Emperor Otho, painted to
supply the loss of one of Titian's Caesars. We have, among others, the following por
traits by him :
Charles I. and his Queen; on one plate; after Vandyck.
Prince Rupert.
James Stewart, Duke of Lennox ; after Geldorp.
Robert, Earl of Lindsey; after Mirevelt.
Philip, Earl of Pembroke ; after Vandyck.
Ernest, Count Mansfeld ; after the same.
Simon Vouet, Painter ; after the same.
His own Portrait ; after the same.
Edward, Lord Littleton.
James, Marquis of Hamilton.
Henry Rich, Earl of Holland.
William Fielding, Earl of Denbigh.
VOET, Alexander. A Flemish engraver, born at Antwerp in 1613, aud, from his stvle
is supposed to have been a pupil of Paul Pontius". His graver is sufficiently neat but
his drawing is incorrect, and he is very inferior to his model in the general effect of his
prints. Among others, we have the following prints by him-:
Judith with the Head of Holofernes ; after Rubens.
The Holy Family returning from Egypt; after the same.
The Virgin and Infant, to whom Angels are presenting Fruit ; after the same.
The Martyrdom of St. Andrew ; after the same.
Seneca in the Bath ; after the same

VOE VOL 571
The Entombing of Christ ; after Vandyck.
Folly, holding a Cat ; after Jordaens.
The Card-players ; after De Vos.
VOET, Charles Boschart. This painter was born at Zwolle in 1670, and was instructed
in the rudiments of design by his elder brother, who, though he was not a professional
artist, had learned drawing, for the purpose of assisting him in his studies of botany
and natural history; and was a correct designer of flowers, plants, and insects. Having
made considerable progress under his brother, he applied himself to an attentive study
of those objects from nature, and became one of the most eminent artists of his time.
Descamps asserts, that his talents recommended him to the protection of the Earl of
Portland, whom he accompanied to England, and was much employed by that noble
man, as well as by King William III. He is not, however, mentioned in the Anecdotes,
and it is more probable, that though he was taken into the service of that monarch, he
continued to reside in Holland, as he was chiefly employed in decorating the palace at
Loo. He painted flowers, fruit, plants, birds, and objects of still-life, which were de
signed with correctness and precision, and very highly finished. He died at the Hague
in 1745, aged 75.
VOGEL, Bernard. A German engraver, bora at Nuremberg in 1683. He chiefly re
sided at Augsbourg, where he engraved several portraits, some of which are executed
with the graver, and others in mezzotinto. Among others are the following :
John Kupetzky, Painter. 1737-
Christopher Weigel, Engraver ; after Kupetzky. 1735.
VOGHTER, Henry. A German engraver on wood, who, according to Professor Christ,
was bom at Strasburg about the year 1507- He is said to have imitated the style of
Albert Durer with some success. He executed the cuts for a drawing-book, entitled,
" A Book of the extraordinary and marvellous Art, very useful to all Painters, Sculptors,
Goldsmiths/' &c. printed at Strasburg in 1540.
VOISARD, Stephen Claude. A French engraver, born at Paris in 1746, and was a pupil
of B. Baron. He engraved some plates after the French painters, and we have by him
a neat copy of the Battle of La Hogue, by Woollett, on a smaller scale.
VOLANT. This artist is mentioned by Papillon as a native of France, and an engraver
on wood. He has not specified any of his works.
VOLIGNY,  . Florent Le Comte mentions this artist as an engraver, but his
principal talent was drawing portraits with a pen, which he afterwards washed with
India ink, in a soft and delicate manner, which were greatly admired.
VOLLEVENS, John. This painter was born at Gertruy den berg in 1649. He was first
a scholar of Nicholas Maas, but his principal improvement was derived from his studies
under John de Baan, one of the most eminent portrait painters in Holland, with whom
he remained eight years, and, after the death of that master, succeeded to the greater
4C2

572 VOL VOL
part of his practice, and became one of the most popular and most employed artists of
his time. The Prince of Courland, and the Prince of Nassau, Stadtholder of Friesland,
were among his particular patrons. His portraits have the merit of a perfect resem
blance, his colouring is clear and chaste, and his touch bold and free. He died at
the Hague in 1728, aged 79-
VOLPATO, Giovanni. A modern Italian designer and engraver, bom at Bassano about
the year 1738. He went to Venice when he was young, where, according to Huber, he
received some instruction from Bartolozzi, and engraved several plates after Piazzetta,
Maiotto, Amiconi, Zuccarelli, M. Ricci, and others. He afterwards visited Rome,
where his talents found a wider field. Gavin Hamilton employed him to engrave se
veral of the plates for his Schola Italica Pictura ; and he was the principal artist em
ployed in the execution of the splendid set of coloured prints, from the works of Raffa
elle, in the Vatican, and in various other considerable publications. Among his most
esteemed works are the following :
PLATES ENGRAVED FOR THE COLLECTION OF G. HAMILTON.
The four Sibyls ; from the paintings by Raffaelle, in the church of S. Maria della Pace.
The Marriage of Alexander and Roxana; after Raffaelle.
Modesty and Vanity ; after L. da Vinci.
Perseus and Andromeda ; after Polidoro da Caravaggio.
Christ praying on the Mount; after Coreggio.
Mary Magdalen at the feet of Christ, iu the house of Simon the Pharisee ; after P. Veronese.
The Marriage of Cana; after Tintoretto.
The Gamesters ; after M. Angelo da Caravaggio.
SUBJECTS AFTER GAVIN HAMILTON.
The Death of Lucretia.
Innocence.
Juno. Hebe.Melancholy. Gaiety. ILLUMINATED PRINTS AFTER THE PAINTINGS BY RAFFAELLE.
The School of Athens.
The Dispute on the Sacrament.
Heliodorus driven from the Temple of Jerusalem.
Atilla stopped by the appearance of St. Peter and St. Paul.
St. Peter delivered from Prison.
Mount Parnassus.
The Burning of the Borgo Vecchio.
The Miracle of the Mass at Bolsena. This plate was engraved by his disciple Raphael Morghen.
A variety of other works, consisting of the most remarkable views in and near Rome,
and other subjects.
VOLTERRA, Daniele Ricciarelli, called di. The family name of this distinguished
artist was Ricciarelli, but he is more generally designated by that of Daniele di Volterra,

VOL VOO 573
the place of his birth. He was born in 1609, and was first a disciple of Giovanni
Antonio Razzi, called II Sodoma, but he afterwards studied under Baldassare Peruzzi.
Not meeting with the encouragement he expected in his native city, he went to Rome,
and was first employed as a coadjutor to Pierino del Vaga, in the Vatican, and in the
Capella Massimi, in the church of La Trinita de Monti. He was, however, chiefly
indebted for the reputation he afterwards acquired, to the friendship and instruction of
Michael Angelo Buonaroti, who assisted him with his designs for the works he executed
for Agostino Chigi, in the Farnesina, and others of his most celebrated productions.
But the chief monument of his fame was the series of frescoes he executed in the Capella
Orsini, in the church of La Trinita de Monti, which occupied him seven years, repre
senting the History of the Cross. In these he is said to have been greatly aided by the
stupendous powers of Buonaroti. The principal painting was the much-famed Deposi
tion from the Cross, which, after the Transfiguration, by Raffaelle, and the Communion
of St. Jerome, by Domenichino, was universally considered the finest picture at Rome.
Of this sublime production, the world of art has been deprived by the ignorance and
barbarism of the spoliators of Europe. Desirous of removing one of the greatest orna
ments of Rome to their receptacle of robbery and plunder, they attempted to detach the
plaster from the wall, when the whole crumbled to pieces. Of the grandeur of the
composition, the boldness of the design, and the admirable expression in the heads of
the fainting mother of Christ, and the holy women who support her, some idea may be
formed from the fine print engraved from it, by Dorigny. In another chapel of the
same church is the Assumption of the Virgin, and the Presentation in the Temple,
painted from the designs of Daniele di Volterra, by his disciples Gio. Paolo Rossetti,
and Michele Alberti. After the death of del Vaga, in 1547, he was appointed, by Pope
Paul III., by the recommendation of Michael Angelo Buonaroti, superintendant of the
works in the Vatican, and employed to finish the ornaments of the Sala Regia, which
had been begun by Pierino.
His last great work, as a painter, was his celebrated picture of the Murder of the
Innocents, for the church of St. Peter, at Volterra, which was afterwards purchased by
the Grand Duke Leopold, and placed in the tribune of the gallery at Florence.
On the death of Pope Paul III. in 1549, Julius III. who succeeded, divested Daniele
of his employment of superintendant of the Vatican, and his pension, and it appears
that the latter part of his life was chiefly devoted to sculpture.
Pope Paul FV., from religious scruples, having considered the Last Judgment of M.
Angelo Buonaroti unsuitable to the sanctity of the place, on account of the nudity of
some of the figures, had determined on destroying the work, when Daniele was prevailed
on to undertake to clothe the exceptionable figures, out of respect for that distinguished
performance. He died at Rome in 1566, aged 57.
VOLTERRANO, II. See Franceschini.
VOORHOUT, John. This painter was born at Amsterdam in 1647. Fie was the son of
a watchmaker, who, perceiving his disposition for drawing, placed him under the care
of Constantine Verhout of Gouda, a painter of conversations and galant assemblies,
with whom he passed six years ; but an ambition to distinguish himself in a higher de
partment of the art, induced him to return to Amsterdam, where he became a disciple

574 VOO VOR
of John van Noort, who had acquired some reputation as a painter of history and por
traits, under whom he studied five years.
In 1672, when the French army entered Holland, Voorhout took refuge at Frederick-
stadt, and from thence removed to Hamburg, where he met with very flattering encou
ragement, both in painting portraits and historical subjects. After an absence of three
years, tranquillity having been established in the Low Countries, the solicitations of his
friends, and the desire of revisiting his native country, induced him to return to Holland,
and his success was not less encouraging than it had been at Hamburgh. He painted
the portraits of the principal personages of the city, and was commissioned to paint
several historical subjects, by which he acquired great reputation; among which was a
picture of the Death of Sophonisba, which has been celebrated by the Dutch poet Smidt.
Voorhout is ranked, by Descamps, among the ablest painters of his country; the sub
jects he selected from the Greek and Roman history were noble and elevated, and he
treated them with propriety and judgment. His pictures are found in the choicest col
lections in Holland.
VOORT, M. Vander. The name of this artist is affixed to a spirited etching, represent
ing boys playing with musical instruments. It is apparently the work of a painter, and
exhibits considerable ability.
VORSTERMAN, Lucas, the elder. This eminent engraver was born at Antwerp about
the year 1580, and at first studied painting in the great school of Rubens ; but was after
wards advised, by his illustrious preceptor, to devote himself entirely to engraving. No
painter had the satisfaction of seeing so great a number of his best works so finely en
graved as Rubens. He was surrounded by artists of the greatest ability, who worked
immediately under hist ye, and who had the advantage of his assistance and advice,
which contributed, in no small degree, to the beauty and excellence of their prints. Of
these, no one has more successfully engraved, from the designs of Rubens, than Lucas
Vorsterman. His drawing is correct, and the characters of his heads full of expression.
His plates are executed entirely with the graver, which he handled with great facility,
though he was always more attentive to the general effect, than to the neatness and
regularity of the execution ; and, in his best prints, he has transcribed with surprising
fidelity the life and spirit of the original paintings. His plate of the Adoration of the
Magi, after Rubens, is regarded as one of the finest productions of the art. He visited
England in the reign of Charles I. where he resided eight years, from 1623 to 1631, and
was employed by that monarch and the Earl of Arundel. Vostermans usually signed
his plates with his name, but he sometimes used a cipher composed of an L. and a V.
joined together thus, Jf. His prints are very numerous, of which the following are
the most esteemed : PORTRAITS AFTER VANDYCK.
Charles I. King of England.
Thomas Howard, Earl of Arundel.
Isabella Clara Eugenia, Infanta of Spain.
Gaston, Duke of Orleans.
Ambrose Spinola, Governor of the Low Countries.
Wolfgang William, Duke of Bavaria.

VORSTERMAN. 57.5
Francis de Moncade, Count of Ossone.
Nicholas Rockox, a Magistrate of Antwerp.
Anthony Vandyck, Painter.
Peter de Jode, the elder, Engraver.
Charles de Mallerie, Engraver.
James Callot, Engraver.
Theodore Galle, Engraver.
Weneeslaus Koeberger, Painter.
Deodatus Delraont, Painter.
Peter Steevens,. Amateur, of Antwerp.
John Van Mildert, Statuary.
Hubert Vanden Enden, Statuary.
Lucas Van Uden, Painter.
Cornelius Sachtleven, Painter.
Orazio Gentileschi, Painter.
John Lievens, Painter and Engraver.
PORTRITS AFTER VARIOUS MASTERS.
Thomas Howard, Duke of Norfolk; after Holbein.
Sir Thomas More; after the same.
Erasmus ; after the same.
The Emperor, Charles V. ; after Titian.
Charles, Duke of Bourbon ; after the same.
Charles de Longueval, Count of Busquoi; after Rubens.
SUBJECTS AFTER RUBENS.
The Fall of the Evil Angels.
Lot and his Daughters leaving Sodom.
Job tempted by his Wife, and tormented by Demons.
Susanna and the Elders.
The Nativity, or Adoration of the Shepherds.
The Adoration of the Magi. One of his finest prints.
The same subject, differently composed.
The Holy Family, with St. Anne.
Another Holy Family, in which the infant Christ is embracing the Virgin.
The Return from Egypt.
The Virgin and infant Christ, with St. John playing with a Lamb.
Tae Tribute-Money.
The Descent from the Cross. The first impressions of this fine print are before the address of
Corn, van Merlen.
The Angel appearing to the Holy Women at the Sepulchre.
St. Francis receiving the Stigmata.
The Martyrdom of St. Lawrence.
Mary Magdalen renouncing the Vanities of the World.
The Battle of the Amazons; a large print, on six sheets.
SUBJECTS AFTER VARIOUS MASTERS.
The Holy Family ; after Raffaelle.
The Entombing of Christ ; after the same.
St, George ; after the same.

576 VOR VOS
Christ praying in the Garden ; after An. Caraeci.
Lot and his Daughters ; after Orazio Gentileschi.
The Virgin and infant Christ, with two Pilgrims ; after M. Angelo da Caravaggio.
Christ dead, supported on the lap of the Virgin, with Angels weeping; after Vandyck.
St. Theresa ; after the same.
Christ bound to the Pillar; after G. Segers.
The Death of St. Francis ; after the same.
St. Ignatius ; after ihe same.
The Fable of the Satyr, with the Peasant who blows hot and cold; after J. Jordaem.
A Bear-hunt; after F. Snyders.
A Concert, consisting of five persons, one of which is a Girl playing on the Guitar; after Adam
de Coster, being a companion to the Concert, engraved by Bolswert; after Theodore Rom-
bouts.
VORSTERMAN, Lucas, the younger. He was the son of the artist mentioned in the
preceding article, and was born at Antwerp about the year 1605. Although he had the
advantage of his father's instruction, his prints are very inferior, in every respect, to
those of the elder Vorsterman, and he never rose above mediocrity. The following are
considered his best productions: PORTRAITS.
Lucas Vorstermans the elder ; after Vandyck.
Sir Hugh Cartwright ; after Diepenbeck.
SUBJECTS AFTER VARIOUS MASTERS.
The Trinity; after Rubens.
Part of the ceiling of Whitehall; after the same.
The Virgin in the Clouds, surrounded by Angels ; after Vandyck.
The Satyr, and the Peasant blowing hot and cold ; after J. Jordaens. This print greatly re
sembles that of the same subject engraved by his father.
The Triumph of Riches; after Holbein.
The greater part of the Plates for the book on Horsemanship, by the Duke of Newcastle.
Several of the Plates in the collection called the Gallery of Teniers.
Various other subjects from other masters, and some portraits from his owns designs.
VOS, Martin de. An eminent Flemish painter, born at Antwerp in 1520. He was the
son of Peter de Vos, an artist of sufficient ability to be received into the Academy at
Antwerp, in 1519, from whom he received his first instruction in the art. He had after
wards the advantage of frequenting the school of Francis Floris, under whom he studied
until he was twenty-three years of age, when he determined to visit Italy, and passed
some years at Rome, where he improved his style of design, by studying with attention
the works of the great painters of the Roman school. The charm of Venetian colouring
engaged him to visit Venice, where he had the good fortune to conciliate the esteem
and friendship of II Tintoretto, who not only instructed him in the best principles of
colouring, but employed him as a coadjutor to paint the landscapes in his pictures.
With the aid of such advice and assistance, de Vos became an admirable colourist, and
gained such reputation, that he was employed in painting the portraits of several of the
illustrious family of the Medici, as well as in some historical subjects which added to
his fame.

VOS VOS 577
After an absence of eight years, De Vos returned; to Flanders, where the celebrity he
had acquired in Italy excited public curiosity, and he was commissioned to paint several
altar-pieces for the churches at Antwerp, and the other cities of the Netherlands. He
was also much employed as a portrait painter, and there is an appearance of nature in his
heads, which was unequalled at the period at which he lived. He was received into
the Academy at Antwerp in 1559- He continued the exercise of his talents until the
year 1604, when he died, at the age of 84. His principal works in the cathedral at
Antwerp, are the Marriage of Cana ; the incredulity of St. Thomas ; the Miracle of the
Loaves ; the Temptation of St. Anthony ; and the Resurrection. In the church of St.
James, is a fine picture of the Last Supper.
VOS, Peter de. He was the brother of Martin de Vos, and painted history, but his works
are little known.
VOS, William de. This artist was the nephew and scholar of Martin de Vos, and painted
history in the style of his instructor, in which he acquired considerable reputation. His
portrait was painted by Vandyck, among the distinguished artists of his time, which he
also etched, and it was finished with the graver by Bolswert.
VOS, Paul de. This painter was born at Alost, about the year 1600. From the subjects
and style of his pictures, it is probable that he was a disciple of Francis Snyders. He
painted animals and huntings with great ability, and his works are little, if at all,
inferior to those of that distinguished artist. He was much employed for the royal
collection of Spain; and there are several of his finest works in the palace of Bueno
Retiro, which are deservedly held in the highest estimation. His animals, particularly
his dogs, are drawn with uncommon correctness and spirit, and his colouring is clear
and harmonious.
VOS, Simon de. He was born at Antwerp in 1603, and had the advantage of studying in
the School of Rubens, under whom he became a very eminent painter of history and
portraits. There are some altar-pieces by him in the churches at Antwerp, which have
been sometimes mistaken for the works of his illustrious instructor. Such are his pic
ture of the Resurrection, in the cathedral ; the Descent from the Cross, in the church
of St. Andrew ; and St. Norbert receiving the Sacrament, in the abbey of St. Michael.
Sir Joshua Reynolds commends this picture, and speaks of him, as a portrait painter, in
the following terms : " De Vos was particularly excellent in portraits. There is at
Antwerp his own portrait, painted by himself, in black, leaning on the back of a chair,
with a scroll of blue paper in his hand, so highly finished, in the broad style of Coreggio,
that nothing can exceed it." Simon de Vos was living in 1662.
VOSTERMAN, John. This artist was born at Bommel in 1643. He was the son of a
portrait painter, who taught him the first rudiments of design, but he afterwards studied
at Utrecht, under Herman Zachtleven, and became one of the most admired landscape
painters of his time. Whatever was his merit, his vanity was at least equal to it. He
visited Paris, where he assumed the title of Baron, and, for a short time, kept up the
establishment of a person of rank. His necessities obliged him to return to Flolland, and
in 1672, on the approach of the French army, he removed from Utrecht to Nimuegen,
Vol. II. ' 4D

578 VOUET.
where his talents became known to the Marquis of Bethiine, for whom be painted several
landscapes and views of the' Rhine, and by whom he was employed to collect the best
works of art that he could meet with. Soon after the Restoration <he came to England,
and was employed in painting a view of Windsor, and a few other works for the King,
but, demanding extravagant prices for his pictures, he did not receive many commis
sions, and his emoluments not being able to support his extravagance, he was arrested
for debt, and was released from his confinement by a contribution of his countrymen.
Sir William Soames being sent ambassador to Constantinople, by James IL, Voster-
man accompanied him, intending to paint the most remarkable views in that country ;
but Sir William dying on the road to the Ottoman court, his project was prevented.
Before his departure from England, he had been invited to Poland, by his patron the
Marquis of Bethune, and he probably went thither on the death of the ambassador.
Had the industry of Vosterman been equal to his genius, he would probably have
equalled any landscape painter of his country. The scenery of his pictures is frequently
taken from the borders of the Rhine ; his colouring is chaste and agreeable, and he was
a perfect master of aerial perspective. His views are usually decorated with boats and
small figures, which are correctly drawn, and touched with neatness and spirit.
VOUET, Simon. An eminent French painter, born at Paris in 1582. He was the son of
Lawrence Vouet, a painter of little celebrity, by whom he- was taught the rudiments of
the art, and, without the aid of better instruction, he acquired some reputation in por
trait painting. When he was twenty years of age, the Baron de Sancy engaged him
to accompany him, as his painter, to Constantinople, where he drew the picture of the
Grand Signor; and though it was impossible to do it otherwise, than by the strength
of memory, and from a view of him at the ambassador's audience, it is said to have been
extremely like. He afterwards went to Rome, where he was favoured with the protec
tion of Pope Urban VIII. and his nephew, the Cardinal, by whom he was employed in
St. Peter's, and painted several pictures for the Barberini palace, which are amongst
his best works. He resided at Rome fourteen years, and, in 1624, was chosen prince of
the Academy of St. Luke.
In 1627 he returned to France, and was appointed principal Fpainter to Louis XIII.
who had allowed him a pension during his residence in Italy. He was employed in
decorating the palaces of the Louvre, the Luxembourg, and St. Germain's ; the Hotels
RichlieU and Boullion, and painted several pictures for the churches at Paris, of which
the most esteemed are the principal altar-piece in St. Eustache, representing the Mar
tyrdom of St. Agnes ; and the Assumption of the Virgin, in St. Nicholas-des-champs.
He died at Paris in 1641, aged 59.
The first style of Vouet resembled that of Valentin, and the pictures he painted at
Rome possess considerabfe force, but after his return to France, the multiplicity of his
engagements induced him to adopt one more expeditious, and which had little to re
commend it, except a surprising facility. His genius was unequal to grand composi
tions; his design is mannered, and not always correct; his colouring false, and the cha
racter of his heads without expression. France is, nevertheless, indebted to him for
being the first who attempted to reform the French school from the insipid and bar
barous manner which prevailed before him, and introducing somewhat of a better taste,
which was afterwards greatly improved by his numerous disciples,, among whom he had
the credit to rank Le Brun, Le Sueur, Mignard, and others.

VOV V'OY 579
VOUILLEMONT, Sebastian. A French engraver, born at Bar-sur-Aube, about the
year 1620. He was a pupil of Daniel Rabel, and afterwards went to Rome, where he
resided several years. We have by him several prints engraved from the works of the
Italian masters, as well as from his own designs, and those of Rabel, his master, of which
his etchings are the best ; when he attempted to finish them with the graver he was less
successful. He sometimes marked his plates with the cipher ^". The following are
among his best prints :
The Murder of the Innocents; after Raffaelle. 1641.
Christ with the Disciples at Emaus; after the same.
Mount Parnassus ; after the same.
The Holy Family ; after N. Poussin.
The Virgin and infant Christ ; after Parmigiano.
The Marriage of St. Catherine; after Albano.
¦ A young Man presenting Money to a Fortune-teller.
VOYEZ, Nicholas Joseph. This artist was born at Abbeville in 1742. He went to Paris
when he was very young, and became a pupil of Beauvarlet, his fellow-citizen. We
have several plates by him executed in the neat style of his instructor, among which are
the following : PORTRAITS.
Louis XVI.; engraved in 1785.
Marie Antoinette, Queen of France.
Marie Adelaide Clotilde Xaviere of France.
Prince Henry of Prussia. SUBJECTS.
Angelica and Medoro ; after Blanchard.
The Astrologer; after G. Douw.
An old Man in meditation ; after the same.
He also engraved from the pictures of Greuse, Baudouin, and other masters.
VOYS, Ary de. This painter was born at Leyden in 1641. His father was a celebrated
organist, and was desirous of bringing him up to the same profession ; but his son disco
vered so little taste formusic,and so decided a disposition for the art, that he was induced
to place him under the tuition of Nicholas Knufer, a painter of history of some repute,
at Utrecht, with whom he continued two years, when he returned to Leyden, where he
became a disciple of Abraham Vanden Tempel. De Voys, however, did not adopt the
manner of either of his instructors ; he formed an intimacy with Peter van Slinglandt,
who had been a disciple of Gerard Douw, whose highly-finished style he followed with
the greatest success. Although he occasionally attempted history on a small scale, his
best productions are portraits and conversations, and domestic subjects ; which are little
inferior to the works of Metzu or Mieris. His drawing is very correct, and his colouring
clear and transparent, with a perfect intelligence of the chiar-oscuro. The pictures of
this artist are extremely scarce, as they are very carefully finished; and he is said to have
passed several years of his life in idleness and dissipation, in consequence of his having
married a person of considerable fortune.
4 D2

580 URB VRO
URBINO, Raefaelle1 Sanzio di. See Raffaelle.
URBINO, Timoteo di. See Vite.
URBINO, Luca di. This artist is mentioned by Mr. Strutt as the engraver of a set of
prints for a drawing-book, from the designs of M. Angelo, the Caraeci, and other great
masters. They are executed with the graver, and his drawing is generally correct. On
one of the plates, in the book above-mentioned, he inscribed his name at length, Lucas
de Urbino f, but he usually marked his prints with a monogram composed of several
letters, thus, fj$.
VRIES, John Fredeman de. This painter was bora at Leewarden, in East Friesland, in
1527- He was sent, when young, to Amsterdam, where he became a scholar of Renier
Gueritsen, under whom he continued five years, and applied himself with great assiduity
to perspective, and in designing architectural views.
In 1549 he went to Antwerp, where he was employed, in conjunction with others, in
painting the triumphal arches which were erected on the public entry of the Emperor
Charles V. and his son Philip into that city; on which occasion he proved himself an
artist of considerable ability. He was much employed in decorating the saloons of the
principal mansions with perspective views, which he designed with such truth and effect,
that the illusion was complete. He travelled through Germany and Italy, and he every
where met with encouragement and employment. After his return to Antwerp, the
latter part of his life was principally occupied in making designs of architectural and
other subjects, for the printsellers, particularly Jerome Cock, who published a great
variety of prints from his designs. For his works, as an engraver, see the article Frisius.
VRIES, Adrian de. This artist was a native of the Low Countries, and was probably of
the same family with John Fredeman de Vries. He is said to have been a painter of
architecture, and we have by him a set of large, coarse etchings, representing theatrical
decorations, executed in a hasty, slight style.
VROOM, Henry Cornelius de. This painter was born at Haerlem in 1566. He was
the son of a sculptor, who died when he was very young, and his mother having after
wards married Cornelius Henricksen, a painter on China, he was instructed in the rudi
ments of design by his step-father. His inclination at first led him to paint views of
towns, and he resided some time at Rotterdam, but, not meeting with the encourage
ment he expected, he embarked on board a vessel bound to St. Lucar, and from thence
proceeded to Seville, where he remained some time, but met with no better success. He
afterwards visited Italy, and during a residence of two years at Rome, was employed by
the Cardinal de Medici, and became acquainted with Paul Brill, whose advice and assist
ance were of infinite service to him. On leaving Rome he went to Venice, where he
did not remain above a year, and, passing through Milan, Genoa, Turin, and Paris, he
returned to Haerlem, where he was industriously employed in painting small devotional
subjects, which he purposed to dispose of in Spain, and with that intention he embarked
a second time for Seville, but was shipwrecked on the coast of Portugal,, and found his
way to Lisbon, destitute of every thing but his talent, where, relating the danger he
had escaped, he was engaged to paint a representation of the tempest which he had

VUI VYT 581
described, in which he succeeded so happily, that it was purchased by a Portuguese
nobleman, at a considerable price. Vroom continued to be employed, and he improved
so much in painting sea-pieces and storms, that on his return to Holland he applied
himself entirely to that branch of painting. At this period, the great Earl of Notting
ham, Lord High Admiral of England, whose defeat of the Spanish Armada had esta
blished the throne of his mistress, being desirous of preserving the detail of that illus
trious event, had bespoken a suit of tapestry, describing the particulars of each day's
engagement. Francis Spiering, an eminent maker of tapestry, undertook the work
and engaged Vroom to draw the designs. The painter came to England to receive
instructions, and to execute his commission; and contracting a friendship with Isaac
Oliver, was drawn by him. He returned to his own country, and painted a large picture,
which was much admired by Prince Maurice, of the seventh day's action of the fight
above-mentioned. Vroom died rich, in what year is not mentioned.
VUIBERT, or Wibert, Remi. A French painter and engraver, bora at Paris in 1607,
and is supposed to have been a scholar of Simon Vouet. His works as a painter are
little known, but he engraved several prints after some of the most eminent Italian
painters, as well as from his own designs. Among others, we have the following prints
by him :
Adam receiving the forbidden Fruit from Eve; after Raffaelle.
The Judgment of Solomon ; after the same.
Apollo and Marsyas ; after the same.
The taking down from the Cross ; after N. Poussin.
The Cure of one possessed of a Devil ; from his own design.
UYTENW AEL, Joachim. This artist was born at Utrecht in 1566. He was the son of a
glass painter, who taught him the rudiments of design, and he followed his father's pro
fession until he was eighteen years of age, when he became a scholar of Joseph de
Beer, under whom he studied three years, when he travelled to Italy, and passed some
time at Padua. In that city he became known to the Bishop of St. Malo, and accom
panied that prelate to France. He remained in his employment two years, when he
returned to Utrecht, where he passed the rest of his life. He painted history in the style
of Bartholomew Sprangher, and his design, like that of the artist he took for his model
is frequently strained and extravagant. His cabinet pictures are more esteemed than
those of a larger size. Van Mander speaks in favourable terms of two small pictures
by this master, in the collection of the Elector Palatine, representing a Feast of the
Gods, and Mars and Venus.
VYTH, or Veyth, John Martin. This artist was bora at Schafhausen in 1650. After
receiving some instruction in design in his native country, he travelled to Italy, and
passed some years at Rome and Venice. He attached himself particularly to the study
of the works of M. Angelo Buonaroti, whose great style of design is descernible in all
his works. He painted history, and enriched the collections at Basle, Berne, and Schauf-
hausen, with several historical pictures, which prove him to have been one of the ablest
artists of his country, although his merit was not duly rewarded, as he lived in indigence.
He died in 1717, aged 67-

582 WAA WAE

W
WAAL, or Wael, John de. This painter was born at Antwerp in 1557, and was a dis
ciple of Francis Frank the elder. He painted history in the style of his master, and had
acquired sufficient celebrity to be received a member of the academy in his native city,
when he died in the prime of life.
WAAL, or Wael, Lucas de. He was the son of the preceding artist, born at Antwerp
in 1591, and was first instructed in the art by his father; but, as his genius led him to
landscape, he was afterwards placed under the tuition of John Breughel. He followed
the style of his preceptor with great success, and, on leaving that master, he travelled
to Italy, and passed some time at Genoa, where his works were highly esteemed, and he
met with very flattering encouragement. Although his pictures occasionally represent
battles and attacks of cavalry, which are well composed, and touched with great spirit
and animation, his most esteemed works are his mountainous landscapes and waterfalls,
in which the scenery is extremely picturesque; his colouring is chaste and natural, and
his pencil neat and spirited. He died in 1676, aged 85.
WAAL, or Wael, Cornelius de. This artist was the younger brother of Lucas de Waal,
and was born at Antwerp in 1594. He received his first instruction in the art from his
father, John de Waal ; but he afterwards accompanied his brother to Italy, and resided
some time at Genoa, where, according to Lanzi, he painted some pictures for the
churehes, but he chiefly excelled in painting battles, marches, skirmishes of cavalry,
and processions, in which he gained a distinguished reputation. His compositions are
ingenious and abundant, his figures and horses are correctly designed, and his touch is
peculiarly adapted to the subjects. The fury of the combatants, the dismay of the
vanquished, and the suffering of the wounded, are delineated in his pictures with admi
rable expression. He was much employed by the Duke of Arschot, and painted several
of his best pictures for Philip III. King of Spain, by whom they were held in the
highest estimation. He died in 1662, aged 68. We have by this artist several very
spirited etchings, from his own compositions, among which are the following :
A set of seven Prints ; inscribed Illri, D. D. Gulielmo Vander Straten, venustas hasce imagines.
C. de Wael amoris dicat. They represent a variety of subjects, among which are some of
Peasants quarrelling and amusing themselves.
WAAL, or Wael, John Baptist. This artist is said, by Huber, to have been a nephew
of Cornelius de Wael. We have by him some slight etchings, from the designs of his
uncle, among which is a set of eight prints, representing the history of the Prodigal Son.
WAEGMAN, Henry. According to Fuessli, in his Lives of the Swiss Painters, this
artist was born at Zuric in 1536. He is little known as a painter, but several of his
drawings are preserved in the portfolios of his countrymen, which, his biographer in-

WAE WAG 583
forms us, possess great merit, and resemble the vigorous and spirited style of Paolo
Farinato.
WAESBERGE, Isaac A Dutch engraver, who flourished from the year 1650 till 1660.
We have by him several portraits, among which is that of Admiral de Ruyter, after H.
Berckmans. It is executed in a style resembling that of Cornelius Visscher.
WAGNER, Hans Erhard. According to Professor Christ, this artist was a native of
Strasburg, and engraved a considerable number of copper-plates, which were printed
in that city by John Heyden. He usually marked. his prints with a cipher composed of
anH and E joined together, and followed by a W, thus LEW.
WAGNER, James. He was probably of the same family with the preceding artist, and
is said by Professor Christ to have inscribed his prints, J. Wa.fec.
WAGNER, Joseph. This artist was born at Thalendorf, on the Lake of Constance, in
1706. He first studied painting under Jacopo Amiconi, at Venice, but was persuaded
by his instructor to turn his thoughts to engraving. He accompanied his preceptor to
Paris, where he received some lessons in engraving from Laurence Cars, and in 1733
visited England with Amiconi. His first productions here were the portraits of the
three princesses, Anne, Amelia, and Caroline, daughters of George 11. He executed
several other plates during his residence in this country, and returned to Venice, where
he* established himself as an engraver, and carried on a considerable business as a print-
seller. His prints are very numerous, and he had a number of scholars, who became
eminent in the art ; among which were Bartolozzi, Flipart, Berardi, and others. The
following are considered his best prints :
PORTRAITS AFTER AMICONI.
Peter the Great, Emperor of Russia, conducted by Minerva.
Anne, Empress of Russia.
Elizabeth Petrowna, Empress of Russia.
Carlo Broschi, called Farinelli, Musician.
SUBJECTS AFTER VARIOUS MASTERS.
The Education of the Virgin; after Amiconi.
The infant Christ sleeping ; after the same.
The Holy Family ; after P. Veronese.
The Interview between Jacob and Rachel ; after L. Giordano.
Rebecca receiving the presents from Eliezer ; after the same.
The Death of Abel; after Benedetto Luti.
Mary Magdalen in the House of the Pharisee ; after the same.
The Virgin and infant Christ ; after Solimene.
The Assumption of the Virgin; after Piazetta.
St. John in the Desert ; after C. Vanloo.
Twelve Landscapes and Pastoral subjects; after ZuccherelU; engraved by Wagner and bis
pupils.

584 WAK WAL
WAKKERDAK, P. A. The name of an artist affixed to a portrait of Kenou Simons Has-
salaer.
WALBURG,  Mr. Strutt mentions this artist as a designer and engraver.
His name is affixed to a portrait of John Frederick Gronovius, from a design of his
own, which is very indifferently executed.
WALCH, Jacob. An old German engraver, who flourished about the year 1480, and is
supposed by some to have been the master of Michael Wolgemut, but the accuracy of
this supposition is extremely questionable. The engravings attributed to this artist
bear a great resemblance to those of Israel van Mecheln, and have the laboured appear
ance of imitation. It is more probable that he was a disciple of that master. The
copper-plates by Wolgemut bear no resemblance to those by Walch, who never en
graved on wood, whereas the greater part of the works of Wolgemut are wooden cuts.
His drawing, as was usual at that early period, and his compositions, have all the stiff
ness and formality which characterize the primitive productions of the German school.
The prints attributed to this artist are marked with a W, to which is added a kind of
cross, thus, W$, among which are the following :
St. Elizabeth seated on a species of Throne, reading. The Virgin Mary appears below, with the
infant Christ. On the right hand, David is represented with his harp, and on the left, Aaron.
Behind the throne rises a genealogical stem of the lineage of Christ, from David to Joseph,
represented by half figures; a very large upright print.
A Gothic Ornament for a crosier.
The Inside of a Gothic Building.
A Ship striking against a Rock, inscribed |f aettlje.
Several small plates, representing Tents, with Soldiers armed, and on horseback.
Some narrow upright plates, representing different Saints, standing in niches of Gothic architec
ture.
Three Skulls in an arch, ornamented with Gothic work.
Mr. Strutt observes, that there are some few prints marked with the cross only, with
out the W; but these have all the appearance of being more ancient than those of
Walch, and differ in ever respect from them. They are much more rudely engraved,
and in a bolder, and more determined style, resembling that of Martin Schoen, with
whom the artist was probably a contemporary. Among these are the following :
A Wild Man fighting with a Bear ; a small upright plate.
A Woman seated, caressing an Unicorn; the same.
WALCH, George. A more modem German engraver, who flourished about the year
1650. He appears to have been chiefly employed in engraving portraits, which are exe
cuted with the graver in a very indifferent style. Among others is a portrait of Lucas
Frederick Behaim, of Nuremberg.
WALCH, S. The name of this artist appears on some very indifferent portraits in mee-
zotinto.

WAL WAL 585
WALE, Samuel. This artist was born in London, and was brought up as an engraver on
plate. He afterwards studied design in the academy in St. Martin's Lane. He also
practised painting, in which he imitated the manner of Francis Hayman, and executed
several decorative pieces for ceilings. But his chief employment was designing for the
booksellers, the principal part of which drawings were engraved, with great spirit, by
Grignion. He understood architecture and perspective, and greatly assisted Mr. Gynn,
in the decorations of his architectural drawings, particularly in the section of St. Paul's,
and was of service to him in the literary part of his publications. At the establishment
of the Royal Academy, Wale was chosen one of the founders, and appointed first pro
fessor of perspective to that institution. Upon the death of Mr. Wilson, he was also
made librarian, both which places he held till his death, which was on the 6th of Feb
ruary, 1786. We have a few slight etchings of vignettes by him from his own designs.
WALKER, Robert. An English portrait painter, who was contemporary with Vandyck,
and improved his style by studying the works of that eminent artist; but he did not
attract much notice until the time of the Commonwealth, when he was employed to
paint the portrait of Cromwell, and those of the principal personages of the republican
party. He drew the Protector more than once. One of those portraits represented him
with a gold chain about his neck, to which was appendant a gold medal, with three
crowns, the arms of Sweden, and a pearl, sent to him by Christiana, in return for his pic
ture, by Cooper, on which Milton wrote a Latin epigram. This head, by Walker, is in
the possession of Lord Mountford, at Horseth, in Cambridgeshire, and was given to the
late lord by Mr. Commissary Greaves, who found it in an inn, in that county. Another
is at the Earl of Essex's, at Cashiobury. He also painted Cromwell and Lambert toge
ther. This was in Lord Bradford's collection. A fourth was purchased for the Grand
Duke of Tuscany, whose agent having orders to procure one, and meeting with this in
the hands of a female relation of the Protector, offered to purchase it, but being refused,
and continuing his solicitation, to put him off, she asked five hundred pounds, and was
paid it. Walker had for some time an apartment in Arundel-house, and died a little
before the restoration. His own portrait is in the picture gallery at Oxford.
WALKER, Anthony. An English engraver, who flourished about the year 1760. He
was instructed in the principles of engraving by John Tinney, an artist of little note.
He was for some time chiefly employed in engraving frontispieces and vignettes, from
his own designs, for the booksellers, some of which are not destitute of merit, though
heavy and dark in the execution. He also engraved several plates for the collection of
Mr. Boydell. The following are his best prints :
Curius Dcntatus refusing the presents of the Samnites ; after P. da Cortona.
The Village Lawyer and his Clients ; after Holbein.
The Angel departing from the House of Tobit ; after Rembrandt.
A View of the City of Worcester; after J. B. Chatelain.
A View of Lord Harrington's Park; after the same.
WALKER, William. Fie was the brother of the artist mentioned in the preceding ar
ticle, and was also much employed for the collection of Boydell. Among others, wr
have the following prints by him :
Vol. 1 1. 4 E

586 WAL WAS
The Family of Sir Balthazar Gerbier ; after Vandyck.
Diana and Calisto ; after F. Le Moine.
The Power of Beauty ; after Fil. Lauri.
Christ appearing to Mary Magdalen ; after P. da Cortona.
The Young Bird-catchers ; after Netscher.
The Girl and Chickens ; after Amoroso.
The Boy and Bird's-nest ; after the same.
A Flemish Entertainment; after Van Harp.
Jacob watering Rachael's Flocks ; after Trevisani.
Isaac blessing Jacob ; after the same.
Lions at play ; after Rubens.
WALRAVEN, Isaac. A Dutch painter, who resided at Amsterdam about the year 1740.
According to Basan, he etched several small plates from his own designs.
WANDELAAR, John. A Dutch designer and engraver, born at Amsterdam in 1692.
He was instructed in design and engraving by the elder Folkema, and became very emi
nent in the art. He engraved several portraits and other book ornaments for the pub
lishers, but his best productions were the thirty-four plates he executed for the great
anatomical work by Albinus, entitled, Tabula sceleti et musculorum corporis humani. The
drawings were made from the subjects by himself, under the direction of that celebrated
anatomist. There is an English translation of this capital work, in which the figures
are copied in the same size as the originals, engraved by Grignion, Ravenet, Scotin,
and others.
WARNIR, John. This artist was a native of Germany, and flourished about the year
1636. He is chiefly known as a copier of some of the prints by Albert Durer, and other
old German masters. His plates are neatly executed, but have all the servility of imi
tation. He copied the print by Albert Durer, representing St. Jerome seated before a
Crucifix, with a city in the back-ground, which is inscribed, Jh. Warnir, M. 16, 1636,
and the following year, when he was seventeen, he copied the Twelve Apostles, after
the same master, which he marked Jh. W., M. 17. He is supposed to have died very
young.
WASSEMBERG, John Abel. This painter was born at Groeninguen in 1689. He was
the son of an advocate, who, intending him to follow the same profession, gave him the
insipient rudiments of a classical education; but finding that his son paid more atten
tion to drawing than to his studies, he yielded to the bent of his inclination, and placed
him under the tuition of John van Dieren, an artist of some eminence, with whom he
remained until he was twenty-three years of age, when he went to Rotterdam, where he
formed an intimacy with Adrian Vander Werf. That distinguished painter aided him
with his assistance and advice, and the instruction he received from him enabled him
to return to Groeninguen with the reputation of one of the most promising young
artists of his time. Fie gave proof of his talents by painting several saloons and ceil
ings in the principal mansions of his native city, and was much employed in portraiture^
in which he particularly excelled. His celebrity in that branch recommended him to
the patronage of the Prince of Orange, whose portrait he painted, with that of the

WAS WAT 587
Princess, and those of the most distinguished personages of the court. He wa3 not less
celebrated for his pictures of a cabinet size, representing subjects from sacred history,
finished in the polished style of Vander Werf, which were esteemed little inferior to
those of that admired painter. He died in 1750, aged 61.
WASSER, Anna. This ingenious lady was a native of Switzerland; she was the daughter
of Rudolf Wasser, a member of the council of Zuric, where she was bora in 1679.
She discovered early marks of a quick and lively genius, and when she was not more
than twelve years of age, had acquired a competent acquaintance with the Latin and
French languages, and had made considerable progress in the Belles Lettres. She now
began to take lessons in design, for which she evinced so decided a disposition, that her
father was induced to procure her the instruction of Joseph Werner, of Berne, one of
the most eminent artists of Switzerland. By the instruction of so able a master, she
made a surprising progress in drawing, and attempted some pictures in oil, which she
soon abandoned for miniature, in which she arrived at a perfection little short of that
of Werner himself. Her reputation spread throughout all Germany, and there was
scarcely a court in the Empire from which she did not receive commissions. The Duke
of Wurtemburg, and the Margrave of Baden-Durlach, were among her most distin
guished patrons. Her talents were not confined to portraits, she excelled in painting
pastoral and rural subjects, which she composed with great ingenuity, and finished with
uncommon delicacy. She died in 1713, aged 34.
WASTMAN, C. A. According to Mr. Strutt, this artist resided in Russia about the year
1736, where he engraved several portraits, but in so indifferent a style, that they are not
worth specifying.
WATELET, Claude Henry. This distinguished amateur, and writer on art, was born
at Paris in 1718. His father was receiver-general of the finances, to which honourable
situation he succeded. In his youth he united the study of the arts with that of the
Belles Lettres, and having finished his education, be travelled through Germany to Italy,
and passed some time at Rome, where he formed an intimacy with M. Pierre, an emi
nent French artist, with whom he contemplated the most remarkable works of art in
that capital. Some time after his return to Paris he published, in 1761, his poem on
the Art of Painting, embellished with plates, from the designs of M. Pierre, etched by
himself, and finished with the graver by Lempereur. He was the principal author of a
very laborious and ingenious work, which was published in 1792, after his death, with
additions by M. Levesque, entitled, Dictionnaire des Arts de Peinture, Sculpture, et Gra
vure. As an engraver, M. Watelet may be ranked among the most zealous, and the
most successful amateurs, who have practised the art. His plates amount to upwards of
an hundred, among which are the following :
PORTRAITS AFTER COCHIN.
Claude Henry Watelet; engraved in 1753.
John le Rond d'Alembert, of the French Academy.
P. Joliotde Crebillon, of the French Academy.
J. P. M. Pierre, Painter.
Louis de Silvestre, Painter.
4E2

588 WAT WAT
The Count de Vence.
A. B. J, Turgot. subjects after various masters.
Venus nursing the Loves ; after Rubens.
A Corps de Garde of Monkeys ; after Teniers.
A Landscape, with Figures ; after K. du Jardin.
A large Landscape ; after J. Both.
A pair of Views of Ruins; after Panini.
WATERLOO, Anthony. The place of nativity of this admirable painter and engraver
is not precisely ascertained, but he is generally believed to have been born at Utrecht,
about the year 1618. It is certain that he resided there the greater part of his life, and
the scenery of his pictures is usually taken from the environs of that city. His land
scapes are characterised by the most interesting simplicity, sometimes representing the
entrance into a forest; a broken road, with a few trunks of trees ; a solitary cottage, or
a watermill; but these domestic views are treated with so much truth and nature, that
they are evidently the unsophisticated transcripts of what he saw. His skies are light
and floating, his colouring is chaste and natural, and the foliage of his trees and plants
is touched with great spirit, as well as with a marked attention to their different species.
The genuine pictures of this charming artist are very rarely to be met with, as much of
his time was occupied in engraving, and as he was unfortunately addicted to habits of
intemperance, to which he fell a victim in the prime of life. As an engraver, his works
have long been the admiration of the intelligent, and continue to be a source of instruc
tion to the artist, and amusement to the collector. His plates, according to the descrip
tive catalogue of them by Adam Bartsch, amount to one hundred and fifty-five and
consist of various sets of landscapes and views, from his own designs. They are etched
with great spirit and facility, in a very masterly style, and are usually retouched with
the graver, to harmonize the lights, and invigorate the shadows. He sometimes marked
his plates with the initials A. W. f. and sometimes with the cipher jft). Of his nu
merous prints, all of which are picturesque and interesting, the following are particularly
esteemed :
A set of six upright Landscapes, among which is his celebrated print of The Watermill.
A set of six Landscapes, with subjects from the Fable, representing Alpheus and Arethusa •
Apollo and Daphne; Mercury and Argus; Pan and Syrinx; the Parting of Venus and Adonis-
and the Death of Adonis.
A set of six Landscapes, with subjects from the Old Testament.
WATMAN, Henry. This artist is mentioned by Professor Christ as an engraver of
landscapes, and is said to have marked his prints with an H and a W joined together.
t
WATSON, Thomas. An eminent English engraver in mezzotinto. He was born in
London in 1750, and may be ranked among our ablest artists in that particular branch
of engraving, although he died at the premature age of 31, in 1781. Of his numerous,
prints, the following are among the most esteemed :
PORTRAITS.
Six, of tbe Windsor Beauties; after Lely.
Lord Apsley and his Brother ; after N. Dance,

WATSON. 589

Frances, Countess of Jersey ; after Gardner.
Alderman Sawbridge, in the character of a Roman senator ; after West.

PORTRAITS AFTER SIR JOSHUA REYNOLDS.

Henry Frederick, Duke of Cumberland.
Lady Bamfylde.
Lady Melbourne.
James Hay, Earl of Errol.
Lady Broughton.
Dr. Newton, Bishop of Bristol.
Warren Hastings.
Mrs. Sheridan, as St. Cecilia.
Georgina, Countess Spencer.
Lady Townshend, and her two Sisters.
SUBJECTS AFTER VARIOUS MASTERS.
Jupiter and Mercury, with Philemon and Baucis ; after Rembrandt.
The Virgin, with the infant Jesus and St. John ; after Coreggio.
The Death of Mark Anthony ; after N. Dance.
WATSON, James. This artist was of the same family with the engraver mentioned in
the preceding article, and distinguished himself not less than his relative as a scraper in
mezzotinto. We have by him a great number of interesting plates, among which are
several from the portraits of Sir Joshua Reynolds, which are particularly deserving of
notice. Amon-g his most admired prints are the following :
PORTRAITS AFTER SIR JOSHUA REYNOLDS.
Anne, Duchess of Cumberland.
Elizabeth, Duchess of Buccleugh, with her daughter.
The Duchess of Manchester, with her son, as Diana and Cupid.
The Countess of Carlisle.
Sir Jeffery Amherst, Commander-in-chief in America.
Jemima, Countess Cornwallis.
Robert Drummond, Archbishop of York.
Barbara, Countess of Coventry.
Sir John Cust, Speaker of the House of Commons.
John, Marquis of Granby.
John Hely Hutchinson, Secretary of State in Ireland,
Doctor Samuel Johnson.
Lord and Lady Pembroke, with their Son.
Vice-Admiral Sir George Bridges Rodney.
Lady Scarsdale, with her son.
Isabella, Countess of Sefton.
Frances, Marchioness of Tavistock.
Miss Price.
Henry Woodward, Comedian,
Mrs. Abington, as Thalia.

590 WATTEAU.
PORTRAITS AFTER VARIOUS MASTERS.
Paul Pontius, Engraver ; after Vandyck.
Doctor Busby; after Riley.
Charles, Duke of Richmond ; after Romney.
The Duchess of Leinster; after the same.
John, Duke of Argyle ; after Gainsborough.
Miss Lascelles, with a Greyhound ; after Cotes.
SUBJECTS AFTER VARIOUS MASTERS.
A Madonna; after Reynolds.
The Children in the Wood ; after the same.
Rubens and his Family ; after J. Jordaens.
WATTEAU, Anthony. This eminent painter was born at Valenciennes in 1684. His
parents were in indigent circumstances, and were unable to cultivate his genius as it
deserved. He was, however, placed with an obscure artist in his native city, with
whom he remained, until he discovered the incapacity of his preceptor to render him
further assistance. In 1702 he connected himself with a scene-painter, who was on his
way to Paris, and, on his arrival in that city, for some time assisted his associate in
painting theatrical decorations for the Opera-house. This resource was not of long
duration; his companion having accomplished his commission quitted Paris, and Wat
teau was left in a situation of embarrassment and obseurity, which rendered it difficult
for him to subsist. In this state of destitution he became acquainted with Claude
Gillot, an artist who had acquired some celebrity as a painter of grotesques, and sub
jects from the Fable; a similarity of style, and in their disposition, increased the esteem
Gillot had conceived of his talents; he received him into his house, instructed him in
all he knew, and it was not long before Watteau surpassed his master. He further im
proved his style, by studying the splendid works of Rubens, in the Luxembourg Gallery,
and acquired an admirable system of colouring, in which he may be said to have excelled
every painter of his country. His success as a colourist induced him to turn his
thoughts to historic painting, and, with that intention, he was assiduous in designing
from the model, and even obtained the first prize at the Academy, for a subject of
history. Fortunately for his fame, he did not persist in that career, in which, it is pro
bable, he must have contented himself with a rank in the herd of mediocrity ; he disco
vered a new path to celebrity ; he painted balls, masquerades, gajant and pastoral sub
jects, in a style which has given rise to an host of imitators, without producing a rival.
His figures are designed with finesse, and have the suppleness and ease of nature. His
colouring fresh and splendid, is equally admired in the tenderness of his carnations, the
brilliancy of his habiliments, and in the verdure of his landscapes. The national taste
of his country prevails, however, in his most esteemed productions; and Lord Orford
justly observes, that " he painted imaginary nymphs and swains, and described a kind
of impossible pastoral, a rural life, led by those opposites of rural simplicity, people of
rank and fashion. Watteau's shepherdesses, nay his very sheep, are coquettes, yet he
avoided the glare and clinquant of his countrymen, and though he fell short of the dig
nified grace of the Italians, there is an easy air in his figures, and that more familiar
species of the graceful, which we call genteel. His nymphs are as much below the

WAU WEB 591
forbidding majesty of goddesses, as they are above the hoyden awkwardness of country
girls. In his halts and marches of cavalry, the careless slouch of his soldiers still retain
the air of a nation that aspires to be agreeable as well as victorious."
Watteau visited England in the reign of George I., but the indifferent state of his
health did not permit him to remain here longer than a year. He returned to France,
where he died in 1721, aged 37. This ingenious artist etched a few plates in a slight,
spirited style, among which are the following :
A set of twelve plates of Habits a-la-mode.
Soldiers fatigued with their March.
WAUMANS, Conrade. A Flemish engraver, born at Antwerp about the year 1630. He
was a pupil of Peter Bailliu, whose style he imitated, and his plates are little inferior to
those of his instructor. His drawing is not more correct than that of his master. We
have by him several portraits and historical subjects, after the painters of his country, of
which the following are the most worthy of notice :
PORTRAITS.
Frederick Henry, Prince of Orange ; after Vandyck.
Emilia de Solms, Princess of Orange ; after the same,
Don Antonio de Zuniga ; after the same.
John Both, Landscape-painter; after Willaerts.
. Herman Zachtleven, Painter; after a picture by himself.
David Bailli, Painter ; the same.
Cornelius Jansen, Painter ; the same,
SUBJECTS AFTER VARIOUS MASTERS.
The Descent from the Cross ; after Rubens.
The Assumption of the Virgin ; after the same.
The Virgin and infant Jesus ; after Vandyck.
Mars and Venus ; after the same.
WEBBER, John. This artist was bora in London in 1752. His father, who was a
sculptor, was a native of Berne, in Switzerland, and sent his son to Paris when he was
young, where he received part of his instruction as an artist ; and on his return to
London frequented the Royal Academy. Having acquired considerable reputation as
a designer of landscape, he was appointed draughtsman to accompany Captain Cook,
in the last voyage he made to the South Seas, for the purpose of designing whatever was
remarkable in the different countries they might explore. From this voyage he re
turned in 1780, when he was employed by the Lords of the Admiralty to superintend
the engraving of the prints executed from the drawings which he had made. When this
work was concluded, he published, on his own account, a set of views of the principal
places he had visited. They were etched and aquatinted by himself, afterwards
coloured, and produced a very pleasing effect. He then devoted his attention to landscape
painting. His pictures produce a pleasing effect, and are carefully finished, though per
haps with too much attention to the minutiae, and occasionally somewhat gaudy in the
colouring. Mr. Webber was elected an associate in 1785, and Royal Academician in 1791. He
died in 1793, aged 41.

592 WEB WEE
WEBBERS, J. A Dutch engraver, who flourished about the year 1656. He engraved
several views of the churches and public buildings at Amsterdam, which were published
in 1656, with a description in Dutch and French. They are very indifferently executed.
WEE LING, Anselm. This artist was born at Bois le Due in 1675. His father was an
officer in the service of the States General, and intended him for the profession of arms,
but he yielded to the decided disposition his son discovered for the art, and placed him
under the care of an obscure painter, named Delang, from whom he learned the rudi
ments of design. Finding that he could profit but little by the instruction of such a
preceptor, he left Bois le Due and went to Middleburg, where he became acquainted
with Jacob Bart, who possessed a collection of the works of the most eminent masters
of the Dutch school, who permitted him, for two years, to study and copy the pictures
of the most celebrated painters. He was particularly attached to the productions of
Godfrey Schalcken and Adrian Vanderwerf, whose style he followed with great success.
His most esteemed pictures are those he painted in imitation of the former of those
artists, representing subjects by candle-light, some of which have been mistaken for the
works of Schalcken. He was a competent master of the principles of light and shadow
his colouring is rich and glowing, and his design is tolerably correct. In the latter part
of his life he is said to have become a slave to intemperance and debauchery, and his
earlier performances are infinitely superior to those of a later date. He died in 1749
aged 74.

o

WEENINX, John Baptist. This painter was born at Amsterdam in 1621. He was the
son of John Weeninx, an architect of considerable celebrity, who dying when he was
very young, he was placed by his mother with a bookseller, with the intention of bring
ing him up to that business; but such was his inclination for drawing, that he was per
mitted to follow the bent of his genius, and he first became a scholar of John Micker
a painter little known ; but he afterwards had the advantage of heing instructed by
Abraham Bloemaert. Under so able a master, his progress was uncommon, and in a
short time he surprised his preceptor, by the facility and precision with which he de
signed the principal buildings, castles, and ruins, in the vicinity of Amsterdam. He
drew with equal spirit and accuracy all kinds of animals and huntings, and the applauses
he received, encouraged him to attempt the same subjects in oil. On leaving the
school of Bloemaert, he passed two years under Nicholas Moojaert, to whose style he
was much attached. AVhen he was eighteen years of age he found himself sufficiently
grounded in the art to dispense with further assistance, and he painted several pictures
which were favourably received by the public. This flattering encouragement only
served to render him more desirous of improvement, and he formed the project of
visiting Italy. On his arrival at Rome he was particularly struck with the magnificence
of every object by which he was surrounded ; but, above all, by the sublime monuments
of ancient grandeur, which remain in the architectural ruins in the environs of that
capital. His talents recommended him to the notice of many of the principal person
ages at Rome. The Cardinal Pamphili was amongst his most distinguished protectors,
who not only favoured him with many commissions, but settled on him a pension,
besides the remuneration he received for his pictures. That prelate was desirous of
retaining Weeninx at Rome, but the solicitations of his family, and his desire of exhi
biting the ability which had gained him such celebrity in Italy, to the notice of his

WEE WEE 593
countrymen, induced him to return to Holland, after an absence of four years. The
curiosity of his fellow citizens produced him extensive employment, and he had acquired
the reputation of one of the most distinguished artists of his country, when he died, in
the vigour of his life, in 1660, aged 39.
It is difficult to form an idea of the various and extensive powers of this artist; he
painted history, portraits, landscapes, sea-ports, animals, and dead game; and in all
these different branches acquired the reputation of uncommon ability; but his particular
excellence was in painting Italian sea-ports, enriched with noble architecture, and
decorated with figures representing embarkations, or the activity of commercial in
dustry. In these subjects he has perhaps only been surpassed by Nicholas Berghem,
who he has the credit of ranking among his numerous disciples.
WEENINX, John. He was the son of the artist mentioned in the preceding article,
• bora at Amsterdam in 1644, and was instructed in the art by his father until he was six
teen years of age, when he had the misfortune of being deprived of the assistance of that
eminent artist, by his premature death. He had, however, made sufficient progress in
the art to prosecute his studies without further assistance, and he found that the best
system to follow was an attentive observance of nature. Though less univeral than his
father, he painted with great reputation landscapes, animals, flowers, and fruit. But he
particularly excelled in the representation of dead game and huntings, in which he may
be said to have surpassed every artist of his country. His celebrity in that branch of
the art induced the Elector, John William, to invite him to his court, and many of his
most considerable works are in the gallery at Dusseldorp, and in the chateau of Bensberg,
a hunting seat of the Elector Palatine, which he decorated with a series of hunting
pieces of the Boar and Stag, in which the animals are designed and painted with a cor
rectness and spirit, which cannot be too much admired. His landscapes are very inferior
to those of his father, and it is evident that he considered them as merely accessories to
his principal subject. In his large pictures, his compositions are ingenious and pic
turesque, his touch is bold and animated, his colouring clear and brilliant, and he always
exhibits a perfect acquaintance with the principles of the chiar-oscuro. His works of
a cabinet size are exquisitely finished, without impoverishing the spirit of his touch, or
diminishing the breadth of his light and shadow. His works are deservedly held in the
highest estimation, and are placed in the choicest collections. .He died in 1719, aged 75.
WEERDT, Abrian be. According to Descamps, this painter was born at Brussels in
1510, and studied at Antwerp, under Christian Queburgh, a landscape painter little
known. He afterwards visited Italy, where he passed some years, and applied himself
particularly to study the works of Parmigiano. On his return to Flanders, he executed
several pictures in the graceful style of that distinguished master, particularly a series of
the Life of the Virgin, by which he had acquired great reputation, when the troubles of
the Low Countries obliged him to quit Brussels, in 1566, and take refuge at Cologne,
where he died soon afterwards.
WEERT, J. de. This artist, who flourished about the year 1605, was probably a native
of the Low Countries, though he chiefly resided at Paris. He was principally employed
by the booksellers, and engraved several frontispieces and other book ornaments in a
neat, though tasteless style. They are executed entirely with the graver, and his draw-
Vol. II. 4 F

594 WEE WET
ing is heavy and incorrect. We have also by him a set of prints from his own designs-,
representing the Life and Passion of Christ, published by John Le Clerc, with French
verses to each print.
WEESOP. In the Anecdotes of Painting in England, this artist is said to have arrived
here in 1641, a little before the death of Vandyck, of whose manner he was so successful
an imitator, that several of his pictures have passed for those of that master. He left
England in 1649, saying, " he would never live in a country where they cut off their
King's head, and were not ashamed of the action." The noble author observes, that it
had been more sensible in an artist to say, he would not stay where they cut off the head
of a king who rewarded painters, and defaced and sold his collection.
WEIGEL, John. This artist was a native of Germany, and is said to have been an en
graver on wood. He is mentioned by Mr. Strutt, but his works are not specified,.
WEIGEL, Christopher. A German engraver, who flourished about the year 1690.
He engraved a set of prints of subjects taken from the Old and New Testaments.
Each plate contains four prints, and the number of the plates amount to one hundred
for the Old Testament, and one hundred andJen for the New. The title of this collection
is Sacra Scriptura loquens in imaginibus, fyc. They appear to be all engraved by himself,
and from his own designs. According to M. Heineken this artist also engraved in mez
zotinto.
WEIROTTER, Francis Edmund. This ingenious artist was born at Inspruck in 1730.
After learning the rudiments of design in his native city, he went to Paris, where he
became a pupil of J. G. Wille, and became an able designer of landscapes. He after
wards travelled to Italy, where he remained some time, and returned to Paris with a
copious collection of drawings from the most picturesque views of that delightful coun
try. In 1767 he was invited to the court of Vienna, where he was appointed Professor of
the Academy of design.
We have a great number of charming etchings by this artist, which are executed in a
free, spirited style. They consist of landscapes, views of ruins, bridges, churches, cot
tages, 81c. and are formed into sets, and numbered. The following are among the most
esteemed of his numerous prints :
A set of twelve Views in Normandy, with a Dedication.
Twelve Views in Italy ; dedicated to the Prince of Kaunitz.
A set of twelve Views in Italy ; dedicated to the Prince of Staremberg.
Twelve Views in Italy ; dedicated to the Duke Albert of Saxe-Teschen.
A set of twelve Views in Italy ; dedicated to the Archduchess of Austria.
WEISBROD, Charles. A modern German engraver, born at Hamburgh in 1754. He
was a pupil, of J. G. Wille at Paris, and has engraved a great number of plates of land
scapes, in a neat, clear style. He executed several of the plates for the cabinets of Poul-
lain, Choiseul, and Praslin. We have also some prints by him after Pynaker, A. Vande
Velde,. Ruysdael, and other masters.

WEI WEN 595
WEISHUN, Samuel. A German engraver, who resided at Dresden about the year 1630.
He engraved a considerable number of portraits, which are executed with the graver in
a neat, but formal style. Among them is a head inscribed Daniel Senuestus, Wittenb.
Profess. 1627. According to Professor Christ, he engraved a set of portraits of the
Princes of Saxony, which he sometimes marked with the initials S. W. and sometimes
with those letters joined together.
WEISSE, Gotthelf William. This artist was born at Dresden about the year 1750,
and was instructed in engraving by Guiseppe Canale. He had given proof of consi
derable ability, when he was invited to the court of Hesse Cassel, where the Landgrave
appointed him his principal engraver. Among others, we have the following prints by
him: portraits.
The Landgrave of Hesse-Cassel ; after Graff.
The Landgravine of Hesse-Cassel; after Tisckbein.
SUBJECTS AFTER VARIOUS MASTERS.
Apollo playing on the Lyre ; after Tischbein.
A Landscape, with a Waterfall ; after Everdingen.
A Landscape, moonlight; after Dietricy.
WELBRONNER, Nicholas. Mr. Strutt attributes to this artist the engravings on
copper, marked with an N and a W, and dated from 1530 to 1536, representing orna
mental foliage and small figures, in imitation of Sebald Beham, among which are the
following :
A figure of Adam; a small upright plate; dated 1534.
Eve, with the Serpent ; the companion.
A small frieze, representing Children fighting. 1533.
WENCESLAUS, of Olmutz. The name of this old German engraver is inscribed on a
copy of a print, representing the Death of the Virgin, originally engraved by Martin
Schoen. The name is written at length, with the date 1481. This circumstance, to
gether with a resemblance in the style, though inferior, has given rise to a conjecture
that he was a disciple of Martin Schoen. We have, however, some other plates by the
same artist, in which he has attempted to imitate the style of Israel van Mecheln ; and
it has been asserted by Mr. Strutt, that the ancient German engravings marked with a
W only, which have usually been attributed to Michael Wolgemut, are evidently the
productions of the same artist, and are copied from the works of Martin Schoen and
Israel van Mecheln. He mentions the following as such, which are marked with the
W only.
copies from the prints of martin schoen.
The Annunciation, with a Flower-pot in the front, the Deity appears above.
A Gentleman and Lady walking, Death appears behind a tree in the back-ground.
The Last Supper.
The Crucifixion of St. Andrew.
A set of small upright prints representing the Life and Passion of Christ.
4 F 2

596 WEN WER
COPIES FROM THOSE OF ISRAEL VAN MECHELN.
Four naked Women, with a Globe hanging from the ceiling; dated 1494, Albert Durer has
engraved this subject so exactly, that it appears that he had rather taken his copy from that
of Wenceslaus than from the original.
An old Man leading a little Boy, with a Woman having a Girl on her back, following him.
A Lover entertaining his Mistress.
WENG, J. G. The name of this artist is affixed to a print representing Minerva visiting
tbe Muses. It is etched in the manner of Le Hooghe, in a neat style. It is dated 1630,
and appears to have been the work of a painter.
WENGH,  . Mr. Strutt mentions a print with this name affixed to it, dated 1509,
representing a male and female figure almost naked. Over the head of the man, who
is attended by a dog, is written Paris, and over the woman Egenoe, probably by mis
take for Oenone, the nymph of Mount Ida, whom Paris forsook for Helen. The print, he
observes, has nothing, but its scarcity, to recommend it, and appears to be the work of
a German, imitating the style of the early Italian engravers.
WERDLER,  . This artist engraved a portrait of Charles, Lord Cathcart, in
armour.
WERDMULLER, Rudolf. This artist was born at Ztuic, in Switzerland, in 1639, and
was a disciple of Conrad Meyer. He had given promise of uncommon ability as a
painter of history and portraits, when he was unfortunately drowned, in 1668, in the
twenty-ninth year of his age.
WERENFELS, Rudolf. According to Fuessli, this artist was bora at Basle, in Switzer
land, in 1629. He received his first instruction in the art at Amsterdam, but he after
wards travelled to Italy, where he studied some time. He chiefly distinguished himself
in portraiture, and was much employed at several of the courts of Germany. His por-.
traits are frequently accompanied with appropriate accessories, which were ingeniously
composed, but his colouring was cold and feeble. He died in 1673, aged 44.
WERF, Adrian Vander. This admired painter was born at Kralinguer Ambaeht, near
Rotterdam, in 1659- Having discovered an early disposition for the art, he was placed
under the care of Cornelius Picolett, a portrait painter of no. great ability, under whom
he remained two years, when he became a scholai- of Eglon Vander Neer. He had
made considerable progress under that painter, when a picture by Francis Mieris was
brought to his master to be copied. Vander Neer thinking that none of his disciples
were so capable of succeeding in so delicate an undertaking as Vander Werf, intrusted
him with the commission, which he executed in so perfect a manner, that it deceived
the most intelligent judges. When he was eighteen years of age he left the school of
Vander Neer, and established himself at Rotterdam, where he met with the most flatter
ing encouragement. He became intimately acquainted with M. Flink, who possessed
an extensive collection of drawings, by the best Italian masters, to which he had at all
times access, and it was from these models, and by drawing after the best casts from the.

WERF. 597
antique, that he formed a more correct and elevated taste of design than any painter of
his country.
In 1696 the Elector Palatine visited Holland, and, in passing through Rptterdam, was
particularly struck with the works of Vander W erf. He commissioned him to paint a
picture of the Judgment of Solomon, and his own portrait, which he intended to send to
the Grand Duke of Tuscany, to be placed among those of the most distinguished
painters in the Florentine Gallery, and invited him to bring the two pictures, when
finished, to Dusseldorp. The following year he undertook the journey, and delivered
his pictures, which were greatly admired by the Elector and all his court. That Prince
was desirous of his remaining in his service at Dusseldorp, but Vander Werf excused
himself, urging the necessity he was under of returning to his family and friends at Rot
terdam. He engaged to devote six months in the year to the service of the Elector, for
which he received a liberal pension. He continued to be employed by that prince until
the death of the Elector, in 1717; and several of his most capital pictures are in the
gallery at Dusseldorp. Ten of his pictures were purchased by Sir Gregory Page, a
few years before the death of Vander Werf, which happened in 1722, at the age of 63.
No painter has carried finishing to so high a pitch as Vander Werf, yet his pictures
produce a less pleasing effect than those of Gerard Douw and Francis Mieris. Sir
Joshua Reynolds gives the following critique on the pictures in the Dusseldorp Gallery.
" The most distinguished pictures in this room are the Vander Werfs, which are twenty-
four in number. Three of them are as large as life ; a Magdalen, whole length, and two
portraits. The Magdalen was painted as a companion to the St. John of Raffaelle, but
it was not thought, even by his friends and admirers, that he had succeeded ; however,
he has certainly spared no pains; it is as smooth and as highly finished, as his small
pictures, but his defects are here magnified, and consequently more apparent. His pic
tures, whether great or small, certainly afford but little pleasure. Of their want of effect
it is worth a painter's while to inquire the cause. One of the principal causes appears
to me, his having entertained an opinion that the light of a picture ought to be thrown
solely on the figures, and little or none on the ground or sky. This gives great coldness
to the effect, and is so contrary to nature and the practice of those painters with whose
works he was surrounded, that we cannot help wondering how he fell into this mistake..
" His naked figures appear to be of a much harder substance than flesh, though his out
line is far from cutting, or the light not united with the shade, which are the most com
mon causes of hardness ; but it appears to me that in the present instance the hardness
of manner proceeds from the softness and union being too general; the light being
every where equally lost iu the ground or its. shadow.
" In describing Vander Werfs manner, were I to say that all the parts every where melt
into each other, it might naturally be supposed that the effect would be a, high degree
of softness; but it is. notoriously the contrary, and I think for the reason that has been
given ; his flesh has the appearance of ivory or plaster, or some other hard substance.
What contributes likewise to give this hardness, is a want of transparency in his colour-.
ing, from his admitting little or no reflexions, of light. He had also the defect which is
frequently found in Rembrandt, that of making his light only a single spot. However,
to do him j ustice, his figures and his heads are generally well drawn, and his drapery is
excellent; perhaps there are in his pictures as perfect examples of drapery as are to be.
found in, any other painter's works whatever."

598 WER WES
WERF, Peter Vander. He was the younger brother of Adrian Vander Werf, born
near Rotterdam in 1665, and was instructed in the art by his brother. He for some
time confined himself to copying the works of Adrian; but he afterwards painted pic
tures of his own composition, some of which were retouched by his brother. Though
he occasionally painted history, his pictures more frequently represent domestic subjects
and small portraits, in which he was much employed. One of his principal productions
is a picture in the hotel of the East India Company, representing the portraits of the
Directors at that time. Without equalling his brother in the extreme polish of his
finishing, the pictures of Peter Vander Werf are very highly wrought up, and have
sometimes been mistaken for the works of Adrian. He died in 1718, aged 53.
WERNER, Joseph. This artist was born at Berne, in Switzerland, in 1637. He was the
son of a painter of little celebrity, by whom he was instructed in the first rudiments of
the art ; but he afterwards was sent to Frankfort, where he became a scholar of Matthew
Merian the younger. Aided by the instruction of that able master, his progress was so
unusual, that it even surprised his preceptor, who, desirous of procuring for so promising
a talent the best means of improvement, recommended him to travel to Italy, and in
troduced his pupil to the patronage of M. Muller, an amateur of fortune and taste,
who was going to Rome, by whom he was1 invited to accompany him in his journey.
So advantageous an offer was particularly agreeable to our young artist, who, by his
amiable manners and ingenuous conversation, conciliated the favour and esteem of his
protector. During his residence at Rome, Werner was indefatigable in designing from every
object which could conduce to his advancement. He for some time painted in oil and
in fresco, but his predilection for high finishing induced him to prefer miniature, which
he carried to a perfection which has perhaps never been surpassed. His historical sub
jects are ingeniously composed, and designed with a correctness and taste very unusual
in that confined branch of the art. His colouring is clear and forcible, and his heads
have a fine expression. He was also much employed iu portraiture, in which he parti
cularly excelled. In returning from Italy he passed through France, where his talents
recommended him to the notice of Louis XIV. He was invited to Versailles, where
he painted the portrait of the King, and those of several of the principal personages of
the court; and was also much employed in historical and emblematical subjects, which
were so much admired, that the most flattering proposals were made to him to induce
him to establish himself in France, but he had already accepted an invitation he had
received from the court of Inspruck, where he painted the portrait of the Archduchess,
and was recompensed with a liberal remuneration, and presented with a gold medal and
chain. In 1696, Frederick, Elector of Brandenburg, and first King of Prussia, appointed
him director of the Academy at Berlin, with a liberal salary. He died in 1710, aged 73.
WESEL, Telman van. This artist was probably a native of Germany. It appears, by
an inscription on one of his plates, that he was a goldsmith as well as an engraver.
His prints are chiefly copies from the works of Albert Durer, and other German masters,
and are very indifferently executed. Among others are the following:
Adam and Eve; after the print by Albert Durer. Upon the tablet, on which the name of A.
Durer appears iu the original plate, is inscribed, Telman van Wesel, Goldsmit.

WES W E Y 599
Several Soldiers conversing; after the same ; marked T. M. W.
St. Christopher; after one of the old German masters ; marked T. W.
WESTERHOUT, Arnold van. A Flemish engraver, born at Antwerp in 1666. After
having received some instruction in design and engraving in his native city he went to
Italy, and established himself at Rome, where he engraved several plates from his own
designs, and after the works of the Italian painters. His style of engraving resembles
that of his countryman, Robert van Audenaerde. We have several portraits and histo
rical subjects by him, executed with the graver, in a neat, clear style, but without pro
ducing a powerful effect. Among others are the following :
portraits.
Cardinal Giacomo Antonio Moriga ; after L. David.
Prince Rospoli ; after Ant. David.
Michele Angelo Tamburini, General of the Jesuits ; after Ant. Odati.
subjects after various masters.
A Female Figure, with an Unicorn; after An. Caraeci.
The Descent from the Cross; after Dan. di Volterra.
St. Paul preaching at Athens ; after Gio. Bat. Lenardi.
The Muses protecting the Monuments of Art from the Destruction of Time; after the same.
WET, P. F. This artist etched some plates of ornamental foliage for goldsmiths and
jewellers. They are executed in a slight style.
WEYDE, Roger Vander. In a note to this article, in Mr. Pilkington's Dictionary of
Painters, M. Descamps is accused of inaccuracy, for having mentioned this painter as
a different artist from Roger of Bruges ; and it is attempted, in a very unsatisfactory
manner, to prove that they were " one and the same person." The accusation is proved
to be totally groundless, by the original authority of Karel van Mander, the most au
thentic biographer of the Flemish artists of that early period, who distinctly states them
to be two different artists. Roger of Bruges was a native of that city, and a disciple of
John van Eyck, consequently a much older artist than Vander Weyde, as will be seen
by reference to that article.
Roger Vander Weyde was born at Brussels about the year 1480. It is not known by
whom he was instructed, but he is mentioned by Van Mander in very favourable
terms, and as one of the first painters of his country who introduced a graceful style of
designing, and a characteristic expression in his heads. Among his principal works
were four pictures in the council-chamber of the Town-house at Brussels, representing
subjects connected with the administration of justice. He painted a picture of the
taking down from the Cross, for the church of St. Gertrude, at Louvaine, which was
greatly admired. It was afterwards sent to the King of Spain, and a copy of it, by
Michael Coxcis, was put in its place. He died in 1529, aged about 49.
WEYDMANS, N. This artist is mentioned by Mr. Strutt as the engraver of a small
print representing a country surgeon performing an operation on the forehead of a wo
man. She is supported by a man, who stands behind her. It is executed in a slight,

600 WEY WHE
' scratchy style, so as to resemble an etching. It is from a design of his own, and ap
pears to be the production of a painter, though very indifferently engraved.
WEYER, Nicholas. Professor Christ attributes to this artist the engravings marked and
dated thus, N. 1567 W. He has not, however, specified any of the subjects.
WEYER, Hans, or John. This artist, who flourished about the year 1610, was a native
of Cobourg, and a painter. According to Professor Christ, he engraved several plates
in an excellent style, which are marked with the letters H. E. W. and dated 1610, and
1612.
WEYER, Gabriel. A German painter and engraver, who resided at Nuremberg about
the year 1610, where he painted several pictures, and made many designs for the en.
gravers. He also executed several wooden cuts in a spirited style, which are marked
with a monogram composed of a G. and W. thus, QJV.
WEYER MANS, James CamRo. This artist was born at Amsterdam in 1679, and was a
scholar of Ferdinand van Kessell. He painted flowers, fruit, and still-life, but his pro
ductions are not above mediocrity. He published the Lives of the Dutch Painters, in
three volumes, which is a compilation from Houbraken, disfigured by gross falsehoods
and absurdities. He died in 1747, aged 68.
WEYNERS, Johanssen. A German engraver, who flourished about the year 1611.
According to Professor Christ, he marked his plates with a bunch of grapes, which in
German bears some allusion to his name. He engraved some plates from the designs of
Christopher Schwaartz.
WHEATLEY, Francis. Mr. Wheatley was born in London in 1747, and received his first
instruction as an artist in Shipley's drawing school. WThen young, he obtained several
premiums from the Society for the Encouragement of Arts. By the strength of his
natural abilities he acquired a considerable portion of talent as a painter, and, having
formed a friendship with Mr. Mortimer, he increased his knowledge in the art, and
assisted that gentleman in painting the ceiling at Brocket-hall, the seat of Lord Viscount
Melbourne. He had formerly been employed in the decorations at Vauxhall. His in
clination appeared to lead him equally to figures and landscapes, but, in the early part
of his life, he met with considerable employment in painting small whole-length por
traits, which induced him for some time to make that his particular pursuit. After
practising some years in London, he visited Ireland, and was much employed in Dublin,
where he painted a large picture, representing the Irish House of Commons, in which he
introduced the portraits of the most remarkable political characters, and it gained him
great reputation. On his return to London, he painted a picture of the Riots, which took
place in 1780, from which Mr. Heath engraved an excellent print for Boydell. He now
became a very popular painter of rural and domestic subjects, for which he had a pecu
liar talent, and his productions of that description were greatly admired. When
Boydell projected his great undertaking of the illustration of Shakspeare, with prints
engraved from pictures painted by the most eminent English artists, he was engaged to
contribute his talents to the accomplishment of that splendid work, for which he painted
twelve pictures, by which his merit, as a composer and a colourist, may be best estimated.

WHITE. 601
Mr. Wheatley was elected an Associate of the Royal Academy in 1790, and Royal
Academician in 1791. He was for several years afflicted with long and severe pa
roxysms of the gout, and died in 1801, aged 54.
WHITE, Robert. This artist was bora in London in 1645, and was a pupil of David
Loggan,for whom he designed and engraved several architectural views. He was much
employed in drawing portraits with black-lead, upon vellum, in which he excelled, and
has engraved plates from several of them. The heads of Sir Godfrey Kneller and his
brother, in Sandrart's Lives of the Painters, were engraved from drawings by White,
whose portrait Sir Godfrey painted in return. In 1674 he engraved the first Oxford
Almanack, and the title plate to the History and Antiquities to that university.
Few artists have exceeded Robert White in the multiplicity of English portraits he
has left us. They are frequently disfigured by large, tasteless borders, by no means
ornamental. Most of his plates are executed with the graver. He scraped a few heads
in mezzotinto, but they are very inferior to his other prints. He died at his house in
Bloomsbury in 1704, aged 59- Of his numerous portraits, the following are among the
most esteemed :
James I.; after C. Jansen.
George, Earl of Cumberland, habited fora tournament; fine.
Charles I. ; after Vandyck.
Another of Charles I.; after Van Vorst.
Prince Rupert ; after Kneller.
Charles II. ; after the same. 1679.
Another of Charles II. whole length, in the robes of the garter.
James II. under a canopy, with Archbishop Sancroft and the Chancellor Jefferies.
James II. when Duke of York, in the robes of the garter.
Maria Beatrix of Este, his consort; after Kneller. 1686.
Henry, Duke of Gloucester.
Lady Mary Joliffe ; scarce.
Heneage, Earl of Nottingham.
Thomas, Duke of Leeds.
Sir Edward Ward, Chief Baron. 1702.
Sir George Treby, Chief Justice of the Common Pleas. 1 694.
Samuel Pepys, Secretary to the Admiralty; after Kneller.
George, Earl of Melvil; after Sir John Medina.
James, Earl of Perth ; after Kneller.
Another Portrait of the same; after Riley ; fine.
Bishop Burnet; after Mrs. Beale.
Sir Alexander Temple.
Lady Susanna Temple.
Lady Anne Clifford.
Thomas Flatman ; after Hayls.
Sir John Fenwick ; after Wissing.
The Seven Bishops ; seven small ovals in one plate.
The Five Bishops who suffered martyrdom ; five ovals in one plate.
WHITE, George. He was the son of the preceding artist, and flourished about the year
1720. He was instructed by his father in the principles of designing and engraving,
Vol. II. 4 G

602 WHI WIC
and is said to have occasionally painted both in oil and in miniature. After the death of
his father he finished the plates left imperfect by him, and also engraved some portraits
in the same style, which are executed in a neat clear manner, particularly those of the
Duke of Ormond and Lord Clarendon, prefixed to the Rebellion in Ireland. But his best
prints are in mezzotinto, in which he frequently etched the outline before the ground
was laid upon the plate, which sometimes adds to the firmness of the effect. The year
of his death is not known, but he worked as late as 1731, as appears from the date of his
portrait of Bishop Weston. The following are his most esteemed works :
PORTRAITS IN MEZZOTINTO.
Sir Richard Blackmore, M. d.; after J. Vander Bank.
Sylvester Petyt, Principal of Bernard's Inn ; fine.
Nicholas Sanderson, Professor of Mathematics, of Cambridge.
John Baptist Monnoyer, Painter ; after Kneller.
John Dryden ; after the same.
Alexander Pope ; after the same.
Thomas Bradbury ; after Gibson.
George Hooper, Bishop of St. Asaph ; after Hill.
Colonel Blood, who stole the crown.
William Dobson, Painter ; from a picture by himself.
PORTRAITS IN THE STYLE OF HIS FATHER.
James Gardiner, Bishop of Lincoln ; after Dahl.
Charles IL, King of Spain; begun by Robert White and finished by George White, whose name
is affixed.
The Duke of Ormond.
Lord Clarendon.
WHITE, Thomas. This artist was a native of London, and flourished about the year
1760. He was for some time employed by Mr. Ryland to assist him in the back-grounds
of his plates, and afterwards engraved the greater part of the architectural prints for the
continuation of the Vitruvius Britannicus, by Wolf and Gandon. His name is also affixed
to a print of a landscape, after Breughel. The plate was etched by T. Saunders, and
White was assisted by Ryland in the finishing of it. He died in London about the year
1776.
WHITE, Charles. He was born in London in 1751, and was a pupil of Pranker. On
leaving that master he quitted the manner of stroke engraving, and worked chiefly, if
not entirely, in the chalk style. He was for some time engaged on trifling subjects from
designs by ladies, but in the latter part of his life he was employed in works of more
importance, which he unfortunately did not live to see completed. He died of a fever
in 1785, in the thirty-fourth year of his age.
W1BERT,  . See Vuybert.
WICHMAN, J. A German engraver, who flourished about the year 1683. His name is
affixed to a large print, representing the Besieging and taking of Stadtwien by the Troops
of the Emperor of Germany. The portraits of the German and Turkish generals are re-

WIC W I E 603
presented at the top, and those of the Emperor of Germany and the Grand Sultan at
the bottom. It is a coarse, slight etching, very indifferently executed.
WICKSTEAD, Philip. This artist was a native of London, and was a disciple of Mr.
Zoffani. He distinguished himself chiefly by painting small whole-length portraits.
He studied some time at Rome, where he became acquainted with Mr. William Beck-
ford, and accompanied that gentleman to Jamaica. He practised there some time as a
painter, but afterwards became a planter, in which undertaking he was not successful.
This disappointment brought on a depression of spirits, for which he sought relief in
intemperance, which hastened his death, about the year 1790.
WIDEMAN, Elias. This artist was a native of Germany, and resided at Augsbourg,
about the year 1648. He was chiefly employed by the booksellers, for whom he en
graved a great number of portraits, frontispieces, and other book-plates, from his own
designs. They are executed in a stiff, formal style. His most considerable work is a
set of plates of illustrious personages, published at Augsbourg in 1648, entitled, Comi-
tium Gloria centum qua Sanguine qua Virtute illustrium Heroum Iconibus instructum, fyc.
E. Wideman, del. et sculp.
WIDITZ,  . Professor Christ mentions this ancient engraver on the authority
of Bernard Jobin. He does not specify any of his prints, but he is said to have been
a native of Strasburg.
WIELANT, or Willant. The name of this engraver is affixed to some portraits, among
which are the following :
John Colerus, after Bodecker.
John Claubergius.
WIENBROUCK, M. V. The name of this artist is affixed to some slight, incorrect
etchings, executed in the style of a painter, among which is one representing an old
man seated, to whom a youth is relating a message.
WIERENGEN, Cornelius. This artist was born at Haerlem about the year 1600. He
excelled in painting sea-pieces and storms, which he represented with great truth and
precision. We have several etchings by this painter, representing landscapes and sea
views, which are executed in a neat, spirited style.
WIERIX, or Wierx, or Wierinx, John. An eminent Dutch designer and engraver,
born at Amsterdam in 1550. It is not known by whom he was instructed, but he ap
pears to have formed his style by an attentive study of the works of Albert Durer, and
has copied several of the prints of that master with a precision bordering on servility.
Though he engraved several plates from his own designs, he appears to have possessed
little genius for invention. His plates are executed with the graver, in a very neat,
. finished style, and his drawing is usually correct. The prints of this artist are held in
considerable estimation by the curious collector. The following are among his best
works :
4G 2

604 WIERIX. PORTRAITS.
Rodolphus IL, Emperor of Germany.
Philip William, Prince of Orange.
Eleanora de Bourbon, Princess of Orange.
James I., King of England, and his Queen; scarce.
Philip II., King of Spain.
Catherine de Medicis, Queen of Henry II. of France.
Henry III., King of France.
The Countess de Verneuil. subjects from his own designs.
The Resurrection ; inscribed Insanus Miles.
Mary Magdalen seated at the entrance of a Grot; J. Wier, inv. et fee.
An allegorical subject, representing the Redemption of Mankind.
The Four Elements ; Wierix. 1601.
subjects after various masters.
The little Satyr; copied from the print of Albert Durer, when he was only twelve years of age.
Adam receiving the forbidden fruit from Eve ; copied from the celebrated print of the same
subject by Albert Durer ; upon a tablet is inscribed Albert Durer, inventor, Johanes Wierix,
fee. ait. 16.
St. Hubert kneeling before the Stag, with a Crucifix on its forehead ; a copy, reversed, from the
print by Albert Durer, marked with the cipher of that artist.
St. Jerome in meditation ; copied from Albert Durer.
The Marriage of St. Catherine ; after D. Calvart.
The Sacrifice of Abraham; after M. de Vos.
Christ taken down from the Cross ; after Otho Venius.
The Last Judgment ; finely copied from the print of that subject ; after M. Angelo Buonaroti,
by Martin Rota.
Christ taken down from the Cross; after Bern. Passeri.
The prints of this artist are usually marked with the initials I. W. F., and sometimes
1. H. W. F., to which he occasionally added his age, and the date of the year in which
the plate was engraved.
WIERIX, or Wierinx, Hieronimus, or Jerome. He was the younger brother of the
artist mentioned in the preceding article, born at Amsterdam in 1552. He is supposed
to have learned the art of engraving from John Wierix, whose style he imitated so ex
actly, that it would be difficult to distinguish their works, if they were not differently
marked. The prints by Jerome are executed in as neat and finished a style as those of
his brother, and are characterised by the same stiffness and formality. His prints are
more numerous than those of John Wierix, and chiefly consist of devout and allegorical
subjects, saints, and fathers of the church, many of which are from his own designs.
They are sometimes marked with the initials of his name, thus HI. W., or HI. W. F.,
or J. Hieronimus W. Fe., and sometimes with a monogram composed of an H, an I,
and an E, joined together, and followed by a W, thus, P^W- ^he fouowing are n's
principal works:

WIERIX. 605

PORTRAITS.
The Emperor Charlemagne.
Henry of Bourbon, Kmg of Navarre.
Queen Elizabeth.
Sigismund III., King of Poland.
Alessander Farnese, Duke of Parma.
Sir Francis Drake. SUBJECTS FROM HIS OWN DESIGNS.
St. Cecilia.
The Temptation of St. Anthony.
St. Bruno, the founder of the Carthusians.
St. Charles Borromeus.
The Virgin and infant Christ, with St. Francis and St. Anthony.
The Virgin and Infant, with a Glory of Angels.
The Crucifixion.
The Death of Lucretia. SUBJECTS AFTER VARIOUS MASTERS.
Christ dead, supported on the knees of the Virgin ; after J. Mabuse.
Christ calling to him the little Children ; after C. van. de Broeck.
The Death of the Virgin ; after Otho Venius.
Christ at table, in the house of Simon the Pharisee ; after the same.
Christ crowned with Thorns ; after G. Mostaert.
The Four Doctors of the Church ; after M. Lucas Romanus.
The Scourging of Christ ; after the same. One of his best prints.
The Baptism of Christ by St. John; after H. Hondius ; fine.
The Vision of Daniel ; after Van Haecht.
Jupiter and Danae ; after the same.
WIERIX, or Wierinx, Anthony. He was the youngest of the family of the Wierixs,
born at Amsterdam about the year 1554. His small plates are executed in the neat,
finished style of his brothers, but his larger prints exhibit more freedom and facility.
He engraved similar subjects, and frequently worked in conjunction with John and
Jerome Wierix. His prints are usually signed with his name. The following are his
most esteemed works : PORTRAITS.
Pope Clement VII. ; Ant. Wierix.
Philip Emanuel of Lorraine, Duke de Mercosur.
Isabella of Austria, Daughter of Philip II. of Spain.
Margaret, Queen of Philip III. of Spain.
Cardinal Bellarmin.
Albert of Austria, Archbishop of Toledo, Governor of the Low Countries.
subjects from his own designs.
St. Theresa.
St. Sebastian.
St. Dominick receiving the Rosary from the Virgin.

606 WIG W I L
The Marriage of St. Catherine.
The Entombing of Christ.
St. Jerome praying, accompanied by two Angels ; dated 1584 ; fine.
subjects after various masters.
The Adoration of the Magi; after M. de Vos,
The History of the Prophet Jonas ; in four plates ; after the same.
The Holy Family reposing in Egypt ; after Cam. Procaccini.
The Death of St. Francis ; after the same.
A set of sixty-nine plates, representing the Life and Passion of Christ, with the Death and As
sumption of the Virgin ; in which he was assisted by his two brothers.
WIGMANA, Gerard. This painter was born at Workum, in Friesland, in 1673. It is
not ascertained by whom he was instructed, but he went to Italy when he was young,
where he is said to have studied the works of Raffaelle and Giulio Romano. On his
return to Holland he acquired some reputation as a painter of historical subjects, of a
cabinet size, which are as remarkable for their patient and laborious finishing, and the
gaudiness of his colour, as for the vulgarity of his characters, and the incorrectness of
his design. His studies in Italy, instead of purifying his taste, and elevating his style
appear to have only served to render his affectation of the sublime more clumsy and
preposterous. He selected, for the subjects of his pictures, the most interesting events
of sacred and profane history, which he disfigured by a burlesque perversion of charac
teristic expression, and a total inattention to the propriety of costume. With all these
defects, he had the vanity to assume the title of the Raffaelle of Friesland, and was scr
satisfied with his own performances, that he was induced to demand exorbitant prices
for his pictures, which he was surprised to find the public were not disposed to pay.
Disappointed at the unfavourable reception his works met within his own country, it
is said by Descamps that he visited England, where he met with no better success. He
returned to Holland, and settled at Amsterdam, where he died, in 1741, aged 68.
WILBOR, Nicholas. See Welbronner.
WILDE, Francis de. A Dutch engraver, who flourished about the year 1705. He re
sided at Amsterdam, where he etched a few very small plates, which are executed with
great neatness and spirit, apparently from his own designs. Among others are the fol
lowing :
The Angel appearing to Abraham; Fr. de Wilde, fee. 1705.
Venus rising from the Sea.
The Fable of the Wolf and the Dog; circular; 1704.
A View of the City of Chalons.
A View of a Sea-port.
A Landscape, with figures.
WILDE, Maria de. This lady was probably a relation of the artist mentioned in the
preceding article. She engraved a set of fifty plates from antique gems, which were
published at Amsterdam, in 1703.

W I L W I L 607
WILDENS, John. This artist was born at Antwerp in 1584. It is not known by whom
he was instructed in the art, and it is generally supposed that he was more indebted to
his diligent studies from nature, than to the precepts of a master. He was constantly
occupied in the fields and forests, in designing every object that appeared to him to be
picturesque or remarkable. He had acquired a distinguished reputation as a landscape
painter, when his talents attracted the attention of Rubens, who employed him to assist
in the extensive commissionsrin which he was engaged, by painting the landscapes in
the back-grounds of his pictures; and perhaps no coadjutor of that illustrious artist
surpassed Wildens in imitating the freedom of his touch, and the harmony of his co
louring. Such was the congeniality of their operation, that the whole appeared to be
the produce of the same hand. There are several of his landscapes in the public edifices
at Antwerp, embellished with figures by the ablest of his contemporaries, of which the
most esteemed are two pictures in the chapel of St. Joseph, with figures by John Bock-
horst, called Langen Jan, representing the Holy Family, and the Repose in Egypt. He
died in 1644, aged 60.
WILLAERTS, Adam. He was born at Antwerp in 1577, and distinguished himself as a
painter of marines, sea-ports, and views of the coast, with a variety of shipping and
boats. His pictures are generally embellished with groups of small figures, correctly
drawn, and touched with neatness and spirit. He also painted conflagrations, repre
senting villages and ships on fire; and his works of that description are well coloured,
and produce a striking effect. In the year 1600 he left Antwerp, and established him
self at Utrecht, where his works were held in considerable estimation. He died in that
city in 1640, aged 63.
WILLAERTS, Abraham. He was the son of the artist mentioned in the preceding article,
and was born at Utrecht in 1613. For some time he was instructed by his father, but
he afterwards studied under John Bylaert, a painter of little celebrity. On leaving that
master he went to Paris, where he entered the school of Simon Vouet, and became a
reputable painter of history. Returning from France to Holland he visited Brussels,
where he was taken into the service of Prince Maurice, in whose employment he passed
several years. He died at Utrecht in 1660, aged 53.
WILLE, John George. This eminent engraver was bora at Konirigsberg in 1717. After
learning tbe rudiments of design in his native country he went to Paris, when he was
nineteen years of age, where he applied himself to stroke engraving, which he after
wards carried to a high pitch of perfection, and few artists have equalled him in the
clearness and beauty of his execution. He particularly excelled in representing the
brilliancy and softness of silk and satin draperies, and the delicacy of his graver was
admirably adapted to express the polished finishing of the most celebrated Dutch
painters. He has engraved several charming plates from pictures by G. Douw, Mieris
Metzu, Schalken, Netscher, and others, which give a perfect idea of the style of the
original paintings. We have also by him many excellent portraits, after the French
artists, which are executed in a very beautiful style, particularly those of the Marquis
de Marigny, the Count de St. Florentin, and J. B. Mass6. Wille had a great number
of pupils, several of whom have imitated his style with considerable success. The fol
lowing are among his most esteemed prints :

608 W I L W 1 L
PORTRAITS.
James Francis Edward Stuart, called the old Pretender.
Charles James Edward Stuart, called the young Chevalier.
Henry Benedick Stuart, Cardinal York.
Prospero, Cardinal Colonna ; after Pompeo Battoni.
Frederick II. , King of Prussia ; after Pesne.
Marshal Saxe ; after Rigaud.
Woldemar de Loevendael, Marshal of France ; after de la Tour.
Louis Philipeaux, Count de St. Florentin ; after Tocquk.
Abel Francis Poisson, Marquis de Marigny ; after the same.
C. E. Briseux; Architect.
Margaret Elizabeth de Largilliere ; after N. de Largilliere.
Elizabeth de Gouy, wife of H. Rigaud ; after Rigaud.
Joseph Parrocel, Painter ; after the same.
John de Boullogne, Comptroller-general of Finance ; after the same.
SUBJECTS AFTER VARIOUS MASTERS.
The Death of Cleopatra ; after Netscher.
The Death of Mark Anthony; after Pomp. Battoni.
Le Marechal-des-Logis ; after P. A. Wille.
Les bons Amis ; after Ostade.
La Menagere Hollandoise ; after G. Douw.
La Liseuse ; after the same.
L'lnstruction Paternelle ; after Terburg.
La Gazettiere Hollandoise ; after the same.
La Tri.coteuse ; after Mieris.
L'Observateur Distrait; after the same.
La Cuisiniere Hollandoise ; after Metzu.
Le Concert de Famille ; after Schalken.
Les Musiciens Ambulans ; after Dietricy. The first impressions of this plate are before the
letter e, in the word electorale in the dedication.
Les Offres Reciproques ; after the same.
La Petite Ecoliere; after J. E. Schenau.
La Maitresse d!Ecole ; after P. A. Wille.
Les Soins Maternels ; after the same.
Les Delices Maternelles; after the same.
WILLE, Peter Alexander. Fie was the son of John George Wille, and was born at
Paris in 1748. After receiving some instruction in design from his father, he frequented
the Academy at Paris, and afterwards was a scholar of Vien and Greuze. He distin
guished himself as a painter of domestic and other subjects, and was made a member
of the Academy at Paris. Some idea may be formed of his abilities as a painter, from
the prints engraved from his pictures by his father. He amused himself occasionally
with the point, and etched a few prints, among which is one called Le Petit Vauxhall,
from his own design.
WILLEBORTS, Thomas, sometimes called Bosschart. This painter was born at Bergen-
op-zoom in 1613. After having learned the rudiments of the art in his native city he

WIL WIL 609
was sent to Antwerp, where he became a disciple of Gerard Segers, under whom he stu
died four years, when he was advised by his preceptor to visit Italy. During his stay at
Rome he assiduously studied the works of the best masters, and returned to Antwerp, a
correct and graceful designer. Although that city was then the residence of the greatest
artists of the Flemish school, the talents of Willeborts were not eclipsed by their ablest
productions. He was commissioned to paint several altar-pieces for the churches at
Antwerp, and the other cities in Flanders and Brabant, which are not disgraced by a
comparison with the works of Rubens and Vandyck. In portraiture, he approached
the truth and suavity of the latter, and several of his heads have been mistaken for
those of that admirable artist. He was much employed by the Prince of Orange, for
whom he painted several considerable works, particularly a large allegorical picture of
War and Peace, which is ingeniously composed, and admirably coloured. Two of his
most esteemed pictures are the Marriage of St. Catherine, in the church of the Carme
lites, at Antwerp ; and the Martyrdom of St. Basil, at the Capuchins, at Brussels. In
1649 he was made director of the Academy at Antwerp, and died in that city in 1656,
aged 43.
WILLEMANS, Michael. This artist was born at Lubeck in 1630. Desirous of pro
curing better instruction in the art then he could obtain in the place of his nativity, he
went to Amsterdam, where he first -became a scholar of Jacob Backer, but he afterwards
entered the school of Rembrandt, under whom he studied several years, and became a
reputable painter of history. On his return to Germany, he was much patronised by the
Elector of Brandenburg, for whom he executed several considerable works, particularly
a large picture of Vulcan forging the Arms of Mars, which is spoken of as a very able
performance; he was also employed at several other courts in Germany, where his pic
tures are highly esteemed. He died in 1697, aged 67.
WILLEMS, Mark. This artist was bora at Mechlin ahout the year 1527, and was a
scholar of Michael Coxcie. He was a very eminent painter, he composed with facility
and his figures are well drawn. In the cathedral at Mechlin is a fine picture by this
master, of the Decollation of St. John. When Philip, King of Spain, made his public
entry into Mechlin, this artist was employed to paint a triumphal arch on the occasion
which gained him great credit, though he was then only twenty-two years of age. He
died in 1561, aged 34.
WILLENGEN, Peter Vander. He was born at Bergen-op-Zoom in 1607. His pic
tures represent subjects of still-life ; vases of gold and silver, books, and musical instru
ments, which are very highly finished, and produce a very natural effect.
WILLIAMS, Robert. This artist was a native of Wales, and flourished about the year
1715. He distinguished himself as an engraver in mezzotinto, and we have by him
a number of portraits, some of which are finely executed, and many of them are inte
resting in the illustration of English history; among which are the following:
Charles I. ; after Vandyck.
Edward, Lord Littleton, Lord Keeper ; after the same.
Charles II. ; two plates ; after Lely and Kneller.
Vol. II. 4 H

610 WIL WIL
James II., when Duke of York ; after Cooper.
Mary Beatrix, his Queen ; after Wissing.
William III., when Prince of Orange; after the same.
Mary, Princess of Orange ; after the same.
Henry Somerset, Duke of Beaufort ; after the same.
William Russell, Duke of Bedford ; after the same.
James Fitzroy, Duke of Monmouth.
James Butler, Duke of Ormond ; after the same.
Charles Somerset, Marquis of Worcester; after the same.
The Countess of Derby.
Sir Charles Cotton ; after Riley.
Theophilus, Earl of Huntingdon ; after Kneller.
George, Prince of Denmark ; after Wissing.
Anne, Princess of Denmark ; after the same.
Lord Cutts, when Mr. Cutts ; after the same.
George Fitzroy, Duke of Northumberland ; after the same.
Charles Lennox, Duke of Richmond; after the same.
Sir George Rooke ; after Dahl.
Sir John Houblon, Alderman of London ; after Closterman ; scarce.
Sir Edmund King; m. D. ; after Lely.
Barbara Villiers, Duchess of Cleveland ; after Kneller.
Ann Scott, Duchess of Monmouth ; after Wissing.
Catherine Sedley, Countess of Dorchester ; inscribed Mrs. Sidley ; after the same.
Dorothy Cressy ; after Kneller ; scarce.
Thomas Betterton, Actor ; after Kneller.
John Campbell, Duke of Argyle; after Closterman.
Sir Richard Blackmore, m. d. and Poet ; after the same ; fine aud scarce.
WILLIAMS, William. The name of this artist is affixed to two views of the town of
Halifax. They are slight etchings, and are probably the productions of an amateur of
that place.
WILLIAMS, John. An English portrait painter, who is said to have been a scholar of
Richardson. He painted a half-length portrait of Mr. Beard, the celebrated singer,
from which there is a mezzotinto print by McArdell. Mr. Williams was an artist of
considerable ability, aud his portraits were much and deservedly admired. The time of
his death is not precisely ascertained, but it is supposed to have happened about the
year 1780.
WILLIAMSON, P. An English engraver, who flourished ahout the year 1660. He re
sided in London, and was apparently a publisher, as well as an engraver. We have by
him some portraits, among which is that of Mildmay, Earl of Westmorland. He also
engraved some small plates of subjects relative to the concealment of Charles II. dated
1667.
WILSON, Richard. This distinguished landscape painter was born in Montgomeryshire
in 1714. He was the son of a clergyman, who possessed a small benefice in that county,
but, soon after the birth of our artist, he was collated to the living of Mould, in Flintshire-

WILSON. 611
At an early period of his life, young Wilson discovered a marked disposition for
drawing, and was sent to London, where he was placed under the tuition of Thomas
Wright, an obscure painter of portraits. To this branch of the art Wilson for several
years devoted himself, and it appears that he had acquired considerable reputation in
that department, as, about the year 1749, he painted a large picture of his present
Majesty, then Prince of Wales, with his brother, the late Duke of York, for Dr. Hayter,
Bishop of Norwich, at that time tutor to the princes. After having practised some years
in London, he went to Italy, where he continued the study of portrait painting, being
still unacquainted with the genuine bias of his genius, and probably might have remained
long ignorant of the peculiar bent of his talents, hut for the following circumstance.
In his moments of relaxation from his ordinary pursuits, Wilson had painted a land
scape, which having been accidentally seen by Zuccherelli, that artist was so struck with
the merit of the performance, that he strongly recommended him to apply himself to
landscape painting. Another occurrence, which happened nearly at the same time,
tended to confirm him in his determination to follow that pursuit. The celebrated French
painter, Vernet, was at that time at Rome, where his works were held in the highest
estimation; and happening to visit Wilson's painting room, was so struck with a land
scape he had painted, that he requested to become the possessor, offering in exchange
one of his best pictures : the proposal was readily accepted, and the picture delivered
to Vernet, who, with a liberality as commendable as it is unusual, placed it in his exhi
bition-room, and recommended the painter of it to the particular attention of the cogno
scenti. His progress in landscape painting must have been rapid, as he had some pupils
in that line of art whilst at Rome, and his works were so much admired, that Mengs
painted his portrait, and received in return a landscape by Wilson. It is not known at
what time he returned to England, but he was in London in 1758; and his picture of
Niobe was in the first exhibition of the Society of Artists, in 1760, by which he acquired
great reputation.
The talents of Wilson did not, however, secure him that encouragement and distinc
tion which his abilities deserved. He was doomed to encounter the galling indifference
of a tasteless public, which was probably aggravated by the jealousy and intrigues of
some of the most distinguished of his contemporaries, with whom he did not live on
very amicable terms. This has also been said to have partly resulted from his own
conduct, which was by no means distinguished by a conciliatory disposition, or great
•suavity of manners. Conscious of his own powers, and disdaining to sue for protection,
his transcendent abilities were suffered to exert themselves under the oppression of
indigence and obscurity, and, participating the destiny of many illustrious artists who
had preceded him, the beauty and value of his works were not discovered until death
had rendered him equally insensible of admiration or neglect.
At the institution of the Royal Academy, Mr. Wilson was chosen one of the founders,
and after the death of Hayman he solicited the situation of the librarian, which he
retained until his decayed health obliged him to retire to his brother's in Wales, where
he died in May, 1782, aged 68.
In the Supplement to Pilkington's Dictionary, published in 1798, a prejudiced, and an
absurd parallel is drawn, between the works of Claude Lorraine and those of Wilson,
whilst it is, at the same time, admitted, that their styles were so different, that no com
parison of them can be justly made. The slightest inspection of his works will convince
us of the originality of his style. In his studies in Italy, he wisely avoided all imitation
4H2

612 WIL WIN
of the artists of that country who had preceded him, and he adopted a manner peculiarly
his own, which was not less original than varied and interesting. His views in Italy
are selected with judgment and taste, and it has been justly observed, " that in his pic
tures, the waving line of mountains, which bound the distance in every point of view;
the dreary and inhospitable plains, rendered solemnly interesting, by the mouldering
fragments of temples, tombs, and aqueducts, are all indicated in a masterly manner,
exhibiting that local character, which cannot but be considered as peculiarly grand and
classical." In his English pictures he is particularly successful in the fresh and dewy
brightness he has given to his verdure; and though, being sometimes employed'to paint
particular views, which were less picturesque than he would have selected^ and conse
quently partook of the formality of portraiture, they are always treated with taste and
ingenuity. For the satisfaction of collectors, it may not be improper to notice his fre
quent repetition of the same subject or view, as there are several of his pictures which
he has repeated three or four times, with little or no variation, a circumstance which has
sometimes given rise to a suspicion of the originality of some of his works, which are
really the productions of his pencil.
WILSON, Benjamin. This artist was a native of Leeds, in Yorkshire. Having shown
some talent for drawing, he was sent to London when young, and was recommended' to
Dr. Berdmore, master of the Charter-house, wrio took him under his protection. It is
uncertain whether he was regularly educated in the art, but by his natural disposition,
and assiduous application, he became a very reputable painter of portraits. He was
among the first of the portrait painters of his time, who endeavoured to introduce a
better style of relief, and of the chiar-oscuro into his pictures, and his heads are coloured
with more warmth and nature than those of the generality of his contemporaries.
About the year 1773 he was appointed master painter to the Board of Ordnance,
which he retained till a few years before his death. He died at his house in Great
Russell Street, in 1788. We have several etchings by this artist, among which are the
following :
An old Man's Head, with a bat and feather, and a ruff; in imitation of Rembrandt.
A small landscape, lengthways ; in imitation of the same master.
His own Portrait, in a wig, with very little drapery.
A coarse etching, entitled The Repeal. It was published upon the repeal of the American stamp
act, and contains the portraits of the leading men of the ministerial party.
WILSON, W- An English engraver in mezzotinto, by whom we have some portraits,
among which is that of the Countess of Newburgh ; after Dahl.
WILSON, William. This artist engraved several landscapes, after Claude Lorraine,
Poussin, and other masters. They are executed with the graver, in a neat style.
WILT, Vander. A Dutch mezzotinto engraver, who flourished about the year 1680. He
scraped several plates from the pictures of Brower, Schalken, and other masters.
WINGANDORP, F. This artist was a native of Germany, and flourished about the year
] 672. He engraved several frontispieces and other book plates, which are very indig
ently executed.

WIN WIS 613
WINSTANLEY, Henry. He was the projector and builder of the Eddystone Light
house, and perished in the ruins when it was destroyed by a violent storm. In 1994, he
was clerk of the works at the palace of Audley-end, of which he designed and etched
several views, which he dedicated to James IL, and added an inscription in honour of
Sir Christopher Wren. They are now become very scarce.
WINSTANLEY, Hamlet. He was the son of Henry Winstanley, and was designed by
his father for a painter. With that intention he was placed under the tuition of Sir
Godfrey Kneller, by whom he was instructed in the principles of design. On leaving
that master he went to Italy, where he resided some years, and after his return to Eng
land applied himself entirely to engraving. He etched a set of twenty plates from
pictures in the collection of the Earl of Derby, by Titian, Tintoretto, P. Veronese,
Bassano, Guido, Castiglione, Spagnoletto, C. Maratti, Rubens, Vandyck, Rembrandt,
8cc. He also engraved a set of prints from the paintings by Sir James Thornhill, in the
cupola of St. Paul's. He died about the year 176O.
WINTER, Giles de. This painter was horn at Leewarden in 1650, and was a scholar of
Renier Brakenburg, whose style he imitated with considerable success. He painted
similar subjects to those of his master, representing Dutch boors regaling, and the Re
creations of the cabaret. His pictures are ingeniously composed, and his colouring is
brilliant and clear, but his design is even more incorrect than that of his instructor, and,
like him, he neglected the study of nature, to adopt the negligence and dispatch of a
mannerist. His pictures are little lcnown, except in Holland, and there they are not
held in much estimation.
WIRZ, John. This artist was born at Zuric in 1640, and was a scholar of Conrad Meyer.
He practised portrait painting with considerable success, but he is more deserving of
notice as the engraver of a set of forty-two plates, from his own designs, for a book
written by himself, entitled Johannis Wirzii Roma Animate Exemplium, fyc, published in
1677. They are etched in a neat, spirited style, resembling that of John William Baur.
He also etched two plates after Holbein, one representing a female, with a naked child
holding an arrow, and the other a woman with two children. We have also by him a
small whole-length portrait of Theodore Meienus, after Meyer.
WISSING, William. This painter was born at Amsterdam in 1656, but was instructed
in the art by William Doudyns, a painter of history, at the Hague. On leaving that
master he went to Paris, where he did not remain long, and afterwards visited England,
about the year 1680. He was for sometime employed to assist Sir Peter Lely in his
numerous works, and, after the death of that eminent artist, he became a favourite
painter. He drew all the Royal Family, and particularly the Duke of Monmouth,
whose portrait he painted several times, which ingratiated him with the King and the
ladies of the court. Although he found a formidable rival in Sir Godfrey Kneller, he
still Tvas extensively employed, and after the death of Charles II. was appointed prin
cipal painter to his successor, by whom he was sent into Holland to paint the portraits
of William and Mary. He did not long survive his return to England, and died at
Burleigh, the seat of the Earl of Exeter, in 1687, at the age of thirty-one. We have a
mezzotinto portrait of Wissing, inscribed Gulielmus Wissingus inter pictores sui sacidi

614 WIT.
celeberrimos, nulli secundus, artis sua non exiguum decus et ornamentum, immodicis brevis est
at as.
WIT, Peter de, called* Pietro Candido. This painter was born at Bruges in 1548. It
is not known under whom he studied, but he travelled to Italy when he was young,
where he formed an intimacy with Giorgio Vasari, and assisted that master in the works
he was employed on in the Vatican. He painted with equal success in oil and in fresco,
and was employed by the Grand Duke of Tuscany in several considerable works in the
palace at Florence, and designed some cartoons for tapestry. Maximilian, Elector of
Bavaria, invited him to Munich, where he passed the remainder of his life. John Sadeler
has engraved several prints from the works of this master, among which are the Annun
ciation, Christ with the Disciples at Emaus, the Holy Women at the tomb of our Saviour,
and the Last Supper.
WIT, Gaspar de. He was the brother of the artist mentioned in the preceding article,
and was born at Antwerp in 1621. He visited Italy, where he remained several years,
and on his return acquired considerable reputation in painting small landscapes, very
highly finished, in which he generally introduced architectural ruins, of which he had
made designs during his residence in Italy.
WIT, Emanuel de. He was born at Alkmaer in 1607, and was a scholar of Evert van
Aelst,a painter of still-life. He did not however adopt the style of his instructor, but
for some time applied himself to portrait painting. Not meeting with the encourage
ment he expected, he studied perspective and architecture, and became one of the most
eminent artists of his country, in painting interior views of churches and temples, which
he embellished with figures correctly drawn, and touched with great spirit. He gave a
striking and picturesque appearance to his pictures, by frequently representing the sun
shining through the windows, on part of the building, which is finely contrasted with
that which is in shadow, and produces a natural and pleasing effect. The different orna
ments of the buildings are designed with the utmost precision, and every object is
touched with a masterly and bold pencil. His best pictures represent the insides of the
churches at Amsterdam, with groups of figures, habited in the dresses of the times. He
died in 1692, aged 85.
WIT, Jacob de. This painter was born at Amsterdam in 1695, and, having shown an
early inclination for the art, when he was fourteen years of age he was placed under the
tuition of Albert van Spiers, a painter of history of some eminence, under whom he
studied three years. The desire of contemplating the admirable productions of Rubens
and Vandyck, and the other distinguished masters of the Flemish school, which embel
lished the public edifices at Antwerp, induced him to visit that city, where one of his
uncles resided, and possessed a choice collection of valuable pictures. At Antwerp he
hecame a scholar of Jacob van Halen, a painter of little celebrity, under whom he did
not.continue longer than two years, when he devoted himself entirely to the study of the
works of Rubens and Vandyck.
In 1712 and 1713 he made designs from the paintings by Rubens in the four ceilings
of the Jesuits church, in thirty-six compartments, which were destroyed by lightning in
17 18, and we are indebted to De Wit for the preservation of these admirable composi-

WIT WIT 615
tions, which were afterwards engraved, from his designs, by John Punt. He was princi
pally employed in painting ceilings, and the decorations of splendid apartments, con
sisting of emblematical and allegorical subjects, which he composed with great inge
nuity, and his colouring is clear and agreeable. He was particularly successful in the
design of children, which he was fond of introducing into his pictures.
In 1736 he was employed by the magistrates of Amsterdam in the embellishment of
their great Council-chamber with several subjects from the Old Testament, which is his
most considerable work, in which he has discovered an inventive genius, and great
facility of execution. He also painted several altar-pieces for the catholic churches in
Holland, which are very creditable performances. His sketches, or models for his large
works, are touched with neatness and spirit, and are very well coloured. They are held
in considerable estimation. He was living in 1744.
WITDOECK, Hans, or John. An eminent Flemish engraver, born at Antwerp about the
year 1600. His name is differently inscribed on his plates, it is sometimes written
Witdoeck, sometimes Withouc, and occasionally Witdouck. The talents of this artist
were employed under the immediate inspection of Rubens, and he engraved several
plates from the pictures of that distinguished painter, which, though less correct in the
drawing, and less admirable in the mechanical part of the execution, than those of
Vorsterman, Bolswert, or Pontius, are still estimable for a vigorous and powerful effect,
and as they are, in several instances, the only prints we have of the capital pictures from
which they are engraved. He also executed some plates from the works of other emi
nent artists of the Flemish school. The following are his best prints :
SUBJECTS AFTER RUBENS.
Melchizedeck presenting Bread and Wine to Abraham.
The Nativity. This plate has undergone several alterations, chiefly to add to the effect. The
first impressions are without the address of Corn. Coeberchs; the second are with that ad
dress. The plate afterwards came into the possession of S. Bolswert, who retouched it, by
which it was greatly improved. He also effaced the name of Coeberchs, and inserted his
own.
The Adoration of tlie Magi ; engraved in 1688. There are also different impressions of this
plate.
The Elevation of the Cross, in three sheets. His most capital print.
Christ with the two Disciples at Emails. There are some impressions of this plate printed in
chiar-oscuro, under the direction of Rubens, which are very scarce.
The Assumption of the Virgin. The impressions of this plate, with tlie address of Corn, van
Merlen, are retouched.
The Holy Family, with St. John. The first impressions of this plate are before the address of
Moemians.
Another Holy Family, with St. Elizabeth and St. John. The best impressions have the address
of R. J. de Bert.
St. Cecilia. This plate was retouched and improved by Bolswert.
He also engraved several plates from the works of Cornelius Schut, and other masters.
WITHOOS, Matthew. This painter was born at Amersfort in 1627, and was a scholar
of Jacob van Kampen, a painter of history and an architect. On leaving that master
he travelled to Italy, in company with Otho JVlarcellis, where, instead of pursuing the

616 WIT WOR
line of art in which he was educated, he adopted that of his travelling ,companion,7jmd
distinguished himself as a painter of curious plants, reptiles, and insects. He repre
sented these exotic objects with surprising truth and precision, and his pictures were
very highly finished. During a residence of two years at Rome, he was much employed
by Cardinal de Medici, for whom he painted a great variety of subjects of that descrip
tion, for which he was liberally rewarded. On his return to Holland, in 1650, his. works
were not less admired than they had been in Italy ; and they were readily purchased at
considerable prices. The approach of the French army, in 1672, induced him to retire
into North Holland, and he settled at Hoorn, where he died, in 1703, aged 76.
WITHOOS, John. He was the son of the artist mentioned in the preceding article, born
at Amersfort In 1648, and was instructed by his father, until he had acquired sufficient
ability to undertake a journey to Italy on the produce of his talents. During a residence
of several years at Rome, he was employed in designing the most picturesque views in
the vicinity of that capital, which he painted, iu water colours, in a neat finished style,
and his pictures of that description were much admired. Though he met with very
flattering encouragement at Rome, the solicitations of his friends induced him to re
turn to Holland, where his works were not less admired. He was invited to the court of
the Duke of Saxe Lawenburg, in whose service he remained until his death, in 1685,
aged 37.
WITHOOS, Peter. This artist was the younger brother of John Withoos, and received
his first instruction in the art from his father. He excelled in painting flowers, plants
and insects, in water colours, on vellum, which he finished in a very delicate style, and
they were accurately designed, and coloured from nature. His works are highly
esteemed in Holland, where they are purchased at considerable prices. He died at
Amsterdam in 1693.
WITHOOS, Francis. He was the youngest son and scholar of Matthias Withoos, and
painted plants and insects in water-colours, in the style of his brother, but was very in
ferior to him. He died at Hoorn in 1705.
WITTIG, Bartholomew. This artist was a native of Oels, in Silesia, and flourished
about the year 1640. He excelled in painting festivals and concerts of music. In the
gallery of the Louvre is a picture by him, representing a sumptuous banquet, which
possesses considerable merit. He died in 1684.
WORERIOT, or Voeiriot, Peter. This artist was bora at Bar-le-Duc, in Lorraine,
about the year 1525. He chiefly resided at Lyons, where he followed the profession of
a goldsmith and an engraver. We have several prints by him, from his own designs,
executed in a neat style ; his drawing, as was usual with the artists of his time is not
very correct, and there is not much effect -in his prints, from the lights being scattered,
and a want of depth in the shadows. They are, notwithstanding, held in considerable
estimation. He usually marked his copper-plates with a complicated monogram, com
posed of several letters, Tvhich appear to be the initials of his name, and the place of his
nativity, thus,^?. Among others, he engraved a set of plates for a book published at
¦Lyons inl556, entitled Pinax Iconicus antiquorum, ac variorum in sepulturis rituum. Accord-

WOLFGANG. 617
ing to Papillon, he also engraved on wood, and his cuts are said to be very numerous,
and executed with great neatness and delicacy. His wooden cuts are marked with a
double cross, called the cross of Lorraine Jjp..
COPPER-PLATES MARKED WITH HIS MONOGRAM.
The Sacrifice of Abraham.
Moses saved from the Nile.
Phalaris put into the Brazen Bull.
A Woman with two Children in her arms, throwing herself on a funeral pile.
Two small Landscapes, with a great number of figures.
The Battle betwixt Constantine and Maxentius ; after Raffaelle.
WOLFGANG, George Andrew. A German engraver, born at Chemnitz, in Saxony,
in 1631. He followed the profession of a goldsmith, and engraved a few historical sub
jects and portraits, which are executed in a stiff, dry style, and possess little merit.
Among others, we have the following prints by him :
PORTRAITS.
George Frederick, Margrave of Brandenburg ; after C. Zierl.
Peter Muller, Jurisconsult. SUBJECTS.
A Sacrifice to Diana; after J. H. Schoenfeld.
Saul consulting the Shade of Samuel ; after J. Werner.
A set of ten subjects from the Old and New Testament ; after lo. Umbach.
WOLFGANG, Andrew Matthew. He was the son of the - preceding artist, born at
Augsburg in 1662, and learned the principles of design and engraving from his father.
We have by him several portraits of distinguished personages of Germany, of which
the most esteemed is that of the Margrave of Anspach, of that time.
WOLFGANG, John George. This artist was the younger son of George Andrew
Wolfgang, bora at Augsburg in 1664, and received his instruction from his father. He
had acquired considerable reputation as an engraver, when he was invited to the court
of Berlin, in 1704, and was appointed engraver to the King. We have a considerable
number of portraits by him, which are executed in a much neater style than those of
his father and brother. He also engraved a set of prints for a work in folio, entitled,
Notitia Universitatis Francofurtana, published in 1707. The following are among his
most esteemed portraits :
Frederick William, Elector of Brandenburg; from the equestrian statue by Jacobi.
Augustus William, Duke of Brunswick and Lunenburg ; after Franck.
John Melchior Dinglinger ; after A. Pesne.
WOLFGANG, Gustavus Andrew. This artist was the sop of Andrew Matthew Wolf
gang, and was born at Augsburg in 1692. He was instructed in design and engraving
by his uncle, John George, and executed several plates of portraits in the same neat
style.
Vol. II. 4 I

618 WOLGEMUT.
WOLGEMUT, Michael. An ancient German painter and engraver, born at Nuremberg
in 1434. Of his works as a painter little is known ; a picture by him is preserved in the
gallery of the Louvre at Paris, representing Christ brought before Pilate; which exhibits
the dry, gothic style, which characterised the German school, previous to the period of
Albert Durer.
Wolgemut flourished soon after the commencement of engraving in Germany, and
has been supposed to have been instructed in that art by Jacob Walch. This supposi
tion is, however, extremely questionable, as will be found by a reference to the article
Jacob Walch. As Mr. StrUtt appears to have given the most clear and satisfactory ac
count of these two artists, we shall quote that author at length on the present occasion.
" Wolgemut was a man of genius. He engraved both on wood and on copper; but
his works on wood are far more numerous, and more generally known, than those on
copper. It is said that his mark was the letter W only, and it is true that we have a
great number of prints marked with a simple W; but it is equally certain that they do
not all, if any of them, belong to Wolgemut. I have already informed the reader, in
the account of Wenceslaus, an ancient engraver on copper, and contemporary with
Martin Schoen, that he used the W alone as a mark, and the greater part of his works
consist of copies from the engravings of other masters ; and the same hand is easily
traced in all, or the far greater part of the prints so marked ; for which reason one may
fairly conclude that they are all the productions of one and the same person. Besides,
judging from the boldness and merit which appear in the engravings on wood by
Wolgemut, together with the originality of the designs, we cannot easily be led to con
ceive, that there should be that servility and laboured style of execution (all of which
fails of producing a clear effect) in his works on copper only, for the prints, marked with
the W, are every way inferior to what might justly have been expected from Wolgemut,
tbe engraver of the Nuremberg Chronicle.
"We have some few excellent engravings on copper executed ahout this time; these
have much of that spirited style in them which appears in the wooden cuts of Wolge-
o
mut, and they are marked with a W surmounted by a small o, thus, W, and these prints,
I verily believe, are the productions of his graver. For this reason, I shall describe the
one following very particularly, and this may serve as a specimen for all the rest. In
the collection of Dr. Monro, I found a very fine impression. It is ten inches and a half
high, by seven inches and a half in width, and represents an old Man seated in a praying
posture; he has a standard or flag resting upon his left shoulder, and a book before him-
behind him is an armorial shield, with three different bearings, and at the bottom a
cave with a gate before it. Above the figure is a scroll, upon which is written, Sce
Wilhelme Dux Acjuitani.e et Comes Pictaviensis. The head of this figure is well
drawn, the hands are marked in a spirited manner, the folds of the drapery are broad,
and boldly expressed, and the whole is composed in a style which does much honour to
the artist. With respect to the mechanical part, it is executed with the graver only, in
a dark, clear style, so as to have the effect of a neat etching."
In conjunction with William Pleydenwurff, he designed and executed the wooden
cuts for. the large folio work, compiled by Herman Schedel, and printed at Nuremberg,
in 1493, usually known by the appellation of the Nuremberg Chronicle. Michael Wolge
mut has the honour of counting among his disciples the celebrated Albert Durer. The^
following prints are generally attributed to him:

WOL WOO 619
Christ crowned with Thorns, with the Virgin and St. John.
The Crucifixion, with St. John and the Holy Women.
The Entombing of Christ.
The Resurrection.
St. Sebastian.
St. Christopher.
A Cavalier and a Lady walking in a garden, Death holding an Hour-glass is seen behind a tree-
The same subject, with some variation, was engraved by Albert Durer.
A Sea-monster carrying off a Nymph.
Three Women, or Witches, with a Globe over their heads, with the letters O. G. H. and an ap
pearance of Hell in the back-ground ; dated 1494. The same subject was also engraved by
Albert Durer.
A set of thirteen plates of Christ and the Twelve Apostles.
Huber mentions a wooden cut by Michael Wolgemut, printed in chiar-oscuro, repre
senting Christ at table with his Disciples, which is said to be extremely scarce.
WOLTERS, Henrietta. This celebrated paintress in miniature was bora at Amsterdam
in 1692. She was the daughter of Theodore van Pee, an artist of little celebrity, by
whom she was taught the first rudiments of design. She was afterwards instructed in
miniature by James Christopher Le Blond, and it was not long before she surpassed her
preceptor in the delicacy of her touch and the beauty of her colouring. The portraits
of Vandyck were the models she most consulted, she copied some of them in miniature
with surprising accuracy, and though on so small a scale, her copies preserved all the
suavity of tint, and truth of character, which distinguish the works of that admirable
portrait painter. Her extraordinary talents soon attracted public admiration, and she
was employed to paint the portraits of the principal families at Amsterdam.
When Peter the Great was in that city, he honoured our artist with a visit, and was
so much pleased with the beauty and delicacy of her performances, that he made her
the most flattering offers of his favour and protection, to induce her to visit Petersburg,
which her attachment to her own country prevented her from accepting. Her reputa
tion reached the court of Berlin, whither she was invited by Frederick William, King of
Prussia, but her constant employment, and her partiality for the city of Amsterdam,
where her husband carried on an extensive commerce in works of art, induced her to
decline the invitation. She continued to exercise her talents with great respectability,
until the year 1741, when she died at Amsterdam, at the age of 49.
WOOD, John. An English engraver, who flourished in London about the year 1745.
He engraved several plates for the set of landscapes published by Mr. Boydell in 1747,
They are executed in a clear, neat style, and possess considerable merit. Among others,
we have the following prints by him :
A Mountainous Landscape ; after Sal. Rosa.
Two Landscapes ; after Gaspar Poussin.
Two Italian Landscapes ; after Claude Lorraine.
A Fire-light; after Rembrandt.
The Lake of Nemi ; after Wilson.
A View of London from Greenwich; after Tdlemans.
4 12

620 WOO WOO
WOODCOCK, Robert. According to Lord Orford, this artist was of- a gentleman's
family, and became a painter by genius and inclination. He had a place under the
government, which he quitted to devote himself to his art, which he practised solely on
sea-pieces. He designed those subjects from his childhood, and studied the technical
part of ships with so much attention, that he could cut out a ship with all the rigging,
to the utmost exactness. In 1723 he began to practise in oil, and in two years he copied
above forty pictures of Vandevelde. With so good a foundation he openly professed
the art, and his talent became so respectable, that the Duke of Chandos gave him thirty
guineas for one of his pictures. He died of the gout, in 1728, in the thirty-seventh year
of his age.
WOOLASTON, J. This artist is mentioned by the noble author of the Anecdotes. He
was born in London about the year 1672, and painted portraits, which had the merit of
strong resemblance, though perhaps not otherwise excellent, as his prices were very low.
Besides painting, he performed on the violin and flute, and played at the concert of that
extraordinary person, Thomas Britton, the small-coal man, whose picture he drew twice,
one of which portraits was purchased by Sir Hans Sloane, and is now in the British
Museum-
WOOLLETT, William. This eminent English engraver was born at Maidstone, in
Kent, in 1735. He was instructed in engraving by an obscure artist named Tinney, but
he was indebted for the admirable and original style, for which his works are distin
guished, to the resources of his own genius. By an intelligent union of the point and
the burin, he carried landscape engraving to a degree of beauty and perfection, which
was unknown before him, and which perhaps still remains unequalled. The fore-grounds
of his plates are as admirable for depth and vigour as his distances for tenderness and
delicacy; and in his exquisite prints from the pictures of our inimitable Wilson, he ap
pears to have impressed on the copper the very mind and feeling of that classic painter.
The talents of Woollett were not, however, confined to landscapes, he engraved, with
equal success, historical subjects and portraits. The extent of his abilities, and his ex
traordinary merit, are so universally acknowledged, that any further comment on them
is unnecessary. His character, as an artist and as a man, has been drawn up by one of
his friends with so much truth and simplicity, that it is here inserted. " To say that he
was the first artist in his profession would be giving him his least praise, for he was a
good man. Naturally modest and amiable in his disposition, he never censured the
works of others, or omitted pointing out their merit. His patience under the continual
torments of a most dreadful disorder, upwards of nine months, was truly exemplary, and
he died, as he had lived, at peace with all the world, in which he never had an enemy.
He left his family inconsolable for his death, and the public to lament the loss of a man,
whose works (of which his unassuming temper never boasted) are an honour to his coun
try." Fie died the 23rd of May, 1785, aged 50. The following is an ample list of his
principal prints : portraits.
George III., King of Great Britain ; after Ramsay.
Peter Paul Rubens ; after Vandyck.

WOO WOR 621
landscapes and subjects after various masters.
A View of the Hermitage of Watkwotth i after Hearne.--
The Merry Villagers; after Jones: i
A Landscape; with iEneas and Dido; after Jones and Mortimer.'
A Landscape, with Buildings ; after John Smith.
Another Landscape ; after George Smith ; the first premium print.
The Hay-makers ; after the same.
The Apple-gatherers ; after the same.
The Rural Cot ; after the same.
The Spanish Pointer ; after Stubbs.
A View of Snowden ; after Wilson.
Celadon and Amelia ; after the same.
Ceyx and Alcyone ; after the same.
Cicero at his Villa ; after the same.
Solitude ; after the same : by Woollett and Ellis-.
Niobe ; after the same.
Phaeton ; after the same.
Meleager and Atalanta; after the same.
The Jocund Peasants and Merry Cottagers; after C. Dusart; a pair.
The Fishery; after Wright.
The Boar-hunt; after Pillement.
Diana and Acteon ; after Fil. Lauri.
A pair, Morning and Evening ; after Swanevelt.
A Landscape, with figures and a Waterfall ; after An, Caracei.
Macbeth and the Witches ; after Zuccherelli.
The Enchanted Castle ; after Claude, by Woollett and Vivai-es,
The Temple of Apollo ; after the same. •
Roman Edifices in ruins ; after the same.
A Landscape, with the Meeting of Jacob and Laban ; after the same.
The Death of General Wolfe ; after West.
The Battle of La Hogue ;, after the same.
WOOTTON, John. An eminent English painter of landscapes and animals, who flou
rished about the year 1720. He was a scholar of John Wyck, and became a distin
guished artist in the branch which he principally pursued. He particularly excelled in
designing the sports of the turf and the field, and his horses and dogs were drawn with
surprising spirit and accuracy. He was employed by the principal frequenters of New
market, in painting the portraits of their favourite racers ; and he was not less eminent
in subjects of the chase, of which the most esteemed were seven pictures of fox-hunting
which were engraved by Canot. He painted a picture of William, Duke of Cumber
land, with a view of the routed rebel army near Culloden, of which we have a print by
Baron. His talents were not, however, confined to these subjects, he painted landscapes
with considerable success, in which he sometimes imitated the style of Claude Lorraine
and Gaspar Poussin. He died in 1765.
WORLIDGE, Thomas. An English painter and engraver, who flourished about the year
1760. He practised miniature painting for some time, and afterwards attempted por
traits in oil; but not meeting with the encouragement he expected he applied himself.

622 WOR WOU
entirely to engraving. Worlidge adopted a style resembling that of Rembrandt, and
finished his plates with the point of the graver, or the scratchings of a dry point. His
prints are very numerous, and possess considerable merit. They chiefly consist of heads
in the manner of Rembrandt and portraits. He engraved a considerable number of
antique gems, a complete set of which are hecome very valuable. We have also the
following prints by him :
Marcus Tullius Cicero ; after the marble at Oxford.
The Installation of the Earl of Westmorland as Chancellor of the University of Oxford. /
His drawings on vellum in Indian ink and black lead are highly esteemed. He died
at Hammersmith in 1766, aged about 65.
WORMS, Anthony van. A German engraver on wood, who flourished about the year
1530. He was a native of Worms, in the palatinate of the Rhine, from which city he
derives his name. Florent le Comte miscals him Vuormace. He executed several cuts,
which, though in a gothic style, are not devoid of merit. His prints are usually marked
with an A and a W intersected, thus, ^$£ .
WORNER, T. W. The name of this artist is affixed to an etching, representing an
Emperor crowned with laurel by Hercules and Minerva. It is neatly, though slightly,
executed, and is apparently the production of a painter, and from his own design, as he
adds the word fecit to his name.
WORSDALE, James. An English portrait painter, who was a scholar of Sir Godfrey
Kneller, but was dismissed by his master, for marrying his. wife's niece without his con
sent. He never arrived at great excellence in the art, but, being possessed of a talent
for humour, and of a convivial disposition, he acquired friends and considerable custom,
and was appointed master painter to the Board of Ordnance. He published several
poetical pieces, songs, &c. besides the following dramatic productions ; a Cure for a
Scold, a ballad opera, from Shakspeare!s Taming of a Shrew ; the Assembly, a farce, in
which Mr. Worsdale himself played the part of Old Lady Scandal admirably well ;
the Queen of Spain ; and the Extravagant Justice. He died in 1767.
WORTMAN, Christian Albert. According to Huber, this artist was a native of
Pomerania, and flourished about the year 1730. He was instructed in engraving by
Wolfgang, and at the age of twenty-five was invited to the court of Hesse Cassel,
where he was appointed engraver to the Landgrave. In 1727 he went to Petersburg,
where he engraved the portraits of several of the principal personages of the court.
Among others, we have the following portraits by him :
Anna, Empress of Russia; after L. Caravac.
Alexis, son of Peter I. ; after Lundden.
Ernest Louis, Landgrave of Hesse Darmstadt.
WOUTERS, Francis. This painter was born at Liere, in Brabant, in 1614. After re
ceiving some instruction in the rudiments of the Art, he was sent to Antwerp, where he
entered the school of Rubens. He applied himself to the study of landscape painting,
in which he became one of the most eminent artists of his time. His pictures generally

WOU WOW 623
represent the most picturesque views in the Forest of Soignes, near Brussels, which he
embellished with figures, representing historical or fabulous subjects, which were cor
rectly drawn, and ingeniously grouped. His pencil is bold and free, resembling the
style of his celebrated instructor, and his colouring is clear and brilliant. He occa
sionally painted history, and there are some altar-pieces by him in the churches in the
Netherlands, particularly Christ giving the Keys to St. Peter, in the church of St. Peter,
at Louvaine ; and the Visitation, in the church of the Augustines, at Antwerp ; but he is
less successful in his large pictures than in those of a smaller size. He was much in
favour with the Emperor Ferdinand II. , but coming to England with the Ambassador
of the imperial court, in 1637, his pictures pleased at court, and he was appointed chief
painter to the Prince of Wales, afterwards Charles II. On the misfortunes of the
Royal Family he returned to Antwerp, and was appointed director of the Academy in
that city, where, in 1659, he was killed by the accidental discharge of a gun. We have
a set of four landscapes etched by Francis W outers in a slight, but masterly style.
They are dated 1649.
WOUTERS, G. By this artist we have some large prints, representing views in and
near Rome, with figures. They are executed in a spirited and masterly style, resem
bling that of Callot; they are inscribed G. Woutevs, Cavalier, del. et sculp.
WOWERMANS, Philip. This admired painter was born at Haerlem in 1620; he was
the son of Paul Wowermans, a painter of history, of little celebrity, from whom he re
ceived the first lessons in design; but his genius leading him to a different branch of the
art, he became a disciple of John Wynants, and by the instruction of that excellent
landscape painter, his progress was so uncommon, that it surprised bis preceptor. He
frequently decorated the landscapes of his master with his admirable figures and
animals. On leaving the school of. Wynants, he applied himself to an. attentive study
of nature, of which his taste enabled him to make a judicious selection. It does not
appear that he visited Italy, or that he ever quitted the city of Haerlem. The little
that is known of his private life it is painful to relate. Although/ his works possess all
the excellencies we can wish, high finishing, correctness, agreeable compositions, and
a charming taste for colouring, they scarcely afforded him the pittance of a miserable
subsistence, and he languished long in indigence and obscurity. To supply the wants
of a numerous family, he was obliged to work without relaxation; but such was his love
for his art, that the most urgent necessity, could never induce him to leave any of his
works in a neglected or unfinished state. The pictures of Peter de Laer, called Bam-
boccio, at that time engrossed the admiration of the Dutch collectors, and the charm
ing productions of Wowermans were suffered to remain unnoticed and unknown.
The. disappointment, and chagrin at finding his works so much neglected, is supposed
to have impaired his. health, and he died in 1668, in the forty-eighth year of his age.
To prevent any of his children from following the profession. of a painter, a short time
before his death he ordered all his studies and drawings to be burnt, declaring that his
exertions had been so ill recompensed, that his son should not, by the possession of
them, be induced to follow a pursuit from which he had derived nothing but poverty
and wretchedness.
The pictures of this charming painter are now justly held in the highest estimation ;
they usually represent hunting and hawking parties, horse-fairs, encampments, halts. of

624 WOW W R I
travellers, farrier's shops, and other subjects into which he could introduce horses,
which he designed with a correctness and spirit which has never been equalled. Some of
his * landscapes are simply composed ; others are enriched with architecture, and his
scenery, always picturesque, is constantly diversified with a charming variety. His
. figures, as well as his horses, are -admirably drawn, and are grouped with uncommon
taste and ingenuity. His touch, though firm, is exquisite, and though his pictures have
the appearance of the most precious finishing, he must have painted with extraordinary
facility^ as few artists have left behind them such a number or such a variety of interest
ing productions. He was perfectly acquainted with the best principles of the chiar
oscuro; and the distribution of his masses is masterly and intelligent. His skies and
distances, his trees and plants, are the genuine representations of nature.
We have only one etching by this celebrated painter, which is extremely scarce : it
represents a horse standing, turned to the right, and tied by the bridle to the stump of
a tree. Near the top of the plate, on the left, are inscribed the letters W. Fee. 1643, in
a reversed way. The size of the print is seven inches by four inches seven-tenths, and it
is executed in so masterly a style, that we regret it is' his only effort. There is a copy
of it.
WOWERMANS, Peter. He was the younger brother of the preceding artist, and was
bora at Haerlem about the year 1625. He was first a scholar of Roland Rogman, but
afterwards studied under his brother, whose style he followed with so much success,
that some of his best pictures have sometimes been mistaken for the early productions of
Philip. He painted similar subjects to those of his brother, representing huntings, fairs,
¦¦' &c. His figures and horses are not so correctly drawn as those of Philip Wowermans,
his pencil is neither so spirited nor so delicate, and his colouring is less clear and trans
parent. Although his works possess considerable merit, the judicious collector will
easily distinguish between them and the inimitable productions of Philip.
WOWERMANS, John. This artist was the youngest brother and the scholar of Philip
¦ Wowermans, and was born at Haerlem about the year 1628. His pictures represent
landscapes, with figures and buildings, and are painted in a more pleasing tone of colour
than those of Peter Wowermans, and his touch is more spirited and masterly. He died
in 1666, i.n the prime of life.
WRIGHT, Richard. This artist was born at Liverpool about the year 1735. Without
the advantage of a technical education, he acquired a respectable talent, as a painter of
sea-pieces, by his own genius and industry, having been bred to the humble occupation
of a house and ship-painter. In 1764, the Society for the Encouragement of Arts, &c.
offered a premium for the best picture of a sea-view, when Mr. Wright became a candi
date, and obtained the prize. In 1766 he gained the first premium, of fifty guineas, by
a sea-piece, from which Woollett engraved his celebrated print of the Fishery. He was
a member of the chartered Society of Artists, and died about the year 1775.
WRIGHT, Joseph. This artist is distinguished by the name of Wright of Derby, at
which place he was born in 1734. He was a scholar of Thomas Hudson, at the same
time with Mortimer, and on leaving that master returned to Derby, where he established
himself as a portrait painter, and met with very flattering encouragement. In 1765 he

WRI WYC 62&
sent two pictures to the Exhibition, which were much admired, and the following year
exhibited three pictures of subjects by candle-light and fire-pieces, which established his
reputation in that particular branch of the art. In 1773 he visited Rome, and other
parts of Italy, and returned to England in 1775. Mr. Wright was elected an associate
of the Royal Academy in 1782, but having taken offence at Mr. Garvey's being chosen
Royal Academician before him, he resigned his Associate's diploma in disgust, though
he continued to exhibit occasionally with the Academy.
In 1785 he made an exhibition of twenty-four of his own works, at the great room in
the Piazza, Covent Garden, of which the principal picture represented the Destruction
of the Floating Batteries before Gibraltar. He died in 1797, aged 63.
WRIGHT, Inigo. An English mezizotinto engraver, who flourished about the year 1770.
We have, among others, the following prints by him :
The Family of Van Goyen; after J. Van Goyen.
St. John preaching- in the Wilderness ; after F. Lauri.
WULFRAET, Matthias. This artist was bora at Arnheim in 1648. He was the son
of an eminent physician, who purposed bringing him up to the same profession; but he
attended more to drawing than to his studies, and his father, yielding to his decided
disposition for the art, placed him under the care of Abraham Diepraam, a painter of
drolleries and drunken frolics. He did not, however, adopt the same subjects as his
master, but painted, with considerable success, conversations, and assemblies of persons
in higher life, which were composed with taste, and delicately finished. He also
painted small portraits and domestic and historical subjects, which were held in great
estimation in Amsterdam, where he chiefly resided, and where he died, in 1727, aged 79.
WUST, Charles Louis. A German engraver, who flourished about the year 1760.
Among other prints, he engraved a plate representing the Martyrdom of St. Bartho
lomew, after Mattia Preti, called II Calabrese. It is neatly executed, but in a laboured,
heavy style ; and the drawing is incorrect.
WYCK, Thomas. This painter was born at Haerlem in 1616. He excelled in painting
sea-ports, shipping, and small figures, and, from the subjects of his pictures, which fre
quently represent the ports in the Mediterranean, he appears to have resided some time
in Italy. They are usually embellished with a great number of small figures, represent
ing the inhabitants of different nations dressed in the habits of their respective coun
tries, correctly designed, and touched with great spirit, in a style resembling that of
Peter de Laer. He also painted fairs and public markets ; and was not less successful
in representing the interiors of chymist's laboratories, with their utensils. He came to
England about the time of the Restoration, and was much employed. In Burlington-
house is a view of the Parade in St. James's Park, with Charles IL, his courtiers, and
women in masks, walking. The statue of the Gladiator is at the head of the Canal.
He also painted a View of London, before the fire, and the Thames, taken from South-
wark, and exhibiting the great mansions of the nobility then on the Strand, of which
there is a print. He also painted the Fire of London more than once. His pictures are
well composed, his colouring warm and transparent, and his pencil is bold and free.
Vol. II. 4 K

626 W Y C W Y T
He died in 1686, aged 70. We have a few small etchings by Thomas Wyck of land
scapes, with figures, executed with neatness and spirit. They are now become scarce.
WYCK, John. He was the son of the artist mentioned in the preceding article, born at
Haerlem about the year 1640, and was instructed by his father, whom he accompanied
to England. John Wyck distinguished himself as a painter of battles and sieges ; nor
was he less successful in painting huntings and processions. He appears to have imi
tated the style of Philip Wowermans, but on a larger scale ; and though inferior to his
model in the neatness and delicacy of his finishing, his horses and figures are correctly
drawn, and are touched with great spirit and animation. His pictures are well com
posed, and his landscapes represent very agreeable scenery. Be sometimes painted
large pictures, such as the Battle of the Boyne, and the Sieges of Naarden and Namur,
but they are inferior to his small pictures. In the portraits of the Duke of Schomberg on
howeback, by Kneller, the horse, and the battle in the back-ground, were finely painted
by John Wyck. He painted several view^s in Scotland, and in the Isle of Jersey, and
made the designs for a book of hunting and hawking. He died, at Mortlake in 1702.
WYNANTS, John. This eminent landscape painter was born at Haerlem in 1600. It
is not known by whom he was instructed, but he was one of the most distinguished
artists of his time, and established an academy, which has produced some of the ablest
painters of the Dutch school. He has the credit of ranking among his disciples Adrian
Vandevelde, Philip Wowermans, and other eminent masters, who occasionally contri
buted to the embellishment of his landscapes,, by thg addition of their admirable
figures and animals.
The pictures of Wynants are faithful transcripts of the scenery of his country, and,
though the views are generally flat and confined, he has represented, with such truth and
simplicity, the broken grounds and winding sandy roads, the plants and stunted trees,,
the cottage and the hovel, that he always presents us with a perfect representation of
nature. From the facility with which he painted his works are by no means uncommon,
though their merit secures them a place in the choicest collections, and they are very
valuable. He died in 1670, aged 70.
WYTMAN, Matthew. This painter was born at Gorcum in 1650, and studied for some
time under Henry Verschuring. His first pursuit was landscape painting; but he after
wards became a scholar of John Bylaert, and applied himself to painting conversations,
and domestic subjects, in which he imitated the style of Gaspard, Netscher with success.
He also painted flowers and fruit, and his pictures of that description were not without
great merit. He had acquired considerable reputation, and had met with very flattering
encouragement, when he died., in the prime of life, in 1689.

XAV YTJS 627

X
XAVIN, Paul. This artist, with his brother, Hubert Xavin, are mentioned by Papillon
as natives of Paris, and engravers on Wood. He has not, however, specified any of their
works.
XIMENES, or Zimenes, Juan Fernandez. See Mubo.

YANES, Hernando. This Spanish painter was a native of Almedina. He flourished
about the year 15S1, and is said to have studied at Rome, under Raffaelle. His prin
cipal works are in the churches at Cuenca, of which the most esteemed are the Adora
tion of the Magi, and Christ dead, in the lap of the Virgin.
YANUS,  -. Papillon mentions this artist as an engraver on wood, and speaks of
his works as very delicately executed, but does not describe any of his cuts.
YEATES, Nicholas. An English engraver, who flourished about the year 1680. He
executed a few plates of portraits, in a very indifferent style, among which is that of
Sir William Waller, General for the Parliament.
YEPES, Thomas de. This artist was a native of Valencia, and excelled in painting
flowers, fruit, fish, and still-life. There are many of his works in the private collections
at Madrid, Seville, and in his native city, where they are highly esteemed. He died
in 1674.
Y VER, Peter. A Dutch engraver, who flourished at Amsterdam about the year 1747.
Among other plates he engraved a few portraits.
YUSO, Fray Matias Antonio Trala. This Spanish painter was born at Valencia in
1680. He became a monk of the order of St. Francis, and was principally employed in
painting pictures of the Virgin and Holy Families, for the church of his monastery,
which are said to have possessed considerable merit. He died in 1753, aged 73.
4K2

628 ZAA ZAC

ZAAGMOOLEN, Martin. This artist was a native of Holland, but neither the place of1
his nativity, nor the master under whom he studied, are mentioned. Houbraken notices
him as a painter of history, and describes a picture of the Last Judgment, by him, in
which were introduced a great number of figures, very incorrectly drawn, and feebly
coloured.
ZAAL, J. A Flemish engraver, by whom we have a large etching, representing a Boar-
hunt, after Snyders. It is executed in a bold, masterly style, and the masses are broad
and powerful, but the drawing is not very correct.
ZABELLI, or Zabaglio, Antonio. This artist was bora at Florence about the year
1740. He engraved several portraits for the collection published by Allegrini, at Flo
rence ; and some plates after the principal pictures at Naples ; among which are the
following :
Mary Magdalen ; after Guercino.
The Flight into Egypt; after Guido.
The Meeting of Christ and St. John ; after the same.
The Three Marys at the Tomb of Christ; after An. Caraeci.
ZABELLO, Giovanni Francesco. This Italian engraver, according to Orlandi, was a
native of Bergamo, and flourished about the year 1546. He marked his prints with a
die, to which he added the date.
ZACCHETTI, Bernardino. This painter was a native of Reggio, and flourished about
the year 1523. He is supposed, by Tiraboschi, to have been a disciple of Raffaelle ; but
Lanzi considers this conjecture not well founded. His picture in the church of S.
Prospero, designed and coloured in the style of Garofalo, and others of his works, of a
similar character, have probably given birth to such an opinion.
ZACCHIA, Paolo, il Vecchio. This painter was a native of Lucca, and flourished about
the year 1527. He is supposed by Lanzi to have studied at Florence, and painted his
tory with considerable reputation. There are several altar-pieces painted by him in the
public edifices at Lucca, which prove him to have been an artist of great ability, parti
cularly the Assumption of the Virgin, in the church of S. Agostino ; and the Ascension,
in S. Salvatore. In the latter he evinces an acquaintance with fore-shortening, superior
to the artists of his time.
ZACCOLINI, Padre Matteo. According to Baglione, this artist was born at Cesenaj in
the Roman states, in 1590, and distinguished himself as a painter of perspective, in
which he is said to have instructed Domenichino and Nicholas Poussin. He became a

ZAO ZAE 629
monk of the order of the Theatines, and his principal works are in their church of S.
Silvestro, on Monte Cavallo. He wrote some treatises on perspective, the manuscripts
of which are preserved in the Barberini library. He died in 1630, aged 40.
ZACHTLBVEN, Cornelius. This painter was born at Rotterdam in 1606. It is not
known frpm whom he received his first instruction in the art, but he settled at Antwerp,
where he acquired considerable reputation as a painter of drolls and drunken frolics, in
which he imitated the style of Adrian Brower. He also painted the interiors of farm
houses and kitchens, with the recreations of the villagers, in which he appears to have
made the works of David Teniers his model. Some of his best pictures represent corps de
gardes, with soldiers playing at cards, and amusing themselves, embellished with armour,
helmets, and warlike implements, which are drawn with precision, and touched with
great spirit. His works of that description are well composed, and his design is bold
and free. Though his pencil is less delicate and spirited, and his colouring less clear
and harmonious, than in the .productions of the two eminent artists whose style he fol
lowed, his pictures possess considerable merit, and are thought deserving of a place in
the best collections. We have a few etchings by Cornelius Zachtleven, executed in a
spirited style, from his own designs ; among which are the following :
A set of five grotesque subjects, representing the Five Senses.
Twelve small plates of Dogs, Cats» Fowls, &c.
A Landscape, with Goats and a Goatherd; etched in a bold, masterly style.
ZACHTLEVEN, Herman. He was the younger brother of Cornelius Zachtleven, bora
at Rotterdam in 1609, and is said to have been a scholar of John van Goyen. He did
not, however, follow the style of that master, but applied himself to designing the most
picturesque views on the borders of the Rhine and Meuse, which he painted in a neat,
highly finished style, and introduced an infinite number of figures and boats, which are
correctly drawn, and touched with neatness and spirit. His skies are light and floating,
and his perfect acquaintance with aerial perspective, enabled him to give to his dis-
tances.a pleasing and natural degradation. His colouring is clear and transparent, and
his pencil light and firm. It has been asserted that he travelled to Italy, but it is proved
by the Dutch biographers, that he never went further from his native country than to
visit Guelderland, and the Dutchy of Cleves, for the purpose of making designs of the
most interesting views in that neighbourhood. His drawings of that description enrich
the portfolios of the curious ; and his pictures are found in the choicest collections. He
resided the greater part of his life at Utrecht, where he died, in 1685, aged 76.
Herman Zachtleven etched a few plates of landscapes, from his own designs. They
are executed in a neat, spirited style ; among others are the following :
A Landscape, with Cottages, and some Cows in the fore-ground.
A Mountainous Landscape, with figures.
A set of six Landscapes, numbered.
A Landscape, with two Elephants.
ZAECH, Bernard. A German engraver, by whom we have a set of ruins, after Jonas-,.
Umbach. They are etched, and finished with the graver in a very neat style.

630 ZAG ZAM
ZAGANELLI. See Cotignola.
ZAGEL, Matthias. This ancient German engraver is named by different authors Zat*
zinger, Zasinger, and Zinck. He flourished about the year 1500, and, from the style of
his engraving, was probably a goldsmith. His plates are executed with the graver, in
a neat manner, but without the least taste, and his compositions and drawings are very
indifferent, and in so stiff and gothic a style, that if his prints were not dated, they
would be judged to be anterior to those of Martin Schoen. It has been observed, that
as he used the .graver with great delicacy and timidity, his plates could not resist many
impressions, and that after they were retouched, the prints were very bad. It is there
fore necessary to see the early impressions of them, to form a proper judgment of the
merit of his works. He usually marked his plates with the letters M Z, in a gothic
character, thus, \i*rz> or r£^- The following are his principal plates :
Solomon's Idolatry ; dated 1501.
The Virgin and infant Christ, in which she is represented holding a Cup to catch the Water
from a Fountain. 1501.
St. Catherine, wjth the Instrument of her Martyrdom.
St. Ursula.
St. Christopher carrying the infant Christ on his shoulder.
The Martyrdom of St. Sebastian.
Socrates and Zantipe.
A Cavalier seated, in a Landscape, entertaining his Mistress.
A March of Soldiers, preceded by a Drummer and a Fifer.
A Lover and his Mistress embracing. 1505.
An Assembly of Courtiers, some dancing, called The Great Ball.
A Tournament in the Streets of Munich, called The Great Tournament.
All these prints are very scarce.
ZAGEL, or Zaghel, Theodore. This artist is mentioned by Orlandi in the Abecedario
as the engraver of a print representing a Woman with her back towards the spectator!
It is marked with the cipher J£.
ZA1S, Giuseppe. This painter was a native of Venice, and studied under Francesco
Zucherelli, during his residence in that city. He painted landscapes with considerable
success. He possessed a genius more inventive and original than his instructor, but was
inferior to him in the facility of his touch, and the suavity of his colouring. ' He also
painted battle-pieces, which possessed great merit. He died at an advanced ao-e in
1784. 6 *
ZAMBONI, Matteo. According to Crespi, this artist was a native of Bologna and
flourished about the year 1700. He was one of the ablest disciples of Carlo Cignani
and painted history with considerable reputation. He had given proof of very pro
mising talents, in two altar-pieces in the church of S. Niccolo, at Rimini representing
the Life of S. Pietro Celestino, and of S. Benedetto ; when he died in the bloom of life.
ZAMBRANO, Juan Luis. A Spanish painter born at Cordova in 1599. He was a dis
ciple of Pablo de Cespedes, and was a successful follower of the style of that master.

ZAM ZAN 631
His principal works are in the cathedral at Cordova, and in the church of the convent of
Los Martyros, where be painted two altar-pieces, representing the Stoning of Stephen,
and the Martyrdom of S. Acisclo and S. Victoria. In the colegio de Santa Catalina, is
a fine picture by him of the Guardian Angel, and a St. Christopher, which Palomino
describes as designed in the great style of Michael Angelo. He passed the latter part of
his life at Seville, where he painted several altar-pieces for the church of St. Basil, and
died in that city in 1639, aged 40.
ZAMORA, Juan de. This artist was a native of Seville, and flourished about the year
1650. He distinguished himself as a painter of landscapes, embellished with historical
figures, in which he appears to have imitated the style of the best masters of the
Flemish school. Some of his most considerable works are preserved in the episcopal
palace at Seville.
ZAMPEZZO, Giovanni Batista. This painter was born at Cittadella, near Bassano, in
1620, and studied at Venice^ under Jacopo Apollonio. He was a successful imitator of
the style of his instructor, and painted some altar-pieces for the churches at Bassano,
which were esteemed little inferior to the works of his master. He died in 1700, aged 80.
ZAMPIERI,  ^- — • See Domenichino.
ZAN, Bernard. An engraver mentioned in the Abecedario, who is said to have flou
rished about the year 157 L He markedhis prints with the initials B. Z. with tire date;
but his works are. not specified.
ZANARDI, Gentile. According to the Padre Orlandi, this paintress was a native of
Bologna, and was instructed in the art by Marc Antonio Franceschini. She possessed
an extraordinary talent of copying the works of the principal masters with a softness
and amenity of colour that surprised the artists of her time ; and. also painted historical
subjects of her own composition,
ZAN CARLE, Poliphilos. This artist is mentioned by Florent le Comte as the engraver
of twelve plates of antique foliage for friezes.
ZANCHI, Antonio. He was born at Venice in 1639, and was a scholar of Francesco
Rusca. According to Lanzi, he is more noted for the number of his works, in the
public edifices at Venice, than for their merit. In the scuola di S. Rocco, is his most
considerable performance, representing the plague which afflicted Venice in 1630; In
the church of S. Girolamo there are several of his works, particularly the Good Sama
ritan, and the Prodigal Son-. He died in 1722; aged 83.
ZANETTI, Count Antonio Maria. A Venetian Nobleman, who was not only cele
brated for the curious collection of works of art which he possessed, but also for his
own ingenious productions. He was born at Venice in 1680, and was taught drawing
as an accomplishment, for which he conceived so strong an attachment, that at the
age of fourteen he etched a set of twelve plates, from his own designs, representing
studies of heads and figures, which he dedicated to Dr. Mead. Assisted by Antonio

632 ZAN ZAN
Maria Zanetti, his relation, and others, he executed and published a great number of
etchings and engravings on wood, in chiar-oscuro, from the drawings of Raffaelle, Par
migiano, and other celebrated painters, many of which he had purchased at the sale of
the Arundelian collection. They are divided into two sets, and together consist of
ninety-nine prints on copper and wood, wilh the portrait of Zanetti, engraved by Faldoni,
from a painting by Rosalba, in the front of the work. He marked his prints with a mo
nogram, composed of an A, an M, and a Z, thus ^_. We have also by him,
A set of twelve etchings of Figures and Animals ; after B. Castiglione.
A set of eighty prints of Antique Gems.
He died at Venice in 1757, aged 77.
ZANETTI, Antonio Maria, the younger. He was the nephew of the amateur men
tioned in the preceding article, and was born at Venice about the year 172d. He was
librarian of St. Mark, and was not less distinguished than his uncle for his zealous at
tachment to the arts. In 1760 he published a set of eighty plates, designed and etched
by himself, from the works of the Venetian painters, entitled Varie Pitture a fresco de
principali Maestri Veneziani, 4"c.
ZANGRIUM, John Baptist. A Flemish engraver, who resided at Louvaine about the
year 1600. He published in 1602 a book of dresses, with the title Album Amicorum ha-
bitibus Mulierum omnium natiotmm Europa. By the side of each figure is an ornamental
mantle, with a helmet, and a blank left for a coat of arms. They are neatly executed,
but without much taste. In the beginning of the work are introduced the portraits of
the Duke of Brabant; Isabella Clara, his Duchess ; and Justus Lipsius.
ZANI, Giovanni Batista. This artist was a native of Bologna, and a scholar of Gio
vanni Andrea Sirani. He intended to form a collection of etchings from the works of the
most eminent Bolognese painters, and for that purpose had completed the drawings
from the cloisters of S. Michele in Bosco, but died young before the etchings were
finished.
ZANIMBERTI, Filippo. This painter was born at Brescia in 1585, and was brought up
in the school of Santa Peranda. He painted history in the style of his instructor, and
there are several pictures by him in the churches at Brescia and at Venice, which
establish his reputation as an artist of considerable ability, particularly a large picture
of the Miracle of the Manna, so much commended by Ridolfi and Zanetti. He also
excelled in painting easel pictures for the private collections, representing historical or
fabulous subjects, into which he introduced a great number of small figures, well com
posed, and touched with great spirit. Fie died in 1636, aged 51.
ZANOTTI, Giovanni, Pietro. This artist, though of Italian origin, was born at Paris
in 1674. He was sent when young to Bologna, where he became a scholar of Lorenzo
Pasinelli. Under that master he acquired an agreeable tone of colouring, a mellow
pencil, and an intelligent acquaintance with the principles of the chiar-oscuro. He
painted several altar-pieces for the churches at Bologna, of which the most esteemed
are the Incredulity of St. Thomas, in the church of S. Tommaso dal Mercato; the

ZAlt ZEE 633
Resurrection, in S. Pietro ; the Nativity, in La Purita ; and a large picture in the
Palazzo Publico, representing the Ambassadors from Rome swearing fidelity to the
Bolognese. He resided great partof his life at Cortona, where he also distinguished
himself by several pictures he painted for the churches, particularly Christ appearing
to Magdalen ; Christ bearing his Cross ; and the Murder of the Innocents.
Zanotti was a laborious and intelligent writer on art ; of his numerous publications,
the most considerable is his Storia dell Accademia Clementina di Bologna, published in
two volumes, quarto, in 1739. He died in 1765, aged 91.
ZARINNENA, Francisco. According to Palomino, this painter was born at Valencia
about the year 1550. He went to Italy when he was young, where he is said to have
had the advantage of studying in the school of Titian. His principal works are in the
monastery of San Miguel de los Reyes, Without the walls of Valencia. In composition
and colouring they are worthy of the school in which he was educated. He died in
1624, aged about 74. Francisco Zarinnena had two sons, Cristobal and Juan, who
were his disciples, and painted history in the style of their father. There are several of
their works in the public edifices at Valencia.
ZARLATTI, Gioseffo. An Italian engraver, born at Modena about the year 1635. We
have a few etchings by him, of historical and fancy subjects, from his own designs,
executed in so spirited and pleasing a style, that his premature death, at a very early
age, is deeply regretted.
ZATZINGER,  >-. See Zagel.
ZE, De. The name of this artist is affixed to a small print representing Christ dead in the
Tomb, attended by an Angel. It is executed entirely with the graver, in a style re
sembling that of John Sadeler, and is apparently from his own design.
ZEEMAN, Remy, or Reinier. A Dutch painter and engraver, born at Amsterdam in 1612.
He excelled in painting sea-views and shipping, which he designed with great correct
ness and precision, and the figures he introduced into his pictures are well drawn, and
touched with spirit. We have several etchings by this artist, from his own designs,
which are executed in a bold, free style; among which are the following:
A set of eight plates of Shipping; designed and engraved by Remy Zeeman. 1632.
A set of four Views in Amsterdam. 1636.
A set of four Sea-ports in Holland; pu61ished at Amsterdam in J656.
The Four Elements ; in four plates ; Rdnier Zeeman, fee.
Two Views in Paris, one of the Faubourg St. Marceau, the other of the Gate of St. Bernard.
A set of twelve Views of Shipping; published in London by Ar. Tooker.

e

ZEEMAN, Enoch. This artist is mentioned by the noble author oT the Anecdotes. H
resided several years in London, where he met with considerable employment in paint
ing portraits and heads, in the laboured style of Denner. He died in 1744, leaving a son,
Paul Zeeman, who followed the same profession. Isaac Zeeman, brother of Enoch,
also practised the art, and died in 1751, leaving a son, who was also a painter.
Vol. II. 4 L

634 ZEG ZIA
ZEGHERS,  — See Seghers, .._' i . . . .
ZELOTTI, Batista. This painter was bom at Verona in 1532, and was brought up in
the school of Antonio Badile.; He was the fellow student, and friend of Paolo Veronjese,
with whom he co-operated in several impprtant works in the public edifices at Veniee.
He is called by Vasari, Batista da Verona, and is numbered, by that author, among the
disciples of Titian. His picture of the Holy , 'Family, in the Carara collection, is painted
entirely in the style of that master, and it is to his studies;wi; that school that. he was
indebted for that warmth and harmony of colouring, in which he surpassed Cagliari.
He particularly excelled in fresco painting, and his ability in that branch induced Paolo
to court his assistance in many of the great works in which he was engaged; and some
of the frescoes by Zelotti have been attributed to that master. The great emblematical
subjects, painted by Zelotti in the hall of the Council of Ten, in ,the Palazzo di S.
Marco, at Venice, have been engraved by Valentine le Febre, as the works of Paolo
Veronese. He was more successful in fresco than in oil-painting, although some of his
works in the latter are deservedly admired, particularly his- two pictures representing the
Conversion of St. Paul, and Christ with his Disciples in the Fishing-bark, in the cathedral
at Vicenza. He possessed great fecundity of invention ; his compositions are learned
and judicious, and his touch is bold and animated; but he is inferior to II Veronese in
the graceful turn of his figures and the beauty of his heads. Fie died in 1592, aged 60.
ZEN CI, Domenico. An Italian engraver who flourished about the year 1570. He worked
in a style resembling that of Marco da Ravenna, and he is supposed to have been a dis
ciple of that master. His prints are, however, very inferior, and his drawing is incor
rect. He engraved a set of portraits, to which he affixed a frontispiece ornamented
with figures. The work is entitled Illustrium Jureconsultorum Imagines.
ZENOBIO,  See Carlevariis.
ZENONI, Duce. This artist appears from his name to have been a native of Italy. He
was a goldsmith, and engraved a few plates of portraits, which are neatly executed with
the graver, but in a. stiff, formal style. Among others is a portrait of Henry III. of
France, an oval plate, with an ornamental border, from his own design ; it is inscribed,
Duce Zenoni Oreficef. 1634.
ZETTER, Paul de. This artist was a native of Hanover, and flourished about the year
1630. He was chiefly employed in engraving portraits, from his own designs, which
are executed, with sufficient neatness, but in a stiff, tasteless style. He engraved several
plates for Boissard's collection of portraits. His prints are sometimes marked with the
initials P. D. Z. fee. and sometimes with a cipher composed of a P and a Z joined, P.
ZIARUKO, John. He was a native of Poland, and was probably a painter. We have
by this artist a set of large etchings, from his own designs, representing the ceremonies
used at the Coronation of Louis XIII. of France. They are executed in a slight, spir
rited style.

ZIF ZOB 635
ZIFRONDI, Antonio,' According to Tassi, this* painter was born at Clusone, in the Ber
gamese state, in 1657. After being instructed in the rudiments of design he went to
Bologna, where he entered the school of Marc Antonio Franceschini, and by the instruc
tion of that able artist became a reputable painter of History. There are many of his
works in the churches and private collections at Clusone, which proved him to have
possessed a ready invention, and uncommon facility of execution. One of his most
admired works is a picture of the Annunciation, in the church of S. Spirito. He died in
1730, aged 73.
ZILOTTI, Domenico Bernardo. This artist was born at Borso, near Bassano, about the
year 1730. He painted landscapes in the style of Francesco Zuccherelli, which possess
considerable merit. We have several etchings by Zilotti, some of which are from his
own designs, and others from the works of Simonini, Marieski, and others, which are
executed in a neat, spirited style.
ZING, or Zingg, Adrian. He was a native of Switzerland, and was for some time in
structed in engraving by John Rudolf Holzhalb, of Zuric; but he afterwards went to
Berne, where he became a pupil of Louis Aberli, with whom he remained two years.
He afterwards visited Paris, where he received some lessons from John George Wille,
by which his style was greatly improved. During a residence of seven years at Paris,
he had acquired considerable reputation, when he was invited to Dresden by the Elector
of Saxony, where he was appointed engraver to the court, and was made a member of
the electoral academy. We have a variety of landscapes and views by this ingenious
artist, which are executed in a neat, clear style, and produce a very pleasing effect.
Among many others we have the following prints by him :
Two Marine Views ; after Vernet; one entitled La Peche heureuse; the other L' Ecueil dan-
gereux.
A Landscape, with Nymphs bathing ; after Dietricy.
A Moonlight ; after A. Vander Neer.
Two Views on the Maine ; after C. G. Schutz.
A pair, representing the Port and the Gulf of Naples; after P. Mettdy.
t
ZING,  . SeeZAGEL.
ZINMERMAN, Michael. According to Papillon, this artist was a native of Vienna, and
flourished about the year 1550. He is said to have been a painter, as well as an engraver
on wood, and executed the cuts of a large geographical chart, consisting of ten parts,
which join together. It represents the kingdom of Hungary, with the arms of the pro
vinces, from a design of Wolfgangus Lazius, Physician and Historiographer to the Em
peror Ferdinand I. Papillon describes it as a very fine performance.
ZOBOLI, Jacopo. He was a native of Modena, and flourished about the year 1740. He
was first a disciple of Francesco Stringa, but afterwards studied at Bologna, and from
thence went to Rome, where he died, in 1761, with the.reputation of a respectable painter
of history. One of his principal works at Rome is a picture of S. Girolamo, in the
church of S. Eustachio, which is finely composed, and exhibits a harmony of colouring
superior to most of his contemporaries.
4 L 2

636 ZOC ZOR
ZOCCHI, Guiseppe. This artist was born at Florence in 1711. He was chiefly em
ployed in embellishing the palaces of the nobility in that city and its vicinity, with
ceilings and other decorations, particularly those of Rinuccini and Gerini. He made
drawings of the most remarkable views in Florence, and the villas in the environs, which
he caused to be engraved and published in sets. The figures which he introduced into
them were etched by himself, and two entire plates of the last set. He died at Florence
in 1776.
ZOCCHI, or Zucchi, Gioseffo. See Zucchi.
ZOFFANY,  . See Appendix.
ZOLA, Guiseppe. This artist was born at Brescia in 1675, and distinguished himself as a
landscape painter of considerable ability. He resided the greater part of his life at
Ferrara, where there are several of his works, in the public edifices and private collec
tions, which are painted in a bold, free style. He usually introduced into his pictures-
subjects of sacred history, in which the figures are not equal to the landscape. Some of
his best productions are in the church Qf S. Lionardo, at. Ferrara. He died in 1743,,
aged 68,
ZOPPO, Marco. This painter was born at Bologna about the year 1445. He learned
the rudiments of design in his native city, but he afterwards studied at Padua, under
Francesco Squarcione. Educated in the same school with Andrea Mantegna, he became
a respectable competitor with that distinguished artist in several public works at Padua.
He resided some time at Venice and Pesaro, and painted an altar-piece for the church
of the Osservanti, in the latter city, representing the Virgin and infant Christ, seated on
a throne, surrounded by several saints. It is inscribed with his name, and dated 1471.
He died in 1517, aged about 72..
ZORG, Henry Martin Rokes, called. This artist was born at Rotterdam in 1621. He
was the son of Martin Rokes, the master of the passage-boat from Rotterdam to Dort,.
who, on account of his extraordinary care and attention to passengers, and the com
missions he received, acquired the appellation of Zorg, or Careful, and the name de
scended to our artist. Having shown an early disposition for the art, he was sent to
Antwerp, where he was placed under the tuition of David Teniers the younger, and be
came an eminent painter of similar subjects to those in which his celebrated instructor
had acquired so distinguished a reputation. His pictures represent the interiors of
Dutch apartments, with figures regaling and amusing themselves, in which he some
times imitated the style of Adrian Brower; and the general character of his works is a
mixture of the different attributes of the above-mentioned eminent artists. He also
painted conversations and domestic subjects, fairs, and fish-markets, which are inge
niously composed and correctly drawn : his, colouring is warm and mellow,, and he had
a competent knowledge of the principles of the chiar-oscuro. He died in 1682, aged 61..
ZOROTI, Domenico. An Italian engraver, who, according to Florente le Comte, resided
in Germany, where he engraved some portraits.

Z O U Z U C 637
ZOUST,  . See Soest.
ZUBERLEIN, orZiBERLiEN, Jacob. This artist was a native of Tubingen, in Germany,
and flourished about the year 1590. He is said to have been a painter, but is more
known as an engraver on wood, and executed a considerable number of wooden cuts,
among which are the frontispieces for the Annals of Crusius, printed at Frankfort in
1595. He usually marked his prints with a monogram composed of an I and a Z, thus,
^, to which he sometimes added a small tub.
ZUCCARO, or Zucchero, Taddeo. This painter was born at S. Angelo in Vado, in the
Duchy of Urbino, in 1529- He was the son of Ottaviano Zuccaro, a painter of little
celebrity, by whom he was instructed in the elementary principles of design; but he
afterwards became a disciple of Pompeo da Fano. Desirous of improving himself by
studying the works of the great masters at Rome, he ventured to visit that city when
he was only fourteen years of age. Young, and unprotected in that great capital, he
was obliged to follow the humble occupation of a colour-grinder. In that state of
destitution, he had still the courage to devote a portion of his time to the prosecution of
his studies ; and it frequently happened, that after passing the day in designing from the
works of Raffaelle, in the Palazzo Chigi, he was compelled to sleep under the loggie
of the palace, being without the means of providing himself with a lodging. In this
miserable condition, he was noticed by Daniello de Por, a painter then in some estima
tion, who favoured him with his assistance and advice; and in 1547, when he was eigh
teen years of age, he was employed to decorate the facade of the Palazzo Mattei, with
some emblematical subjects in chiar-oscuro. By this, his first public work, he acquired
considerable reputation, and he was soon afterwards engaged by the Duke of Urbino to
paint a series of frescoes, in a chapel of the cathedral. He also executed some consi
derable works" at Pesaro, and returned to Rome in the time of Julius III. where he
was employed by that pontiff, and by his successor Paul IV. in the embellishment of
the Vatican, particularly in the apartments called II Torrione. In a chapel of the church
of S. Maria della Consolazione, he painted in fresco several subjects of the Passion of
our Saviour, which are considered among his best performances. He was next em.
ployed by Cardinal Farnese to ornament the villa he had built at Caprarola ; and it was
on this occasion, more than any other, that he discovered the talents of an able artist.
He represented the most memorable actions of that illustrious family, particularly those
of Paul III. and Alessandro Farnese, in a variety of compartments, in which he has
evinced great powers of invention, and a judicious arrangement of his subjects.
On the merit of these performances,, Lanzi observes, that the admirers of art who visit
the palace of Caprarola, usually return from it with a much more favourable idea of the
powers of Taddeo, than they had conceived before they went thither ; and adds, that he
was assisted, in the execution of that great undertaking, by some young artists, who
afterwards proved superior to himself. John Joseph Prenner has engraved this work
in a set of forty-five plates, published in 1748.
Taddeo Zuccaro died at Rome in 1566, in the thirty-seventh year of his age, worn out
with continual exertion, and some disposition to excess. He was buried in the church
of La Rotonda, near the remains of Raffaelle, and the following epitaph was afterwards
inscribed on his tomb by his brother, Federigo ; Fredericus marens posuit anno 1568,,

638 ZUCCARO.
moribus, pictura, Raphaeli Urbinati simillimo. An unwarrantable flattery, which can only
be palliated by the partiality of fraternal affection.
¦ZUCCARO, or Zucchero, Federigo. He was the younger brother of Taddeo, born at
S. Angelo in Vado, in 1543, and was placed, when he was very youhg, under the tuition
of his brother, at Rome, who paid the greatest attention to his education. In a few
years he was sufficiently advanced in the art to be able to assist Taddeo in several -of the
considerable works in which he was engaged, and was employed by Pope Piiis IV.,
in conjunction with Federigo Baroccio, in the Palazzo Belvedere, where he painted
the History of Moses and Pharaoh ; the Marriage of Cana ; and the Transfiguration.
These works gained him great reputation; and Taddeo, far from being jealous of- his
rising fame, furnished him with further opportunities of distinguishing himself by
making him his coadjutor in his great works in the Vatican, and the Villa Farnese, at
Caprarola. He was invited to Florence by the Grand Duke, to finish the cupola of S.
Maria dei Fiori, which had been left imperfect by Giorgio Vasari, and he executed the
commission to the entire satisfaction of his employer. Taddeo finding how great a
resource the talents of his brother had been to him, earnestly solicited him to return to
Rome, and soon after his arrival, he had to lament the loss of his brother, in the prime
of life.
Gregory XIII. who had succeeded to the papal throne, engaged him to paint the
vault of the Capella Paolina. Whilst he was thus employed in the Vatican, having some
difference with the officers of his holiness, he painted an emblematical subject of Ca
lumny, in which he represented the portraits of the individuals who had offended him,
decorated with the ears of Midas, and exhibited the picture over the portico of the
church of St. Luke, on the festival of that saint. Finding that this imprudent sally of
his resentment had excited the displeasure of the Pope, he determined to fly from Rome,
leaving his work in the Paolina unfinished. He took refuge in France, where he was for
some time employed in the service of the Cardinal of Lorraine. From thence he went
to Flanders, where he painted several cartoons for tapestry.
In 1574 he arrived in England, and was very favourably received. He painted the
portrait of Queen Elizabeth, and those of several of her courtiers, and it is affirmed by
Lord Orford, that Mary, Queen of Scots, also sat to him, from which a print was en
graved by Vertue. It may, however, be reasonably presumed, that the portrait of Mary,
said to have been painted by Zuccaro, was copied from some other picture of that un
fortunate princess, as, at the period of Zuccaro's arrival in England, she was in close con
finement, and had already passed several years of that rigid imprisonment, which was
terminated by a mock trial and a brutal execution. What other pictures he painted here
we have no certain account of, probably they were not numerous, as his stay was not
long; historic subjects were not at that time in fashion, and he had a bigotted attach
ment to his religion.
He returned to Italy, and resided some time at Venice, where the patriarch Grimani
employed him to finish the fresco ornaments of his chapel, which had been begun by
Batista Franco. He added, from his own compositions, the Resurrection of Lazarus,
and the Repentance of Mary Magdalen. For the same place he painted a large pic
ture of the Adoration of the Magi, which was much admired. In conjunction with the
best Venetian masters of his time, he was employed in the embellishment of the hall of

ZUCCHERELLI 639
the Grand Council at Venice, and his performances were so much admired, that the
Republic conferred on him the order of knighthood. He now ventured to return to
Rome, and the Pope not only overlooked his indiscretion, but employed him to finish
the work he had begun in the Capella'Paolina.
During the pontificate of Sixtus V. he was invited to the court of Madrid by Philip II.
who employed him to paint the frescoes in the lower cloister of the Escurial. In this
undertaking he did not succeed to the satisfaction of the King. Whether Philip's ex
pectations were raised too high by the report his emissaries in Italy had made of Zuc-
caro's talents, or whether the vanity of the painter, for which he was remarkable, dis
gusted him, it is certain, that of all the artists who were employed at the Escurial, he
alone failed of success. At the same time that Philip dismissed him from his service,
he compensated him, in the most liberal manner, for what he had done; and, it is said,
that the payments made to Zuccaro were larger than to any of her painter who had
visited Spain. After his departure, his works in the Escurial were expunged, and were
replaced by others of Pellegrino Tibaldi. On his return to Rome he commenced the
establishment of the Academy of St. Luke, for which he had received letters patent from
Gregory XIII. and at his death, which happened in. 1.609, in the sixty-sixth year of his
age, he bequeathed all his property to the Academy.
Federigo Zuccaro possessed a ready and inventive genius, but his compositions are
frequently incongruous and extravagant; his design is not incorrect, but an affectation
of grandeur, a predilection, for, dispatch, and a commanding facility, led him into the
vices of a mannerist. Hisforms are by no means select, the characters of his heads are
frequently repeated, and exhibit the formality of portraiture. His colouring is clear
and brilliant, but without mellowness or harmony.
ZUCCHERELLI, Francesco. According to Lanzi, this painter was born at Pitigliano,
in Tuscany, in 1702. He was first a scholar of Paolo Anesi, but he afterwards studied
successively under Gio Maria Morandi, and Pietro Nelli. For some time he applied
himself to historic painting, but his natural genius leading him to another branch of
the art, he afterwards confined himself to landscapes, with small figures, in which he
acquired a pleasing and elegant style, which was greatly admired, not only in Italy, but
throughout Europe.
In 1752 he visited England, where he. met with very flattering encouragement, and
several of his pictures were engraved by Vivares, and other artists. At the foundation
of the Royal Academy, Zuccherelli was chosen one of the original members. About the
year 1773 he returned to Italy, and settled at Florence, where he vested a considerable
sum of money, the produce of his talents, in the security of one of the monasteries which
were suppressed, a few years afterwards, by the Emperor Joseph II. By this unfortunate
circumstance he was reduced to indigence, and at an advanced age was obliged to re
sume his pencil, which he had relinquished. He died at Florence in 1788, aged 86.
In the early part of his life Zuccherelli amused himself with the point; among others,
we have the following etchings by him :
A set of various studies ; from the designs of A. del Sarto.
The Virgin and infant Christ, with St. John and S. Anne ; after the same.
The Wise and the Foolish Virgins ; after Gio. Menozzi.
The Statue of Victory; after the sculpture of M. Angelo Buonaroti.

640 ZUCCHI.
ZUCCHI, Jacopo. This painter was born at Florence about the year 1541. He was a
disciple of Giorgio Vasari, and assisted that master in several of his works. According
to Baglione, he visited Rome when young, in the pontificate of Gregory XIII., where
he was favoured with the patronage of Cardinal Ferdinando de Medici, who employed
him in some considerable fresco works for his palace. There are also several altar-pieces
by him in the public edifices at Rome, of which the most worthy of notice are the Nati
vity of St. John, in the church of S. Giovanni Decollato; and the Descent of the Holy
Ghost, in S. Spirito in Borgo.
ZUCCHI, Andrea. This artist was born at Venice about the year 1675. He -engraved
part of the plates for a collection of prints from the most celebrated paintings at Venice,
consisting of fifty-seven plates, published by Lovisa. We have also by him a set of
twelve prints of Venetian habiliments. The following are among his best works :
Tobit and the Angel ; after Titian.
St. John the Evangelist ; after the same.
St. John the Baptist ; after P. Veronese.
The Martyrdom of Paolo Erizzo ; after P. Longhi.
The Birth of the Virgin ; after Niccolo Bambini.
The Miracle of the Manna; after G. Porta.
The Goddess Cybele in a Car, drawn by Lions ; after Tintoretto.
Aurora and Tithon ; after the same.
./Eneas saving Anchises from the Burning of Troy ; after Seb. Ricci.
ZUCCHI, Francesco. This artist was born at Venice in 1698. He was the son of Andrea
Zucchi, and was instructed by his father in the art of engraving. He w»g invited to
Dresden, to engrave some plates from the pictures in the Electoral Gallery. We have,
among others, the following prints by him :
The Portrait of a Spaniard ; after Rubens; in the Dresden Gallery.
The Portrait of a Lady, resembling one of Rubens's wives ; after the same ; in the same collec
tion.
St. Helena worshipping the Cross ; after Gio. Bettini Cignaroli.
Two Allegorical Subjects ; after Antonio Balestra.
ZUCCHI, Lorenzo. He was the younger brother of the artist mentioned in the pre
ceding article, born at Venice in 1704. He was instructed in design and engraving by
his father, Andrea Zucchi. In 1738 he was appointed engraver to the Elector of Saxony,
and was employed to execute several plates for the collection of the Dresden Gallery
The following are among his best prints :
The Seven Sacraments ; after Spagnoletto.
The Martyrdom of St. Peter and St. Paul ; after Nic. del Abati.
The Crowning of St. Catherine ; after Rubens.
A Sacrifice to Venus ; after Ger. Lairesse.
The Flaying of Marcyas ; after Langetti.
St. Michael combating the Dragon ; after Torelli.
The Tribute-Money ; after Titian.
David with the Head of Goliah ; after Luc. Giordano.

ZUC ZUS 641
ZUCCO, Francesco. According to Tassi, this painter was a native of Bergamo, and
flourished about the year 1605. He first studied at Cremona, in the school of the
Campi, and was afterwards a disciple of Pietro Moroni. He painted history and por
traits with considerable reputation, in which he sometimes imitated the style of Paolo
Veronese with such success, that some of his works have been mistaken for the produc
tions of that master, particularly two pictures representing the Nativity, and the Ado
ration of the Magi, in the church of S. Gottardo, at Bergamo. He died in 1627.
ZUGNI, Francesco. This painter was born at Brescia in 1594, and, according to Ridolfi ,
was a scholar of Palma. He was inferior to his instructor in the selection of bis forms
and the ease of his attitudes; but he surpassed him in the impasto and vigour of his
colouring. He particularly excelled in fresco, and frequently embellished with his
figures the architectural and perspective views of Tommaso Sahdrino. His works in
oil also possess great merit; one of his most esteemed pictures is an altar-piece repre
senting the Circumcision, in the church of S. Maria delle Grazie, at Venice. He died
in 1636, aged 62.
ZUPELLI, Giovanni Batista. This artist was a native of Cremona, and fiourished about
the end of the fifteenth century. He painted landscapes, which he usually embellished
with figures, representing subjects from sacred history. His style, though dry and
gothic, exhibits originality, and a graceful air, which distinguishes his figures beyond
those of the generality of his contemporaries. In the church of the Eremitani, at
Cremona, is a landscape, with a Holy Family, by this master, which is mentioned by
Lanzi in very favourable terms. He died in 1636, aged about 62.
ZURBARAN, Francisco. According to Palomino, this Spanish painter was born at
Fuente de Cantos, in the vicinity of Seville, in 1596, and was a disciple of Pablo Roelas,
under whose direction he applied himself with such diligence and success, that he soon
acquired the reputation of an eminent painter of history. Captivated by the bold
effect and vigorous chiar-oscuro, which distinguish the works of Michael Angelo Cara
vaggio, he adopted the style of that master, at the same time adhering closely to nature,
which he faithfully followed, without extravagance or caprice. His first public per
formance was the History of San Pedro Nolasco, painted for the cloister of La Merced
Calzada, and it gained him great reputation. The monks are all habited in white
draperies, which are managed with infinite art and delicacy. There are many other
works by him in the public edifices at Seville; and at Cordova, particularly in the
Colegio de San Pablo.
About the year 1630 he was invited to Madrid, was appointed painter to the King,
and employed in the palace of Buen-retiro, where he painted a series of pictures of the
Labours of Hercules. In the Casa de Cauipo, and the other royal palaces, there are
many other pictures by Zurbaran, as well as in the private collections. He was in great
favour with Philip IV. in whose service he died, in 1662, aged 63.
•ZUSTRUS, Lambert. This painter was a native of Germany, and flourished about the
end of the sixteenth century. He was first instructed in the art by Christopher Swartz
of Munich ; but he afterwards travelled to Italy, where he became a disciple of Titian
and was a successful imitator of the admirable colouring of that master, though he still
Vol. II. 4 M

342 ZYL ZYL
retained the dry and gothic style of design which characterised the productions of his
country at that period. In the gallery of the Lauvre is a picture by Zustrus, represent
ing Venus and Cupid, with Mars in the back-ground.
ZYL, Gerard Pietebsz van. This artist was born at Amsterdam in 1606. He distin
guished himself as a portrait painter, and visited England in that capacity about the
year 1635, when Vaiadyek was in full possession of the public favour. He formed an
intimate acquaintance with that distinguished artist, who occasionally employed him
to assist in the draperies and hack-grounds of his pictures. By the frequent opportu
nities he bad of profiting by the example and instruction of Vandyck, he became a suc
cessful imitator of his style ; and after a residence of a few years in London, he returned
to Amsterdam, where he met with very extensive employment, and acquired the appel
lation of the second Vandyck. Like that master, he particularly excelled in painting
hands, and his colouring is chaste and clear. He died in 1667, aged 61.
ZYLVELT, Adam van. A Dutch engraver, bora at Amsterdam about the year 1635. He
engraved a set of plates from the designs of John Lingelbach, representing sea-ports, &c.
We have also several portraits by him, some of which are from his own designs. He
imitated the style of John Visscher with some success. Among others, we have the
following portraits by him :
Dirk Volkhertz Coornhaert, or Cuernhaert, Engraver.
Stephen le Moine, Doctor in. Theology at Leyden.
Christopher Wittichius, Professor of the University of Leyden,
Herman Witsius, Professor of Theology at Franecker.
John Hasius, Minister of the church of Haerlem.
Cornelius Bosch. >

APPENDIX.

ADVERTISEMENT.

IN a work of so extensive a nature, it has been found impossible to avoid the omission
of some Artists, that have escaped the vigilance of the Author; and of others, respecting whom
he could not sooner obtain satisfactory information.
To supply the deficiency, and to meet the wishes of the most curious, it has been judged advise-
able to annex an Appendix; which will be found to contain the articles omitted, with the addition
of such Artists, especially qf Engravers, as, in the original plan, were not considered of sufficient
importance to occupy a place in the body of the work, but whose prints have been found to be in
teresting to the general collector.

4M $

APPENDIX.

A. A — H. Vander. An obscure Dutch engraver, who flourished about the year 1701. He
is said to have been related to Peter Vander A. A. the celebrated publisher of Leyden,
by whom he was employed to engrave some frontispieces, portraits, and other" book
plates. They are executed with the graver in a coarse, heavy style, and the drawing is
very incorrect. In the collection of portraits, entitled, Principurn et illustrium Virorum
Imagines, is one by this artist, inscribed, Otho Archiep. et Vice-Comes Mediolan. H. V. der
Aa. del. et sculpsit. He engraved the title for the Index Batavicus, by Adrian Pars,
printed at Leyden in 1701.
ABATINI, Guido Ubaldo. According to Passeri, this artist was a native of Citta di
Castello, and flourished about 1650, in which year he was admitted into the Academy
at Rome. He was a disciple of Cavaliere Guiseppe Cesari, and distinguished himself
as a painter of history in fresco. One of his principal works is the ceiling of the chapel
of St. Theresa, in S. Maria della Vittoria, at Rome. He died in 1656, aged about 56.
ABBIATIS, P. M. The name of this engraver is affixed to a portrait of Girolamo Cornaro,
procurator of St. Mark. It is without a date or the name of the painter.
ABBOT, J. There is a small etching of a horse, inscribed with this name, and dated 1767.
It appears to have been the production of an amateur, for his amusement.
ABENTS, Leonard. This artist was a native of Passau, in Bavaria, and flourished about
the year 1580. He engraved the plan of the city of Passau for Braun's Topography,
He marked his plates with a monogram composed of an L and an A, thus, jL.
ABERRY, J. A name affixed to a portrait of Sir Watkin Williams Wynne ; after T.
Hudson. It is etched in the manner of Worlidge, and is not an unsuccessful imitation
of his style. It is dated 1753.
ABSHOVEN,  -. This ingenious artist was a native of Antwerp, and flourished
about the year 1660. He was the favourite disciple of David Teniers the younger, and
the most successful follower of his style. His pictures, like those of his master, repre-

t>46 ADA AEL
sent village festivals, the interiors of cabarets, with peasants regaling and amusing
themselves, corps-de-gardes, and chymists' laboratories, in which he approached so
near to the admirable style of his instructor, that his pictures may easily be mistaken
for those of Teniers. His touch is uncommonly light and spirited, and his colouring
clear and silvery. The works of this painter are frequently met with in Flanders, where
they are judged worthy of being placed in the best collections. He died young, about
the year 1665.
ADAM, P. An English engraver, who flourished about the year 1690. We have a few
etchings of landscapes by this artist, which are executed in a poor, tasteless style. In
one of them a figure is represented seated on a bank, which is engraved in the manner
of Mellan, without any cross hatchings. He usually signed his plates with his name,
the letters P and A being joined together.
ADAMS, Charles. This artist is mentioned by M. Heineken as the engraver of a portrait
of Charles Stuart, King of England. He has not, however, specified whether it is that
of Charles the First or Second. It is not noticed by Grainger, nor in Bromley's Cata
logue.
ADLER, Philip. This artist is called by Florent le Comte, Adler Paticina. He mentions
a plate by him of St. Christopher carrying the infant Jesus, dated 1518. The print
described by Mr. Strutt, as his best performance, representing an altar, with the Virgin
Mary crowned, and a female Saint holding the infant Christ, was engraved by David
Hopfer, whose mark, when the print is perfect, is at the bottom of the plate. The in
scription on the tablet, Och opus, fecit, Philipus Adler Patricius, mdxvui., most
probably relates to the altar having been erected by Philip Adler. In the print Mr.
Strutt had seen, the mark of Hopfer had probably been cut off. Mr. Woodburn has a
fine impression of this plate in its perfect state.
ADOLFFZ, *—  -. By this engraver, who, from his name, appears to have been a
native of Germany, we have a portrait of the Duke de Biron, Marshal of France, on
horseback. It is now become scarce.
ADORF, J. A. C. According to M. Heineken, he was a student in philosophy, and en
graved, for his amusement, a portrait, inscribed Andr. Ehrig. Med. Cultor, M. 59. He
was a native of Germany.
AELS,  — —. The name of this engraver is affixed to a print representing St. Joseph
leading the infant Jesus by the hand. The back-ground is a landscape.
AELTS, Nicholas van. He was bora at Brussels about the year 1527. At an early age
he established himself at Rome, where he carried on a considerable commerce in prints,
from 1550 to 1600. The names of the painter, and the engraver of the plates', executed
for his collection, were frequently omitted, and his own inserted, with the wordfemi*,
to denote that he was the publisher, it is, however, sufficieatlyproved, that he some
times exercised the graver, as we have several plateB in which the word fecit, or sculpsit.

A E N ALB 647
is added to his name. M. Heineken notices a set of twelve plates of birds engraved by
this artist.
AENEAS, P. A German engraver in mezzotinto, mentioned by M. Heineken. He was
chiefly employed in portraits, and, among others, engraved that of Nicholas Blankard,
Profess, a Frank, Mt. 68. P. Aeneas, fecit et excud.
AGGAS, Ralph. This artist is mentioned by Lord Orford as a surveyor and an engraver.
He engraved and published plans of Oxford and Cambridge, about the year 1578, and
another of Dunwich, in Suffolk, in 1589. He also engraved on wood the large plan and
view of London, which was afterwards executed on copper by George Vertue.
AGNELLI, Federigo. An Italian engraver, who flourished at Milan about the year 1600.
He was chiefly employed in portraits, though he occasionally engraved emblematical
and architectural subjects. He engraved a set of plates representing the Dome of the
Cathedral at Milan, to which he has affixed his name, and that of the architect, Carolus
Butius.
ALBANASI, Angelo. An Italian engraver, by whom we have some neat, spirited etch
ings of architectural ruins in and near Rome. From the style in which they are exe
cuted, he appears to have flourished about the commencement of the last century.
ALBANO, Francesco. Mr. Strutt attributes to this eminent painter an etching represent
ing the Death of Dido, which is said to be a very indifferent performance.
ALBERELLI, Giacomo. This painter was a native of Venice, and flourished about the
year 1600. He was a disciple of Jacopo Palma the younger, with whom he was em
ployed as a coadjutor thirty-four years. He painted history with considerable reputa
tion, and there are several of his works in the public edifices at Venice, of which one
of the most esteemed is a picture of the Baptism of Christ, in the church of the Ognis-
santi.
ALBERTUS, H. C. This artist was a native of Saxony, and flourished about the year
1660. We have by him a portrait of John Seckendorff, Rector and Professor at
Zwickau, engraved from a picture painted by himself.
ALBINI, Alessandro. This painter was born at Bologna about the year 1575, and was
a disciple of Lodovico Caraeci. He painted history, in which he imitated, with con
siderable success, the great style of his instructor. His principal works are in the
churches at Bologna, among which are the following ; S. Pietro Martire kneeling before
St. Catherine and St. Cecilia, in the church dedicated to that Saint ; and the Burial of
S. Valeriano and S. Tiburzio, in S. Michele in Bosco.
ALBRECHT, C. An obscure German engraver, mentioned by M., Heineken. He
worked only for the booksellers, and his plates are so indifferent, that they are not con
sidered, by that author, worthy of being specified.

648 ALD _ ANE
ALDE, H. Van. A Dutch painter and engraver, who flourished about the year 1650,
He etched a portrait of Gaspar de Charpentier, an ecclesiastic of Amsterdam, from a
picture by himself.
ALENI, Tommaso. He was born at Cremona in 1500, and, according to Orlandi, was a
disciple of Galeazzo Campi. He painted history in the style of his instructor, and his
works in the church of S. Domenico, at Cremona, where he was employed, in competi
tion with Galeazzo, are so much in the manner of that master, that it is difficult to dis
tinguish them.
ALFIANO, Epifanio d' He was a monk of S. Salvi, at Valombrosa, and is mentioned by
M. Heineken as a lover of the arts, who amused himself with engraving. He engraved
a set of plates of festivals and decorations, dated 1592; and a book of writing, in which
he styles himself Priore dello Spirito Santo di Firenze.
ALGAROTTI, Count Francesco. This eminent writer was considered one of the
greatest connoisseurs in Europe in painting, sculpture, and architecture. It is affirmed,
by M. Heineken, that he designed and engraved for his amusement several plates of
heads, in groups, one of which, containing thirteen heads, in the style of the antique, is
dated 1744.
ALLEGRI, Antonio da Coreggio. It has been much disputed by the writers on en
graving, whether this distinguished painter ever amused himself with the point. The
Abbe Marolles asserts, that he engraved several plates, which is positively denied by M.
Heineken, whose claim to authenticity is certainly preferable. We have, however, a
few etchings, signed Ant. Correg. fee. ; but they are very slight, and are executed in a
style greatly inferior to what might be expected from the hand of that master.
ALTOMONTE, Andrea. An Italian engraver, who resided at Vienna about 1728. He
assisted A. J. de Prenner, in engraving the plates from the pictures in the Imperial
Gallery, published in that year.
AMMON, Johann. This artist was a native of Schaffhausen, and flourished about the
year 1700. He engraved a few portraits, among which is one of John Locke.
ANDREA, Alessandro. According to M. Heineken, this artist flourished about the
year 1578, at which time he engraved the portrait of Gilles de Noailles, Abbe" de St.
Amand, the French Ambassador at the court of Constantinople.
ANDREAE, T. This artist is mentioned by Mr. Strutt as the engraver of a plate repre
senting an emblematical subject, in which a Woman is lying on the ground, in the
front of the print, and another Female is standing over her, holding in her hand a book,
inscribed, Giulio Cesare opera. It is slightly etched, in a very indifferent style, and is
signed T. Andreae, inv. et fee.
AN ESI, Paolo. This painter was a native of Florence, and flourished about the year
1720. He painted landscapes with considerable reputation, and there are several of his

A N G ANT 649
pictures in the palaces and private collections at Florence and at Rome. He was, one
of the masters of Francesco Zuccherelli.
ANGARANO, Ottaviano. According to Zanetti, this artist was of a Patrician family of
Venice, and flourished about the year 1650. It is not mentioned by whom he was in
structed in the art, but he was a reputable painter of history, and acquired considerable
celebrity by a picture he painted for the church of S. Daniele, at Venice, representing
the Nativity, which is highly commended by his biographer, and of which there is an
etching, by himself
ANGELI, Niccolo. An Italian engraver; who flourished about the year 1635. He was
a disciple of Remigio Cantagallina, and, in conjunction with his instructor, engraved a
set of plates, representing the festivals which took place at Florence on the occasion of
the marriage of the Prince of Tuscany, from the designs of Giulio Parigi.
ANGELIS, Peter. This painter was born at Dunkirk in 1685. After learning the rudi
ments of design in his native town, he visited Flanders and Germany, and resided some
time at Dusseldorp, where he had an opportunity of improving himself, by studying the
paintings in the Electoral Gallery. He painted conversations, and landscapes with
small figures, into which he was fond of introducing fruit and fish. He came to England
about the year 1712, where he met with great encouragement, and resided here sixteen
years. In 1728 he set out for Italy, and passed three years at Rome, where his pictures
were admired, but being of a reserved disposition, and without ostentation, he exhibited
his works with reluctance ; his studious and sober temper inclining him more to the pur
suit of his art than to the advancement of his fortune. In his return from Italy, with an
intention of again visiting England, he made some stay at Rennes, in Bretagne, he met
with so much employment, that he settled in that city, where he died, in 1734, in the
forty-ninth year of his age. His style was a mixture of those of Teniers and Watteau,
with more grace than the former, and more nature than the latter. His pencil is easy,
bright, and flowing, but his colouring is occasionally faint and nerveless.
ANGELUS, Peter. An obscure engraver, who flourished about the year ]6ll. Mr.
Strutt mentions an ornamental frontispiece by him, engraved for a folio volume of Lud.
Tena's Commentaries on St. Paul's epistle to the Hebrews. It consists of several
figures, with the Trinity represented at the top. The figures are rudely designed, and
the plate is executed entirely with the graver, in a bad, tasteless style.
ANGLUS, Benjamin. This artist is mentioned by M. Heineken as the engraver of two
emblematical subjects, one after Antonio Tempesta; the other is probably from his own
design, as he adds the word fecit to his name.
ANGUS, W. An English engraver, who flourished about the year 1790. He engraved
several landscapes and views, in a very beautiful and masterly style. They are chiefly
executed with the graver.
ANTONIANUS, Silvius. According to Papillon, this artist was an engraver on, wood,
and flourished about the year 1567. He executed a set of cuts for a book of Fables
Vol. II. 4 N

650 APE A U B
published at Antwerp in 1567, entitled, Centum Fabula ex antiquis auctoribus delecta, et a
Gabriele Faerno Cremonensi, carminibus explicata. Antuerpia exoffieina Christoph. Plantini.
He usually marked his prints with a monogram composed of an S and an A, thus, JT.
APENS, C. A Dutch engraver, who resided at Groningen about the year 1673. He en
graved the portrait of Samuel Maresius, Theologian ; dated 1673.
APPELMANS, G. This artist was a native of Holland, and flourished about the year
1670. He was chiefly employed in engraving portraits, and other book plates, for the
publishers. Among others, he engraved the portrait of Thomas Bartholinus, and several
of the plates for the octavo edition of his anatomical work, published in 1674. They
are neatly executed with the graver, but in a stiff, formal style.
APSCH, Jerome Andrew. A German engraver on wood, bora at Nuremberg about the
year 1490. He assisted Hans Burgkmair in executing the wooden cuts for a book pub
lished at Vienna entitled, Der Weyss Konig, or the Wise King, containing the principal
events of the life and reign of the Emperor Maximilian I. They consist of two hundred
and thirty-seven prints. He died in 1556.
ARALDI, Alessandro. This painter was born at Parma, about the year 1470, but
studied at Venice under Giovanni Bellini. He painted history in a style which Lanzi
denominates antico moderno. In the church of the Carmelites, at Parma, is a picture by
this master, representing the Annunciation, which is mentioned as a very creditable per
formance. He died in 1528.
ARCA, Lionardo dell'. An Italian engraver, who flourished about the- year 1 660. He
engraved some plates of ornaments and grotesque figures.
ARNOULLET, Balthasar. A French engraver on wood, who resided at Lyons. Ac
cording to Papillon, he executed a large wooden cut of the town of Poictiers.
ASSCHOONEBECK, Adrian. This artist was a native of Holland, and flourished about
the year 1690. We have by him some slight incorrect etchings, representing the Flight
of James the Second from England.
AUBRIER,  A French engraver, by whom we have a portrait of Caesar Borgia,
Duke of Valentinois.
AUBRY, Abraham. This artist was a native of Oppenheim, and flourished about the
year 1650. He chiefly resided at Strasburg, where he carried on a considerable business
as a printseller. He engraved eleven of the twelve plates representing the Twelve
Months of the year ; after Sandrart ; the other, the Month of May, was engraved by
F. Brun.
AUBRY, Peter. According to Huber, this artist was born at Oppenheim, about the
year 1596. He was probably related to the artist mentioned in the preceding article,
and was also established at Strasburg as a printseller. He engraved a great number of

AUB AUV 051
portraits of eminent persons of different countries, a long list of which is given by M.
Heineken. They are executed with the graver, in a very indifferent style. Among
others are the following :
Oliver Cromwell.
Bernard, Duke of Saxe-Weymar.
Ferdinand Ernest, Count of Wallenstein.
John Schmidt, Doctor in Theology.
Michael Virdunga Kittinga, Professor at Altdorf.
AUBRY, John Philip. An engraver and printseller, who resided at Frankfort about the
year 1670, and was probably a relative of the two last-mentioned artists. He engraved
a great number of plates for the booksellers, as well as for his own collection. They
chiefly consist of portraits, and are executed in a very indifferent style.
AVEELE, or Avelen, J. Vander. A Dutch engraver, who resided at Leyden about the
year 1696. He was chiefly employed by the booksellers, and, among other plates, en
graved the frontispiece for the nineteenth volume of the work entitled, Thesaurus Antiq.
Rom. published by Peter Vander Aa, in 1698.
AVEEN, Adrian. This artist was a native of Amsterdam, and flourished about the year
1700. He engraved several views of gentlemens' country seats in Holland, which are
executed in a neat, but formal style.
AVELL1NO, Onofrio. According to Dominici, this painter was born at Naples in 1674,
and was brought up in the school of Francesco Solimene. He afterwards passed some
years at Rome, where he painted the vault of the church of S. Francesco di Paola,
which is considered his best performance. In the church of S. Maria de Montesanto
is an altar-piece by this master, representing a subject from the Life of S. Alberto. He
died in 1741, aged 67-
AVERBACH, John Gottfried. According to M. Heineken, this artist was born at
Mulhausen in 1687. He was painter to the Emperor Charles the Sixth. He engraved
a plate, from his own design, in which he has represented his own portrait painting lhat
of his wife. He died at Vienna in 1743, aged 56.
AVIANI,  This painter was a native of Vicenza, and flourished about the year
1630. He excelled in painting perspective and architectural views, which were fre
quently embellished with figures by Giulio Carpioni. His pictures usually represent
the most remarkable views in Venice, though he occasionally painted landscapes and
sea-ports, which are held in considerable estimation.
AUTGUERS, C. An obscure French engraver, who resided at Lyons about the year
1623. He worked chiefly for the publishers, and engraved some portraits and other
book plates, which are very indifferently executed.
AUVRAY,  . A French engraver, who flourished about the year 1760. According
to M. Heineken, he engraved some portraits of French comedians, and others.
4 N2

652 BAG BAJ

B

BACCARINI, Jacopo. This painter was born at Reggio about the year 1630. He was
a scholar of Orazio Talami, and painted history in the style of that master. Two of his
most esteemed pictures are, a Repose in Egypt, and the Death of S. Alessio, in the
church of S. Filippo, at Reggio. He died in 1682, aged about 52.
BACCIARELLI,  . A modern Italian engraver, who flourished about the year
1760. He engraved a few portraits, among which is that of Augustus Stanislaus Poni-
atowski, King of Poland.
BACON, Sir Nathaniel. The noble author of the Anecdotes, in his account of the
Painters in the Reign of Queen Elizabeth, informs us, that " there was one gentleman
in this reign, who really attained the perfection of a master, Sir Nathaniel Bacon,
Knight of the Bath, a younger son of the keeper, and half brother to the great Sir Francis
Bacon. He travelled to Italy, and studied painting there; but his manner and colour
ing approach nearer to the style of the Flemish school. At Culford, where he lived, are
preserved some of his works, and at Gorhambury, the seat of his father, is a large picture
in oil by him, of a cook-maid, with dead fowls, admirably painted, with great nature,
neatness, and lustre of colouring. In the same house is a whole length of him, by him
self, drawing on a paper, his sword and pallet hung up; and a half-length of his mother,
also drawn by him. At Redgrave-hall, in Suffolk, were two more pieces by the same
hand, which afterwards passed into the possession of Mr. Rowland Holt, the one Ceres,
with fruit and flowers ; the other, Hercules and the Hydra. In Tradescant's Museum
was a small landscape, painted and given to him by Sir Nathaniel Bacon."
BAENER., John Alexander. A German engraver, who flourished about the year 1670.
Among other plates, he engraved an emblematical subject, representing a man kneeling
at the feet of another man, with a book before him ; and a hand, holding a sword, is
striking from the clouds at the latter. It is executed with the graver in a coarse, heavy
style.
BAJARDO, Giovanni Batista. This painter was born at Genoa about the year 1620. It
is uncertain under whom he studied, but he was a reputable painter of history, and exe
cuted several works for the churches and public edifices at Genoa, which are deservedly
esteemed, particularly in the portico of S. Pietro, and in the cloister of S. Agostino.
His compositions are judicious, his design graceful, and he possessed great facility of
execution. According to Soprani, he fell a victim to the plague, which visited Genoa
in 1657, when he was in the prime of life.

BAI BAL 653
BAILLE, Alexander. Att obscure engraver, who flourished about the year 1764. He
engraved a plate representing a half-length figure of St. Cecilia;; after Francesco Fer-
nandi. It is signed with his name, with the above date.
BAILLEUL, F. This artist was a native of France, and resided at Paris about the year
1722, where he engraved part of the plates which were published at that time, repre
senting the ceremonies of the Coronation of Louis XV.
BAILLY, J. The name of this artist is affixed to some spirited etchings, after Callot, in
which the neat style of that master is imitated with considerable success.
BAILY, J. An English engraver, who flourished about the year 1790. He engraved
isome landscapes and views, in aquatinta, which possess much merit.
BAKKER, Baptist de. This artist was a native of Flolland, and flourished about the
year 1770. He engraved several plates, representing portraits, landscapes, and views,
which are executed in a neat finished style.
BALD1NI, Pietro Paolo. According to the Ab. Titi, this artist was a native of Rome, and
was a disciple of Pietro da Cortona. He painted history with considerable reputation ;
and that author describes several of his works in the public edifices at Rome, which are
deservedly admired. Among others, are some pictures in the churches of S. Niccolo di
Tolentino, and S. Maria di Loreto ; but above all he commends an altar-piece represent
ing the Crucifixion, in the church of S. Eustacchio, which is finely composed, and de
signed with great care and correctness.
BALDINI, Vittorio. An Italian engraver on wood, who, according to Papillon,
flourished about the year 1599. Among other prints, he executed the wooden cuts
for the frontispieces to the acts of the play of Aminta, written by Tasso, published
in 1599.
BALDREY, J. A modem English engraver, who flourished about the year 1790. He
engraved a few portraits, and other subjects, in the chalk style ; among which are the
following :
The finding of Moses ; after Sal. Rosa.
Diana and her Nymphs ; after C. Maratti.
The Benevolent Physician ; after Penny.
BALDRIGHI, Guiseppe. This painter was born at Pavia in 1722. After studying for
some years at Florence, under Vincenzio Meueci, he was invited to the court of Parma,
where he was appointed principal painter to the Duke. He established a school of
painting in that city, which was respectably frequented. One of his most admired pro
ductions is a picture of Prometheus, in the saloon of the Academy at Parma ; and he
painted a large picture of the Portraits of the Family of Filippo, Duke of Parma, which
gained him great reputation, He died at Parma in 1802, aged 80.

654 B A L BAR
BALTESYS, F. An obscure English engraver, who flourished about the year 1600.
There is a portrait by him of Sir William Brog, Colonel of a Scotch regiment serving in
Holland.
BANNOIS, —  . Mr. Strutt mentions this artist as the engraver of a portrait of
Queen Elizabeth.
BAPTIST, J. This artist resided at Amsterdam about the year 1720. He engraved part
of the plates for a collection of prints published at Amsterdam in that year, entitled,
Figures de la Bible, from the designs of Picart and others. They are executed in a very
indifferent style.
BAQUOY, Maurice. A French engraver, who flourished about the year 1720. He en
graved a set of vignettes for the History of France, by Pere Daniel, from the designs of
Boucher. We have also by him a set of landscapes and views, and a naval combat, after
P. D. Martin, one of the four battles engraved at Paris for the Czar Peter.
BACQUOY, John. He was the son of the preceding artist, born at Paris about the year
1730. Among other book plates he engraved a set of vignettes for the edition of Ovid's
Metamorphoses, published by Basan; which are executed in a neat, finished style.
BACQUOY, Peter Charles. This artist is the son of John Bacquoy, and was born at
Paris in 1760. Besides a variety of book plates, which are very neatly executed, we
have several prints by him, after the modern French painters, among which are the
following :
The Portrait of Charles Gravier, Count de Vergennes.
Four Landscapes ; after J. B. Benard.
La ruse d'Amour ; after Ant. Borel.
La Ruine ; after Watteau.
BARABE,  . A French engraver, who flourished about the year 1760. He en
graved some prints of architectural subjects, from the designs of G. M. Dumont. -
BARAUDIE, Le. This artist was a native of France, and flourished about the year 1638.
He engraved several plates of designs and ornaments for gardens, which were published
at Paris by Michael van Lochon, in 1638.
BARBASAN, Louis. According to Florent le Comte, he was a monk of the Abbey of
Premontre, and engraved the plan and perspective view of that monastery, from a design
of F. Bayette, another ecclesiastic of the same order.
BARBIANI, Andrea. This painter was born at Ravenna about the year 1680, and is
supposed by Lanzi to have studied under P. Cesare Pronti. He painted history in the
style of that master, and there are several of his works in the churches and public edi
fices at Ravenna and Rimini, which prove him to have been an artist of considerable
ability. Among his most esteemed productions are the Four Evangelists, in the vault
of the cathedral at Ravenna. He died in 1754, aged about 74.

BAR BAT 655
BARDUCCI, V. The name of this engraver is affixed to a portrait of Pascal Paoli, the
Corsican General. It is dated 1768.
BARKER, Samuel. According to Lord Orford, this artist was a relation of John Van-
derbank, by whom he was instructed in the art, but who, having a talent for painting
fruit and flowers, imitated Baptist, and would have, probably, excelled in that branch,
but he died young, in 1727.
BARONI, Guiseppe. An Italian engraver, who resided at Venice about the year 1720.
He engraved some large plates from the paintings of the Venetian masters ; among
which is a print representing the Crucifixion, with Angels in the air, and St. John and
Mary Magdalen at the foot of the Cross. It is executed in a coarse, unpleasing style*
and the drawing is very incorrect.
BARRETT, Ranelagh. This artist is mentioned by Lord Orford as a noted copyist, who
being countenanced by Sir Robert Walpole, copied several pictures of his collection,
and others of those of the Duke of Devonshire, and Dr. Meade. He succeeded greatly
in copying Rubens. He died in 1768.
BARRODUCCEO, A. Mr. Strutt mentions this artist as the engraver of some small
plates, representing the liberal arts and sciences. They are executed with the graver, in
a dry, stiff style, and the drawing is very incorrect.
BARTSH, or Bartasch, Godfrid. A German engraver, by whom we have a small col
lection of prints from the pictures in the gallery at Berlin. He also engraved the fol
lowing plates :
The Holy Family ; after Vandyck.
Meleager presenting the Head of the Boar to Atalanta ; after Rubens.
BARTOLINI, Gioseffo Maria. This painter was born at Imola, in 1657, and studied at
Bologna, under Lorenzo Pasinelli. He painted history with considerable reputation,
and there are several of his works in the public edifices at Imola, which are highly
esteemed, particularly a picture representing a Miracle wrought by S. Biagio, in the
church of S. Domenico. He was living in 1718.
BASSELLI, Daniello. This artist is mentioned by Mr. Strutt as the engraver of a print
representing Daniel in the Lion's Den ; after P. Caton. It is etched and retouched with
the graver in a very slight style.
BASTON, T. An English painter of sea-pieces and shipping, who flourished about the
year 1721. Several of his pictures have been engraved by Kirkall, Harris, &c. He
etched a few plates from his own designs, among which is a print representing the Royal
Anne, with other ships.
BATHON,  . The name of this artist is affixed to a portrait of Francis Mieris,
the painter.

656 BAT BEL
BATLEY, —  .. An English engraver in mezzotinto, who flourished about the year
1770. He was chiefly employed in engraving portraits.
BAUDOUIN, S. R. This amateur engraver was, an officer in the French guards, who
amused himself with the point. He etched a set of plates from hisown designs, Xepsre-
senting the military exercise of the French infantry. He also engraved some prints of
battles, after the pictures of Charles Parrocel, and a set of small landscapes, after Michau
and others.
BADOUX, or Boeadoux, Robert d-e. He was a native of Brussels, and flourished about
the year 1628. We have some prints by him of sea-pieces, and shipping, and he en
graved some of the plates for the Academie de I'Espee, published at Antwerp, by Gerard
Thibault, in 1628.
BAUGIN, J. A French engraver, who flourished about the year 1660. He engraved
several portraits, among which is that of H. de la. Mothe.
BECHON, J. This artist was a native of France, and flourished about, the year 1670.
He engraved several plates of landscapes, which are executed in a clear, neat style.
BEDUSCH I, Antonio. According to Lanjji, this painter was born at Cremona in 1576.
He was a disciple of Antonio Campi. He painted history in the style of his instructor,
and acquired considerable reputation by a picture he painted when he was only twenty
years of age, representing a Pieta, for the church of S. Sepolcro, at Piacenza. He also
painted for the same church an altaje-piece of the Stoning of St. Stephen, which is highly
esteemed.
BEGER, Laurentius. According to Professor Christ, this artist was the nephew of
Laurentius Beger, the celebrated antiquary, who was librarian to Frederick William,
Elector of Brandenburg. He engraved a set of twelve anatomical plates, taken from
the designs in the book on Anatomy, by Vesalius. He is also believed to have executed
the greater part of the plates of antiquities, published by his uncle, entitled, Thesaurus
Brandenburgicus.
BE1TLER, Mathias. A German engraver, who resided at Augsburg about the year 1616.
According to Professor Christ, he engraved several small plates of foliage, which are
very neatly executed. He usually marked his prints with a monogram composed of an
M. and a B, reversed, £jy£.
BELBRULE, T. A French engraver on wood, who flourished about the year 1580.
Papillon mentions some cuts of ornamental flowers, very delicately executed by this
artist.
BELL, William. This artist was a native of Newcastle upon Tyne. He came to London
about the year 1768, and was among the first of those who entered as students in the
Royal Academy. In 1771 he obtained the gold medal, for a picture representing Venus
soliciting Vulcan to forge Arms for iEneas. He was much patronised by Lord Delaval,

BEN BET 657
for whom he painted two Views of Seaton Delaval, and the Portraits of the family. He
died at Newcastle, about the year 1800.
BENARD, J. F. A French engraver, who resided at Paris about the year 1672. He en-
grayed several architectural and ornamental subjects for the work published at Paris by
John Berrain.
BERNARD, B. The name of this engraver is affixed to several plates of biblical subjects,
engraved from the designs of Bernard Picart, published at Amsterdam in 1720. They
are executed in a very indifferent style.
BERRESTYN, C. V. A German engraver, who flourished about the year 1650. He
engraved some plates of landscapes, among which is one representing a woody scene,
signed with his name and the above date. It is very scarce.
BERTERHAM, or Bexterham, J. Mr. Strutt has noticed this engraver under the two
names of Berterham and Bexterham. It is, however, evident, that they belong to one
and the same artist. He was a native of the Netherlands, and resided at Brussels about
the end of the seventeenth century. He engraved a few plates of devotional subjects,
among which is a print representing St. Roch, with other figures, signed J. Berterham,
sculp. Brux. 1696, without the name of the painter. It is executed with the graver, in
a stiff, tasteless style, and the drawing is very incorrect.
BERTOLOTTI, Giovanni Lorenzo. According to Ratti, this painter was born at
Genoa in 1640, and was a scholar of Francesco Castiglione. He painted history with
considerable reputation ; and his biographer speaks in very favourable terms of a pic
ture painted by him in the church of La Visitazione, at Genoa, representing the Visita
tion of the Virgin Mary to St. Elizabeth, which is finely composed, and coloured with
great clearness and suavity. He died in 1721, aged 81.
BERTRAM,  • A Dutch engraver, who flourished about the year 1690. He
engraved several plates, representing views and public buildings, which are executed
in a very neat style.
BERTRAM, Charles. According to Mr. Strutt, he was the engraver of a frontispiece to
a book published by himself in the year 1 758, entitled, Britannicarum Gentium Historia
Antiqua Scriptores tres; it is from his own design, and is inscribed, C. B. inv. et sc. 1758.
It is a very indifferent performance.
BERTRAND, P. A modern French engraver, who was chiefly employed in portraits.
Among others, he engraved that of Pope Clement X.
BETTOLI, Cajetands. The name of this artist is affixed to an etching representing the
Death of St. Joseph, after Marc Antonio Franceschini. It is executed in a free, spirited
style, and appears to be the production of a painter.
Vol. II. 4 O

658 BEU BIA
BEUSEKOM,F. Va,n. A Dutch engraver, who flourished from- about the year 1640 to
1650. He was principally employed by the booksellers in engraving portraits. Among
others, he engraved that of Ant. le Brun, after a picture painted by A. V. Hulk.
BEUTLER, James. A Qermaa engraver, who, according to Professor Christ> was. a
native of Ravensburg, and flourished about the year 1593. The prints he engraved are
generally very small, on which account he is ranked among the artists, distinguished by
the n^me qf the Little Masters, He usually marked his prints with the initials of his
name, I. B. As, the same mark was occasionally used by other German engravers, par
ticularly James Binck and John Burgkmair, who lived about the same period; it re
quires great attention to distinguish their works.
BEXTERHAM, J. See Berterham.
BEYLBROUCK, M. A Flemish engraver, who resided in England about the year 1713.
He engraved a plate, representing the Death of Dido, after Sebastian Bourdon, which
was published in London by James Grame, and dedicated to the Duke of Devonshire.
It is nqatly executed, but in a stiff, formal style, and without much effect. From the
resemblance the, manner of Gerard Scotin the younger bears to that of Beylbrouck, Mr.
Strutt thinks it probable that he received some instruction from him.
BIANCHI, Sebastiano. An Italian engraver, who flourished about the year 1580. He
engraved some plates of devotional subjects, which are executed with the graver in a
very indifferent style. Among others is a print representing the emblems of our
Saviour's Sufferings, with Angels, &c. It is inscribed Sebastiano Bianchi,fec.
BIANCHI, Paolo. This artist, who was chiefly employed in engraving portraits for the
booksellers, flourished about the year 1670. His plates are neatly executed with the
graver, but in a stiff, tasteless style. He" engraved some of the portraits for Priorato's
History of Leopold, among which are the following :
Cardinal Flavio Chigi, nephew of Alexander VII.
Luigi de Benevides Carillio.
BIANCHI* Pietro,. This painter was born at Rome in 1694, and was a scholar of Bene?
detto Luti. He had acquired considerable celebrity as a painter of history, when he
died young. One of his most esteemed performances is a picture of the Conception^in
the church of S. Maria degli Angeli, at Rome.
BIARD, or Biart, Peter. According to Florent Le Comte, this artist was a sculptor.
He resided at Paris about the year 1627, and is said to have engraved a set of twelve
plates, but the subjects are not specified. He also engraved an emblematical subject,
into which he has introduced many figures. It is etched in a bold, spirited style, some
what resembling that of Antonio Tempesta, and is inscribed Petrus Biard, fecit. 1627.

B I C BIZ 659
BIGHARD,  :  . A French engraver, who "flourished about the year 1760. He
engraved some plates representing tombs and buildings, from the designs of G. M.
Dumont.
BIEVRE, De. By this artist, who flourished about the year 1766, we have a few prints
of portraits, among which is that of Caroline Matilda, Queen of Denmark.
BILTIUS,  . This artist was a native of the Netherlands, and flourished about
the year 1650. He excelled in painting dead game, and other inanimate objects, parti
cularly fowling-pieces, pouches, powder-horns, nets, and other implements used by the
sportsman. These subjects he represented on a white ground, as if they were attached
to the wall, and they are designed and painted with such surprising truth and fidelity,
as to become a perfect illusion.
BINET,  . A French engraver, who flouiished about the year, 1760. He engraved
several plates, representing landscapes and views ; after Vernet, and other masters.
BINNEMAN, Walter. This artist is supposed to have been a native of England, and
flourished about the year 1675. He engraved a few portraits, which are very indiffer
ently executed ; among which is that of Robert Chamberlaine, an arithmetician, pre
fixed to his Accomptant's Guide.
BIORD, Peter. The name of this artist is affixed to an etching representing Cupid and
Psyche. It is executed in a bold, spirited style, and is apparently the production of
a painter.
BIRCK, Paul. Mr. Strutt mentions this artist as the engraver of four plates, exclusive of
a title, representing the Four Elements, in circles, surrounded with ornaments, which
appear to be patterns for goldsmiths. They are executed with the graver in a style
resembling that of J. T. de Bry. On the title is the following inscription: Quatiior
Mundi Elementa, Elegantibus figuris seu Imaginibus Artificiosa expressa. Paulus Birck, f.
BIRCKAERT, or Birckart, Anthony. A German engraver, who resided at Prague
about the year 1680. He engraved some large plates of architecture, with figures, which
are executed with the graver in a stiff, formal style, and are inscribed, Birckart, sculp.
Prag. Basan mentions a print by him representing the Martyrdom of forty Portuguese
Jesuits ; after Borgognone.
BIRCKENFIULT, Paul. This artist was a native of Germany, and flourished about the
year 1670. He was a printseller as well as an engraver, and published a set of small
plates, representing warlike trophies, with figures, &c. They are executed chiefly with
the graver, in a neat, but formal style. The title to these plates is Omnis generis Instru
ment a Bellica, and is signed Paulus Birckenhult, sculp, et excudit.
BIZEMONT, Andre de. This artist was a native of France, and flouiished about the
year 1780. He etched several plates, representing landscapes and views, which are
executed in a neat, pleasing style.
402

660 B L A B L O
BLAGRAVE, John. An eminent mathematician, who flourished at the end of the six
teenth, ^nd in the beginning of the seventeenth century. Among his other works, he
published, in 1582, The Mathematical Jewel, illustrated with wooden cuts, executed by
himself, in a neat style. On the frontispiece is inscribed, " By John Blagrave, of Read
ing, gentleman, and well-wilier to the mathematics, who hath cut all the prints or pic
tures of the whole, with his own hands." Where he has not put his name at length, it
is thus abbreviated, J. Blag, sculp.
BLAKE, C. J. This ingenious young lady etched a portrait of her uncle, Sir Francis
Blake Delaval. It is dated 1775.
BLANCUS, or Bianchi, John Paul. According to;M. Heineken, this artist flourished
about the year 1682. We have some etchings by him, which are executed in a heavy,
indifferent style. Among others, are an emblematical print, after C. Stores, inscribed,
Jo. Paul. Blancus incid., and Christ praying in the Garden, without the name of the
painter, dated 1682.
BLEAVIT,  . This artist is mentioned by Mr. Strutt as an engraver of portraits.
Among others, he engraved that of Rene des Cartes, the philosopher.
BLEYSWICK, F. Van. A German engraver, who flourished from the year 1725 till
1746. He engraved many portraits for the publications of his time, which are highly
finished, but without much taste. Among others, he executed part of the plates for the
collection entitled, Portraits Historiques des hommes illustres de Danemark, dated 1746. He
also engraved some small landscapes, in which the point and the graver are handled
with great delicacy.
BLOEM, A. This artist was a native of Germany, and resided at Vienna about the year
1674. He was chiefly employed by the booksellers. He engraved the portraits, views,
plans, battles, &c. for a book entitled, Istoria di Leopoldo Cesare, published at Vienna in
1674. The plates are etched, and finished with the graver.
BLOIS, Abraham de. A Dutch engraver, who flourished from the year, 1690 till 1720.
He worked chiefly for the booksellers, by whom he was much employed. Among other
plates, he engraved the portrait of Anthony de Leuwenhoek, the celebrated physician,
prefixed to his works, published in 1695, which is executed in a neat but formal style.
He also executed part of the plates for a work entitled, Figures de la Bible, from the
designs of Picart and others, published at Amsterdam in 1720.
BLOIS, De. A mezzotinto engraver, who resided some time in England. We have some
portraits by him, among which is that of Eleanor Gwynn.
BLONDEL, John Francis. This artist was a native of France, and resided at Paris
about the year 1740. He published a description of the festivals given by the city of
Paris in 1740, on the marriage of Madame Louise Elizabeth of France, with Don Philip,
Infant of Spain. The plates, representing the temporary buildings, fireworks, &c., are

B L O B O J 661
ehiefly engraved by himself. He also etched the plates for some large volumes of
Architecture, published by himself.
BLOOT, Peter. This painter was a native of Holland, and flourished about the year
1650. He painted drolls, drunken frolics, and the quarrels of the peasantry. .So far
from attempting, like Teniers, Brower, and Ostade, to reconcile us to the vulgarity of his
subjects, by the ingenuity of his compositions, the spirit and delicacy of his pencil and
the beauty of his colouring; he has rendered them doubly disgusting, by the most gross
and offensive absurdities; and his characters are outrageously uncomely, grotesque, and
extravagant. He died in 1667-
BOCKLIN, J.C. An obscure German engraver, who executed a set of British portraits
for a German edition of the History of England. They are poorly engraved, and the
whole are copied from the prints by White.
BOCKMAN, G. A mezzotinto engraver, who, if not a native of England, resided here
about the year 1745. He appears to have been also a painter, as he engraved a plate of
St. Dunstan, which is signed with his name, with the addition of -pinx. et sculp. 17 '43.
We have several portraits by him, among which are the following : ¦
William Augustus, Duke of Cumberland, uncle to the King; after Vanloo. .
Another Portrait of the same, with his hat on; ad vivum. 1746.
Mary, fourth daughter of George II., consort of Frederick II., of Hesse Cassell ; after J.Wors-
dale.
Philip Yorke, Earl of Hardwicke ; after M. Dahl.
Thomas Chubb, the Deist.
BODART, Peter. This artist was a native of Holland, and resided at Leyden about the
year 1723. His prints are little known in England. His principal work is a drawing-
book, entitled, Les Principaux fondements du Dessein, published at Leyden in 1723. It
consists of a great number of plates of heads, hands, feet, figures, and groups, from the
designs of Gerard Hoet. They are chiefly etched, in an indifferent style.
BODERECHT, Mark. A German engraver in mezzotinto, who flourished about the
year 1739. He was chiefly employed in portraits, and among others engraved that of
John Thomas Rauner, with the above date.
BOETTO, Giovenal. According to Delia Valle, this artist was a Piedmontese, and flou
rished at Turin, from the year 1642 till 1682. He distinguished himself as a fresco
painter, and was principally employed in embellishing the palaces and public edifices at
Turin with allegorical subjects, which were ingeniously composed, and designed with
taste and elegance. Among his most admired Works are twelve frescoes, in the Casa
Garballi, representing subjects emblematical of the Arts and Sciences. Lanzi affirms
that he excelled as an engraver, but his prints are not specified.
BOJAN, J. L. A French engraver, who flourished about the year 1670. Fie was chiefly
employed by John Berain, in engraving some of the plates for his large work of the
Ornaments in the Louvre and the Tuilleries.

662 BOI BON
BOIS, (Ellas du. This artist was a native of France, and was chiefly employed in en
graving portraits. Among others, he engraved that of the Duke de Sully, which bears
the date 16 14.
BOIS, Martin du. A French engraver, who resided at Paris about the year 1691. He
executed some of the plates for the collection of prints from the works of the Italian
painters, published by C. Paten, in the year above-mentioned. Fie also engraved fron
tispieces for books, after Dorigny and others.
BOIS, Peter du. He was probably a relation of the artist mentioned in the preceding
article. According to Florent Le Comte, he engraved several plates, representing funeral
processions, monuments, &c.
BOISSART, Robert. A French engraver, who flourished about the year 1600. Accord
ing to Florent Le Comte, he engraved several portraits, but they are not specified. He
is said to have resided some time in England.
BOIT, -*i  . An eminent painter in enamel, who resided in England in the reign of
Queen Anne. He was a native of Stockholm, though of French parentage, and was
bred to the profession of a jeweller, which he intended to follow in this country. He
changed his pursuit for that of enamel painting, which he practised with the greatest
success. After passing some years in London he went to Paris, where he was counte
nanced by the Regent, and was much admired in a country where they had seen no
enameller since Petitot. He died at Paris in 1726.
BOL, Cornelius. This artist was a native of Flolland, and flourished about the year 1660.
He visited England before the fire of London, as he painted views of that dreadful
conflagration. He also painted views of Sutton Place, in Surrey, Arundel House,
Somerset House, and the Tower. He etched some plates, representing the sea-ports of
Holland, among which is that of the Briel.
BOLLMAN, Hieronimus, or Jerome. By this artist, who was probably a native of Ger
many, we have some prints, after Raffaelle, and other eminent painters of the Italian
school. They are executed in a bold, free, and effective style, and possess considerable
merit.
BONCUORE, Giovanni Batista. This painter was bora at Abruzzo, in 1643, and
studied at Rome under Francesco Albano. He painted history with considerable repu
tation, and his pictures are distinguished by great force and vigour of effect, though
sometimes heavy in the execution. One of his most esteemed works is an altar-piece in
the Chiesa degli Orfanelli, at Rome. He died in 1699, aged 56.
BONESI, Giovanni Girolamo. According to Zanotti, this artist was bora at Bologna in
1653, and was a scholar of Giovanni Viani. He painted several pictures for the churches
and public edifices at Bologna, in which he appears to have imitated the style of Carlo
Cignani. Among his most esteemed productions are the following: St. Francis of
Sales kneeling before the Virgin, in the church of St. Marino ; S. Tommaso di Villa-

BON BOR 663
nuova giving Alms to the Poor, in S. Biagio; and the Virgin and infant Christ, with
Mary Magdalen and S. Ugo, at the Certosa. He died, in 1725, aged 72.
BONIFACCIO, or Bonifazio, Natalis. An Italian engraver, who flourished about the
year 1590. His plates are principally etchings, which are executed in a free, spirited
style. His most considerable works were the plates he engraved' for a book published at
Rome in 1590, composed by D. Fontana, architect to Pope Sixtus V., concerning the
removal of the Vatican obelisks. He has inscribed his name on these plates, ] Natalis
B'onifacius Sibenicensis,fec.
BONIS, Florianus. See Buous.
BONITO, Giuseppe. This painter was born at Gatell' a Mare> in the kingdom of Naples,
in 1705. He was a scholar of Francesco Solimene, and was one of the most successful
followers of his style. He acquired considerable celebrity as a painter of history, and
was much employed as a portrait painter. He was appointed painter to the court of
Naples, where he died, in 1789, aged 84.
BONNCIONE, E. The name of this engraver is affixed to a small plate, representing
Diana seated in a chariot drawn by Dragons, with a Cupid behind her, after F. Bol. It
is slightly etched, in a poor, dark style. He flourished about the year 1670.
BONNEAU, Jacob. A French engraver, who resided in England about the year 1741.
He was principally employed by the booksellers ; and, among other plates, engraved the
heads of the American Buccaniers, prefixed to their history, published in London in the
above-mentioned year.
BONNEMER, Francis. This artist was a native of France, and flourished about the
year 1670. He engraved several plates after Le Brun, and other French painters, among
which is Moses and the Burning Bush.
BONONIENSIS, Fr. An Italian engraver, by whom we have some very spirited: etch
ings, executed in a bold, masterly style. They are chiefly from the works of Paolo
Veronese, and are usually signed with his. name.
BONSER, J. This artist was a native of Holland, and resided at Leyden about the year
1642. He was principally, employed by the publishers, for whom, among other: book
plates, he engraved some frontispieces, with figures and ornaments. They are executed
with the graver, in a very indifferent style.
BORDINO, J. F. An Italian engraver, who flourished about the year 1604. He engraved
the plates for a volume in quarto, entitled, Series et Gesta Pontificum, published in the
above year.
BORGANI, Francesco. This painter was a native of Manlua, and flourished about the
middle of the seventeenth century. He was a scholar of'. Domenico Feti. He did not,
however, follow the style of his instructor, but imitated, with some success, the graceful

664 B O R BOS
manner of Parmigiano. There are several of his works in the churches of S. Pietro St.
Simone, and S. Croce, at Mantua; which prove him to have been an artist of no mean
ability; and, according to Lanzi, are deserving of more admiration than is generally be
stowed on them.
BORGOGNONE, Ambrogio. According to Lomazzo, this artist was a native of Milan,
and flourished about the year 1500. He was a disciple of Vincenzio Foppa, and was
one of the earliest of the Milanese painters who attempted to reform the dry and gothic
style which prevailed before him. One of his most considerable works is a picture in
the church of S. Simpliciano, at Milan, representing the Martyrdom of S. Sisinio and
his companions.
BOS, Balthasar. A Flemish engraver, who flourished about the year 1520. He engraved
a middle sized plate, lengthways, representing the Judgment of Paris, which is probably
from his own design, as he adds the word fecit to his name.
BOS, Marie Renard du. A French engraver, who flourished about the year 1770. He
was a pupil of Nicholas Gabriel Dupuis, and engraved several plates in the style of his
master, after Rosalba, Basseporte, and other artists.
BOSC, J. du. This artist was a native of France, and flourished about the year 1749.
Among other prints, he engraved some plates of flowers, which are executed with the
graver, in a very neat style.
BOSCH, Elias. A German engraver, whose works are little known, though they are not
destitute of merit. His plates are executed entirely with the graver, in a neat finished
style. His name is affixed to a small print, representing the Holy Family, with Angels,
after John van Achen, or ab Ach.
BOSCHI, Francesco. This painter was born at Florence in 1619, and was the nephew
and scholar of Matteo Roselli. He finished some of the works left imperfect at the
death of his master, and painted several pictures of his own compositions, for the
churches at Florence. His greatest merit, however, consisted in portrait painting, which
he practised with great ability. He died in 1675, aged 56.
BOSCHINI, Marco. He was born at Venice in 1613, and was educated in the school of
Palma. He did not confine himself to an imitation of the manner of his master, but
occasionally attempted the bolder style of II Tintoretto. One of his most esteemed
works is an altar-piece, representing the Last Supper, in the sacristy of S. Girolamo, at
Venice. He also distinguished himself as an engraver, and usually signed his name on
his plates, Marcus Boschinius. Boschini was also a writer on art, and was the author of
La Carta del Navegar pittoresco, published at Venice in 1660.
BOSELLI, Felice. This painter was bora at Piacenza in 1650, and was a disciple of
Gioseffo Nuvolone. For some time he attempted historical painting, in which he was
not very successful ; but he afterwards adopted a branch of the art more suited to his
genius, and became a very reputable painter of animals, birds, and fish. His pictures

BOS B O U 665
of these subjects are highly esteemed in his native country, and are to be found in the
best collections at Piacenza. He died in 1732, aged 82.
BOSSU, Le. A French engraver, who flourished about the year 1700. He imitated the
style of F. de Poilly, but without much success. His graver is heavy and coarse, and
his drawing is incorrect. He is said to have resided some time at Rome, where he en
graved some plates after the Italian painters, among which is the Resurrection of
Lazarus ; after Giacinto Brandi.
BOTET, F. This artist was a native of France, and flourished about the year 1750.
Among other prints he engraved some plates representing gallant subjects and bambo-
chades, after Charles Anthony Coypel.
BOUCHARD, Joseph. A French engraver, who flourished about the year 1760. He
engraved several plates representing buildings and antiquities, which are executed in a
neat, finished style.
BOUCHER, John. This artist was born at Bourges about the year 1700. He was the
elder brother of Francis Boucher, and was also a painter, though of no great celebrity.
He etched five plates, among which is the portrait of Anthony Watteau, the painter.
BOUD, R. A Dutch engraver, who flourished about the year 1590. He was principally
employed in engraving portraits for the booksellers : among others is a portrait of Henry
Goltzius, the painter and engraver, crowned with laurel by Fame. It is executed with
the graver, in a stiff, formal style.
BOUILLARD, John. A modern French engraver, who visited England about the year
1795. He did not remain long here, but he published four plates, engraved by himself,
after N. Poussin, Le Sueur, and other French painters ; among which is Moses treading
on the Crown of Pharaoh, after Poussin.
BOULANGER, Matthew. This artist was a native of France, and flourished about the
year 1680. He is supposed to have been a son of John Boulanger, the engraver. He
was chiefly employed in engraving portraits for the booksellers, and, among others, is
that of Raymundus Vievssens, Med. Doct. It is executed in a stiff, heavy style.
BOURDON, Peter. A French engraver, who resided at Paris about the year 1703. He
engraved a set of plates, from his own designs, representing ornaments with figures for
goldsmiths and jewellers. They are very neatly executed with the graver, and are in
scribed Petrus Bourdon, inv. et fecit.
BOURGEOIS, Sir Francis. The family of this ingenious artist was originally of Berne,
in Switzerland. He was born in London in 1756, and was intended by his father for the
profession of arms, to which he was induced by the friendship entertained for the family
by the late Lord Heathfield, who offered to procure for his son a commission in the
army. He had received some instruction in the rudiments of design from an obscure
painter of horses ; and though he was not insensible to ideas of martial glory, they were
Vol. II. 4 P

666 BOWER.
not sufficiently powerful to change the natural bent of his genius ; he was a constant-
attendant at all military evolutions and reviews, but it was rather for the purpose of
representing the manoeuvres he witnessed with his pencil, than of acquiring a know
ledge of military tactics. Some of his juvenile attempts having been shown to Sir
Joshua Reynolds and Mr. Gainsborough, those distinguished artists encouraged him to
persevere in his pursuit, and their approbation fixed him in a resolution to relinquish
all thoughts of a military life, and to devote his attention entirely to the cultivation of
an art to which the bias of his genius seemed irresistibly to direct him.
The talents of Mr. Loutherbourg were at that time in the zenith of their power, and a
congeniality of taste directed Mr. Bourgeois to that celebrated painter as an eligible
preceptor, and he readily consented to take him under his tuition. He remained under
the instruction of Mr. Loutherbourg a sufficient time to acquire a correct knowledge of
the true principles of painting, when he resolved to prosecute his studies in the great
school of nature, and in contemplating the works of the most eminent masters.
He had scarcely reached the nineteenth year of his age, when he had acquired consi
derable reputation as a painter of landscapes, battles, and sea-pieces, which were consi
dered as uncommon productions for so young an artist, and as certain indications of
future excellence.
In 1776, Mr. Bourgeois set out on a tour through the Netherlands, France, and Italy,
and studied with indefatigable assiduity the works of the most celebrated masters of the
different schools. When he returned from the Continent, he continued the exercise of
his talents with increased ardour and reputation, and his exhibitions in the Royal Aca
demy added considerably to the number of his admirers.
When the Prince Primate, brother to the unfortunate Stanislaus Augustus, King of
Poland, visited this country, he was particularly pleased with the works of Mr. Bour
geois, and he made him the most flattering offers to induce him to return with him to
Poland, which were gratefully acknowledged, though they were politely declined. In
1791 he was appointed painter to the King of Poland, who also conferred on him the
honour of a Knight of the Order of Merit, on. which occasion he was introduced at
our court, and his Majesty was pleased to confirm the title. Six Francis was elected a
royal academician in 1792, and in 1794 was appointed landscape painter to the King.
Sir Francis Bourgeois, was the intimate friend of Mr. Desenfans, and devoted great
part of his time and attention, to assisting that gentleman with his judgment, in the for
mation of his extensive collection of pictures, which, with a considerable property, were
left to him at the death of Mr. Desenfans. He did not survive the liberality of his
friend many years, and died in 1811. The valuable assemblage of paintings which he
inherited from Mr. Desenfans, he bequeathed to Dulwich. College.
The number of his pictures is considerable, and many of them possess distinguished
merit.. It is, however, to be regretted, that his.various pursuits. did not allow his powers
to take that extensive range for which they were evidently sufficiently qualified ; andin
several of his productions a slight and hasty finishing is observable, which diminishes
the admiration we should otherwise feel for the ingenuity of his compositions, and the
facility of his execution.
BOWER, Edward. According to Lord Orford, this artist flourished in the reign of
Charles the First. He paiuted the portrait of Mr. Pym ; an equestrian figure of General
Fairfax ;. and Lord John Finch, of Fordwicb. The twolast. are engraved by Hollar,

BOX B R E 667
BOXBERGER, M. A German engraver, who flourished about the year 1570. He en
graved some plates of historical and devout subjects, which are neatly finished, but in a
stiff, formal style.
BOYCE, Samuel. The name of this engraver is affixed to a portrait of Edward Russell,
Earl of Orford. He died in 1775.
BOYERMANS, Theodore. This eminent painter has escaped the notice of the biogra
phers of the Flemish artists, although his works, which are found in many of the
churches in the Netherlands, have long been the objects of universal admiration. He
was a native of Antwerp, and was brought up in the school of Rubens, whose splendid
style he followed with great success, and distinguished himself by a correctness of de
sign, and a delicacy and suavity of colouring, which have occasioned his works to be
frequently mistaken for the productions of Vandyck. His compositions are ingenious
and abundant, and he possessed an intelligent acquaintance with the principles of the
chiar-oscuro. Among his numerous works in the public edifices in Flanders and Bra
bant, the following are deserving of particular notice. In the church of St. James, at
Antwerp, is an admirable picture of the Assumption of the Virgin ; and in the convent
of the Jacobins, the Decollation of St. John. At Mechlin, in the church of St. Peter,
an altar-piece of the Virgin interceding for the persons afflicted with the plague ; and in
the Jesuits' church, at Ipres, is a picture whicb is regarded as his masterpiece, repre
senting St. Francis Xavier converting an Indian Prince.
BRAED, Nicholas. A Dutch engraver, who flourished from the year 1600 till about the
year 1630. He engraved several plates from the designs of Henry Goltzius and James
Matham. His name is also affixed to a small upright plate, representing Christ before
Pilate, after Tintoretto.
BRAMBINI, Ambrogio. This artist was a native of Italy, and flourished about the
year 1580. Among other works he engraved a large plate, entitled, Benedizione del
Pontefi. ce nella Piazza di S. Pietro. The composition consists of a great number of
figures, and it is executed in a slight style, somewhat resembling that of A. Tempesta.
It is from a design of C. Duchetti, and is inscribed Ambrosias Bram, F.
BRAMBILLA, Giovanni Batista. This painter was a native of Piedmont, and flou
rished about the year 1770. He was a scholar of Cavaliere Carlo Delfino, and acquired
no mean reputation as a painter of history. There are some of his works in the churches
at Turin, of which the most worthy of notice is a picture of the Martyrdom of S. Dal-
mazio, in the church dedicated to that saint.
BRANDT, R. A German engraver, who flourished about the year 1660. His name is
affixed to a middling sized upright plate, from his own design, representing the Virgin
and infant Christ, with St. Joseph and an Angel. It is etched in a style resembling that
of Benedetto Castiglione, but the drawing is incorrect.
BREGEON, Angelica. According to Basan, this ingenious lady was the wife of
John Baptist Tillart, a French engraver. She executed some plates with the point
4P2

668 BRE BRO
and graver, among which is a print representing a Youth drawing, after Carlo
Vanloo.
BREKELENKAMP,  . A Dutch painter, who flourished about the year 1650.
He was a scholar of Gerard Douw, though he did not attach himself to the high finishing
of that master, but adopted a style formed on a mixture of the manner of Douw with
that of Rembrandt. His pictures represent the interior of Dutch cottages, with figures.
There is a very natural expression in the airs of his heads, his touch is light and spi.
rited, and he was well acquainted with the principles of the chiar-oscuro. His works
are found in the choicest collections in Flolland, and are held in considerable estimation
in this country.
BRENTEL, Frederick. A German engraver, who flourished about the year 1608. His
principal work is a set of plates for a book published at Nancy in 1608, entitled, The
pompous Parade at the Funeral of Charles III. Duke of Lorraine. They are from his own
designs, and are etched in a slight, spirited style.
BRETEUIL, Comte de. This French nobleman was a great amateur of the arts, and,
according to Basan, etched several plates after Berghem, and other masters.
BRETHERTON, James. An English engraver, who distinguished himself by several
etchings and plates in aquatinta, from the designs of H. W. Bunbury, and other masters,
as well as from his own compositions. He flourished from 1770 till about the year 1790.
BRETHERTON, Charles. He was the son of the artist mentioned in the preceding-
article, and was born about the year 1760. At an early age he gave proof of the most
promising talents as a designer and engraver. He executed several plates of portraits,
views, and landscapes, which possess great merit ; and made some charming drawings
of his own compositions, one of which, representing Kate of Aberdeen, has been en
graved by Mr. Tomkins. This ingenious young artist fell a victim to consumption, in
1783.
BR1LLON,  . This artist was a native of France, and, according to Basan, en
graved several plates after Watteau and other French painters.
BRIOT, Anthony. A French engraver, who flourished in the latter part of the seven
teenth century. He engraved a set of different habiliments, from the designs of St.
Igny.
BRISSART, P. By this artist, who was a native of France, and flouiished about the
year 1670, we have a large print, representing a bird's-eye view of the Royal Palace of
Vincennes, from his own design. It is etched in a slight, neat style, but without much
effect. He also engraved several plates from the works of John Baptist Santerre.
BROEN, C. de. A Dutch engraver, who flourished about the year 1720. He was prin
cipally employed in engraving portraits for the booksellers. Among others, we have
the portrait of Peter Poicet, after Nicholas Verkolie, which is inscribed, C. de Broen, Jun.

B R O B R O 669
BROMPTON, Richard. An English portrait painter, who was a scholar of Benjamin
Wilson, He afterwards went to Italy, and resided some time at Rome, where he re
ceived instructions from Raphael Mengs. He was introduced to the patronage of the
Earl of Northampton, and accompanied that nobleman to Venice, when he was ap
pointed ambassador to the republic. At Venice he painted a picture, representing a
conversation piece, in which he introduced the portraits of the then Duke of York, and
several English gentlemen, then on their travels. The picture was afterwards exhibited
at the rooms in Spring-garden in 1767, at which time he had returned to England, and
for some years practised portrait painting. Not meeting with the encouragement he
expected he went to Petersburg, in the year 1782, where he was well received, and met
with much employment. He died in that city about the year 1790.
BROOKING,  . This eminent English marine painter was bora about the year
1720. He is said to have been bred in some department in the dock-yard at Deptford ;
and it does not appear that he had the advantage of receiving any regular education in
the art. As a painter of sea-pieces, it will not, however, be denied that he excelled all
his countrymen who preceded him, nor has any artist, since William Vandevelde,
equalled his productions in that department of painting. Unfortunately for the admi
rers of art, his merits were scarcely known, when death deprived the world of his talents,
when he was in the prime of life, and prevented him from acquiring the honour and profit
which, by his abilities, he had a just right to expect. He died of a consumption, in the
spring of the year 1759, under forty years of age. The following anecdote is given,
upon the authority of the late Mr. D. Series, to whom he was well known.
" Many of the artists of that time worked for the shops, and Brooking, like the rest,
painted much for a person who lived in Castle-street, Leicester-square, who colotrred
prints, and dealt in pictures, which he exposed in his shop winddw.
" A gentleman, who sometimes passed the shop, being struck with the merits of some
sea-pieces, which were by the hand of this artist, desired to know his name, but his
inquiries were not answered agreeably to his wishes; he was only told, that if he
pleased, they could procure any that he might require from the same painter.
" Brooking was accustomed to write his name upon his pictures, which mark was as
constantly obliterated by the shop-keeper, before he placed them in his window ; it
however happened, that the artist carried home a piece, on which his name was in
scribed, while the master was not at home, and the wife, who received it, placed it in the
window, without effacing the signature. Luckily, the gentleman passed by before this
picture was removed, and discovered the name of the painter whose works he so justly
admired. He immediately advertised for the artist to meet him at a certain wholesale linen-
draper's in the city. To this invitation, Brooking at first paid no regard, but seeiDg it
repeated, with assurances of benefit to the person to whom it was addressed, he pru
dently attended, and had an interview with the gentleman, who, from that time, became
his friend and patron ; unfortunately, the artist did not live long enough to gratify the
wishes of his benefactor, or to receive any great benefit from his patronage."
BROSTERHUST, John. This artist, who is little known, was probably a native of Flol-
land. Among other prints, he engraved a set of six plates, representing landscapes,

670 B R O B R Y
views of villages, &c. with the title, Joann. Brosterhust Pradia. They are etched in a
tasteful, pleasing style.
BROUCK, M. V. A Dutch engraver, who flourished about the year 1621. By this artist,
who was apparently a painter, we have a small plate, representing Mercury and Argus.
It is .etched in a slight, poor style; and in retouching it with the graver, he has
attempted to imitate the style of Cornelius Visscher, but with little success. It is
dated 1621.
BROWER, John. This artist was a native of Holland, and flourished about the year
1680. He was chiefly employed in engraving portraits, which possess no great merit.
Among others is that of the Emperor Leopold, after W. Vaillant.
BROWN, Robert. According to Lord Orford, this artist was a disciple of Sir James
Thornhill, and worked uuder him on the cupola of St. Paul's. On leaving that master
he was much employed in decorating several churches in the city. He painted the
altar-piece of St. Andrew Undershaft, and the spaces between the gothic arches, in
chiar-oscuro. In the parish church of St. Botolph, Aldgate, he painted the Transfigura
tion; for the altar in St. Andrew's, Holborn, the figures of St. Andrew and St. John ; and
two histories on the sides of the organ. In the chapel of St. John, at the end of Bedford-
row, he painted St. John the Baptist and St. John the Evangelist.
BROWNE, Joseph. By this engraver, who resided at Tedbury about the year 1676, we
have a portrait of Richard Collins, an officer of Excise, of Bristol. It was prefixed to
his Ganger's Vade Mecum, published in 1677, and is now become scarce.
BRUNEAU, Louis. A French engraver, who -flourished about the year 1750. He etched
several plates of landscapes, some of which are from his own designs. They are exe
cuted in a very pleasing style. It is most probable that he resided some time in London,
as some of them were published by J. Tinney, in Fleet-street.
BRUNN, A. F. This artist was a native of Germany, and flourished about the year 1580.
He engraved some plates, which are neatly executed, but in a stiff, gothic style. Among
others, is a print representing Christ standing on a mountain, accompanied by an Angel,
with a female figure, emblematical of the church, and Satan and his accomplices ap
pear below. It is inscribed, A. F. Brunn, fecit, by which it may be presumed to be
from his own design.
BRUSTOLONI, Giovanni Batista. An Italian engraver, who flourished about 1765.
He engraved several plates after the pictures of Canaletti, which are executed in a neat,
slight style.
BRYER, Henry. This artist was a pupil of Ryland, and became his partner as a print-
seller. He engraved a few plates, chiefly from the designs of Angelica Kauffman.
Among other prints by him, we have a middle-sized upright plate, representing Bacchus
and Ariadne ; and a large plate, length-ways, of Mars and Venus discovered by Vulcan.

BUB BUR 671
For the last he obtained a premium from the Society for the Encouragement of Arts and
Sciences.
BUBE, L. Mr. Strutt mentions this artist as an engraver on wood, by whom we have a
large upright print of the Holy Family, in chiar-oscuro. It is executed in a slight
style, but it is very spirited, and manifests the hand of the master. It is from a design
of Abraham Bloemart.
BUCKSHORN, Joseph. According to Lord Orford, this artist was a native of Holland.
He visited England in the reign of Charles the Second, and was a scholar of Sir Peter
Lely, whose works he copied in great perfection, and some of the portraits by Vandyck,
particularly that of the Earl of Strafford, which was in the possession of Watson, Earl of
Rockingham. Vertue mentions the portraits of Mr. Davenant, son of Sir William, and
his wife, by Buckshorn. He died at the age of 35.
BUFFAGNOTl, Carlo. This artist was a native of Bologna. He engraved several
plates of architecture, with figures, which are etched in a slight style, and are signed
with his name, to which he adds, inv. et fee, from which we may conclude that they
were engraved from his own designs.
BUGEY,  A French engraver, who was principally employed in engraving
portraits for the booksellers; among others, we have that of the Marshal de Broglio on
horseback, after Nicholas Loir.
BUISEN, or Buysen, A. van. This artist was a native of Holland, and flourished from
1700 till about 1725. He was chiefly employed in engraving for the booksellers, and
appears to have resided some time in England, as he engraved a plate representing
David playing on the harp, for tbe octavo edition of Cowley's Poems, published in 1700.
He also engraved some of the plates for the work entitled, Figures de la Bible, from the
designs of Picart, and others, published at Amsterdam in 1720.
BUMEL, or Bimel, Michael. A German engraver of little celebrity. He engraved
several plates, representing saints, and other devotional subjects, which are executed
with the graver, with sufficient neatness, but in a stiff, tasteless style.
BUONI,or Bonis, Floriano. This artist was a native of Bologna, and flourished about
the year 1670. Among other prints, he engraved a plate representing a dead Christ,
with the Virgin Mary and St. John, after Guercino. It is executed with the graver in a
dark, heavy style. His name is also affixed to a portrait of Guido Reni.
BURGH, H. An English engraver, who resided in London about the year 1750. He
worked principally for the booksellers, and was chiefly employed in engraving portraits,
among which is that of Thomas Bradbury, minister of the gospel, from his own design 5
it is inscribed, H. Burgh, del. et sculp.

672 BUR CAI
BURNFORD,  . An obscure English engraver, who was employed in engraving
portraits, frontispieces, and other book plates, for the publishers. Among his portraits
is that of William Salmon, M. D. prefixed to his Synopsis Medicina.
BUSSE, John. A German engraver, who flourished about the year 1528. He may be
ranked in the class of the little masters, and was probably a disciple of Henry Alde-
grever, as he copied some of the prints of that master. He engraved a set of small
plates of the Seven Planets, which are marked with the initials of his name, J. B. with
the date 1528. Mr. Strutt also attributed to him a small plate, length-ways, represent.
ing a man and a woman dancing, with two men playing on musical instruments, on
which the name is signed at length, John Busse.
BUYSEN,  . See Buisen.
BYLERT, or Bylart, John. According to Descamps, this painter was born at Utrecht
in 1603. His father was a glass painter, who taught him the rudiments of design, and
without the help of superior instruction, he became a reputable painter of history. His
pictures are usually smaller than life ; they are ingeniously composed, and are coloured
with great vigour and effect. His talents have been celebrated by the poet, Cornelius
de Bie, in his Gulden Cabinet.

c
CACCIANIGA, Francesco. This painter was born at Milan in 1700, and studied at
Bologna, in the school of Marc Antonio Franceschini. He afterwards visited Rome,
where he established himself, under the patronage of the Prince Borghese, for whom he
executed some considerable works in the Palazzo and the Villa Borghese. His principal
works are at Ancona, where he painted several altar-pieces and pictures for the churches
and public edifices, of which the most esteemed are the Marriage of the Virgin, and the
Last Supper.
CAGNONI, D. An Italian engraver of little celebrity, who appears to have been prin
cipally employed by the booksellers. His name is affixed to a portrait of Victor Armi-
dius III., King of Sardinia.
CAISSER, Henry de. A French engraver, who, according to Florent Le Comte, en
graved several plates representing funeral processions, monuments, 8cc.

C A L CAR 673
CALDERARI, Giovanni Maria. He was a native of Pordenone, and was one of the
most distinguished scholars of Gio. Antonio Licinio, called II Pordenone. He executed
several works in fresco in the parochial church of Montereale, at Venice, representing
subjects from the Evangelists, which are frequently attributed to his instructor. He
died about the year 1564.
CALL, John van. According to Descamps, this artist was born at Nimeguen in 1655.
He was the son of a surveyor, and is said to have made a considerable proficiency in the
art, without the help of an instructor. His first attempts were made in copying the
landscapes of John Breughel, Paul Brill, and William van Nieulant, and he studied atten
tively the principles of perspective and architecture. He afterwards travelled through
Switzerland to Italy, and, during a residence of some years at Rome, formed an ample
collection of designs from the most picturesque views in the environs of that capital.
He returned through Germany to his native country, and established himself at the
Hague, where he died in 1703, aged 48. His drawings are more esteemed than his pic
tures ; they are purchased at considerable prices in Holland, where they are found in the
choicest collections.
CAM, F. Vander. A Dutch engraver, who flourished about the year 1750. He exe
cuted some plates in mezzotinto, representing scriptural subjects.
CAMPANELLA, Agostino. This artist was a native of Florence, and flourished about
the year 1770. He engraved several plates representing historical and biblical subjects.
They are executed with the graver in a neat style, but the drawing is not very correct.
CAMPBELL, J. This artist was probably a native of Scotland. He flourished about
the year 1754, and engraved a few plates after Rembrandt, in which he imitated the
style of that master with considerable success.
CAMPOLO, Placido. According to Hackert, in his Memorie de Pittori Messinesi, this
artist was born at Messina, in 1693. He studied at Rome, under Sebastiano Conca,
where he was more indebted for his advancement to his designs from the antique
marbles, and his contemplation of the works of Raffaelle, than to the precepts of his in
structor. On his return to Sicily he distinguished himself as a painter of history, par
ticularly in fresco. : One of his principal works is the ceiling of the Galleria del Senato,
at Messina, which is admired for the ingenuity of the composition, and the correctness
of the design. He died of the plague in the fatal year 1743, aged 50.
CAMU, Le. A French engraver, who flourished about the year 1746. He engraved a
print of the Temple of Arts, from the design of G. M. Dumont.
CARDONNEL, Anthony de. This artist, who flourished about the year 1790, has
etched several plates, representing ancient buildings in Scotland.
CAROT,  According to Mr. Strutt, this artist resided at Rome about the year
1585. He engraved a small upright plate, representing St. Francis holding a Cross. It
is etched in a bold, spirited style, and appears to have been the production of a painter.
Vol. II. 4 Q

674 CAR CAZ
CARPENTIER, Adrian. This artist was a native of Switzerland. He settled in Eng
land about the year 1760, as a portrait painter; and from that time, till the year 1774,
was a frequent exhibitor with the Society of Artists in Spring Garden. One of his best
performances was a portrait of Roubilliac, the sculptor, from which there is a very good
mezzotinto print by David Martin. He died about the year 1778, at an advanced age.
CARTWRIGHT, William. An English engraver of portraits and other hook-plates.
His name is affixed to a portrait of Thomas Cranmer, Archbishop of Canterbury, after
Holbein. It is inscribed, Calarif. Gu. Cartwright.
CAR WITH AM, J. This artist was a native of England, and flourished about the year
1730. He engraved several plates for the publications of his time, being chiefly em
ployed by the booksellers. His prints are sometimes executed with the graver only,
others are etched, and finished with the graver, in a style resembling that of Bernard
Picart. Among others, we have a middling sized plate by him, representing the Lao-
coon, after the antique marble, dated 1741. He also engraved a variety of frontispieces,
among which is an emblematical one, from a design of B. Picart, with the date 1723.
CASEMBROT, Abraham. This painter was a native of the Netherlands, and flourished
about the middle of the seventeenth century. According to Hackert, he passed great
part of his life in Sicily, and distinguished himself at Messina as one of the ablest artists
of his time, in painting landscapes, marines, sea-ports, and storms. He also occasionally
painted history, and gave proof of no mean talent in that branch, in three pictures re
presenting subjects from the Passion of our Saviour, in the church of S. Giovacchino,
at Messina. We have several etchings by this artist, representing sea-ports, with gallies
and other shipping ; and views of the city of Messina. They are executed in a spirited
and masterly style.
CASSIONE, Giovanni Francesco. An Italian engraver on wood, who flourished at
Bologna about the year 1678. He executed several of the cuts representing the por
traits of the painters, for the work entitled, Felsina Pittrice, by Carlo Cesare Malvasia,
published at Bologna in the above-mentioned year.
CASTIGLIONE, Salvatore. This artist was the brother of Gio. Benedetto Castiglione,
by whom he was instructed in the art, and painted landscapes and pastoral subjects in
the style of that master. We have by him a highly finished etching, representing the
Resurrection, of Lazarus.
CAUSE, H. A Flemish engraver, who flourished about the year 1690. We have some
portraits by him, among which is that of Cardinal Ferdinand d'Adda. He also en
graved some plates representing views of castles, buildings, &c, which possess consi
derable merit.
CAZES, Peter James. This painter was born at Paris in 1676, and was a disciple of
Bon Bouilongne. He painted history with considerable reputation, and executed
several works for the church of Notre Dame, and for the choir of St. Gertnain-des-Pres,
which prove him to have been an artist of no mean ability. He died in 1754, aged 78,

C E C C H R 675
CECCHI, Gaetano. This artist was a native of Florence, and flourished about the year
1770. He engraved some plates of historical subjects, after the Italian painters, which
are etched, and finished with the graver, in a style which does him considerable credit.
CERCEAU, Du. A French engraver, who flourished about the year 1620. He engraved
a set of plates representing Ornaments ct-la-Mode, which are neatly executed with the
graver, but without much taste. They are from his own designs, and are inscribed,
Invente et grave par Du Cerceau.
CHARDIN, Simon. This artist was born at Paris in 1701. He distinguished himself as
a painter of conversations and domestic subjects, which he represented with such truth
of effect, and beauty of finishing, that his countrymen have not hesitated to compare his
pictures with the admirable productions of Gabriel Metzu. He was a member of the
Royal Academy of Paris, and one of the painters to the King. He died in 1779,
aged 78.
CHARPENTIER, Francis Philip. This artist was a native of Blois, and flourished about
the year 1760. He engraved some architectural plates from the designs of Dumont; and
his name is also affixed to a print of Ruins ; after Servandoni.
CHERP1GNON,  -. A French engraver, by whom, among other prints, we have
a plate representing the Holy Family, in which the Virgin Mary is seated, with the in
fant Jesus asleep in her lap, and St. Joseph is leaning on a large stone behind her ; after
a picture by Laurent de la Hire. It is etched in a free, spirited style, and retouched with
the graver, in a masterly manner.
CHISBOUT, —  . A French engraver, who flourished about the year 168O. He
etched a plate, representing Dutch Boors playing at cards, which was published by
Peter Drevet, the elder. It was probably from his own design, as he has signed it,
Chisbout, fecit.
CHOFFARD, Peter Philip. According to Basan, this artist flourished at Paris about
the year 1767. He engraved several vignettes, and other book plates, for the editions,
published at that time, of La Fontaine's Tales ; and the Metamorphoses of Ovid. We
have also by him the following :
A View of the Bridge of Orleans ; after Desfriches.
The Cascade of Brunoy; after Gravelot.
Two sets of Flower pieces; after Bachelier.
CHOPY,  ¦• A French engraver ; his name is affixed to a small plate, representing
the Baptism of Christ by St. John. It is executed with the graver, in a laboured, in
different style.
CHRIEG, or Chrieger, Christopher. Papillon attributes to this artist, who was a na
tive of Germany, and flourished about the year 1572, a large print, representing the Sea^
fight at Lepanto, of which he gives the following description. " It is a magnificent
4Q2

676 CIA CLE
engraving on wood, containing more than three hundred vessels and gallies. The com
batants, which are exceedingly numerous, are distributed with great judgment. The
dreadful confusion of the vessels on fire, or sinking to the bottom, cannot be represented
in a superior style. It is cut on two blocks of wood, in the form of an oval, about two
feet long, by sixteen inches in height. In the upper part of the oval are represented
the arrangement of the Christian force and that of the Turks, and below three Christian
chiefs dividing the spoil, and the destruction of the Turkish fleet. It is inscribed,
Christoph"- Chriegr All*- inci., and was published at Venice in 1572, by Cesare^ Vecelli, a
relation of the celebrated Titian, who is supposed to have made the design."
CIAMBERLANO, Luca. This artist was born at Urbino about the year 1580. In the early
part of his life he applied himself to the study of civil law, in which he had taken a
doctor's degree, when he abandoned the study of jurisprudence to devote himself to.
painting and engraving, particularly the latter. He resided chiefly at Rome, where he
executed a great number of plates from his own designs, as well as after the works of
the most celebrated Italian painters. His plates are entirely executed with the graver,
which he handled with neatness and intelligence, and his design of the figure is tolerably
correct. He sometimes signed his plates with his name, and sometimes marked them
with the cipher (j^. Among others, are the following :
Thirteen plates of Christ and the Twelve Apostles ; after Raffaelle.
St. Jerome dead, lying upon a stone ; after the same.
Christ on the Mount of Olives ; after A. Casolani.
Christ appearing to Mary Magdalen, after Federigo Baroccio, inscribed, Lucas Ciamberlanus
Urbinas I. V. Doctr. del. et sculp. 1609.
Christ appearing to St. Theresa ; after Caraeci. 1615.
CLARET, William. An English portrait painter, who flourished about the year 1680.
He was a scholar of Sir Peter Lely, and copied many of the pictures of that master.
Of his own productions, one of the most successful was a portrait of John Egerton, Earl
of Bridgwater, of which we have a mezzotinto print by R. Thompson. He died in 1706.
CLASENS, D. A Dutch engraver, who flourished about the year 1660. His name is
affixed to a coarse etching, representing the Virgin and infant Christ, with St. John and
an Angel; after Procaccini.
CLASERI, Marco. This artist was a native of Venice, and flourished about the year
1580. He engraved several wooden cuts, among which are the Four Seasons, and the
Four Ages of the World. They are middling sized prints, lengthways.
CLASSICUS, Victorius. According to Florent Le Comte, this artist was a sculptor and
an architect. He is said to have engraved some plates from the paintings of Tintoretto.
There is a small portrait of II Tintoretto, engraved in a style resembling that of Corne
lius Cort, inscribed, Alessandro Victorio Classico, sculp., which is probably by the same
artist.
CLERISSEAU, C. This artist was a native of Paris, but went to Rome when he was
young, where he resided some time, and was brought to England by Robert Adam, the

CLE COL 677
architect. He distinguished himself as a designer of architecture and ruins, in water-
colours, in which he particularly excelled. After a residence of some years in London
he returned to Paris, where he died, about the year 1807.
CLEVELY, John. This artist was bora in London about the year 1746. According to
Edwards, he was brought up in some department of the dock-yard at Deptford ; but
by his own exertions, he acquired considerable reputation in designing shipping and
marine views. When the late Lord Mulgrave sailed on a voyage of discovery in the
North Seas, Mr. Clevely attended him as draughtsman. He also accompanied Sir
Joseph Banks in his tour to Iceland. He sometimes painted in oil, but his principal
productions were in water-colours. He died in London in 1786, aged about 40.
CLOCHE, G. A French engraver, who flourished about the year 1616. According to
Abbe Marolles, he engraved some plates representing views ; among which is that of
the City of Rennes.
COCCETTI, Pietro Paolo. This artist was a native of Italy, and flourished about the
year 1725. He engraved some plates of architectural subjects, which are executed in a
slight, indifferent style.
COCK, John Claus de. A Flemish engraver, who flourished about the year 1660. His
name is affixed to an etching representing the Martyrdom of a Saint. It is executed in
a bold, masterly style, and appears to have been the production of a painter. It is in
scribed, Joan. Claus de Cock, fecit.
COENRADT, Lawers. This artist, who flourished about the year 1690, engraved part
of the portraits for the collection of Cardinals, published by Rossi. They are very indif
ferent performances.
COLBENSCHLAG, or Colbenius, Stephen. A German engraver, who flourished about
the year 1610. He resided principally at Rome, where he engraved several plates from
the works of the Italian painters ; among others are the following :
The Adoration of the Shepherds ; after Domenichino.
The taking down from the Cross ; after An. Caraeci.
COLE, J. An English engraver, who flourished about the year 1720. He was much
employed by the booksellers, for whom he engraved some portraits, and other book
plates ; among which is a head of James Puckle, prefixed to his dialogue, called The
Club. He also engraved several plates of monuments, and a copy from the print by
Martin Rota, representing the Last Judgment, after M. Angelo Buonaroti.
COLLET, Louis. This artist was a native of Paris, and flourished about the year 1610.
He engraved a set of plates of ornaments for goldsmiths and jewellers, from the designs
of Giles Legare, which are executed with the graver in a very neat style.
COLLET, John. He was bora in London about the year 1725, and was a scholar of
George Lambert. He painted in a variety of ways, but the favourite subjects of his

678 COL COP
pencil were pieces of humour, in which he imitated the style of Hogarth, and which
according to Edwards, " were less satirical than narrative, more ludicrous than witty,
and often displeasing, without conveying any moral instruction." There are several
prints engraved from his pictures by John Goldar, representing humorous subjects.
Collet etched two plates, from his own designs, in ridicule of antiquaries. He died at
Chelsea in 1780.
COLLINS, John. An English engraver, who flourished about the year 1682. He en
graved some very indifferent copies from the grotesque figures published by the Bon-
narts, at Paris, called Scaramouch and his Company of Comedians. We have also some
portraits by him ; and the Funeral Procession of George, Duke of Albemarle.
COLLINS, James. By this artist, who flourished about the year 1715, we have some
prints, representing views of buildings, among which is a large plate of a prospect of
the Metropolitan Church of Canterbury.
COLOMBINI, Cosimo. An Italian engraver> who flourished about the year 1754. He
engraved, among other things, several of the plates for the Museo Fiorentino.
COLYN, Michael. According to Florent Le Comte, this artist is said to have been a
native of Antwerp. He engraved some plates of architectural subjects, among which
is a view of the Exchange at Amsterdam.
COMBES, Peter. Ah English engraver in mezzotinto, who flourished about the year
1700. He was chiefly employed in engraving portraits, among which, is a small whole-
length of Master Charles More, son of the Bishop of Ely ; after Kerseboom.
COMIN, Jovan. This artist, who flourished about the year 1630, engraved some of the
plates for the collection of antique statues, which are in the Giustiniani Gallery. They
are executed with the graver in a stiff, tasteless style.
CONSTANTINI, or Constantino, Giovanni Batista. This artist was a native of Italy,
and flourished about the year 1619. We have an etching by him, representing a Bac
chanalian subject, surrounded with a grape vine, in the form of a border. It is exe
cuted in a slight, free style, somewhat resembling that of Guido, though less masterly,
and appears to have been the work of a painter.
COOL, Peter. A Flemish engraver, who flourished about the year 1690. His name is
affixed to a middling sized upright plate, representing Christ bearing his Cross, with St.
Veronica, and other figures, after Martin de Vos. It is executed entirely with the graver,
in a coarse, stiff style.
COPPA, Stefano. This artist was a native of Italy, and flourished at Rome about the
year 1776. In conjunction with Giuseppe Perini, he executed the plates from the
antique statues in the Clementine Gallery. He also engraved a print of the Ascencion,
after Gio. Lanfranco.

COP C O U 679
COPPENS, Augustine. A Dutch engraver, who flourished about the year 1690. He
engraved sorne plates representing views of ruins, and architecture, which are executed
in a neat, finished style.
CORDIER, V. This artist was a native of Abbeville, and flourished about the year 1760.
His name is affixed to a plate representing a fountain, from a design of G. M. Dumont.
CORNELISZ, Cornelius, called Van Haerlem. See Haerlem.
CORNISH,  . This name is affixed to a slight etching, representing the portrait
of Dr. Charles Rose, a Scotch clergyman. It was probably the production of an ama
teur engraver, who was a member of the University of Oxford, as it is inscribed, Cornish,
Oxon.
CORONELLI,P. This artist was a native of Venice, and flourished about the year 1716.
He engraved the plates for a work entitled, Roma Antica Moderna del P. Coronelli cos-
mografo pubblico, ad'uso de suoi Argonauti in Venezia, 1716. They consist of views of
buildings, &c. and are etched in a slight, indifferent style.
COSTER, Adam de. This painter was a native of Antwerp, and is supposed to have been
a disciple of Theodore Rombouts. He painted history and portraits with considerable
reputation; but he particularly excelled in painting gallant assemblies and festivals,
which are ingeniously composed, and coloured with great force and vigour. We have
a fine print, engraved by L. Vorsterman, after a picture, representing a concert, painted
by A. de Coster.
COSTER, D. A Flemish engraver, who flourished about the year 1700. He was chiefly
employed by the booksellers; and, among other plates, engraved a portrait of Francis
Hals, the painter, after Vandyck.
COTTA, Jacopo. An Italian engraver, who flourished about the year 1600. His name
is affixed to an etching representing the Meeting of Isaac and Rebecca, after Storer. It
is executed in a poor, tasteless style, and incorrectly drawn.
COTTART, Peter. According to Florent Le Comte, this artist was an architect, and
flourished in the seventeenth century. He etched some plates of vases and ornaments,
which are executed in a bold, coarse style. His prints are usually marked with the
monogram ?£•
COURT01S, Peter Francis. A French engraver, who resided at Paris about the year
1760. He engraved some plates from the designs of St. Aubin, and others, but died in
the prime of life.
COUSE, J. This artist, if not a native of England, resided here about the year 1750. He
engraved a plate of a view of Berkeley Castle; from a drawing by the Countess of Berkeley,
and some other prints, which are neatly executed, and possess considerable merit.

680 COU CUN
COUSSIN, H. According to Basan, this artist was a native of France, and resided at
Aix, in Provence, about the year 1760. He etched several plates after Puget, Rembrandt,
and other masters.
COZENS, John. This artist was the son of Alexander Cozens, a Russian by birth, who
established himself in London, as a landscape painter and drawing-master, about the
year 1770. He followed the same profession, but with great ability and elegance. He
produced some drawings, which possessed extraordinary merit, executed in a style
which was afterwards adopted and improved by the ingenious Mr. Girtin. He died in
1799-
CREMONIENSIS, Antonio. An Italian engraver on wood, who flourished about the
year 1560. Among other prints, he executed a cut representing Mutius Sccevola burn
ing his hand, in the presence of Porsenna. It is executed on a single block, without any
cross hatching.
CREMONINI, Giovanni Batista. According to Malvasia, this artist was a native of
Cento, and flourished about the year 1600. Although he chiefly distinguished himself
as a painter of perspective, he acquired considerable reputation by his pictures repre
senting wild and ferocious animals. He also painted history with not less success ;
and there are several pictures and altar-pieces in the churches at Bologna, which prove
him to have been an artist of great ability ; among which, the following are the most
worthy of notice: in the church of S. Francesco, the Annunciation, and the Death of St.
Francis; and in S. Maria della Vita, the Assumption of the Virgin. Gio. Batista Cre-
monini was one of the first instructors of Guercino. He died in 1610.
CRESPY, or Crespi,  — . An Italian engraver of little celebrity, who, according to
Basan, flourished in the beginning of the eighteenth century. Among other prints, he
engraved a plate, representing the taking down from the Cross; after Carlo Cignani.
CROOCK, Hubert de. An ancient German engraver on wood, who flourished about the
year 1490. His name is affixed to a large cut, representing the Trinity. It is neatly
executed, but in a stiff, formal style. Albert Durer engraved the same subject, but in
so superior a manner, that the print by Croock may be presumed to be a copy coeval
with the original. Besides the name, it is marked with the monogram ^j.
CULENBACK, or Culmback, Hans, or John. According to Florent Le Comte, this
artist was a native of Germany, and flourished about the year 1517. He is said to have
been a disciple of Albert Durer, and engraved both on wood and copper. Among other
prints by him, we have one representing a Soldier armed, conversing with a Country
Woman; dated 1517, and marked with the initials H. V. C.
CUNGI, or Congio, Camillo. See Congio.
CUNYNGHAM, Doctor William. This gentleman resided at Norwich, about the year
1559. He was the author of a book entitled, A Cosmographical Glass, which was embel
lished with several plates, and a large plan of Norwich, some of which were engraved by
himself.

CUR DAN 681
CURTI, Bernardino. This artist was a native of Bologna, and flourished about the year
1645. He engraved some portraits, among which is that of Lodovico Caraeci. We
have also by him a middle-sized plate, representing an emblematical subject, after Luca
Ferrari.

D

DA1GREMONT, M. A French engraver, who flourished about the year 1670. He en
graved some of the plates for the Book of Ornaments of Painting and Sculpture, in the
Louvre and the Thuilleries, published by John Berain. He also engraved several of the
views of Versailles.
DALL, Nicholas Thomas. This artist was a native of Denmark, and settled in London,
as a landscape painter, about the year 1760. He was much employed in painting some
excellent scenes for Covent Garden Theatre, and his engagements in that branch of the
art prevented him from painting many easel pictures. In 1768 he obtained the first
premium given by the Society for the Encouragement of Arts, &c. for the best landscape
painting. He was chosen an Associate of the Royal Academy in 1771, and died in 1777.
DALLEVIA, A. An Italian engraver, who resided at Venice about the year 1686. Among
other prints, he engraved a set of plates representing triumphal processions, published
at Venice in 1686, entitled, Giuochi Festivi e Militari. They are executed in a coarse
indifferent style, and are inscribed A. Dallevia, sculp.
DAMBRUN,  . This artist was a native of France, and flourished about the
year 1760- He engraved several plates after the French painters, representing conversa
tions and musical parties, which are neatly executed with the graver.
DAME, Giles la. Florent Le Comte mentions this artist as the engraver of several
plates, representing Holy Families, and other devotional subjects, in which he imitated
the style of Claude Mellan, but not very successfully.
DANCE, Sir Nathaniel. See Holland.
DANCKERT, or Danckers, John. This artist was a native of Holland, and resided at
Amsterdam about the year 1657. He painted history with some reputation, and etched
a few plates, among which is a print representing Venus reclrning on a couch ; after
Titian.
Vol. II. 4R

682 DAN DEV
DANNOOT, Peter. A Flemish engraver, who flourished about the year 1690. He
engraved a plate representing the Head of Christ crowned with Thorns ; after Rubens
and a Portrait of Pere Mastrille.
DARGENVILLE, Anthony Joseph Dezalier. A French amateur and writer on art,
who resided at Paris about the year 1750. He was the author of a Avork entitled, Abrege
de la Vie des plus fameux Peintres, published first at Paris in quarto, in 1755. According
to Basan, he etched several plates of subjects and landscapes, from his own designs.
DAWE, Philip. An eminent English engraver in mezzotinto, who flourished about the
year 1771. He engraved several subjects after H. Morland, and among other portraits
by him we have those of Mrs. Yeates, in the character of Electra, after Cotes ; and Ad
miral Sir Charles Hardy, after Hudson.
DECKER, I. de. Mr. Strutt mentions this artist as the engraver of a small copy of the
print representing the Treaty of Munster, engraved by Suyderhoef, after Terburg, in
which he attempted to imitate the style of the original, but with no great success.
DEHNE, J. C. A German engraver, who flourished about the year 1723. He engraved
several portraits for the work entitled, " Icones Bibliopolarum et Typographorum, pub
lished at Nuremberg. We have also by him a great number of plates, representing, in
the most ludicrous manner, the gods, goddesses, heroes, &c. of antiquity.
DENANTO, Francesco. An engraver on wood, who flourished about the year 1530.
Among others, we have a large wooden cut by him, representing Christ healing the
lame Man. It is executed in a spirited, tasteful style, and is probably from a design
of his own, as it is inscribed, Franciscus Denanto de Sabaudia,f.
DENTONE, Girolamo Curti, called il. In the body of the work, by an oversight of
the author, in the article of Girolamo Curti, a reference is given to Dentone, and in the
article of Dentone, the reader is referred to Curti. He was bora at Bologna in 1576,
and was first a disciple of Lionello Spada,but finding that his genius directed him rather
to perspective than the design of the figure, he quitted that master, and applied himself
to study from the noble edifices erected from the plans of Giacomo Baroccio, called II
Vignola. He afterwards went to Rome, where he improved his taste, by contemplating
the magnificent vestiges of ancient architecture in that capital. He was a perfect
master of the chiar-oscuro, and gave to his works so surprising a relief, that they have
the appearance of perfect illusion. There are many of his works in the palaces and
public edifices at Bologna, in which the figures are painted by the most distinguished
of his contemporaries. He died in 1632, aged 56.
DEODATE,  . The name of this engraver is affixed to a portrait of Sir Theodore
Mayerne, physician to James the First and Charles the First.
DEVIS, Arthur. He was born at Preston, in Lancashire, about the year 1708, and was
the pupil of Peter Tillemans. He painted in a variety of ways, sometimes portraits, but
mostly in small whole-lengths and conversation pieces. He was an exhibiter at the

DIC DON 683
Society's Rooms, in the Strand, in 1761, but never joined either the Chartered Society
or the Royal Academy. He lived in Great Queen Street, Lincoln's Inn Fields, where
he supported the character of a respectable artist. He died in 1787.
DICKSON, J. An English engraver, who resided at Oxford about the year 1660. He
engraved a portrait of Edward Parry, Bishop of Killaloe, prefixed to his Antidote against
the Prosperity of the Wicked, and the Afflictions of the Just, published in 1660. It is now
become scarce.
DIETEL, Christopher, and F. A. These artists, who were probably brothers, resided at
Vienna. They engraved conjointly a set of plates, representing the principal fountains
at Rome.
DIRICKSEN, D. A German engraver, who resided at Hamburgh about the year 1690.
He was principally employed by the booksellers, and engraved some portraits in a neat
style, resembling that of the Passes. Among others, is that of Hadrianus, a Mensicht,
with an ornamental border, with some Latin verses.
DIXON, John. An eminent English engraver in mezzotinto, who flourished about the
year 1770. We have several fine portraits engraved by him, after Sir Joshua Reynolds
and other masters ; among which are the following :
portraits after various masters.
William Beckford, Lord Mayor of London ; ad vivum del. 1771.
Henry, Duke of Buccleugh, with Lady Mary Scot fondling a Dog ; after Gainsborough, 1771.
Mr. Garrick In the character of Richard III; after N. Dance.
PORTRAITS AFTER SIR JOSHUA REYNOLDS.
Mary, Duchess of Ancaster.
Francis Conway, Earl of Hertford.
William, Duke of Leinster. 1775.
Henry Herbert, Earl of Pembroke.
The Countess of Pembroke, with her son Lord Herbert.
Charles Townshend, Chancellor of the Exchequer.
DOESBURGH, J. A Dutch engraver, who flourished about the year 1680. He en
graved a plate representing Admiral van Tromp engaging the English fleet. We have
also by him several prints of the old Roman customs ; they are etched and finished with
the graver in a very indifferent style.
DOETECUM,  . See Duetecum.
DONALDSON, John. This artist was born at Edinburgh in 1737, and distinguished him
self as a miniature painter, both in enamel and water-colours. In the year 1765, and
again in 1768, he obtained the premiums given by the Society for the Encouragement
of Arts, &c. for the best picture in enamel. He occasionally amused himself with the
point, and etched several plates of beggars, after Rembrandt, which possess considerable
merit. He died in 1801, aged 64.
4R2

684 DON DUR
DONNE, W- A Duten engraver, who flourished about the year 1680. Among other
prints, he engraved a plate arepresemtiag Venus and Cupid, in a landscape, with other
figures in the distance, after A. Elsheimer. It is etched in a slight, poor style.
DONNET, S. This artist is mentioned by Mr. Strutt as the engraver of a print repre
senting a man seated reading a hook. It is a very indifferent performance.
DOORT, P. van. A Dutch engraver, who worked entirely with the graver, and was an
humble imitator of the style on Cornelius Cort. Among others, we have a print by him
representing the Holy Family, in which St. Elizabeth is presenting an Apple to the in
fant Christ, after Bernardino Passari.
DOUET, —  . A French engraver on wood, who flourished about the year 1530.
Papillon notices a wooden cut, executed by him, representing the Virgin Mary and the
infant Christ, >after Andrea del Sa/rto.
DRUEFKEN,  . This artist was a native ©f Germany. He is mentioned by
Evelyn, in his Sculptura, as an engraver on wood, who usually marked his prints with a
cluster of grapes. Among other cuts, he executed one representing the King of the
Boors in Hungary eaten alive by the rebels whom he had seduced.
DUETECUM, or Doetecum, John and Lucas A. These artists, who flourished about
the year 1559, were natives of Germany, and are supposed to have been brothers. They
engraved, conjointly, several large prints, (representing the pompous funeral of the
Emperor Charles V. They are etched in a bold, masterly maimer. John a Doetecum
engraved also an ornamental frontispiece for a book of perspective, by John Tridmanus
Trisius.
DUETECUM, or Doetecum, Baptista. He was probably related to the two artists men
tioned in the preceding article, and flourished about the year 1610. He engraved a set
of plates, representing the various habits and manners of the Indians. They -are exe
cuted entirely with the graver, in a stiff, indifferent style.
DUGY,  A modern French engraver, who flourished about the year 1760. He
engraved several slight prints, after the pictures of Francis Boucher, amd other masters.
DUPONT, Gainsborough. This artist was the nephew of the celebrated Thomas Gains
borough, and painted portraits and landscapes in imitation of the style of Ixis uncle.
His principal work is a large picture representing the portraits of the Trinity Masters,
which is in their court-room on Tower-hill. He died in 1797, aged about SO.
DURANT, J. L. This artist, if not a native of England, aesided in London about the
year 1690. He was a very indifferent engraver, and was chiefly employed by the book
sellers, for whom he engraved a variety of book ornaments and portraits. Among the
latter is that of Mary, Queen of William III., after Kneller.

DUR ELL 685
DURELLO, Simon. A German engraver, who flourished about the year 1674. He en-
grayed some of the portraits for the work entitled, Istoria di Leopoldo Cesare, published
at Vienna in 1674.
DURR, John. This artist was a native of Germany, and flourished about the year 1625.
He was an engraver of little repute, and worked chiefly for the booksellers, for whom,
among other book plates, he engraved some portraits, particularly those of H. J. Ernest
and his family, and J. Zimraer ; the latter is dated 1625.
DYCK, Daniel Vanden. This painter was a native of Flanders, but passed the greater
part of his life in Italy. He was appointed painter to the Duke of Mantua, and keeper
of his gallery, and was much esteemed as a portrait painter. He also painted history
with considerable success. We have a few slight, spirited etchings by him, among which
is one representing the Deification of iEneas ; and another, a Bacchanalian subject, both
from his own designs. He was living in 1658.

E

ECHARDT, or Eccardt, John Giles. This painter was a native of Germany, but
visited England about the year 1740, where he became a pupil of John Baptist Vanloo.
He was much employed as a portrait painter, about the time that Sir Joshua Reynolds
returned from Italy. We have a print of Mrs. Woffington, the actress, engraved by
Faber, from a portrait painted by Echardt ; and another of Doctor Conyers Middleton,
engraved by the same artist, from a picture by this painter, who Mr. Strutt has errone
ously mentioned as the engraver.
ECKSTEYN, George David. A German engraver, who resided at Nuremberg about the
year 1721. He engraved part of the portraits for the work entitled, Icones Bibliopolarum
et Typographorum ; published in 1721.
EDELING, J. This artist was a native of Holland. He was chiefly employed in en
graving portraits for the booksellers, among which are those of J. Deimerbroeek, and
Timon van Geissel.
ELLIS, William. An eminent English engraver of landscapes and views. He engraved
some plates in conjunction with William Woollet ; and we have several charming prints
by him from the designs of Paul Sanby and Thomas Hearne.

686 EMM F A L
EMMETT, William. An English engraver, who flourished about the year 1710. Among
other prints, he engraved a large view of the interior of St. Paul's church. It is executed
with the graver in a neat, clear style.
EYNHOUEDTS, Remoldus, or Rombaut. A Flemish painter and engraver, born at
Antwerp about the year 1605. He engraved several plates after the works of Rubens,
Cornelius Schut, and other painters of the Flemish school ; and executed some of the
prints for Teniers's gallery. They are etched in a slight, dark style ; and his drawing,
though not very correct, is bold and masterly. Among others, we have the following
prints by him : SUBJECTS AFTER RUBENS.
The Adoration of the Magi.
The Resurrection.
The Altar-piece of Rubens's Chapel.
Pope Gregory, surrounded with emblematical figures.
The Four Doctors of the Church, with St. Clara holding the Sacrament.
The Virgin and infant Christ, surrounded with Saints.
St. Peter and St. Paul.
An allegorical subject of Peace and Happiness.
SUBJECTS AFTER VARIOUS MASTERS.
The Assumption of the Virgin ; after Cornelius Schut.
The Martyrdom of St. George ; after the same.
The Ascension ; after the younger Palma.

F

FABER, Peter. A French engraver, who resided at Lyons about the year 1621. He
was chiefly employed by the booksellers, for whom he engraved several plates, in a neat
style, but without much taste. His name is affixed to an ornamental frontispiece to the
second volume of a work entitled, Operis Moralis, 6)c. published at Lyons.
FALCO, Agnolo. The name of this artist is affixed to a rude, coarse etching, repre
senting a landscape, into which is introduced the story of Apollo and Daphne. Though
it is very indifferently executed, and incorrectly drawn, it appears to have been the work
of a painter, and is from his own design.

FAL FLA 687
FALCONE, Aniello. This painter was born at Naples, in 1600, and was a scholar of
Guiseppe Ribera, called Lo Spagnoletto. He distinguished himself as a painter of
battles and skirmishes of cavalry, which he composed and designed with great fire and
animation. He was equally correct in the drawing of his figures and horses, and their
various movements are expressed with the most characteristic propriety. His touch is
bold and free, and his colouring vigorous and effective. He was not less successful in his
easel pictures than those of a larger size; and his best works were esteemed little infe
rior to the admirable productions of Borgognone. Aniello Falcone was one of the
masters of Salvator Rosa. He died in 1665, aged 65.
FALCONET, Peter. This artist was a native of Paris, and the son of Falconet the
sculptor, who executed the equestrian statue of Peter the Great, at Petersburg. He
visited this country, and resided some years in London, where he obtained considerable
employment. He painted historical subjects and portraits. His name stands in the
catalogues of the exhibitions from 1767 to 1773, soon after which he returned to France.
FALLER, John. The name of an obscure artist, mentioned by Florent le Comte as the
engraver of some plates, representing ornaments, grotesque figures, &c.
FAVENNES, J. de. This artist was a native of France, and resided at Paris about the
year 1760. Basan mentions him as the engraver of a plate representing the pleasures of
Summer, after A. Watteau,
FAYRAM,  . An English landscape painter, who flourished about the year
1740. We have by him some slight coarse etchings, representing views about Chelsea
and Battersea, and also one of the Hermitage in Kew Gardens.
FERABOSCO, Martino. This artist was a native of Italy, and resided at Rome about
the year 1620. He engraved the plates for the work entitled, Archilettura della Basilica
di S. Pietro in Vaticano, published at Rome in 1620. They are entirely executed with
the graver, in a slight, formal style.
FERTE, M. de la. A French amateur, who, according to Basan, for his amusement
etched several small plates of landscapes, from the designs of F. Boucher, and other
masters.
FILIUS, John. This painter was born at Bois-le-Duc, in 1660, and was a scholar of Peter
van Slingelandt. He painted in the highly finished style of his instructor, and his pic
tures, like those of Slingelandt, represent conversations, or subjects taken from private
life, and small portraits. Without possessing the extreme polish of his master, his works
possess great merit, and are much esteemed in Holland.
FLAMEN, F. This artist was probably of the same family with Albert Flamen. He
was a native of Flanders, but resided at Paris about the year 1660. Among other prints,
he etched a set pf four plates of Views on the River Seine, after the designs of Israel
Silvestre.

688 FLA FOR
FLATMAN, Thomas. He was born in Aldersgate Street, in 1633, and was educated at
Winchester school. From thence he went to New College, Oxford; but leaving the
university without a degree, he removed to the Inner Temple, where, in due time, he
became a barrister. It does not appear that he ever followed the profession of the law,
but having a turn for the fine arts, he indulged his inclination, and gained some reputa
tion as a poet and a painter in miniature. We are informed by the noble author of the
Anecdotes, that Mr. Tooke, master of the Charter-house, had a head of his father by
Flatman, which was so well painted, that Vertue took it for Cooper's ; and Lord Oxford
had another portrait by him, marked with his initial F., which was so masterly, that
Vertue pronounced Flatman to be equal to Hoskins and next to Cooper. It is certain,
that he excelled more as a painter than a poet. And Grainger asserts, that one of his
heads is worth a ream of his Pindarics. He died in 1688, aged 55.
FLESHIER, B. This artist is mentioned by Lord Orford as a painter of sea-pieces, land
scapes, and fruit. His pictures may be supposed to have possessed considerable merit,
as some of them were thought worthy of being placed in the collection of King Charles
the First, and in that of Sir Peter Lely.
FLEUR, Nicholas William de la. According to Florent le Comte, this artist was a
native of Lorraine, and flourished about the year 1639. He chiefly resided at Rome,
where, among other prints, he engraved a book of flowers, consisting of twelve plates,
with a title, representing his portrait, surrounded with flowers.
FLORIMUS, John. An obscure engraver, mentioned by Florent le Comte. His works
consist principally of portraits. We have also a frontispiece to a collection of antique
heads by him. It is a composition of several figures, and is executed with the graver,
in a neat, stiff style.
FO,  — — . This artist was a native of Switzerland, and flourished about the year 1551.
Papillon speaks of him as an excellent engraver on wood, and a contemporary of Hans
Holbein. He executed the cuts for the History of Animals, by Conrad Gesner, pub
lished at Zurich in 1551. He also engraved the coins and medals of the Roman Em
perors, by the same author, published in 1559.
FONTAINE, E. A French engraver on wood, who flourished about the year 16S1.
Among other cuts, we have a print by him representing the figure of Christ, standing
upon a pillar. It is a very indifferent performance, and is inscribed, E. Fontaine, sculpsit.
Anno 1681.
FONTANA, Cesare. This artist was a native of Italy, and flourished about the year
1620. He engraved several plates representing funeral processions and cavalcades.
FORE, Le. An obscure French engraver, who was chiefly employed in engraving por
traits for the booksellers. Among others are the following : Henry de Mausses and
Nicolaus de Netz, Episc. Aurelianensis, &c.

FOR GAG 689
FORRESTER, J. An English engraver, who flourished about the year 1760. He resided
some years in Italy, where he etched several plates of landscapes, which are executed in
a neat, pleasing style.
FOUR, N. Du. This artist was a native of France, and flourished about the year 1760,
Among other prints, he engraved several small plates, after Weirotter, and other
masters.
FOURNIER, Isaye. According to Florent le Comte, this artist was painter to Henry IV.
of France. He is also called Fornaceriis, and is said to have engraved some plates, but
the subjects are not specified. He flourished about the year 1590.
FRIQUET, de Vaurose. Basan mentions this artist as a painter, and a scholar of Sebas
tian Bourdon. He engraved several plates after the works of his master.
FROYEN,  . The name of an obscure and very indifferent engraver, which is affixed
to a print representing the head of our Saviour. It is executed entirely with the graver.
FULCARUS, or Furck, Sebastian. A German engraver, who, according to Professor
Christ, was a native of Goslar, as the name of that town is inscribed on several of his
prints. In the early part of- his life he resided at Rome, where he engraved some plates,
as early as 1612. From 1620 to 1630 he was established at Frankfort on the Maine.
He engraved many portraits, chiefly for the booksellers, among which are those of the
Columna family. He worked principally with the graver, though we have a few etch
ings by him. When he did not sign his plates with his name, he marked them with the
cipher df . We have, among others, the following prints by him :
The Last Judgment ; after M. Angelo Buonaroti. On the tombstone, at the left hand corner,
his cipher is marked, in the first impressions of the print ; and when he had retouched the
plate, he added the inscription, Sebastan. Fulcarus reinciditque.
St. Sebastian; a half figure.
An ornamental frontispiece to the works of Gul. Fabricius, dated 1 646. It is etched in a very
spirited style, and is signed S. Furck, f.
He also engraved some plates from Titian, and other masters.

G
GAGLIARDI, Bartolomeo. According to Orlandi, this artist was born at Genoa in
1555, and is said to have been a painter of some reputation. We have several plates by
him, both etched and finished with the graver, among which is a large print representing
Vol. II. 4 T

690 GAL GEI
an emblematical subject. It is executed in a style resembling that of Cherubino Albert)',
though very inferior.
GALESTRUZZI, Giovanni Batista. This artist was bora at Florence in 1618. He
studied painting under Francesco -Furini, and afterwards went to Rome, where he was
received into the Academy of St. Luke, in 1652. Of his works as a painter little is
known, but he acquired considerable celebrity as an engraver. He was the friend of
Stefano della Bella, whose style he imitated, and, according to Huber, finished some of
the plates left imperfect at his death. He etched a great number of plates, of which
¦ there is a catalogue by Giacomo Rossi. The following are among his principal works:
Paris receiving the Golden Apple from Mercury ; after An. Caraeci.
St. John the Baptist in Prison ; after Batista Ricqi.
The Apotheosis of the Emperor Claudius. 1657 ; rare.
Several sets of Friezes and Bas-reliefs ; after Polidoro da Caravaggio.
A set of Antique Gems, wifli explanations by Leonardo Agostino ; published at Rome in 1,657
and 1659.
Six plates, representing the Mausoleum of Cardinal de Mazarin ; from the designs of the Abbe
Elpidius Benedictus. 1661.
GALIM ARDj Claude. A French engraver, bora at Troyes, in Champagne, in 1729. He
resided some time at Rome, and on his return to Paris engraved several plates after J. F.
de Troy, Subleyras, and other French painters. He also engraved many frontispieces and
vignettes, after the designs of C. N. Cochin the younger.
GASPARS, John Baptist. This artist was a native of Antwerp, and was a. scholar of
Thomas Willeborts Bosschaert. He visited England during the civil war, and was
much employed by General L^inb^rt. After the Restoration he became an assistant to
Sir Peter Lely, and afterwards to Sir Godfrey K.qeller. He drew well, and excelled in
making designs for tapestry. The portrait of Charles II, ,in Painter's Hall, and another
of the same prince, in the hall of St. Bartholomew's Hospital, were painted by J. B.
Gaspars. He died in London in 1691.
GAST, Michael de. A Flemish painter, born at Antwerp. in 1520. Hje. appears to have
passed the early part of his life in Italy, as the greater part of his pictures represent the
ruins and vestiges of ancient Rome, which he embellished with figures and cattle. He
was received into the Society of Painters at Antwerp in 1558.
GEILEKERCK, Nicholas van. This artist was a native of Holland, and flourished
about the year 1612. Me was chiefly employed in engraving portraits; and among
others, we have that of Maurice, Prince of Nassau, surrounded with military trophies.
GEIIN, G. D. An obscure Flemish engraver, who flourished from the year 1640 to 1650.
He was principally employed in engraving book ornaments for the booksellers, in which
he attempted an humble imitation of the style of Paul Pontius. Among other prints
by him we have the portrait of Garolus Aleaspinseus..

GER GIL 691
GERMAIN,  ". This artist was a native of France, and flourished about the year
1765. We have by him some spirited etchings, representing views in Rome, from the
designs of i>e Geay and Dumont.
GH EN DT, Emanuel de. A modern French engraver; who resided at Paris about the
year 1749- He was a pupil of J. Aliamet, and has engraved several plates in a neat,
pleasing style. He executed many of the prints and vignettes for the Voyage d!Itdlie de
L 'Abbe de Saint Non. We have also, among others, the following prints by him :
L'^mour Asiatique ; after Ch. Eisen.
Les MoissonneUrs dans les Champs ; after the same.
La pleihe Mbisson ; after Isaac Moucheron.
A View of the Fountain of Arethusa at Syracuse; after Chatelet.
The Four Times of the Day ; after Baudouin.
GIFFART, Peter. This artist was born at Paris in 1648. He engraved a considerable
number of portraits and book ornaments, which are neatly executed with the graver,
but without much taste, though bis merit was sufficient to obtain the distinction of"
engraver to the King. We have, among others, the following prints by him :
portraits.
Maria Anne Victoire de Baviere, Dauphiness of France.
Frances d'Aubignfe, Marchioness de Maintenon.
Philip, son of Thomas XIII. Count of Savoy.
Edward, son of Auiedeus XV. Count of Savoy.
various subjects.
A set of Medals from the French King's Cabinet.
A set of Ornaments; after Berain.
A Frontispiece to the Ihtirdduclion to Geography, by P. Violier; after S. Le Clerc.
GIFFORD, George. An English engraver of portraits, who flourished about the year
1640. He was chiefly employed by the booksellers, and his plates are very indifferently
executed. Among others, he engraved the following :
Hugh Latimer, Bishop of Worcester.
Sir Edward Marmion ; scarce.
John Bate ; prefixed to his Mysteries of Nature.
GILARDl, Pietro. This painter was born at Milan, in 1679, and was instructed in the
art by Federigo Bianchi, but he afterwards went to Bologna, where he became a scholar
of Marc Antonio Franceschini, and afterwards studied under Giovanni Gioseffo del
Sole. He painted history with reputation, and especially excelled in large fresco works,
his talents being particularly adapted to the embellishment of Cupolas, Vaults, and
other extensive operations, in which he proved himself an able machinist. Such are
his frescoes in the refectory of S. Vittore, at Milan, which are not less esteemed for the
ingenuity of the composition, and the facility of the execution, than for the tenderness
and harmony of the colouring.
4T2

692 GIL G R E
GILES, or Gyles, Henry. An English painter on glass, who resided at York, and flou-
rished from about the year 1640 to 1687. One of his principal performances is the east
window of University College, Oxford, which is marked, Hen. Giles, pinxit, 1687.
GOEREE, J. A Dutch engraver, who resided at Amsterdam about the middle of the
seventeenth century. He engraved a variety of frontispieces and other book plates
which are chiefly, if not entirely, from his own designs. Mr. Strutt miscalls this artist
Goerce.
GOOL, John van. A Dutch painter and writer on art, who resided at Amsterdam about
the year 1750. He painted landscapes, with cattle, in which he attempted to follow the
fine style of Paul Potter, but it is a very humble imitation. His drawing of the ani
mals is not very incorrect, and his pencilling is neat and clean; but he is greatly defi
cient in the admirable expression of truth and nature, as well as in the spirited and ex
quisite touch, which distinguish the works of his celebrated model. In 1751 and 1752
he published a continuation of the Lives of the Dutch Painters, from the period at which
Houbraken left it, in two volumes octavo, with portraits.
ORAFFICO, Camillo. This artist was a native of Friuli, and flourished about the year
1588. He engraved several plates of devout subjects, among which is one representing
the Holy Family, in which the Virgin is suckling the infant Jesus, after Bernardino
Passari. He worked entirely with the graver, in a style resembling that of Cornelius
Cort, but very inferior.
GRANVILLE, —  . An English engraver, who flourished about the year 1760.
He engraved landscapes ; among which we have some plates from the pictures of
Thomas Smith of Derby.
GRASSl, Giovanni Batista. This painter was a native of Udine, and flourished about
the year 1568. According to Vasari, he was a disciple of Gio. Antonio Licinio, called
II Pordenone;, but Lanzi thinks it more probable that he was brought up in the school-
of Titian, to whose style his best works bear a strong resemblance. Such are hia pic
tures in the cathedral at Gemona, representing the Annunciation, the Vision of Ezechiel
and Elija taken up into Heaven*
GRESSE, John Alexander. This artist was born in London in 1741 ; his father was a
native of Rolle, on the Lake of Geneva. He was first instructed in the rudiments of
design by Gerard Scotin, the engraver, but afterwards studied some years under Cipri
ani, and also received some instruction from F. Zuccherelli. He was one of the first
students who attended the Duke of Richmond's gallery, and in a short time afterwards
he entered the Academy in St. Martin's Lane. Though he possessed considerable
talents, he was not sufficiently assiduous in the prosecution of his studies, to distinguish
himself in the higher branches of painting; and as he inherited a small fortune at the
death of his father, he relinquished the more arduous exercise of the profession, and
became a drawing-master, in which pursuit he acquired great reputation and extensive
employment ; andin 1777 was appointed drawing-master to the princesses. In the early
part of his life he etched the figures, &c. for Kennedy's Aecount of the Statues and Pic-

GUE .HAL 693
tures at the Earl of Pembroke's, at Wilton, in which he had the advantage of being
assisted by Bartolozzi. There are also four other etchings by this artist, one represent
ing a View of Framlingham Castle, Suffolk; another a Cottage; a St. Jerome, men
tioned by Basan in his Catalogue; and a Satyr sleeping, after Nicholas Poussin. These
prints are now scarce. He died 1794, in the fifty-third of his age.
GUERIN, C. A modern French engraver, who resided at Strasburg about the year 1790.
He engraved several plates of antique gems, which are executed with the graver in a
neat, finished style.
GUERNIER, Rene. This artist was probably a native of France. According to Florent
le Comte he excelled in engraving ornaments and grotesque figures.
GUILLEMART,  . An obscure French engraver, who was chiefly employed in
engraving portraits for the booksellers. Among others, we have that of Setani Abb6 de
S. Genevieve.
GUTTENBRUNN, L. This painter was anative of Dresden, who came to England about
the year 1789, where he staid nearly three years. He painted portraits and small histo
rical subjects, and exhibited with the Royal Academy until 1792, about which time he
went to Petersburg, by the recommendation of the Russian Ambassador. He was a
member of the Academy of Florence, from whence it may be presumed that he had stu
died in Italy.
G Y LES,  . See G i les.

H

HALL, John. This eminent engraver is briefly noticed in the body of the work ; but as
we have since been favoured with a more accurate and particular memoir of him,.from,«
the most respectable authority, we have great pleasure in inserting it here, as a due tri
bute to the merit of so distinguished an artist.
" He was born at Wivenhoe, near Colchester, Essex, Dec. 21, 1739. He came to
London at an early period of his. life, but was not originally designed for that particular
branch of the fine arts which he afterwards cultivated with so much success. Having
exhibited considerable talents for drawing, he was. placed under the care of Mr. Ravenet,
the engraver, with whom Mr, W. W. Ryland was at the same time. There is still
extant an admirable drawing by Mr. Hall, done with pen and ink, in imitation of en
graving, and, excepting by a nice judge> scarcely discernible from engraving. It was

694 HAN HE A
done at the age of seventeen. The subject is two Children with a Cat, from a French
print. His first friends in London were Sir Stephen Theodore Jansen and Jonas Han-
way, Esq. On the decease of Woollett he was appointed historical engraver to the
King, and had on that occasion the honour of presenting to his Majesty, at Windsor,
his print of the Battle of the Boyne, being introduced by Mr. West. He died April 7,
1797, in his 58th year, and was buried at Paddington.
" His style of engraving was entirely confined to that more laborious but fine depart
ment which is called the line, or stroke engraving." A list of some of his principal
works will be found in the article John Hall, in the first volume.
HANCOCK, R. An English engraver in mezzotinto, who flourished about the year 1785,
He engraved several portraits, among which are the following :
General William Kingsley ; after Reynolds.
Lady Chambers ; after the same.
Miss Day, afterwards Lady Fenhoulet ; after the same.
Mark Noble, Rector of Barming ; prefixed to his History of the House of Cromwell.
John Wesley, M. A.; after Miller.
James Wright, of Frome ; after J. Wright;, scarce.
William Hopley, Verger of the Cathedral of Worcester; after the same.
Robert Hancock, Engraver, of Worcester ; after the same. This print is called unique in
Bromley's Catalogue.
HANDERIOT, Francis. A French engraver, mentioned by Florent le Comte. He
engraved, among other prints, a plate representing St. John thrown into the Caldron of
boiling Oil, after C. le Brun.
HARWEYN, James. This artist was a native of Flanders, and flourished about the year
1696. He engraved several views of chateaus and gentlemens' seats in the Netherlands,
which are etched in a neat, pleasing style.
HAYLS, John. This English portrait painter lived in the reign of Charles IL, and, ac
cording to Lord Orford, possessed an extraordinary talent for copying the pictures of
Vandyck, and was a rival of Sir Peter Lely. At Woburn are some portraits of the
illustrious house of Russell, painted by Hayls. He also painted the portrait of the
father of Secretary Pepys, and another of Thomas Flatman, the poet and painter. He
died in 1679-
HEAD, Guy. This artist was a native of Carlisle, and the son of a house painter in that
city. He was instructed in the elements of design, and at an early age gave so much
promise of future eminence in the art, that he obtained the patronage of a gentleman,
who enabled him to visit Italy. He appears to have formed an idea, that the best
method of study was the constant employment in copying the works of the old masters ;
a servile drudgery, by which none of the higher excellencies of the art can ever be ac
quired.; On the subject of this erroneous method of proceeding, Sir Joshua, Reynolds
thus expresses himself in one of his admirable discourses. "A consider general copying
as a delusive kind of industry ; the student satisfies himself with the appearance of doing
something ; he falls into the dangerous habit of imitating without selecting, and of

H E C II O F 695
labouring without any determinate object ; as it requires no effort of the mind, he sleeps
over his work; and those powers of invention and composition which ought particularly
to be called out, and put in action, lie torpid, and lose their energy, for want of exer
cise." He painted some original pictures, which are not without merit, though they
are rather dry in the outline and tame in the execution. His copies of the most cele
brated pictures of the Italian and Flemish masters are very numerous. He died in the
early part of the year 1801.
HECKELL,  van. A Dutch painter, who flourished about the year 1660. He is
not mentioned by any of the biographers of the artists of his country, but, from the style
and character of his pictures, it is probable that he was a scholar of Gerard Douw. He
painted similar subjects to those of that admired artist, and his works, though not equal
to the extraordinary productions of Douw, are very highly finished, and brilliantly
coloured ; the masses of light and shadow are managed with great ability.
HEFELE, — .  . According to Lord Orford, this painter was a native of Germany, and
came to England as a soldier in King William's Dutch troops; he obtained his dis
charge, and remained here several years. He painted landscapes, flowers, and; insects,
neatly, in water colours, but without much knowledge of the chiar-oscuro.
HEMMESSEN, John van. This painter was a native of Flanders,, and flourished about
the year 1550. He studied in Italy, and appears to have formed his style by an imita
tion of the works of Lionardo da Vinci : his pictures, particularly his children, have
been frequently attributed to that master. In the collection of Dusseldorp, is a picture
by him, representing an Ecce Homo, dated 1544; and in the gallery of the Louvre
another, of Tobit restoring Sight to his Father.'
HENSHAW, W. Mr. Strutt mentions this name as affixed to a private etching of the
portrait of Mr. Gray, the poet.
HEYLEN, Gonzales van. This artist was a native of Antwerp, and flourished about the
year 1694. According to Papillon, he engraved on wood, in a free, spirited style. He
engraved several frontispieces, and other book cuts.
HIGMORE,  . This artist was probably a native of France. His name is affixed
to some large portraits; among which is that of Le Sage, the author of Gil Bias. They
are very indifferently executed.
HOCKNER, John Gasfar. A German engraver, who resided at Dresden about the year
1655. He waschiefly employed by, the booksellers, for whom he engraved a number of
portraits, which, are executed with sufficient neatness, but in a stiff, tasteless style.
HOFFMAN, Francis. This artist was probably a native of Germany, but he resided in
England about, the J'ear 1711. He engraved a plate representing the portraits of the
Right, Honourable Henry St., John, onerof the principal Secretaries of State; the Right
Hpnourahle; William Bromley, Speaker of the House of Commons; and the Right.
HofWiurable; Robert: Hariey,. Chancellor of the. Exchequer. Underneath is a printed

696 HOL HOP
account of the transactions of the House of Commons for the year 1711. It is etched
in a coarse, tasteless style, and inscribed Francis Hoffman, fecit aqua forte. In Mr. Gul-
stone's collection was a portrait of Francis Hoffman, drawn and engraved by himself, in
which he is styled the inventor of ships with three bottoms.
HOLL, Elias. According to Professor Christ, this artist resided at Nuremberg about the
year 1638. He engraved some plates from C. Reverdus and others, which are usually
marked with an H, surmounted by an F, thus, jl|.
HOLLAND, J. An English engraver, who flourished about the year 1755. Among other
plates, he etched the Head of a Turk, which is executed with spirit, but without much
effect.
HOLLAND, Sir Nathaniel Dance. Thefamilyname of this gentleman was Dance, but
coming into possession of a large property he was made a baronet, and took the name
of Holland, when he relinquished the profession of an artist. He was bora in London
in 1734, and having shown an early inclination for painting, he was placed under the
tuition of Francis Hayman, under whose instruction he continued some time. He
afterwards travelled to Italy, where he prosecuted his studies eight or nine years. On
his return to England he distinguished himself as a painter of history and portraits, and
also painted landscapes with considerable success. Amongst his most admired produc
tions may be ranked his picture of Mr. Garrick, in the character of King Richard III.
in the collection of Sir Watkin Williams Wynne, of which we have a print in mezzo
tinto, by John Dixon ; Timon of Athens, which has been finely engraved by Mr. Hall;
Virginia, scraped in mezzotinto by John Godfreid Haid ; and a portrait of Omai, en
graved by Bartolozzi.
HOOFT, Nicholas. This painter was born at the Hague in 1664. His parents were in
easy circumstances, and forwarded his disposition for the art, by procuring him the best
means of improvement. He was first placed under the tuition of Daniel Mytens, and
afterwards studied under Augustine Terwesten. He painted history and portraits with
considerable success, and was for some years director of the academy at the Hague. He
died in 1748, aged 84.
HOPPNER, John. For the folfowing memoir of this celebrated artist, we are chiefly
indebted to the ingenious author of the Baviad. His style of portrait painting appears
to have been founded on an attentive study of the works of Sir Joshua Reynolds; but
though Mr. Hoppner well knew how to appreciate that extraordinary person, and enter
tained the highest veneration for his professional powers, he was very far from his copy
ist. Occasionally, indeed, he imitated his manner, and formed his pictures on similar
principles, but what he thus borrowed, he made his own with such playful ingenuity,
and concealed his plagiarism with so many winning and original graces, that pardon
was sealed ere his sentence could be pronounced. The prevailing fashion of the times
together with his own narrow circumstances in early life, necessarily directed his atten
tion, almost exclusively, to portrait painting: in a different situation, the natural bent
of his genius, no less than his inclination, would probably have led him to landscape,
and the rural and familiar walks of life ; for when he exercised his talents on subjects

HORST. 697
of this nature, he did it with so much ease and pleasure to himself, and was always so
eminently successful, that it furnishes matter for regret, that the severe and harassing
duties of his principal occupation did not allow him more frequent opportunities of in
dulging his fancy in pursuit of the objects so congenial with his feelings and disposi
tion. Of his exquisite taste in landscape, the back-grounds introduced in his por
traits will alone afford sufficient evidence, without considering the beautiful sketches in
chalk, with which he was accustomed to amuse his leisure hours. These are executed
with a vigour and felicity peculiar to himself, and discover a knowledge and compre
hension of landscape, which would do honour to a Gainsborough. Indeed, in several
respects, there appear to have been many points of similarity between these extraordinary
men, not only in particular parts of their art, but also in their conversation, disposition,
and character. In portrait, however, Mr. Hoppner was decidedly superior, and so far
outstripped Gainsborough in this department of the art, that it would be the highest
injustice to attempt a comparison of their powers.
The distinguishing character of Mr. Hoppner's style is an easy and unaffected ele
gance, which reigns thoughout all his works ; his naturally refined taste appears to have
given hiin almost intuitively an aversion from every thing which bordered on affectation
and vulgarity, and enabled him to stamp an air of gentility and fashion on the most
inveterate aukwardness and deformity. This power of improving what was placed before
him, without annihilating resemblance, obtained him a decided preference among the
fairer part of fashionable society. The same qualities which rendered him so highly
successful in his portraits of women, did not perhaps afford him equal advantages in
those of the other sex, in which strength and character ought to take the lead of almost
every other consideration. His portraits of men are generally, if the expression may be
allowed, too civilized and genteel to be very striking and forcible; and in his constant
wish to represent the gentleman, he sometimes failed to delineate the man. To this
observation, however, it must be acknowledged, that many of his best works form very
splendid exceptions.
In his portraits of children he was peculiarly fortunate, he entered completely into the
infantine character, and arranged his compositions of this species with that unaffected
ease and playful grace, which so pleasingly mark the early periods of human life. One
great charm of his pictures arises from the air of negligence and facility which pervades
them; their production appears to have cost no effort, and the careless boldness of his
execution equally removed from insipidity and handicraft, stamps the seal of the master
on the most trifling of his performances. His colouring is natural, chaste, and powerful,
and his tones for the most part mellow and deep ; his pencilling is rich and full, and his
carnations fresh and transparent.
The absorbing quality of his original pursuit seldom allowed him to turn his atten
tion to the more elevated departments of the art. He died January 23, 1810, at the a&e
of 51.
HORST, Nicholas Vander. This painter was bora at Antwerp in 1598, and was edu
cated in the school of Rubens. He afterwards travelled through Germany, France, and
Italy, and on his return to the Netherlands established himself at Brussels, where he met
with great encouragement as a painter of history and portraits. The Archduke Albert
favoured him with his protection, and appointed him one of his painters. He died at
Brussels, in l646, aged 48.
Vol. II. 4 U

698 HOU HUM
HOUSSARD,  . The name of this engraver, who appears to have been a native of
France, is affixed to a portrait of Sauveur Francois Morand.
HUMPHREY, William. An English engraver in mezzotinto, who flourished about the
year 1795. We have several portraits by him, among which are the following :
Georgiana, Duchess of Devonshire ; after Reynolds.
Doctor Arne; after Dunkar ton.
Colonel Richard King ; after Kneller.
William Broomfield, Surgeon.
HUMPHRY, Ozias. This eminent artist was born at Honiton, in Devonshire, September
8, 1742, and was educated at the grammar school in that town, under the direction of
the Reverend Richard Lewis, M. A. until he had completed his fourteenth year. His
passion for drawing had been early and ardent, and his parents, yielding to his earnest
importunity, sent him to London, where he frequented the drawing school of Mr. Wil
liam Shipley, and profited by studying the plaster casts from the antique statues, &c.
then recently imported from Italy, and made public for the benefit of students, by the
liberal munificence of the late Duke of Richmond. He prosecuted these studies about
three years, when the death of his father rendered it necessary for him to return to De
vonshire. He was at that time particularly desirous of being placed with Sir Joshua
Reynolds; hut circumstances did not permit the gratification of his wishes, and he was
engaged with Mr. Samuel Collins, a miniature painter of some eminence at Bath,
with whom he resided two years, when his instructor removed to Dublin, and Mr. Hum-
pry succeeded him in his professional situation in that city. In the year 1763 he was
encouraged and invited by Sir Joshua Reynolds to settle himself in London near him,
which he accordingly resolved upon, and accomplished the following year.
In 1766, he exhibited at Spring Gardens a portrait, in miniature, of John Mealing, the
old and well known model of the Royal Academy, which was universally noticed and
admired, and was purchased by his Majesty, who was graciously pleased to reward him
for it by a present of one hundred guineas ; and, as a farther encouragement, he had the
honour to paint a large miniature of the Queen, with other branches of the royal
family. He continued to practise this line of art with almost unexampled success, until
the year 1772, when a fall from his horse gave his head so violent a shock, and impaired
his whole nervous system so much, that he was unable to pursue his profession of
miniature painting with the same efficacy that he had hitherto done. By the advice of
his friends, he was induced to endeavour to extend the scale of his practice, and with
this intention he resolved to pass a few years in Italy, not only for the reason just stated,
but with the hope of general improvement in his profession. He left England in 1773,
accompanied by his friend Romney, and proceeded to Rome, where, and in the neigh
bourhood, he resided four years. In this situation, though surrounded by advantages,
he had still many difficulties to contend with, for his time had been so entirely engrossed
by miniature painting, that he had little or no practice in oil, and had the whole process
to discover.
In 1777, Mr. Humphry returned to his native country, where he established himself,
painting generally in oil, until the commencement of the year 1785, when he embarked
for India. It was suggested to him, on his arrival at Calcutta, that the field was most

H Y L JEF 699
open to him in miniature, and that it would be advisable for him to confine himself to
that branch of his profession. He visited the courts of Moorshedabad, Benares, and
Lucknow, where he painted several large miniatures of princes, nabobs, and rajahs,
and many other persons of high distinction. His ill state of health, however, obliged
him to return to England in 1788, where he resumed his original line of miniature
painting, and the following spring exhibited several pictures, which were greatly ad
mired, and confirmed his former reputation.
In the year 1790, Mr. Humphry was elected a member of the Royal Academy. His
sight was now so much affected, that he was obliged to relinquish miniature painting
and he made some experiments in crayons, to which his studies in Italy were eminently
conducive, and in which he succeeded to the utmost of his wishes. To this Une of
painting he now devoted all his attention, and was for some time considered at the head
of that province of the art. Having completed the portraits of the Prince and Princess
of Orange, in the year 1797, his sight completely failed him, and these were his last
productions. The remainder of his life was passed at Knightsbridge till within a few
months of his death, which took place on the 9th of March, 1810, when he had nearly
completed his 68th year. As an artist, Mr. Humphry possessed considerable genius,
which he improved by the most exemplary assiduity, and an attentive study of the best
models. His design is tasteful and correct, and his colouring, especially in his minia
tures and crayon paintings, is universally rich and harmonious.
HYLE, Francis. This artist is mentioned by Basan as an English engraver, by whom we
have several portraits, after Kneller, and other masters.

JACOBSZ, C. Philip. A Dutch engraver, who flourished about the year 1767. He
engraved several plate3 representing views in and near Amsterdam, which are executed
in a neat, pleasing style.
JEFFERIES, James. This artist was born at Maidstone, in Kent, about the year 1757.
He was the son of a coach-painter, who sent him to London, where he was placed under
the tuition of Mr. Woollet, the engraver, but he afterwards applied himself to painting,
and became a student of the Royal Academy, In 1773 he obtained the gold medal
.given annually, at that time, for the best historical picture; and in 1775 was sent to
Rome, on the pension of that establishment.
After a residence of four years in Italy he returned to England, and in 1783 exhibited
a picture, representing the destruction of the Floating Batteries before Gibraltar, which
was much admired, and was engraved by Mr. Woollet. This promising artist died of
a deep decline, in 1784.
4U2

700 IRE KRU
IRELAND, Samtjel. An English amateur artist, who, about the year 1785, etched several
plates from the designs of Mortimer, Hogarth, &c, and also some views, from drawings
by himself.

K
KETTLE, Tilly. This artist was born in London about the year 1740. He was the son
of a house painter in the city, and studied at the Duke of Richmond's gallery, and in
the academy in St. Martin's Lane, After practising portrait painting for some time in
London, he went to the East Indies, where he remained a few years. He returned to
England about the year 1777, but not meeting with much encouragement he determined
to return to India, whither he attempted to travel by land, but died at Aleppo in 1798.
KILLEGREW, Anne. This ingenious lady was the daughter of Dr. Henry Kiljegrew,
master of the Savoy, and one of the prebendaries of Westminster. She was born in Lon
don, a little before the Restoration, and at an early age gave proofs of uncommon talents.
Dryden has celebrated her genius for painting and poetry m a long ode, in which he is
quite lavish in her praise. And Anthony Wood styles her " a grace for beauty and a
muse for wit." She was maid of honour to the Duchess of York, and painted the portrait
of her mistress, and that of the Duke of York, afterwards James II. She also painted
some historical subjects and pieees of still-life.- Her poems were published after her
death, with a print of her, engraved by Becket, from a portrait painted by herself, which
is in the style of Sir Peter Lely. She died of the small-pox, in 1685, in the twenty-fifth
year of her age, and was buried in the Savoy chapel, where a neat monument is fixed in
the wall, with a Latin inscription, setting forth her beauty and accomplishments, her
virtue and piety.
KOCK, M. This artist was a native of Holland, and flourished about the year 1695.
Among other prints, he engraved a large plate, representing the Procession of Wil
liam III. which took place the 5th of February, 1691.
KONING, James. This painter was born at Amsterdam, in 1650, and was a scholar of
Adrian Vande Velde. Under so able an instructor he became an eminent artist, and
painted landscapes, with figures and cattle, in the beautiful style of his master, which
were much esteemed by the artists and collectors of his country. He also painted his
torical subjects, of a small size, which possessed considerable merit. He was invited to
the court of Denmark, where he probably died.
KRUGER, Andrew Louis. A modern German engraver, who resided at Potsdam about
the year 1760. He engraved several of the plates for the Dresden Gallery.

LAN LOU 7&1

LANGLEY, T. This artist was apparently a native of England, and resided in London.
We have by him some plates of antiquities, which are very indifferently executed.
LAUB, T. This artist is miscalled, by Mr. Strutt, Lamb. He was probably of Germany,
and engraved in mezzotinto. His name, T. Laub, is affixed to a portrait of John James
Scheuchzer.
LEGAT, F. If this artist was not a native of England, he resided in London about the
year 1780. He engraved several plates in a very finished style, in which he appears to
have imitated the fine mariner adopted by Sir Robert Strange ; though his prints cannot
boast of that power and brilliancy of effect which distinguish the works of that distin
guished engraver. Among others, we have the following plates by him, which were
engraved for Mr. Boydell :
Mary, Queen of Scots, resigning her Crown ; after Gavin Hamilton.
The Continence of Scipio; after "N. Poussin.
The King, Queen, and Laertes, in Hamlet ; after West.
LEIPOLDT, J. The name of this engraver is affixed to a small oval portrait of Mary,
Queen Scots, with a Crucifix in her right hand and the axe in her left., At the corners
are the arms of England, Scotland, Ireland and France. It is rather, scarce.
LETELLIER, C. F. A French engraver, who flourished about the year 1780. He en
graved several plates, which were executed with the point and graver, representing
conversations, Sec. from the French painters, and other masters.
LOCKLEY, David. An English engraver, who flourished about the year 1719- Among
other prints, he engraved a large plate, representing a view of the New Church in the
Strand ,- and his name is affixed to a portrait of Michael Malard.
LORME, A. de. This artist was a native of France, and flourished about the year 1655.
He excelled in painting architectural subjects, and particularly the interior views of
gothic temples and churches. There is a respectable specimen of his ability in the
Gallery of the Louvre.
LOUTHERBOURG, Philip James de. This ingenious artist was born at Strasburg
aboutthe year 1734. He was the son of a miniature painter, who afterwards established
himself at Paris, where his son was placed under the tuition of Francesco Casanova, and
on leaving the school of that master became a very popular painter of battles, huntings,
sea-pieces, and landscapes, with figures and cattle, in which last he at that time appears

702 LOYER.
to have imitated the charming style of Nicholas Berghem. His works were universally
admired, and in 1763 he was made a member of the Academy of painting at Paris.
Though he met with very flattering encouragement, he soon afterwards quitted France,
and settled in London, where he passed the remainder of his life. Soon after his arrival
in England he was employed to make the designs for the scenes and decorations of
Drury Lane Theatre, and in that province of the art he discovered extraordinary ability
for several years.
Besides a great variety of easel pictures, which were very generally esteemed, Ml.
de Loutherbourg occasionally employed his talents on a larger scale, in commemoration
of the most remarkable events of the time, and of the achievements of British valour.
Among these, perhaps the most popular, were his pictures of the Review of Warley
Camp, now in the King's collection ; Lord Howe's Victory of the First of June, and the
Siege of Valenciennes.
When Mr. Macklin projected his publication of the Bible, Mr. de Loutherbourg was
engaged to exercise his powers as an historical painter; on which occasion he painted
two pictures, representing the Angel destroying the Assyrian Host, and the Universal
Deluge, the latter was considered as his best performance in that department.
As an artist, Mr. de Loutherbourg exhibits an uncommon example of the possession
of faculties directly opposed to each other. In his landscapes, and indeed in his per
formances in general, he is not less remarkable for the most admirable dexterity of
hand, and the most captivating facility of pencil, than for a seductive, though a mere
tricious gaudiness in his colouring, which is too frequently in opposition to the chaste
and sober tinting of nature. The readiness with which he composed and executed his
pictures could scarcely fail of betraying him into the foibles of a mannerist. Individual
parts of his pictures are frequently uncommonly fine; but, either from an inattention to
or an ignorance of the best principles of the chiar-oscuro, there is often a want of gene
rality in the effect, which is frequently scattered and fluttering, and we look in vain for
that tempered harmony in the whole, which distinguishes the most admired productions
of the art.
Mr. de Loutherbourg was a member of the Royal Academy of London, and resided
the latter part of his life at Chiswick, where he died, in 1812, aged about 78.
LOYER,  . This artist was a native of France, and flourished about the year 1760.
Among other prints, he engraved some plates of architectural subjects, from the designs
of Dumont.

MAC MAR 703

M

MACOURT, C. According to Lord Orford, this artist was a native of Germany. He
resided in London several years, where he practised portrait painting, both in oil colours
and miniature, and was a member of the Chartered Society of Artists, with whom he
exhibited, from the year 1761 till 1767. In the Addenda to the Anecdotes, he is said to
have died in January, 1768. He is also stated to have engraved some plates in mezzo
tinto.
MAILLET, Joseph. This artist was a native of France, and flourished at Paris about the
year 1775. He engraved several plates of landscapes, which are executed in a neat
style.
MAINERO, Giovanni Batista. He was born at Genoa, about the year 1610, and was a
disciple of Luciano Borzone, under whom he made a rapid improvement, and at an early
age distinguished himself by the production of some historical subjects, of a small size,
which were greatly admired. Notwithstanding this encouraging success, he abandoned
historical painting, and applied himself to portraiture, in which he was employed by the
principal persons of his time. He died of the plague in 1657.
MALLERY, Philip de. According to Professor Christ, this artist was a native of
Antorf, in Germany. He engraved several small historical subjects on copper, which
were well executed, and were published about the year 1650.
MANDYN, John. This artist was born at Haerlem, in 1450. He painted drolleries and
incantations, in the manner of Jerome Bos. His chief residence was at Antwerp, where
he died.
MANINI, Gaetano. This artist was bora at Milan about the year 1730. He painted
history in the gaudy and frivolous style of the modern Italian school, and came to Eng
land a little before 1775, in which year he was an exhibitor with the Chartered Society
of Artists. He died between the years 1780 and 1790.
MANWAIRING,  This artist, who flourished about the year 1760, is mentioned
by Mr. Strutt as the engraver of a portrait of the Reverend Mr. Madan.
MARCHI, Guiseppe. He was a native of Rome, and was brought to England by Sir
Joshua Reynolds, when he returned from Italy, by whom he was much employed in
painting draperies, and in forwarding his pictures. He engraved several plates in mez
zotinto, from portraits by Sir Joshua, among which are the following:

704 MAR M A U
Lady Mulgrave, when Miss Cholmondeley.
Mrs. Crewe and Mrs. Bouverie.
Miss Oliver.
Doctor Goldsmith.
Mrs. Hartley, with her child.
MARGHUCCI, Giacomo. According to M. Heineken, this artist was an engraver and
printseller, by whom we have some plates of antique busts, statues, &c.
MARIANI, Giovanni Maria. This painter was anative of Ascoli, in the Genoese state,
- born about the year 1615. He excelled in painting architectural views and landscapes,
in which the figures were often introduced by Valerio Castelli. He also painted histo
rical subjects with no mean reputation; and Lanzi mentions in very favourable terms an
altar-piece by him in the Oratorio di S. Jacopo, at Genoa, representing the Baptism of
that Saint; and the Rape of the Sabines, in the gallery at Florence. He passed some
part of his life at Rome, and was received into the Academy there in 1650.
MAROT, Francis. A French painter, born at Paris in 1667- He was a scholar of
Charles de la Fosse, and painted history in the style of that master. He was made a
member of the Academy at Paris in 1702. One of his most esteemed works is a picture
in the church of Notre Dame, representing Christ appearing to the Three Marys. He
died in 1719, aged 52.
MARREBECK, J. This artist was probably a native of Holland, and flourished about
the year 1700. We have a few portraits by him, engraved in mezzotinto.
MARTINET,  . This lady was a native of France, and flourished about the year
1760. She was the daughter-in-law to Nicholas Dupuis, by whom she was instructed in
the art of engraving. Among other prints, she engraved a large plate, representing the
Death of Adonis, from a picture by Bianchi. She had a brother, who engraved several
small plates of views, vignettes, animals, &c.
MASCALL, Edward. An English portrait painter, who flourished about the year 1650.
He painted a portrait of Oliver Cromwell, which was in the possession of the Duke of
Chandos. We have a print of a portrait of Mascall, from a picture painted by himself
engraved by James Gammon.
MASON, James. An eminent English engraver, who flourished about the year 1770. He
engraved a great number of landscapes, after the pictures of Claude, Gaspar Poussin,
and other masters ; and several views in England, from the designs of Lambert Scott
Smith, &,c.
MAUBERT, James. This artist was probably a native of France. According to Lord
Orford, he resided in England in the reign of George 1. He distinguished himself by
copying all the portraits of English poets he could meet with. He painted Dryden,
Wycherley, Congreve, and some others, from the life. He died in the year 1746.

MAU MOR 705
MAURER, J. This artist was a native of Switzerland. He came to England about the
year 1745, where he engraved several views of buildings, &c. in London, which are neatly
executed.
MAZOT,  . This artist is mentioned by Mr. Strutt as an engraver of no note, by
whom we have a few very indifferent portraits ; among others, that of Christian IV. King
of Denmark.
MEER, N. Vander. A Dutch engraver, who resided at Paris about the year 1760. He
engraved some of the plates for Le Brun's Gallery, consisting of the insides of churches*
flowers, &c. which are executed in a very neat style.
MEHEUX, James. This artist was a native of Holland, and flourished about the year
1680. He engraved some plates in mezzotinto, among which is a copy of the print of
the Ratcatcher, by Cornelius Visscher.
MELAR, Adrian. A Flemish engraver, who resided at Antwerp about the year 1650.
He attempted to imitate the style of Paul Pontius, but with very little success. We
have several portraits by him, among which are those of Francis de Moura, and Chris
topher Bernhardt. He also engraved a plate representing St. Michael overcoming the
Evil Spirit; after Rubens.
MICHAELIS, J. W. This artist was a native of Germany, and resided at Franckfort about
the year 1700. He was chiefly employed in engraving portraits for the booksellers, and
executed several of the heads for a work entitled, Notilia Universitatis Francofertana,
published in 1707.
MIGNOT, Daniel. According to Florent le Comte, this artist engraved some plates,
which he marked with a monogram composed of a D and a M, thus, g/[. His works
are said to consist chiefly of architectural ornaments.
MITCHELL, J. This artist was a native of Scotland, and resided at Glasgow about the
year 1765. He engraved some plates of historical subjects, which are mostly executed
entirely with the graver.
MOLIGNY, C. D. A French engraver, who resided at Paris about the year 1760. He
eno-raved several portraits, principally after Cochin, among which is that of Jean Brute,
Cure de St. Benoit.
MONTAGU,  . This artist was a native of France, and flourished about the year
1760. He engraved several architectural subjects and views in Rome.
MOREAU, Edme. According to Florent le Comte, this artist was a native of Rheims, and
flourished towards the end of the seventeenth century. He engraved several plates from
his own compositions, and from the designs of St. Igny and other masters.
Vol. II. 4 X

706 MOR MI/Y
MOREAU; P. A French architect, who flourished from 1750 to 176Q. He designed with
great taste^ and etched some plates of architectural subjects from his own compositions.
MOREL, Francis. A modern French engraver, by whom we have some landscapes, after
P. Hackert.
MORE, John Gaspar. This artist was a native of Zurich, and flourished about the year
1694. He was principally employed in engraving portraits for the booksellers, which
are very indifferently executed.
MORIER, David. This artist was born at Berne> in Switzerland, about the year 1705.
He came to England soon after the battle of Dettingen, and was presented to the Duke
of Cumberland, by Sir Edward Faulkener, who settled on him a pension of two hundred
pounds a year. He distinguished himself as a painter of battles, managed horses, &c.
and also painted portraits, in which he was extensively employed. He died in 1770, and
was buried in St. James's, Clerkenwell.
MOSER, George Michael.. He was a native of Switzerland, but came to England very
young, to follow the profession of a chaser in gold, in which art he arrived at great
eminence. But his talents were not confined to that branch; he likewise painted in
enamel with considerable success. He was well skilled in the construction of the hu
man figure, which perfectly qualified him for the office he held of Keeper of the Royal
Academy, to which he was appointed at its foundation in 1768, the business of which
situation principally consists in superintending and instructing the students, who draw
and model from the antique figures. Mr. Moser continued to fill that place with the
greatest respectability till his death, which happened January 23, 1783.
MOSNIER, John. According to Felibien, this artist was born at Blois in 1600. He was
the son of a painter on glass, by whom he was instructed in the rudiments of design.
He afterwards travelled to Italy, and resided some time at Florence, where he studied
under Cristofano Allori. On his return to France he distinguished himself as a repu
table painter of history. Some of his most esteemed works are in the church of St.
Martin, at Paris, where he died, in 1656, aged 56.
MUTEL,  . This artist is mentioned by Mr. Strutt as the engraver of a portrait of
Thomas Fantel de Lagny.
MUYS,R. An obscure Dutch engraver, by whom we have, among others, a portrait of
William, Prince of Orange.

NAC OCH 707

N
NACHTGLAS,  . This artist was an indifferent engraver of portraits, which are
executed with the graver, in a stiff, tasteless style. They are probably from his own
. designs, as he usually adds the word fecit to his name.
NAGTEGEL, Arnold. The name of this artist is affixed to a very indifferent print in
mezzotinto, representing the portrait of Ishach Aboab Rabin. It is apparently from a
design of his own, as he adds to his name the words delin. et fecit.
NAIN, Le,  . This artist was a native of France, and flourished about the year 1650-
He excelled in painting domestic subjects and assemblages of peasantry, which are in
geniously grouped, and painted in a sweet and simple tone of colouring, which is ex
tremely interesting. There is an appearance of truth and nature in the expression of his
heads, which is admirable, and in a manner peculiar to himself.
NEWTON, Francis Milner. He was born in London about the year 1720, and was a
pupil of M. Tuscher. As an artist, he confined himself to portrait painting, in which
he was considerably employed. At the foundation of the Royal Academy, Mr. Newton
was chosen a member, and was appointed the first Secretary to that institution, which
situation he filled until 1788, when he resigned. He died in 1794.
NOLLI, Giovanni Batista. This artist was a native of Italy, and flourished about the
year 1755. He engraved several plates of plans and views of buildings.
NYTS, J. A French engraver, who flourished in the latter part of the sixteenth century.
He etched a View of the City of Lisle, in French Flanders, and several landscapes, which
are executed with great spirit and neatness. His works are not common.

o

OCHTERVELT,  This painter was a native of Holland, and flourished about
the year 1655. He was probably a scholar of Gerard Terbury, to whose style his man
ner of painting bears so strong a resemblance, that his works are frequently mistaken
/ 4X2

708 ORS PAL
for those of that master. His pictures, like those of Terburg, usually represent do
mestic subjects, ladies at their toilet, musical parties, &c. They are well coloured,
and are very carefully wrought up, but his chief excellence consists in the polished
finishing of his draperies, especially white satin, in which he is scarcely inferior to
Terburg.
ORSI, Benedetto. He was a native of Pescia, and flourished about the year 1660. Lanzi
numbers this artist among the disciples of Baldassare Franceschini, called II Volterrano,
and mentions in very favourable terms a picture by him in the church of S. Stefano^ at
Pescia, representing St. John the Evangelist. He also painted the Seven Works of
Mercy, for La Compagnia de Nobili, which were regarded among the most esteemed
works of art in that city.
OS, van,  . A modern Dutch painter, who resided at the Hague, and died there a
few years ago. He particularly excelled in painting flowers and fruits ; and though his
pictures do not possess the delicate transparency of finishing which we admire in the
best productions of John van Huysum, or Rachel Ruysch, they are finely coloured, and
very highly wrought up. He also painted landscapes and sea-pieces, but they are very
inferior to his other works.
OTTINI, Pasquale. This painter was born at Verona, in 1570, and was a disciple of
Felice Riccio, called Brusasorci. In conjunction with Alessandro Turchi, called L'Or
betto, or Alessandro Veronese, who was his fellow student under Riccio, he finished
some of the pictures left imperfect by their instructor. He afterwards studied at Rome>
and on his return to his native city, distinguished himself as a painter of history, by the
beauty of his forms and the expressive airs of his heads. His picture of the Murder of
the Innocents, in the church of S. Stefano, at Verona, is an object of general admira
tion, though opposed to one of the finest works of Turchi. Count Alessandro Carli, in
his Istoria di Verona, ranks him among the most successful followers of the style of Paolo
Veronese. He died in 1630, aged 60.

PACOT,  . This artist was anative of France, and flourished about the year
1690. He engraved some plates of battles and sea-fights, which are etched, aud finished
with the graver, in a neat, spirited style.
PALADINI, Arcangela. This ingenious lady was born at Pisa, in 1599. She was the
daughter of Filippo Paladini, who painted portraits with some reputation, by whom she
was instructed in the rudiments of the art. Her talents were not confined to painting,
she also excelled in music, and above all in embroidery, in which she discovered uncom-

PAL PAR 709
mon ingenuity. Her portrait, painted by herself, was placed in the gallery of artists at
Florence. She died in 1622; at the premature age of 23.
PALING, Isaac According to Houbraken, this ( artist was a native of Holland, and
flourished about the year 1 670. He was a scholar of Abraham Vanden Tempel, and
painted portraits and conversations in the style of that master. He visited England in
the reign of Charles II. where he practised portrait painting some years, and returned to
his own country in 1682.
PARIGI, Giulio. This artist was a native of Italy, and flourished about the year 1610.
He engraved some plates of opera scenes, in conjunction with Remegio Cantagallini,
whose master he was.
PARKER, John. " Of this person," says Edwards, '.' little can be said, for little is known."
He was a native of England, and resided several years at Rome, where he discovered
sufficient ability to be employed to paint an altar-piece for the church of S. Gregorio,
on Monte Celio, representing S. Silvia. He returned to England about the year 1762,
and was an exhibitor at the Society's Rooms, in the Strand, in 1763, where he had two
pictures. The subject of one was the Assassination of David Rizzio ; the other, his
own portrait. He did not long survive his return to England, but died at Paddington
about the year 1765.
PARKER, John. Another artist, of the same name, must not be confounded with the
preceding painter. He was for some time a student in the Duke of Richmond's gallery,
and received some instructions from the Smiths of Chichester. He was at Rome in
1774, but returned to England the following year, where he practised landscape painting
with- some success.
PARRY, William. This artist was born in London in 1742. He was the son of Parry,
the celebrated blind performer on the Welsh harp, and received his first instructions in
design in Mr. Shipley's drawing school. He afterwards studied from the plaster-casts in
the Duke of Richmond's gallery, and became a pupil of Sir Joshua Reynolds ; about
which time he also entered the academy in St. Martin's Lane. He was considered at
that time a very promising artist, and obtained several premiums from the Society for
the Encouragement of Arts, &c. On leaving Sir Joshua he was favoured with the pa
tronage of Sir Watkin Williams Wynne, by whose liberality he was enabled to visit
Italy, in 1770, where he remained four years, and, among other things, he painted for his
protector a copy of the Transfiguration, of Raffaelle, at that time in the church of S.
Pietro in Montorio. He returned to London in 1775, and in 1776 was chosen an asso
ciate of the Royal Academy. Not meeting with the employment he expected, he deter
mined to revisit Rome, in 1778, where he found sufficient encouragement to induce him
to remain several years. His ill-state of health obliged him to return to his native coun
try, in the commencement of the year 1791; but he only survived his arrival a short
time, and died on the 13th of February in that year, aged 49. There is a small etching
by Mr. Parry, about the size of a card, it represents the portrait of his father playing on
the harp, and was engraved as a ticket of admittance to a concert. It is now become
very scarce.

710 PAR PES
PARS, William. He was bora in London about the. year 1742, and was educated in the
rudiments of the art in Shipley's drawing school. He afterwards frequented the Aca
demy in St. Martin's Lane; and in 1764 obtained the third premium, of twenty guineas,
for historic painting. According to Edwards, "the Dilletanti Society having at that
time determined to employ a portion of their accumulated subscriptions in the cultiva-
tion of elegant literature, they resolved to send some persons into Greece, to make fur
ther researches among the remains of antiquity, which are still to be found in Ionia, for
which purpose the following gentlemen were selected. The Rev. Dr. Chandler, of Oxford,
was appointed to the literary department ; to Mr. Revet was assigned the architectural
inquiries; and Mr. Pars was chosen the draughtsman." On this expedition he was
absent about three years, and some time after his return he was engaged by the late
Lord Palmerston to accompany him in a tour through Switzerland and Italy, to make
drawings of the most remarkable views and antiquities. In 1770 he was elected an
Associate of the Royal Academy; and in 1774 the Dilletanti Society having determined
to send an artist to Rome, for a certain number of years, upon a pension, to complete his
studies as a painter, Mr. Pars was made choice of on the occasion, and arrived at Rome
in 1775. He continued his studies in Italy until the autumn of the year 1782, when he
died of a fever, aged about 40. Several of "his views that were made in Greece have
been engraved by Mr. Byrne; and some of those in Switzerland and Italy have been
executed in aquatinta by Mr. Paul Sandby.
PENNY, Edward. He was bora at Knutsford, in Cheshire, in 1714, and having at an
early period of his life discovered an inclination to painting he was sent to London,
where he was placed under the tuition of Hudson, who was at that time eminent. He
afterwards went to Rome, to complete his education, where he studied some time, under
Marco Benifial. On his return to England Mr. Penny became a member of the incor-
ported Society of Artists of Great Britain, of which he was for some time Vice-President.
At the foundation of the Royal Academy he was one of the. original members, and was
appointed their first Professor of Painting. He continued to fill that situation with great
respectability, and read an annual course of lectures, which were well received, until the
year 1783, when, in consequence of declining health, he was obliged to resign the pro
fessorship, and was succeeded by Mr. Barry. About this period he went to reside at
Chiswick, and having married a lady of property, lived in quiet retirement until his
death, which happened on the 15th of November, 1791, in the seventy-seventh year of
his age.
Mr. Penny was principally employed in painting small portraits in oil, which were
very generally admired. He also painted sentimental and historical subjects, many of
which were publicly exhibited. Among others, were the Death of General Wolfe, from
which a mezzotinto print was published by Mr. Sayer, and met with a very extensive
sale ; the portrait of the Marquis of Granby relieving a sick Soldier, from which there is
a print ; Virtue rewarded, and Profligacy punished, two pictures which are also en
graved.
PESCIA, Mariano da. According. to Lanzi, the family name of this artist was Gratiadei,
but he is usually called da Pescia, from his having been born in that city, about the
year 1525. He was a disciple of Ridolfo Corradi, called 11 Ghirlandajo, and assisted
that master in several of his works. He had given proof of an uncommon ability in a

PET PIL 711
picture he painted for La Capella della Signorio, in the Palazzo Vecchio, at Florence,
when he died, in 1550, at the age of 25.
PETHER, Abraham. This ingenious artist was born at Chichester in 1756. In the early
part of his life he applied himself to the study of music, and at the age of nine years,
is said to have occasionally performed the organist's duty in his native city. He after
wards turned his thoughts to painting, in which he was instructed by George Smith, and
attained a considerable rank in the art as a landscape painter, particularly in the effect
of moon-light. In his day pictures his scenery is usually pleasing and luxuriant; his co
louring is clear, and his distances are remarkably tender and sweet. He does not, how
ever, appear to have paid much attention to the arrangement of his masses, and there
is a want of judgment in the distribution of the light and shade. Hence the effect in
his pictures is sometimes fluttered, and, as he did not often resort to nature for his mate
rials, his forms are frequently repeated, and exhibit the characteristics of a mannerist.
Mr. Pether not only distinguished himself as an eminent painter, and an excellent
musician ; his philosophical and mathematical researches are particularly deserving of
notice. He also possessed extensive powers as a mechanic, and constructed various
optical instruments, such as telescopes and microscopes, as well as air-pumps, and other
machines relative to science ; and once read lectures on electricity, exemplified by in
struments made by himself.
With an ardent thirst after knowledge, he possessed a happy and contented disposi
tion, and his manners were affable and unassuming. A lingering disease, which had
confined him during the space of three years, terminated his existence, at Southampton,
the 13th of April, at the age of 56.
PICQUET, J. In Dubrayet's drawing-book is a print by this artist, representing Juno,
Pallas, and Venus, half-length figures. It is executed with the graver, in a hard, dry
manner, and appears to have been an early attempt of this engraver. It is inscribed
Joan Picquet,ft.
PIERCE, Edward. An English artist, who flourished in the reigns of Charles I. and II.
He was eminent both. as a painter of history and landscapes, and also excelled in archi
tectural and perspective views. Few of his works are now remaining, the far greater
part of them, which consisted of altar-pieces and ceilings of churches, being destroyed
in the fire of London, in 1666. Lord Orford attributes to this artist a book of frieze-work,
in eight plates, etched in 1640.
PIETERS, John. This painter was born at Antwerp in. 1667, and was a scholar of Peter
Eykens, an historical painter of some eminence. He came to England in 1685, when he
was eighteen yearsof age, and finding no employment for a painter of history, he offered
his services to Sir Godfrey Kneller, who employed him to paint the draperies and
back-grounds of his portraits. He excelled in copying the works of Rubens. He
died in London in 1727, aged 60.
PILLEMENT, John. This artist was a native of France, and resided some time in Lon
don, about the year 1760. He painted a few pictures of landscapes and fancy subjects,
which were composed and, coloured in a theatrical, gaudy style; but his chief employ

712 PIP PLU
ment was in making drawings of similar subjects, which were finished with great neat
ness and labour. Several of his designs have been engraved by Canot and Ravenet.
He etched himself a few plates of flowers, &c.
PIPER, Francis le. He was the son of a Kentish gentleman of Flemish extraction, and
was born about the year 1740. His father, who was in possession of a considerable
estate, gave him a liberal education, intending him for a merchant, but his inclination
leading him entirely to drawing, he rambled over great part of Europe to study paint
ing. He was of a gay and facetious turn of mind, and the subjects he treated were
usually humorous and comical, and were chiefly painted in black and white. Most of
his performances were produced over a bottle, and the theatre of his exertions was the
Mitre Tavern, at Stock's Market, or the Bell, in Westminster, which were adorned by
the productions of this jovial artist. He drew landscapes, which he etched on silver
plates for the tobacco-boxes of his friends. Towards the latter part of his life his cir
cumstances were sufficiently reduced to make it necessary for him to think of turning
his talents to some account. Becket employed him to design his mezzotintos, and -he
drew several of the heads of the Grand Signiors, for Sir Paul Rycant's History of the
Turks. On the death of his mother, his fortune being re-established, he launched again
into a course of pleasure, contracted a fever, and being bled by an ignorant surgeon, who
pricked an artery, he died in 1698, aged about 58,
PLIN, E. This artist was a native of France, and flourished about the year 1780. He
engraved some plates representing conversations and domestic subjects, which are
etched, and finished with the graver, in a neat, clear style.
PLONICH, Vedastus du. A Dutch engraver, who flourished about the year 1660.
Among other prints, we have a few plates by him, representing views in Holland, which
are neatly engraved, though stiff and formal.
PLOTT, John. This artist was born at Winchester in 1732. In the early part of his life
he was articled to an attorney, but he did not long follow the profession. In 1756 he
came to London, and having shewn an inclination for painting, he became a pupil of
Richard Wilson, the admirable landscape painter; but his genius directing him to por
traiture rather than landscape, he quitted that master, and placed himself under the tui
tion of Nathanial Hone. He afterwards distinguished himself as a miniature painter,
both in enamel and water colours, though he sometimes painted in oil, and met with
considerable employment. He had a taste for natural history, and executed several
drawings in that branch which had great merit. Towards the latter part of his life he
resided at Winchester, and some years before his death was chosen a member of the
corporation of that city. He died in 1803, aged 71. Mr. Bromley, in his catalogue,
mentions a mezzotinto portrait of this artist, as scraped by himself.
PLUMIER,  . Mr. Strutt mentions this artist as a painter by whom we have some
spirited etchings from his own compositions, which shew him to have been a man of
genius; but the naked parts of the figures are not correctly drawn..

PON RAT 713
PONCHEL, C. du. A French engraver, who resided in England about the year 1779-
Among other prints he engraved a plate of a view of Waterford, from a design by Paul
Sandby.
POTHOVE, H. An obscure engraver in mezzotinto, by whom we have a few portraits,
very indifferently executed.
PRIWITZER, John. According to Lord Orford, this artist was anative of Hungary, and
visited England in the reign of Charles 1. He painted the portraits of several of the
nobility. At Wooburn, besides some young heads of the family, is a whole length of
Sir William Russel, Knight of the Bath, in the robes of the order, with a Dwarf. It is
painted with freedom, and brilliantly coloured, and is inscribed Johannes Priwitzerus
de Hungaria,faciebat. 1627.
PUGH, Herbert. This artist was a native of Ireland. He came to London about the
year 1758, and met with some encouragement as a landscape painter. His talents were
not very considerable, and his style of painting was mannered and affected. He also
painted a few pictures, in which he attempted to imitate the style of Hogarth, but they
were very indifferent performances. He died about the year 1775.
PYE, John. An English engraver, who flourished about the year 1775. We have by him
several landscapes, after the pictures of Claude Lorraine, Vernet, Swanevelt, Cuyp, &c.
which are etched and finished with the graver, in a neat, finished style.

R

RAFFAELLI, Francesco. This artist was a native of Italy, and flourished about the
year 1705. He engraved some plates of historical subjects, which are chiefly executed
with the graver.
RAMA, Camillo. According to Orlandi, this painter was a native of Brescia, and flou
rished about the year 1622. He was a disciple of the younger Palma, and painted
several altar-pieces and other considerable works for the public edifices of his native city,
which prove him to have been an able follower of the style of his instructor. In the
refectory of the Carmelites is an admired picture by this master ; and in the churches
of S. Gioseffo and S. Francesco there are several of his performances, which are deserv
edly esteemed.
RATHBONE, John. This artist was a native of Cheshire, and was born about the year
1750. Without the help of an instructor he acquired a respectable talent as a landscape
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714 REA ROB
painter, and his pictures were frequently embellished with figures by Ibbetson, Anderson, ,
and other contemporary artists. He died in 1807, aged about 57-
READ, Catherine. According to Edwards, this lady possessed a considerable reputa
tion as a paintress of portraits, both in oil and in crayons. About the year 1770 she
went to the East Indies, where she resided a few years. On her return to England, she
continued to exercise her talents with great respectability until her death, which hap
pened about the year 17S6. There are several mezzotinto prints after her portraits.
READ, Richard. An English engraver in mezzotinto and in the crayon manner, who
flourished about the year 1780. Among other prints by him we have the following:
Moses saved from the Nile ; after Le Sueur.
A Portrait of a Dutch Lady ; after Rembrandt.
Mary, Queen of Scots, resigning her crown in favour of her son ; after G. Hamilton.
REGNE, —  . This artist was a native of France, and flourished about the year
1760. Among other prints he engraved a, set of plates of animals, which are neatly
executed.
REM, Matthew. A German engraver, who flourished about the year 1635. According
to Professor Christ, he engraved the plates for L' Architecture de Furtenbach. He usually
marked his prints with the initials of his name.
REYSSCHOOT, F. van. By this artist, who was apparently a native of Holland, we
have some small prints, after Teniers, which are executed in a very neat and spirited
manner.
R1TUS, Michael. The name of this artist is affixed to an etching representing the
Virgin Mary and the infant Christ; after A. Caraeci. It is dated 1647.
ROBERTSON, George. According to Edwards, this artist was born in London about
the year 1742, and was instructed in design in Mr. Shipley's drawing-school. At an
early age he went to Italy, where he chiefly studied landscape painting, and produced
some pictures which possessed considerable merit. He afterwards visited the Island of
Jamaica, where he made several drawings and pictures of views of that country, some of
which were exhibited in 1775. Not meeting with the encouragement he expected, and
to which his talents justly entitled him, he adopted the profession of a drawing-master,
in which he was more successful. He died in 1788, aged about 42. We have a few
etchings of views by him from his own designs.
ROBINSON,  . This artist was born at Bath about the year 1715. He came
to London when he was young, where he became a scholar of John Vanderbank
under whose tuition he made considerable proficiency, and was afterwards distinguished
himself as a portrait painter. He succeeded Jervas in his house in Cleveland-court
and suddenly came into extensive employment, though his colouring was faint and
feeble. He affected to dress all his pictures in Vandyck's habits, but this was the

ROD SAL 715
only resemblance his works bore to those of that great painter. He died in 1745, aged
about 30.
RODTERMONDT,  . The name of this engraver is affixed to a scarce portrait
of Sir William Waller, General in the Parliament's army. It is dated 1643.
ROPER,  -. This artist is mentioned by Edwards as a painter of sporting pieces,
race-horses, dogs, and dead game. Some of his pictures were in the exhibitions in
Spring Garden, in 1761 and 1762, which period he did not long survive.
ROSE, Susan Penelope. According to Lord Orford, this lady was the daughter of
Richard Gibson, the Dwarf, by whom she was probably instructed in the rudiments of
the art. She was the wife of a jeweller, and painted portraits in water-colours with
great freedom. Her miniatures were of a larger size than usual, and possessed consi
derable merit. She died in 1700, aged 48.
RYDER, Thomas. An English engraver, who flourished about the year 1790. He exe
cuted several plates in the dotted manner, which possess great merit. Among others,
are the following :
The Captive ; after J. Wright.
The Last Supper ; after West.
The Murder of James I. King of Scotland; after Opie.
He also engraved after Angelica Hauffman, Shelley, &c.

s

SAILLIAR, Louis. This artist, who was probably a native of France, resided some years
in London, where he engraved some plates for Messrs. Boydell, among which are the
following :
The Portrait of Helen Forman; after Vandyck.
The Prince of Orange ; after Honthorst.
The Birth of Bacchus ; after Reynolds.
The Toper ; after G. Douw.
SALTARELLO, Luca. This painter was born at Genoa in 1610, and was a disciple of
Domenico Fiasella. At an early age he gave proofs of extraordinary ability, and on
leaving the school of that master painted an altar-piece for the church of S. Stefano,
representing S. Benedetto resuscitating a dead person, which Lanzi describes as a pic
ture full of expression, and of a sober and harmonious colouring, developing powers
4Y2

716 SAL SAN
which promised to reach an exalted rank in the art, if he had been permitted a longer
career. He went to Rome, in search of improvement, where he fell a victim to his un
remitting assiduity in the flower of his age.
SALWAY, N. An English engraver in mezzotinto, who flourished about the year 1760.
We have by him some portraits, which are not without merit.
SAMBIN, Hugues. He was an eminent architect, who resided at Dijon about the year
1522. He designed and engraved a set of pilasters, and. other architectural subjects,
which were executed with neatness and precision.
SANDBY, Paul. This admired artist was born at Nottingham in 1732. He came to
London when he was fourteen years of age, and having shown an early inclination for
the art, he got introduced into the drawing-room at the Tower. He had studied there
about two years, when the late Duke of Cumberland, wishing to have a survey made of
the North and West parts of the Highlands of Scotland, young Sandby was engaged
as draughtsman, under the inspection of Mr. David Watson. In company with that
gentleman he travelled through that most romantic country, and, though the leading
object of his tour was the drawing of plans, in his leisure hours he made many sketches
from the stupendous and terrific scenery with which it abounds. From these designs,
the first offspring of his genius, he made a number of small etchings, which, on his re
turn to London, were published by Messrs. Ryland and Bryce. Soon after his return
from his Northern tour, about the year 1752, he passed some time with his brother at
Windsor, and during his residence there made a great number of drawings of the most
beautiful views of Windsor and Eton, to which he gave so charming an effect, that
they were immediately purchased by Sir Joseph Banks, by whom he was very liberally
remunerated. He soon after was invited to accompany that gentleman in a tour throuofi
North and South Wales, and was employed by Sir Watkin Williams Wynne to design
the most picturesque scenery iu that interesting country. These he afterwards eno-raved
in a new style, in imitation of drawings in bister and Indian ink, called aquatinta,
which he carried to a degree of perfection unknown before.
At the foundation of the Royal Academy, iu 1768, Mr. Sandby was elected one of
the original members ; and in the same year was appointed chief drawing-master to the
Royal Military Academy at Woolwich, which office he held with great credit to himself
and advantage to the establishment, until his death. For the following character of Mr.
Sandby, as an artist, we are indebted to a late interesting publication.
" His industry was as remarkable as his genius; the number of his drawings dissemi
nated through the cabinets of the amateurs of the arts is immense. To particularize any
of his productions would be throwing a degree of neglect on those that we omitted.
Their merit is of a superior kind, and the scenery he delineates is, in many cases not
merely an address to the eye, but an appeal to the mind. The towering, though almost.
tottering battlements of the baronial castle, display dignity in ruins, and shew the in
stability of human grandeur. The mouldering fragments of the ivy-mantled abbey-
venerable even in decay, must bring to our recollection the reverential awe with which
they were once contemplated.
" The views that he has taken of our more modern mansions are, generally speaking

SAR SCH 717
picturesque, and invariably correct. They will be to future ages what the ancient ruins
before-mentioned are to this, a mirror of things that zeere.
" The landscapes which he has designed from fancy beam with taste and talent. We
believe he has occasionally painted in oil, but never have seen any of his productions in
this walk, except a picture from Gray's Poem of the Bard, which we were told was
painted at an early period of his life, and which has great merit."
SARTORIUS, J. C. A German engraver, who chiefly resided at Nuremberg, and was
principally employed in engraving portraits for the booksellers. They are very indif-
ferentty executed, in a style resembling those published by Vander Aa.
SCHIAVONETTI, Luigi. This ingenious artist was born at Bassano, in the Venetian
state, in 1765. He was the son of a stationer, and from his infancy discovered a peculiar
taste for drawing. Before he was thirteen years of age he had made some progress,
without the help of a master, when he was placed under the tuition of Giulio Goldini,
a painter of some eminence, by whom he was instructed in design during three years,
when the death of his preceptor deprived him of the advantage of his assistance. He
had, however, attained considerable proficiency as a designer, and now turned his
thoughts to engraving, to which he was probably induced by an acquaintance he formed
with a very indifferent engraver, named Lorio, who was barely competent to teach him
the mechanical process of the art, and to whom he had recourse for instruction. A
copy of a Holy Family, in the line manner, from a print engraved by Barto Corri, after
Carlo Marati, gained him immediate employment from Count Remaudini. The works
of Bartolozzi, in the chalk manner, were then in great repute at Bassano,' and Schiavo
netti imitated several of his prints with great success. He soon afterwards visited Eng
land, where he formed a connexion with Mr. Bartolozzi, and the admonitions of that
distinguished artist were of great advantage to him in the improvement of his style.
After continuing with Bartolozzi some time, he established himself on his own founda
tion, and from that period until that of his death, which happened in June 1810,
cultivated his talents with a success which answered the expectations which were first
formed of his abilities.
Mr. Schiavonetti possessed, in an eminent degree, the first requisite, either in painting
or engraving; a freedom and accuracy of delineation. The following are among his
principal works:
Four plates, representing the most interesting events which preceded the murder of Louis XVI.;
after the designs of Benazech.
The celebrated cartoon by M. Angelo Buonaroti, representing the Surprise of the Soldiers on
the Banks of the Arno.
The Portrait of Vandyck, in the character of Paris.
The Madre Dolorosa ; after Vandyck.
The Landing of the British Troops in Egypt; after Loutherbourg.
A set of etchings, illustrative of Blair's Grave; after the designs of Blake.
The etching of the Canterbury Pilgrimage ; after Stodhart.
SCHIAVONETTI, Niccolo. He was the younger brother of Lodovico Schiavonetti, and
executed some plates in the style of that artist, though he worked chiefly in conjunction
with him. He did not long survive the death of his brother.

718 SCH SEN
SCHOLLENBERG, H. J. A German engraver, who flourished about the yeai- 1630. He
was chiefly employed in engraving portraits, which are neatly executed, but in a stiff,
hard style.
SCHOOR, N. Van. According to Descamps, this artist was born at Antwerp, about the
year 1666. It is not said by whom he was instructed in the art, but he composed his
subjects with facility, and his colouring is very agreeable. His pictures usually repre
sented subjects of the fable, and he was particularly successful in the design of nymphs
and children. He was much employed in executing cartoons for the manufacturers of
tapestry at Antwerp and Brussels.
SCHOOTEN, George van. This artist was born at Leyden in 1587, and was the scholar
of Conrad Vander Maes, a painter of little celebrity. He acquired considerable reputa
tion as a painter of history and portraits, but his works are little known, except in his
native city.
SCORODOOMOFF, Gabriel. This engraver was a native of Russia, but resided several
years in London, from 1775 until 1783. He engraved several plates in the dotted man
ner, which possess considerable merit ; among which are the following :
Diana and Acteon ; after C. Maratti.
Ulysses discovering Achilles ; after Ang. Kauffman.
Many other plates after the designs of the same artist.
SCHUBLER, A. G. J. A German engraver, who resided at Nuremberg aoout the year
1626. He was chiefly employed in engraving portraits for the booksellers, which are
very indifferently executed. He engraved part of the plates for a work entitled, Icones
Bibliopolarum et Typographorum, published at Altdorff and at Nuremberg in 1626.
SCH WEIZER, John. This artist was a native of Heidelberg, and flourished about the
year 1660. He was but an indifferent engraver, and worked principally, if not entirely,
for the publishers of books. Among other prints by him, we have a portrait of Wil
liam Balthazar Freuhers, after Schik, and he engraved the frontispiece and plates for a
work entitled Parnassus Heidelbergensis, omnium Mustrissimahujusacademiaprofessorum
icones exhibens, some of which are from his own designs.
SECCH1ARI, Giulio. This painter was a native of Modena, but was educated at Bo-J
Iogna, in the school of the Caraeci. He afterwards visited Rome, where he gained
considerable reputation. The Duke of Mantua invited him to his court, for whom he
painted several pictures, which were destroyed, or carried away at the sacking of that
city, in 1630. There are some of his works in the churches at Modena, which are com
mended by Tiraboschi, particularly an altar piece in the cathedral, representing the
Death of the Virgin. He died in 1631.
SEN EX, John. An English engraver, who flourished about the year 1720. He engraved
the plates for the London Almanacks, from the year 1717 to 1727, with the exception
of that for the year 1723, which was executed by John Clarke.

SEQ SPE 719
SEQUENOT, L. This artist was probably a native of France, and flourished about the
year 1671. He engraved some frontispieces and other book plates, which are executed
in a poor style.
SETLEZKY, Balthazar Sigismund. A German engraver, who flourished about the
year 1700. He engraved some portraits and historical prints, as well as ornamental
subjects, which are etched and finished with the graver in a stiff, formal style.
SHAW, James. This artist was a native of Wolverhampton, and was placed as a pupil
with Mr. Penny. He painted portraits with some reputation, and towards the latter
part of his life resided in Charlotte-street, Rathbone-place, where he died, about the
year 1784.
SLUYTER, P. A Dutch engraver, who flourished about the year 1700. He was prin
cipally employed in engraving frontispieces, and other book ornaments for the publica
tions of Peter Vander Aa.
SOIUS, Philip. This artist resided at Rome about the year 1568. He engraved from
his own designs a set of half-length figures of the Popes, from the year 204 to the year
1568, when they were published. They are executed with the graver in a stiff, formal
style.
SOTOMAYOR, Luis de. In the article Solomayor, in the body of the work, a refer
ence is given to Sotomayor, which name, by mistake, is not inserted in its place. Ac
cording to Palomino, Luis de Sotomayor was born at Valencia about the year 1643
and first studied under Estevan Marc. He afterwards visited Madrid, where he became
a disciple of Don Juan Carrenno. He painted history with some reputation, and there
are several of his works in tbe churches at Valencia, particularly in the Augustine Con
vent of San Christoval. He died in 1673, aged about 40.
SPENCER, Jarvis. A painter in miniature and in enamel, who flourished about the
middle of the last century. Of this self-taught artist, Edwards gives the following
account. " He was originally a gentleman's servant, but, having a natural turn to
the pursuits of art, amused himself with drawing. It happened that one of the family
with which he lived, sat for their portrait to a miniature painter, and when the work was
completed, it was shown to him; upon which he observed, that he thought he could
copy it. This hint was received with much surprise, but he was indulged with permis
sion to make the attempt, and his success was such, that he not only gave perfect satis
faction, but also acquired the encouragement and patronage of those he served, and, by
their interest, became a fashionable painter of the day." He died in 1763.
SPERANZA, Giovanni Batista. This painter was born at Rome about the year 1610.
He was a disciple of Francesco Albano, under whom he became a correct designer, and
improved his style by studying with great assiduity the distinguished works of art which
adorn his native city. He acquired considerable celebrity as a painter of history, par
ticularly in fresco. In a chapel in the church of S. Caterina da Siena, there are some
frescoes by him, representing subjects from the life of the Virgin ; and in the church of

720 S P E SUN
the Orfanelli is a ceiling by this master, representing, in five compartments, the Passion
of our Saviour. Several other works of this painter, in the public edifices at Rome, are
mentioned by Baglione. To the great regret of all the admirers of the art, this esteemed
painter died, in the prime of life, in 1640.
SPEZZINI, Francesco. According to Soprani, this artist was a native of Genoa, and
flourished about the year 1578. He was first a scholar of Luca Cambiasi, but he after
wards studied under Giovanni Batista Castelli. Desirous of improving himself by
contemplating the works of the great masters at Rome, he visited that city, where he
passed some time in studying the admirable productions of Raffaelle, Giulio Romano,
and M. Angelo Buonaroti. On his return to Genoa, he painted several pictures for the
public places in that city, particularly an altar-piece for the church of S. Colombano,
which is considered his best work. He died young, of the plague.
SPICER, Henry. An eminent English painter in miniature and enamel. He was very
extensively employed, and attained to considerable excellence as an enamel painter
though he never arrived at the beauty and delicacy of execution which distinguish the
inimitable productions of Mr. Bone, whose enamel pictures infinitely surpass every thing
that lias appeared in that branch of the art. Mr. Spicer died in 1804, aged about 60.
SPICER,  . An English mezzotinto engraver, who flourished about the year
1760. He engraved some portraits after Sir Joshua Reynolds, among which is that of
Barbara, Countess of Coventry.
STEVENS, John. This artist is mentioned by Lord Orford as a landscape painter who
chiefly imitated Vandiest. He sometimes painted small pictures, but was principally
employed in painting pieces to be placed over doors and chimnies. He died in 1722.
STURT, John. According to Lord Orford, this artist was bora in London the 6th of
April, 1658, and was a pupil of Robert White. His chief excellence consisted in the
engraving of letters. His principal work is his book of the Common Prayer, pub
lished in 1717, which was very neatly engraved on silver plates. The top of every page
is ornamented with a small historical vignette. He died in 17S0, aged 72.
SUNMAN,  . A Dutch portrait painter, who came to England in the rei"n of
Charles II. and after the death of Sir Peter Lely got into considerable business- but
being less successful than Riley in a portrait of the King, he retired to Oxford in dis
gust, and was employed to paint the large pictures of their founders, now in the picture
gallery. In term time Sunman went constantly to Oxford; the rest of the year he
passed in London, where he died about the year 1707.

TAR TOM 721

T

TARAVAL, G. A French engraver, who flourished about the year 1760. Among other
prints, he engraved some architectural subjects, from the designs of Dumont.
TERRY, G. An English engraver in mezzotinto, who flourished from 1770 to 1788. He
was chiefly employed in engraving portraits ; among others, we have the following by
him :
The Rev. John Towers, after Fisher. 1770.
The Rev. William Huntingdon. 1786.
The Rev. Richard Johnson, b. a. Chaplain to Botany Bay. 1787.
George Saville Carey, prefixed to his Lectures on Mimicry.
TEXIER, G. Le. This artist was a native of Paris, and flourished about the year 1780.
He engraved several plates, representing landscapes, conversations, and serenades,
which are etched and finished with the graver in a neat, clear style.
THELOTT Jacob Gottlieb. A German engraver, who flourished about the year 1730.
He engraved several portraits; among others, that of Guido Patten, M. D. of Paris.
He also engraved part of the plates for a work entitled Representation des Animaux de la
Menagerie de Prince Eugene, published in 1734. They are executed with the graver, in a
neat, but formal style.
TILLIARD, F. This artist was a native of France, and resided at Paris about the year
1760. He was principally employed in engraving portraits, which are executed with
the graver in a neat, finished style.
TILSON Henry. According to Lord Orford, this artist was educated under Sir Peter
Lely. After the death of that master, which happened in 1680, he went to Italy, in
company with Dahl, where he resided seven years, copying and studying the works of
the best masters with great diligence. He excelled in painting portraits, both in oil
and crayons, and was likely to make a figure in his profession, when he became deranged
in his senses, and shot himself, at the age of thirty-six. He painted his own portrait
two or three times, once with a pencil in his hand, leaning on a bust. It was inscribed,
H. Tilsona. Roma, 1687. Dahl gave Tilson his own portrait, inscribed Memoria per mio
caro amico Enrico Tilson, fatto Roma. 1686.
TOM.KINS, William. An English landscape painter, born in London about the year
1730. In 1763 he obtained the second premium of twenty-five guineas for a landscape,
which was much admired, and was among those who were first elected Associates of the
Royal Academy. He was employed by the Earl of Fife to paint some views of his
lordship's seat in Scotland, and continued the exercise of his talents with great respec
tability until his death, in 1792.
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722 TRE VAL
TRESHAM, Henry. This estimable artist was a native of Ireland, and received his first
instruction in the rudiments of the art in the academy of Mr. West, in Dublin. He
afterwards came to England, where he was for some time employed in drawing small
portraits, when he was favoured with the patronage of Lord Cawdor, and was invited
to accompany that nobleman in his travels to Italy. During a residence of fourteen
years on the continent, chiefly at Rome, he prosecuted his studies with great success,
and returned a correct and elegant designer. He had distinguished himself by several
designs for the principal publications of the time, when Mr. Boydell formed his pro
digious project of illustrating the works of Shakspeare with prints engraved from pic
tures painted by the most eminent artists of the British school.
Mr. Tresham was engaged to contribute the exertion of his talents to that great un
dertaking. The subjects allotted to him were three scenes from the play of Anthony
and Cleopatra; and it is only a just tribute to his abilities to allow that he acquitted
himself in a manner which merited and received the public approbation.
Soon after Mr. Tresham's return from Italy, his health became considerably impaired,
and for several years previous to his death he was reduced to a state of feebleness and in
firmity which incapacitated him from attempting any arduous undertaking ; but his mind
was not less alive to the interest of the art, which, to the last, was the chief object of
his solicitude.
Mr. Tresham was not less distinguished by the amiable qualities of his heart, than for
the elegance of his taste as an artist; and he was equally beloved by a large circle of
friends, as he was respected by his brother academicians. He died in 1814.
TRIERE, P. This artist was a native of France, and flourished about the year 1780.
He engraved several plates representing historical subjects and conversations, which are
neatly executed with the graver.
TURCO, Cesare. According to Dominici, this artist was born at Naples, about the year
1510. He was first a disciple of Giovanni Antonio d'Amato, but he afterwards studied
under Andrea Sabbatini, called da Salerno. He painted history with considerable repu
tation, and there are several of his works in the churches and public edifices at Naples,
particularly an altar-piece, in the church of S. Maria delle Grazie, representino- the
Baptism of Christ by St. John; and a picture of the Circumcision in the church del
Gesu. He died in 1560, aged about 50.

VALKER, Warner van. A Dutch painter and engraver, who flourished about the ye;n
1610. He painted historical subjects, and etched a few plates from his own designs
which are executed in a bold, spirited style, among which are the following;

VAL VIA 723
The Good Samaritan.
Venus sleeping, surprised by two Satyrs.
An old Man and Woman seated at a table, with the figure of Death giving his hand to the old
Man; dated 1612.
VALLEE, or Valee, Simon. This artist was born at Pari3 about the year 1700. He
was a pupil of Peter Drevet, and has engraved several plates, which are etched and
finished with the graver in a neat, tasteful style. The following are among his most
esteemed prints: portraits.
John de Troy, Painter to the King ; after Fras. de Troy.
John Francis Savary, Curate of St. Menehoult ; after the same.
SUBJECTS AFTER VARIOUS MASTERS.
The Transfiguration ; after Raffaelle.
St. John in the Desert ; after the same.
The Flight into Egypt; after Carlo Maratti.
The Resurrection of Lazarus ; after Girolamo Muziano.
The finding of Moses; after Francesco Romanelli.
Christ bearing his Cross ; after Andrea Sacchi.
The Death of the Virgin; after M. Angelo da Caravaggio.
The Sacrifice of Abraham ; after Ant. Coypel.
Christ calling to him the Little Children ; after P. J. Cazes.
The Descent of the Holy Ghost ; after the same.
VALLORY, the Chevalier de. A French amateur engraver, who flourished about the
year 1760. He etched for his amusement several small landscapes, and other subjects,
after Boucher.
VAST, Vander. The name of this artist, who was probably a native of Holland, is
affixed to some etchings of landscapes, which are executed in a tasteful and spirited
style.
VERBOOM,  . This artist was a native of Holland, and flourished about the year
1620. He painted landscapes in a very pleasing style, which deservedly find a place
in the best collections of his own country, though little known in England. We have a
few charming etchings by the hand of this able artist, which are executed with taste
and spirit.
VIA, Alessandro della. An Italian engraver, who resided at Venice about the year
1730. He engraved several portraits, which are very indifferently executed, and a plate,
representing the Virgin and infant Christ, with St. Sebastian and other saints, after Paolo
Veronese.
VIA, Agostino A. This artist was a native of Verona. His name is affixed to a print
representing Daniel in the Lions' Den, after Pietro da Cortona.
4 Z2

724 V I D WAT
VOU, I de. A Dutch engraver, who flourished about the year 1700. He engraved views
and buildings in Amsterdam, which are etched and finished with the graver in a neat,
clear style.
UYTENBROECK, Moses, called Little Moses. This artist was a native of the Low
Countries, and flourished about the year 1640. He is supposed to have been a scholar
of Cornelius Poelemberg, whose style he imitated. He painted landscapes, which he
usually embellished with subjects taken from history, or the fable. We have several
very spirited etchings by this painter, which are much esteemed, lie died in 1650.
VYL, J. Den. The name of this artist is affixed to a few etchings of cows and sheep,
which appear to have been executed about the end of the sixteenth century. They are
scarce.

w
WACHSMUTH, Jerome. A German engraver, who chiefly resided at Vienna. He en
graved, among otlier prints, the Elements and the Seasons, from his own designs, in
which he has shown an humble imitation of the style of Bernard Picart.
WALMSLEY, John. This ingenious landscape painter was descended from a highly
respectable family of Rochdale, in Lancashire, and was born in Ireland in 1763, at which
time his father (who was a major in the army) was with his regiment in that country.
Having had some serious dispute with his friends he left them, and came to London, to
procure a livelihood by his exertions. He had already made some progress in landscape
painting, and was engaged as a scene painter at the King's Theatre, after which he was
employed in the same capacity in that of Covent Garden. This branch of the art not
agreeing with his health, he left the metropolis, and went to Bath, where he practised
landscape painting with considerable reputation for the last ten years of his life. He
died in 1805, aged 42.
WATSON, Caroline. This eminent engraver was born in London about the year 1760.
She was instructed in the art by her father, and has engraved several subjects and por
traits, both in mezzotinto and in the dotted manner, which possess great merit. Among
many others we have the following prints by her :
PORTRAITS.
Prince William of Gloucester ; after Reynolds.
Lord Malmsbury ; after the same.
Mrs. Stanhope ; after the same.

BUB BUR mi
Sir Joshua Reynolds; after Reynolds.
Earl of Bute ; after Gainsborough.
Ozias Humphry, Painter ; after the same.
Mrs. Drummond and Children ; after Shelley.
Mrs. Siddons, as the Grecian Daughter; after Shirrif.
Miss Bover ; after Hoppner.
Benjamin, West, Esq. p. R. a.; after Stuart.
William Woollett ; after the same.
Sir Robert Boyd, Governor of Gihraltar ; after Smart.
WILTON,  . An English engraver, who flourished about the year 1670. He
engraved several plates, representing various subjects, which are executed in a style re
sembling that of Romeyn de Hooghe, though very inferior.
WOLFAERTS, Artus. This painter was born at Antwerp about the jrear 1625. Accord
ing to Descamps, he painted history with great reputation ; his compositions are grand,
though simple, and the characters of his heads are noble and elevated. His pictures
are enriched with architecture and landscapes, which he introduced with an admirable
effect. In his hours of relaxation, he occasionally painted festivals and merry-makings,
in the style of Teniers.
WYNGAERDE, Francis. A Flemish engraver, who resided at Antwerp about the year
1640. We have by this artist several spirited etchings, principally after Rubens, which
possess great merit, though the drawing is frequently incorrect; among which are the
following :
Samson killing the Lion ; after Rubens.
Christ appearing to Mary Magdalen ; after the same.
The Nuptials of Peleus and Thetis ; after the same.
ABacchanal, in which Bacchus is represented drinking out of a Cup, into which a Bacchante is
pressing the juice of the Grape; after the same.
A dead Christ, supported by the Marys ; after Vandyck.
Achilles discovered amidst the Daughters of Lycomedes; after the same.
The Return from Egypt ; after John Thomas.
Flemish Peasants regaling at the Door of an Alehouse; after Teniers.

ZAGO, Santo. This painter was a native of Venice, and was brought up in the school of
Titian. He was not an unsuccessful follower of the style of that great master, and
painted some pictures for the churches at Venice, which were highly esteemed, parti
cularly an altar-piece, in the church of S. Caterina, representing Tobitand the Angel.

726 ZEN ZOW
ZENTNER, J. L. A German engraver, who resided at Paris about the year 1780, and
afterwards visited England. He engraved several plates representing landscapes, ani
mals, dead game, &c. which are etched, and finished with the graver in a neat, clear
style.
ZOFFANY, Johan. This able artist was born at Frankfort about the year 1735. He came
to England when he was about thirty years of age, but for some time met with so little
encouragement, that he was reduced to great distress, until he attracted the public at
tention, by a portrait he painted of the Earl of Barrymore, which laid the foundation of
his future reputation. He soon afterwards acquired considerable celebrity by the por
traiture of the most celebrated dramatic performers in their favourite characters, which
were designed and painted with surprising truth of expression, and admirably coloured.
Of these, the most successful were his pictures of Garrick, in Abel Drugger, of which
we have an excellent print by Dixon ; Foote and Weston in Dr. Last, engraved by
Finlayson; and Foote, in Major Sturgeon, engraved by Haid. Among his most
distinguished works were the portraits of the Royal Family, with those of the members
of the Royal Academy.
Having expressed a desire of visiting Italy, his Majesty is said to have graciously
interested himself so far on the occasion, as to give direction for his being recommended
to the Grand Duke of Tuscany. Whilst he was at Florence, he painted his celebrated
picture of the Florentine Gallery, now in the King's collection. A short time after Mr.
Zoffany's return to England, he obtained permission to go to the East Indies, where he
acquired a competent fortune by the exercise of his talents. Although he continued to
paint after his return from India, it was evident that his powers, as well as health, were
considerably debilitated, and the latter productions of his pencil exhibited little of the
spirit and vigour which characterised his earlier works.
Mr. Zoffany was a member of the Royal Academy.
ZWOLL, J. Ancker de. An old German engraver, who flourished about the year 1500.
He has been supposed to have been a disciple of Israel van Mecheln, whose style he
imitated, though very inferior to him. His compositions are crowded and confused and
his drawing of the figure meagre and incorrect. The works of this ancient artist are
now very rarely to be met with, and their scarcity, rather than any merit in the execu.
tion, renders them interesting to the collector. Among others, we have the following
prints by him :
The Virgin Mary, with the infant Christ, who holds a Cross in his hand.
The Virgin and Child, with St. Elizabeth and two Angels.
St. Christopher on horseback, carrying the infant Christ.
Christ praying in the Garden.
Christ betrayed.
The Crucifixion.
The Entombing of Christ.

ALPHABETICAL INDEX

TO THE

SECOND VOLU3IE.

Page
Maan, or Man, Cornelius  1
Maas, or Maes, Arnold  2
Maas, or Maes, Dirk, or Theodore  .. 2
Maas, or Maes, P  2
Maas, or Maes, Nicholas  2
Maas, or Maes, Godfrey  2
Mabuse, or Malbeugius, John de  3
Macchi, Florio  4
Macchietti, Girolamo, called del Crocifissajo 4
Mac£, or Macee, Charles  4
Macerata, Guiseppino da  4
Macret, Charles Francis Adrian  4
Maddersteg, Michael  5
Maenn), Jacob. See Manul.
Maes,  . See Maas.
Maffei, Francesco  5
Maganza, Giovanni Batista, the elder  5
Maganza, Alessandro  5
Maganza, Giovanni Batista, the younger. ... 5
Maggi, Giovanni  6
Magistus, Simone de  6
Magliar, Andrea  6
Magliar, Gioseffo  6
Magnani, Cristofano  6
Magnasco, Alessandro, called Lissandriiio... 6
Mainardi, Andrea, called II Chiaveghino  6
Majoli, or Majola, Clemente  7

Page
Major, Isaac  7
Major, Thomas  7
Mair,   g
Mair, Alexander  8
Maison, Neuve  8
Maitre Roux. See Rosso.
Malagavazzo, Coriolano  3
Maleuvre, Peter  q
Malinconico, Andrea  9
Mallery, Charles de  9
Malo, Vincent  y
Malombra, Pietro  10
Malosso,  . See Trotti.
Mattese,   jq
Man, Cornelius. See Maan.
Manaigo, Silvestro  10
Manaser, Daniel  j0
Manchetti, Michele  10
Manenti, Vinceuzio  ,  ,., 10
Manetti, Rutilio  il
Mauetti, Domenico  ji
Manfredi, Bartolomeo  n
Manglard, Adrian.  u
Mannl, or Maennl, Jacob  n
Mannozzi, Giovanni, called da Giovanni  12
Mansfeld, John Ernest  12
Mantegna,. Andrea  13

728

INDEX.

Mantegna, Francesco 
Mantouano, Rinaldo 
Mantouano,  ¦. See Andreani and Ghisi.
Mantouano,  . See Venusti.
Mantouano, Teodoro. See Ghigi.
Manuel, Nicholas and Rodolf. See Deutsch.
Manzuoli, Maso, called Maso di Friano 
Maracci, Giovanni. See Marracci.
Maratti, Carlo  f. 
Marc, Estevan  t 
Marc, Miguel 
Marca, Giovanni Batisto Lombardelli, called
Delia 
Marc, Antonio. See Raimondi.
Marcel, N 
Marcellis, Otho 
Marcenay, Anthony de Ghuy 
Marchand, or Marchant, Peter  , 
Marchant, Petrus 
Marchant, J 
Marchesi, Guiseppe, called II Sansone 
Marchesi, Girolamo. See Cotignola.
Marchesini, Alessandro 
Marchetti, Marco, called da Faenza 
Marchis, Alessio de 
Marcilla, or Marsiglia, Guglielmo da. 
Marcolini, Francesco 
Marconi, Rocco 
Marcucci, Agostino 
Marescalco, Giovanni. See Buonconsiglio.
Marescotti, Bartolomeo 
Margaritone,  
Mari, Alessandro 
Maria, Cavaliere Ercole, called Ercolino di
Guido 
Maria, Francesco di 
Mariani, Giovanni Maria 
Marienhof,  

Marieschi, Michele...
Marieschi, Jacopo 
Mariette, John 
Mariette, Peter John .
Mariani, Onorio 
Marini, Benedetto 
Marinus, •  — ...

Mario, da Fiori. See Nuzzi.
Mariotti,  

Mark, Quintiu 
Marlie, Rene Elizabeth. See Lepicie.

15
15
1616
17
17
1717
18
1818
1818 19
1919
19
19
202021
2020
2121
21
21
21212222
2222
23
23

Page page
15 Marlon, M  23
15 Marmion, Edmund  23
Marmocchini, Giovanna Cortesi  23
Marmoleja, Pedro de Villegas  23
Maroli, Domenico  24
Marone, Jacopo  24
Marot, John  24
Marot, Daniel  24
Marracci, Giovanni  25
Marshall, William  25
Marsiglia, Guglielmo. See Marcilla.
Martea, Giles de, the elder  26
Marteau, Giles de, the younger  26
Martenasie, Peter  26
Martin, David  26
Martinelli, Giovanni  26
Martinez, Sebastian  27
Martinez, Ambrosio  27
Martinez, Jusepe  27
Martini, Giovanni  27
Martini, Pietro Antonio  27
Martinotti, Evangelista  27
Martirelli,   27
Martis, Ottaviano  28
Marucelli, Giovanni Stefano  28
Marziale, Marco  28
Masaccio, Maso di S. Giovanni, called  28
Mascagni, Donate, called Fra Arsenio  29
Mase, F. de la  29
Maso, di S. Friano. See Manzuoli.
Masolino, da Panicale. See Panicale.
Masquelier, Louis Joseph  29
Massard, John  29
Massari, Lucio  30
Massaro, Niccolo  30
Massarotti, Angelo  30
Masse, John Baptist  30
Massei, Girolamo  31
Massi, G  31
Massini, C  31
Masson, Anthony  31
Masson, Magdalen  32
Mastelletta, II. See Donducci.
Masucci, Agostino  33
Mafham, James  33
Matham, Theodore  34
Matham, Adrian  ,  35
Mathews,   35
Mathey, C  35

INDEX.

729

Page
Mathieu, A  35
Mathieu, John  36
Matfiyssens, Abraham.....  36
Matsys, or Messis, Quintin, called the Black
smith of Antwerp  36
Matsys, or Messis, John  37
Matsys, Met, or Metensis, Cornelius  87
Matteis, Paolo de  37
Matteus, Cornelius  38
Mattioli, Lodovico  38
Maturino,   38
Maucourt, Charles  38
Maupin, or Maupain, Paul  38
Mauperche, Henry  39
Maurer, Christopher  39
Mayno, Juan Batista  39
Mazo, Don Juan Batista  39
Mazza, Damiano...  40
Mazzieri, Antonio di Donino  40
Mazzocchi, Paolo. See Uccello.
Mazzolini, Lodovico, called Mazzolini di
Ferrara  40
Mazzone, Giulio  40
Mazzoni, Cesare  40
Mazzuchelli,  "-  . See Morazzone.
Mazzuoli, Francesco, called II Parmigiano... 40
Mazzuoli, Girolamo  42
Mazzuoli, Alessandro  43
Mazzuoli, Giuseppe, called 11 Bastaruolo...;. 43
Mechau, James  43
Mechel, Christian de  44
Mecheln, or Mechenen, Israel van, father and
son  44
Mecheln,   45
Mecherino,  . See Beccafumi.
Medici, Pietro,  45
Medina, Sir John  45
Meer, John Vander, the elder.  46
Meer, John Vander, the younger  46
Mehus, or Meus, Livio  46
Mei, Bernardino  47
Meigel, Christopher  47
Meighan, R  47
Meil, John William  47
Meire, Gerard Vander  47
Meirerpeck, W. Wolfgang  47
Meis, B  48
Melan,  . See Mellan.
Melani, Giuseppe and Francesco  48
Vol. II.

Page
Melchiori, Giovanni Paolo....  48
Melder, Gerard  48
Meleun, Count de  48
Melini, Carlo Domenico  48
Melissi, Agostino  49
Mellan, Claude  49
Melone, Altobello  51
Meloni, Francesco Antonio  51
Melosso, da Forli  51
Memmi, Simone, sometimes called Simone
Martini  51
Memmi, Lippo  ,  52
Menageot, Robert  52
Menant, Peter  52
Mengozzino,  . See Santi.
Mengs, Antonio Raffaelle  52
Menchino, del Brizio. See Ambrogi.
Menton> Francis  55
Merano, Giovanni Batista  55
Mercati, Giovanni Batista  55
Mercier, Philip  55
Mercier, Anthony le  55
Merian, Matthew, the elder  56
Merian, Matthew, the younger  56
Merian, Maria Sybilla  56
Merian, Gaspar  57
Merlin, James van  57
Mersion, Madelaine le,  *  57
Mesa, Alonso de  ..,  58
Mesnil, E   58
Messina, Antonello da  58
Messina, Salvo da  58
Metelli,  See Mitelli.
Metensis, Cornelius. See Matsys.
Metger, J. J  59
Metrana, Anna  59
Metzu, Gabriel.....  59
Meulen, Anthony Francis Vander  59
Meulen, Peter Vander  60
Meurs, J. V  60
Meurs, C. H. van  60
Meusnier, Philip  60
Meyer, Joachim  60
Meyer, Andrew  61
Meyer, Dietrich  61
Meyer, John.  61
Meyer, Rodolph  61
Meyer, Conrad  61
Meyer, Felix  61
5 A

730

INDEX.

Meyer, or Meyerle, Francis Anthony...
Meyering, Albert 
Meyers, Jeremiah 
Meyssens, John 
Meyssens, Cornelius 
Meyssonier, Justus Aurelius 
Mezios, M 
Mezzadri, Antonio 
Micarino,  . See Beccafumi.
Michaelis, J. W 
Michau, Theodore 
Michaul t, George 
Michel, John Baptist 
Michele, Parrasio 
Micocard,  
Miel, John 

Mierhop, Francis van Cuyck de 
Mieris, Francis, the elder 
Mieris, John 
Mieris, William 
Mieris, Francis, the younger 
Miger, Simon Charles 
Miglionico, Andrea 
Mignard, Peter, called the Roman 
Mignard, Nicholas 
Mignon, Abraham 
Mignon, J 
Milanese, II. See Cittadini.
Milanese, Felice 
Milani, Giulio Cesare 
Milani, Aureliano 
Milani, Gioseffo Maria 
Mile, Francis, sometimes called Francisque.
Miller, Andrew 
Miller, J 
Miller, John Sebastian. See Muller.
Miln, Robert  '. 
Milot,  
Minderhout, — :  

Mingot, Teodosio 
Minzocchi, Francesco, called II Veccio di
San Bernardo 
Miradoro, Luigi  s 
Mire, Noel le  , 
Mirevelt, Michael Janson 
Mirevelt, Peter 
Miruoli, Girolamo 
Miserotti, D 
Mitelli, Agostino 

62 6263 63
6464
6464
64
6565
6565
666666
6767
68
686869
69697071
71
71 71
71 7172
72
737373737374 74
74 7575 75 75

Page
Mitelli, Giuseppe Maria  76
Mocetto, Girolamo, or Hieronymus Mocetus 76
Modeiiaj Pellegrino Munari, called da  77
Modena, Niccoletto da  77
Modigliani, Francesco  ..... 77
Moelart, Jacob  77
Moffei, C. F  78
Mogalli, Como  78
Mogalli, Niccolo  78
Moine, or Moyne, Francis le  78
Moitte, Peter Stephen  79
Moitte, F. A  80
Mol, Peter van  80
Mola-, Pietro Francesco  80
Mola, John Baptist  81
Molenaer, John  81
Molyn, Peter, the elder  81
Molyn, Peter, the younger, called Tempesta,
or Pietro Mulier  81
Momper, orMompert, Joos, or Jodocus  82
Mona, or Monna, Domenico  82
Monaco, Pietro  83
Monamy, Peter  83
Monanni, Monanno  83
Moncalvo, II. See Caccia.
Moncornet, Balthasar  83
Mondini, Fulgenzio..  84
Moneri, Giovanni  84
Mongeroux, M. de  84
Moni, J  84
Monnicks, or Monnix  84
Monnoyer, John Baptist, called Baptist  84
Monnoyer, Anthony, called Young Baptist... 85
Monosilio, Salvatore  85
Monsignori, Francesco  85
Monsignori, Girolamo  85
Mont, Del. See Delmont.
Montagna, Benedetto  86
Montagna, Marco Tullio  86
Montagna, Matthew. See Plattenberg.
Montagnana, Jacopo  86
Montalto,  . See Danedi.
Montanini, Pietro, called Petruccio Perugino 87
Montelatici, Francesco, called II Cecco Bravo 87
Montemezzano, Francesco  „ 87
Montenat,   87
Montepulciano,  . See Morosini.
Montero, de Roxas, Juan de  87
Monti, Giovanni Batista  „...  ...,..„ 87

INDEX.

731

Monti, Francesco Bolognese 
Monti, Francesco, called II Bresciano delle
Battaglie 
Monticelli, Andrea 
Monticelli, Michele Angelo 
Montmiral, the Marquis of. 
Montorfano, Giovanni Donate 
Monverde, Luca 
Moojaert, or Moyaert, Nicholas 
Moor, Karel de 
Moore, Jacob 
Moore, Samuel 
Moortel, John 
Morales, called El Divino 
Morandi, Giovanni Maria 
Morandini, Francesco, called II Poppi 
Morazzone, Pier Francesco Mazzuchelli,
called II 
More, Sir Anthony 
Moreau, Louis 
Moreau, John Michael 
Moreelze, Paul 
Morell, N 
Morelli, Bartolomeo, called II Pianora 
Morellon,  . See Cave.
Moretti. II. See Bonvicino.
Morghen, John Elias 
Morghen, Philip 
Morghen, Raphael 
Morin, John 
Morina, Giulio 
Morland, George 
Moro, II. See Torbido.
Moro, Giovanni Batista dAngeli 
Moro, Marco, and Giulio d'Angeli 
Moroni, Domenico 
Moroni, Francesco 
Moroni, Giovanni Batista 
Moroni, Pietro 
Morosini, Francesco, called II Monte Pul-
ciano 
Mortimer, John Hamilton 
Morto, da Feltro 
Moses, called Little Moses. See Uyten-
broeck.
Mosin, '¦ See Mouzin.
Mosley, Charles 
Mostaert, John 
Moucheron, Frederick 

Page
88
8888
88888889 8989
909090909191 91919292 9393
93

93949494 9596
989898 9999 999999
100

100
100101

Page
Moucheron, Isaac  101
Mouchy, Martin de  102
Mouzin, or Mosin, Michael  102
Moya, Pedro de  102
Moyart, Christian Louis  102
Moyreau, John  102
Mudo, Juan Fernandez Ximenes de Nava
rette, called El  103
Mulder, J  103
Mulier,  . See Molyn.
Mulinari, or Molinari, Stefano..  104
Mulier, Herman  104
Mulier, John  104
Mulier, Solomon  105
Mulier, Jacob  105
Mulier, G. A  105
Mulier, John Gothard  106
Munari, Pellegrino. See Modena.
Munnickhuysen, John  106
Munier, John  107
Munnoz, Don Sebastian  107
Muntinck, Gerard  107
Mura, Francesco de, called Franceschiello... 107
Murano, Natalino da  107
Murant, Emanuel  107
Muratori, Domenico Maria  108
Muratori, Teresa  108
Murillo, Bartolome Estevan  108
Murray, Thomas  m
Muscher, Michael van  m
Musis, Agostino de  m
Musis, Lorenzo and Giuliode  113
Musso, Niccolo  113
Muziano, Girolamo  113
Myn, Herman Vander  114
Myn, A. Vander  114
Mynde, J  115
Myriginus, or Myricinus, Peter  115
Mytens, Arnold  115
Mytens, Daniel, the elder  115
Mytens, Daniel, the younger  115
Mytens, Martin  ng

Nadat,

  116
Nagel, Peter  116
Naiwinck, or Naiwincx, Henry  116
Naldini, Batista  117
Nanni, Giovanni da Udine. See Udine.
Nanni, Girolamo  117
5 A2

732

INDEX.

Nanteuil, Robert  117
Napolitano. See Angelo.
Nappi, Francesco  119
Nardi, Angelo  119
Naselli, Francesco  119
Nasini, Cavaliere Giuseppe  119
Natali, Carlo, called II Guardolino  119
Natali, Giovanni Batista  120
Natalino, da Murano. See Murano.
Natalis, Michael  120
Natoire, Charles  121
Nattier, John Mark  121
Navarette, .  . See Mudo El.
Navaro, Juan  121
Nazzari, Bartolomeo  121
Neale, Thomas  121
Nebbia, Cesare  122
Neck, John van  122
Nee, Denis  122
Neef, or Neefs, Peter, the elder  122
Neef, or Neefs, Peter, the younger  123
Neef, or Neefs, James  123
Neer, Arnold Vander  124
Neer, Eglon Hendrick Vander  124
Negri, Pier Martire  124
Negrone, Pietro  124
Nelli, Suor Plautilla  125
Nelli, Niccolo  ]25
Neroni, Bartolomeo  125
Nes, or Nees, John van  125
Netscher, Gaspar.;  125
Netscher, Theodore  :  ]26
Netscher, Constantine  126
Neve, Francis de  127
Neveu, Matthew  127
Neurauter, A  127
Newton, Edward  127
Newton, James  ,,,,  127
Niccolo, del Abati. See Abati.
Nichols, Sutton  _. 128
Nicolai.G. D. C  128
Nicole, D  ,  128
Nicolet, Benedict Alphonsius  128
Nieulant, William van  129
Nikkelen, John van  129
Nilson, John Elias  ,  229
Nimecius, Balthasar Meneius  129
Nimeguen, Elias van  I29
Nynegueq, Tobms van  ]30

Page
Ninfe, Cesare  130
Ninno, Juan de Guevara. See Guevara.
Nixon,   130
Noblesse,   130
Noblet,   130
Noblin, H  130
Nocher, J. E  130
Nogari, Paris  130
Nollet, Dominick  ,  131
Nolli, Carlo  ~  131
Nollikins, Joseph Francis  131
Nollin, or Nolin, J. B  131
Nolpe, Peter  131
Non, Richard, Abbe de St  ~  132
Nooms, Renier. See Zeemau.
Noordt, J. V  132
Noordt, Cornelius  132
Norden, John  132
Norisini,  . See Parasole.
Nothnagel, John Andrew  133
Notti, Gherardo Dalle. See Honthorst.
Noual,   133
Novellani, Simone  133
Nunnez, Pedro  133
Nutting, Joseph  ,  133
Nuvolone, Panfilo  134
Nuvolone, Carlo Francesco  134
Nuvolone, Giuseppe, called II Panfilo  134
Nuvolstella, John George  134
Nuzzi, Mario, called Mario di Fiori  134
O, Leon Henry Vander  135
Ohreggon, Pedro de  135
Occhiali, Gabriello. See Ferrantini.
Ochoa, Francisco  135
Odazzi, Giovanni  135
Oddi, Mauro  135,
Oderico, Giovanni Paolo  136
Odieuvre, Michael  13s
Oeri, Peter  13Q
Oesser, Frederick  1313
Oestereich, Matthew  igj
Oggione, Marco da. See Uggioue.
Oleu, Van. See Alen.
Olgiati, Girolamo  137
Oliver, Isaac  2317
Oliver, Peter  jgg
Oliver, John  ,  238
Olivieri, Domenico  ,.  13a

INDEX.

733

Page
Onofrio, Crescenzio di  139
Oort, Lambrecht van  139
Oort, Adam van  139
Oost, Jacob van, the elder  139
Oost, Jacob van, the younger  140
Oosterwyck, Maria van  140
Opie, John  14J
Opstal, Gaspar James van  142
Oram, William  143
Orazzi, Niccolo  143
Orbetto, L. See Turchi.
Oreagna, Andrea, called di Cione  143
Orizonte,  . See Bloemen.
Orley, Bernard van, or Bernard of Brussels 143
Orley, Richard van  143
Orley, John van  144
Orrente, Pedro  144
Orsi, Lelio, called Lelio da Novellara  144
Orsi, Prospero  ,  145
Orsolini, Carlo  145
Ortolano,  . See Benvenuto.
Osorio, Francis Menases  145
Ossenbeck, John van  145
Ostade, Adrian van  146
Ostade, Isaac van  147
Osterwyck,  . See Oosterwyck.
Otho, Venius. See Venius.
Ottaviani, Giovanni  147
Otten's, Francis  147
Otto, H. F  147
Oudenarde,  . See Audenarde.
Oudry, John Baptist  148
Ovens, Jurian  148
Overbeck, Bonaventure van  148
Ouvrier, John  149
Ouwater, Albert  149
Ozanne, Nicholas  149
Ozanne, Jane Frances, and Mary Jane  149
Pacchiarotti, Jacopo  150
Pacheco, Francesco  150
Paderna, Giovanni  150
Paderna, Paolo Antonio  150
Padouanino, Francesco  151
Padouanino, Ottavio  151
Padouanino,  . See Varotari.
Padouano,  See Avibus.
Padouano, Lauro  151
Padtbrugge, H. L  151

Page
Pagani, Francesco  151
Pagani, Gregorio  151
Pagani, Paolo  152
Paganini, Guglielmo Capodoro  152
Paggi, or Pagi, Giovanni Batista  152
Paglia, Francesco  152
Pagni, Benedetto  153
Paigeoline,   153
Paiot,   153
Paladini, Litterio  153
Palamedes,  . See Staeverts.
Palladino, Adriano  153
Pallavicino, Leo  153
Palma, Jacopo, II Vecchio  153
Palma, Jacopo, II Giovine  154
Palmegiano, Marco da Forli  155
Palmieri, Gioseffo  156
Palombo, Bartolomeo  156
Palomino, Don Acislo Antonio Velasco. See
Velasco.
Paltronieri, Pietro, called II Mirandolese.... 156
Pancotto, Pietro  156
Panderen, Egbert van  156
Pandolfi, Giangiacomo  156
Pandolfo,  . See Reschi.
Panetti, Domenico  , 157
Panicale, Masolino da  157
Panico, Antonio Maria  157
Pannini, Cavaliere Giovanni Paolo  157
Panneels, William  153
Panicciati, Jacopo  153
Panvinus, Onulph  153
Panzacchi, Maria Helena  158
Paoletti, Paolo  153
Paoli, Francesco di  159
Paolini, Pietro  159
Paolini, Pio  259
Papa, Simone, il Vecchio  159
Papa, Simone, il Giovine  159
Papillon, John, the elder  159
Papillon, John, the younger  159
Papillon, John Baptist Michael  160
Papini, Giuseppe  260
Parasacchi, Domenico  ]60
Parasole, Leonardo Norsini, called  160
Parasole, Isabella  „  260
Parasole, Bernardino  260
Parasole, Hieronima  161
Parcelles, John  261

734

INDEX.

Parcelles, Julius.
Pareja, Juan de..
Paria,  .

See Perrier.

See Mazzuoli.

Pariset, D. P 
Parisinus, Augustinus.
Parizeau, Philip 
Parmensis, Baptista....
Parmensis, Jacobus....
Parmentier, L 
Parmentier, James  ,
Parmigiano, 
Parmigiano, Fabrizzio 
Parodi, Domenico 
Parodi, Ottavio 
Parolini, Giacomo 
Parolini, Pio 
Parone, Francesco 
Parr, R 
Parrocel, Joseph 
Parrocel, Charles 
Parrocel, Ignatius 
Parrocel, Stephen 
Pasinelli, Lorenzo 
Pasquali, Filippo 
Pasqualini, or Pascalini, Giovanni Batista...
Pasqualino, da Vicenza. See Rossi.
Pasquier, John James 
Pass, or Passe, Crispin de, the elder 
Pass, or Passe, Crispin de, the younger 
Pass, or Passe, William de 
Pass, or Passe, Simon de 
Pass, or Passe, Magdalen de 
Passeri, Giovanni Batista 
Passeri, Giuseppe 
Passeri, Andrea 
Passero, or Passari, Bernardino 
Passerotti, Bartolomeo 
Passerotti, Tiburzio 
Passignano, Cavaliere Domenico Cresti,
called 
Pasti, Matteo 
Pastill, J. de 
Pastorini, B 
Patarol, Lawrence 
Patas, John Baptist 
Patavinus,  . See Avibus.
Patch, Thomas 
Patel,  
Patenier, Joachim...

Page
161 161
162162
162163
163
163
163 163
163
164164
164164
164
165 165
166 166
166 166
167 167
167169169
170171171 171
171
172172172 172
173
173173173173 173173174

Pater, John Baptist 
Patigny, Giovanni 
Paton, Richard 
Patour, John Augustine ,
Patte,  
Paudits, — —  ,

Pavia, Giacomo 
Paul, or de Paulis, Andrew.
Paul, S 
Paul, Robert 
Paulini, Giacomo 
Paulyn, Isaac 
Paulyn, Horatius 
Pautre, John le 
Payne, John 
Pazzi, Pietro Antonio 
Peacham, Henry  ,
Peacke, Edward 
Peacke, William 
Peak, James 
Pedretti, Giuseppe 
Peham, George 
Peins, G. See Penz.
Peiroleri, Pietro 
Pelais,  

Pelham, Peter 
Pelkin, Cornelius 
Pellegrini, Felice 
Pellegrini, Vincenzio 
Pellegrini, Francesco 
Pellegrini, Antonio 
Pellegrino, da Bologna. See Tibaldi. .
Pellegrino, da Modena. See Munari.
Pellegrino, di San Daniello. See Udine.
Pellet, David 
Pelletier, John 
Pen, or Penn, Hispel 
Penchard, J  , 
Pennensus, F 
Penney, N 
Penni, Giovanni Francesco, called II Fattore
Penni, Luca 
Penozzi, B 
Pentz, or Piens, Gregory, called George 
Pepin, Martin 
Perac, Stephen du 
Peranda, Santo  , 
Percelles, John. See Parcelles.
Perelle, Gabriel  ,

Page
, 174
. 174
. 174
. 174
175
175175
175 175 175
175 176
176176
176 177
177 178
178 178
178 178178
178
179 179 179
179
179 179

180180
180
180 180180180 181181
181 183183 183184

INDEX.

735

Phillips, Charles  196

Page
Pereriette,   184
Perjecouter, S  184
Perignon, Nicholas  184
Perini, Lodovico  185
Perini, Giuseppe  185
Perino, del Vaga. See Vaga.
Perisin, or Persinus, or Perrisim, James  185
Perna, Peter  185
Pernet,   .,.  185
Peroni, Giuseppe  185
Perret, Pedro  185
Perrier, Francis  186
Perrier, William  186
Perrin, John  187
Perresim,  . See Perisin.
Perroneau, John Baptist  187
Person, Nicholas  187
Persyn, Regnier de  187
Perugino, Pietro  187
Perugino, Petruccio. See Montanini.
Perugino, Luigi. See Scaramuccia.
Peruudt, George  188
Peruzzi,Baldassare,called Baldassare daSiena 188
Peruzzini, Giovanni  189
Perry, Francis  189
Pesaro, Niccolo Trometto, called Niccolo da 189
Pesaro, Simone da. See Cantarini.
Pesello, Pesello  190
Pesello, Francesco, called Pesellino  190
Pesne, John  190
Peters, Gerard  191
Peters, Francis Lucas  191
Peters, Bonaventura  191
Peters, John  192
Peters, Mathias  192
Peterzano, Simone  192
Pether, William  192
Petit, Giles Edme  193
Petitot, John, the elder  193
Petitot, John, the younger  194
Petrazzi, Astolfo  194
Petri, Pietro de  195
Peuteman, Peter  195
Pfeffel, John Andrew  195
Pfenninger, Henry..  195
Phiiesius, Rigman  ". 195
Philippe, Peter  196
Phillery,  —  196

Page
Piaggia, Teramo  196
Pianoro,  . See Morelli.
Piatti, Francesco  196
Piazza, Callisto  ,  196
Piazza, Padre Cosimo  197
Piazza, Cavaliere Andrea  197
Piazzetta, Giovanni Batista  197
Pieart, John  198
Picart, Stephen, called the Roman.  198
Picart, Bernard  199
Picault, Peter  200
Picchianti, Giovanni Domenico  200
Piccini, Giacomo  200
Piccini, Guglielmo  201
Piccioni, Matteo  201
Pickaert, P  201
Picot, Victor Maria  201
Picon, orPiquot, Robert  201
Piemont, Nicholas  201
Piene, A. de  202
Pierre, John Baptist Maria  202
Pieri, Stefano  202
Pierson, Christopher  202
Piet,   202
Pigne, Nicholas  202
Pignone, Simone  203
Pilaja, Paolo  203
Pilotto, Girolamo  203
Pilsen, Francis  203
Pinas, John  ,  203
Pinas, Jacob  204
Pinchard, P  204
Pine, John  204
Pine, Robert Edge  204
Pineda, Antonio Perez de  204
Pinelli, Antonia  -  204
Pino, Marco da  204
Pinssio,   205

Pinturicchio, Benardino  205
Pinz, John George  205
Pio, Giovanni. See Bonatti.
Piola, Pellegro  206
Piola, Domenico  206
Piombo, Fra Sebastiano, del  206
Piort, V  207
Pippi, Giulio. See Romano.
Piranesi, Giovanni Batista  ,  207
Piranesi, Francesco  207
Piranesi, Laura  208

736

INDEX.

Page
Pirini, Louis des..  208
Pirnraum, Alexis  208
Pisanelli,  . See Spisano.
Pisanello, Vittore  208
Pistoja, Leonardo da  208
Pistojese, Fra Paolo  209
Pitau, Nicholas, the elder  209
Pitau, Nicholas, the younger  209
Pitteri, Giovanni Marco  209
Pittoni, Giovanni Batista  210
Plaas, David Vander  210
Place, Francis  211
Places, Louis des. See Desplaces.
Plas, Peter Vander  211
Plattenberg, or Platten, Matthew van  21 2
Plattenberg, Nicholas van  212
Pleginck, Martin  212
Pleydenwurff, William  212
Ploos, Cornelius, van Amstel. See Amstel.
Po, Pietro del  212
Po, Teresa del  213
Po, Giacomo del  213
Pocetti,  . See Barbatelli.
Podesta, Andrea  213
Poeham, Martin  214
Poel, Vander  214
Poelemburg, Cornelius van..,  214
Poerson, Charles Francis  214
Poilly, Francis, the elder  215
Poilly, Nicholas  216
Poilly, John Baptist  216
Poilly, Francis, the younger  217
Poilly, N. B  217
Poinsart, J  217
Pointe, F. de la  „  217
Polanzani, Francesco  .-  218
Polestanus, Andrea  218
Poletnich,   218
Polidoro, da Caravaggio. See Caravaggio.
Polidoro, Veneziano  218
Pollajuolo, Antonio and Pietro  218
Polony, Ziaraka  219
Polo, Diego, the elder  219
Polo, Diego, the younger  219
Pomarance, Cristofano. See Roncalli.
Pomarance, Niccolo and Antonio, See Cir-
cignani.
Pomarede, Sylvicus  219
Pompadour, the Marchioness of  219

Page
Pohchino, Giovanni Batista, called II Baz-
zato  219
Pond, Arthur  219
Ponte, Giacomo da, usually called II Bas
sano  220
Ponte, Francesco da, the elder  220
Ponte, Francesco da, the younger..  221
Ponte, Giovanni Batista da  .¦  222
Ponte, Leandro da.....  222
Ponte, Girolamo da  222
Pontius, Paul  222
Pontons, Pablo  224
Pontormo, Jacopo Carucci, da  224
Ponzone, Matteo  225
Pool, Juriaen  225
Pool, Rachel. See Ruysch.
Pool, Matthew  225
Poost, Francis. See Post.
Popels.John  ,  226
Poppi,  . See Morandini.
Porbus, Peter  226
Porbus, Francis, the elder  226
Porbus, Francis, the younger  226
Pordenone, ... See Licinio.
Porporati,   227
Porro, Girolamo  ¦.  227
Porta, Baccio, della, called Fra Bartolomeo
di S.Marco  227
Porta, Giuseppe, called Salviati  228
Portio,   229
Portucal,   229
Porzel, Elias  229
Possenti, Benedetto  229
Possenti, Giovanni Pietro  229
Post, or Poost, Francis  229
Pot, Henry  230
Potma, James  230
Potter, Peter  230
Potter, Paul  230
Poulleau,   230
Pourbus,  . See Porbus.
Poussin, Nicholas  231
Poussin, Gaspar Dughet, called Gaspar  234
Poussin, John Dughet, called  235
Powle, George  235
Pozzi, Rocco  235
Pozzi, Francesco  235
Pozzi, Giovanni Batista  235
Pozzi, Stefano  235

INDEX.

737

Page
Pozzo, Andrea  •  • 236
Pozzo, Isabella dal  236
Pozzoserrato, Lodovico, called da Trevigi... 236
Prado, Bias de  236
Praet, Stephen de  237
Pranker,   237
Preciardo, or Preziardo, Don Francisco  237
Preisler, John Justin  237
Preisler, George Martin  237
Preisler, John Martin  238
Preisler, Valentine Daniel  238
Preisler, John George...  238
Premier, Anthony Joseph  238
Premier, Gaspar..  239
Premier, John Joseph  239
Prestel, John Gotlieb  239
Prestel, Maria Catharine  239
Preston, Thomas  240
Prete, Genoese. See Galantine
Preti, Cavaliere Mattia; called II Calabrese 240
Previtale, Andrea  240
Prevost, Nicholas  -•••• 241
Prevost, Benoit Louis  241
Prez, F. des  241
Price,   241
Pricke, Robert,  241
Priest, Thomas  ....,  241
Primaticcio, Francesco  241
primo.  See Gentile.
Prince, John Baptist le  242
Probst, John Balthazar  242
Procaccini, Ereole  242
Procaccini, Camillo  243
Procaccini, Giulio Cesare  ,  244
Procaccini, Carlo Antonio  244
Procaccini, Ercole, Juniore  244
Procaccini, Andrea  244
Pronck, C  245
Pronti, Padre Cesare  245
Prou, James  245
Proud,   245
Provenzale, Marcello  245
Pruneau, Noel  245
Puchler, Michael  246
Puget, Peter Paul  246
Pnglia, Giuseppe  246
Puis, Du. See Dupuis.
Puligo, Domenico  246
Vol. II.

Page
Pulzone, Scipione, called Gaetano....  246
Punt, John  247
Puntormo,  . See Pontormo.
Pupini, Biagio  247
Purcell, Richard  247
Puschner, J. G  247
Pynaker, Adam  247

Quadrata,   248
Quaglia, Giulio  248
Quaini, Francesco  248
Quaini, Luigi  248
Quast, Peter  249
Quatrepomme, Isabella  249
Queboorn, or Queboren, Crispin Vanden  249
Quellinus, Erasmus  249
Quellinus, John Erasmus  250
Quellinus, Hubert  250
Quewellerie, William dela  251
Queverdo, F. M- J  251
Quillart, Peter Anthony  251
Quintilien,   251
Quiter, Har Hind  251

Rabel, John 
Rabel, Daniel 
Racchetti, Bernardo 
Racine, John Baptist 
Rademaicker, Gerard 
Rademacker, Abraham 
Radi, Bernardino 
1 Radigues, Anthony 
Raefus, or Raefe, P 
Raffaelle, Raffaelle Sanzio di Urbino, called.
Raffaellino, del Garbo. See Garbo.
Raffaellino, del Colle 
Raggi, Pietro Paolo 
Ragot, Francis 
Raibolini, Francesco 
Raimondi, Marc Antonio 
Rainieri, Francesco 
Rambaldi, Carlo 
Ramelli, Padre, Felice 
Ramenghi, Bartolomeo. See Bagnacavallo.
Ramirez, Josef. 
Ramsay, Allan 
Ranc, John 
Randa, Antonio 
5B

252 252 252
252252253253253 253253 263
263 263263264 267 268 268 268 268268269

738

INDEX.

Page
Randon, Claude  269
Ransonette, Nicholas  •••• 269
Raoux, John  269
Raphael,  See Raffaelle.
Ratti, Gio. Agostino  269
Ravenet, Simon Francis  270
Ravenet, Simon  270
Ravenna, Marco da  271
Ravesteyn, John van  •  272
Ravesteyn, Arnold van  272
Ravesteyn, Hubert van  ¦• 273
Ravesteyn, Nicholas van  273
Rawlins, J  273
Raymond, John  273
Razzi, Cavaliere Giovanni Antonio, called II
Sodoma  273
Recco, Cavaliere Giuseppe  274
Reclam, Frederick.....  274
Reder, Christian  274
Redi, Tommaso  274
Reggio, Luca da. See Ferrari.
Regillo, da Pordenone. See Licinio.
Regnard, Valerian.  275
Reich, Wendel  275
Reiner, Wenceslaus Laurent  275
Reinsperger, J. C  275
Reitz, E.....  275
Rembrandt, van Ryn  275
Rcmshard, Charles  280
Renanto, J...  280
Renard, J  280
Renard, Simon de St. Andre  281
Reni, Guido  .'  281
Renou, Louisa  -.  284
Renter, Bart  284
Resani, Arcangelo  284
Reschi, Pandolfo  284
Restout,John  284
Reverdinus, C...  285
Reuven, Peter  285
Reyn, John de  285
Reyna, Francisco  285
Reynolds, Sir Joshua  286
Reynoso, Don Antonio Garcia  294
Rhelinger, Welser  294
Ribalta, Francisco  294
Ribalta, Juan  294
Ribera Giuseppe, called Lo Spagnoletto.
See Spagnoletto.

Page
Ricchi, Pietro, called II Luchese  295
Ricchiedeo, Marco  295
Ricci, Antonio. See Barbalunga.
Rieci, Camillo..,  295
Ricci, Giovanni Batista, called Da Novarra 295
Ricci, Sebastiano  295
Ricci, Marco  296
Ricciarelli, Daniele. See Volterra.
Riccio, Domenico, called Brusasorci  297
Riccio, Felice, called Brusasorci, the younger 297
Ricciolino, Michelangiolo  297
Richardson, Jonathan  297
Richer, P.........,,.,..  ,  298
Richieri, Antonio...  298
Richmans,  . See Ryckmans.
Richter, Christian  299
Ricke, Bernard de  299
Ridinger, John Elias  299
Ridolfi, Claudio....,  299
Ridolfi, Cavaliere Carlo  300
Ridolfi, Pietro  ,  ,  300
Riedel, John Anthony......  300
Rietschoof, John Klaasze  300
Rietschoof, Henry...  „  300
Rigaud, Hyacinth  .'  301
Rigaud, John  301
Righetti, Mario  302
Riley, John  302
Riley, Charles Reuben  302
Riminakli, Orazio  ,  302
Rincon, Antonio del  303
Ringgli, Gothard  303
Riposo, Felice. See Ficherelli.
Risvenno, Giuseffo...  303
Rivalz, Anthony  303
Rivalz, Bartholomew....  304
Rivarola, Alfonso, called II Chenda  304
Riverditi, Marcantonio  304
Bobatto, Giovanni Stefano  304
Robert, Nicholas.  304
Robert, A  ,  304
Robert, Huber  304
Robert, Paul Pontius Anthony  305
Roberts, James..  305
Robetta, —   305
Robins, William..  305
Robinson, R  305
Robusti,  . See Tintoretto.
Rochers, Stephen des  305

INDEX.

739

Page
Rochford, P. de  305
Rochienne, P  3oe
Rocque, J  306
Rode, Christian Bernard  306
Rode, John Henry  306
Roellas, Pablo, or Juan de las  306
Rodermont, or Rottermondt  307
Roepel, Conrad  307
Roestraeten, Peter  308
Roettiers, Francis  308
Rogel,John  308
Roger, of Bruges  308
Roger, of Brussels. See Vander Weyde.
Rogers, William  308
Rogman, or Roghman, Roland  309
Rokerz, Hendrick  309
Rokes, Henry. See Sorgh.
Roli, Giuseppe  309
Rollos, Peter  309
Roman, Bartoleme  309
Roman eli, Giovanni Francesco  310
Romanelli, Urbano  310
Romanet, Anthony  310
Romanino, Girolamo  311
Romano, Giulio  311
Rombouts, Theodore  312
Romegiallo, Giovanni Pietro  313
Romeo, Don Josef.  313
Romeyn, William van  313
Romney, George  313
Romstet, Christian  314
Roncalli, Cavaliere Cristoforo, called delle
Pomarance  314
Rondani, Francesco Maria  314
Ttondinello, Niccolo  315
Rondolino,  . See Terenzio.
Ronseray, Margaret Louisa Amelia du  315
Rontbout,N  315
Roodtseus, John  315
Rooker, Edward  ;  315
Rooker, Michael  316
Roore, James de  316
Roos, John Henry  •  316
Roos, Theodore  317
Roos, Philip, called Rosa da Tivoli  317
Roos, John Melchior  318
Roos, Joseph  318
Rosa, Cristoforo  319
Rosa, Pietro  ,  319

Page
Rosa, Francesco di, called Pacicco  319
Rosa, Salvatore  ;  319
Rosa, Sisto. See Badolocchio.
Rosalba, Camera  .*  321
Rose, Nicholas. See Liemacher.
Rosel, John Augustus  321
Roselli, Niccolo  321
Rosetti, Domenico  321.
Rosi, Alessandro  321
Rosier, Michael  322
Rosmaessler, John Augustus  322
Ross, James  322
Rosselli, Cosimo  322
Rosselli, Matteo  322
Rossetti, Giovanni Paolo....  323
Rossi, Francesco. See Salviati.
Rossi, Muzio  323
Rossi, Giovanni Batista  323
Rossi, Girolamo, called de Rubeis, the elder 323
Rossi, Girolamo, called de Rubeis, the
younger  ,  323
Rossi, Pasquale, called Pasqualino  323
Rossi, Antonio  324
Rossi, Andrea  324
Rosso, II, called by the French Maitre Roux 324
Rota, Martino  325
Rotari, Conte Pietro  326
Rottenhamer, John  326
Rovere, Giovanni Mauro, called II Fiam
minghino  327
Roullet, John Louis  327
Roulliere, La  328
Rousseau, James  328
Rousseau, John Francis  329
Roussellet, Giles  329
Roussellet, Mary Ann  329
Roussiere,   330
Roux, Maitre. See Rosso.
Roy, Henry le...  330
Roy, C. le  '.. 330
Rubeis,  . See Rossi.
Rubens, Sir Peter Paul  ,,  330
Rubenstein, or Riebenstein  337
Rubiales, Pedro de....,  337
Rucholle, Peter  ,,..,  337
Rugendas, George Philip  338
Rugendas, Christian  339
Ruggeri, Guido  339
Ruggieri, Giovanni Batista, called del Gessi 339
5B2

740

INDEX.

Ruggieri, Ercole, called del Gessi 
Ruidiman, or Reuttiman, John Conrad..,
Ruina, Gasparo 
Ruisch, Rachel 
Runciman, Alexander 
Rupert, Prince Palatine of the Rhine....
Rustic!, Francesco 
Ruviale, Francesco, called II Polidorino.
Ruysdael, Jacob 
Ruysdael, Solomon 
Ruyter, N. de 
Ryck, Peter Cornelius de..... 
Ryckaert,. Martin 
Ryckaert, David 
Ryckman, Nicholas. 
Ryland, William Wynne 
Ryn, Rembrandt van. See Rembrandt.
Ryne, John van 
Rysbraeck, or Rysbrechts, Peter 
Rysen, Warnard van... 
Ryther, Augustine 
Ryx, Nicholas  , 

Saal, T 
Sabbatini, Andrea, called da Salerno 
Sabbatini, Lorenzo, called Lorenzino da Bo
logna 
Sacchi, Andrea 
Sacchi, Carlo 
Sadeler John 
Sadeler, Kapbael 
Sadeler, Egidius, or Giles.. 
Saenradam, John 
Sahler, C 
Saihnaker, Isaac 
Saint, Andre. See Renard.
Saint, Aubin. See Aubin.
Saint, Non. See Non.
Saint, Maurice de 
Saiter, or Setter, Daniel 
Salaert, Anthony 
Salerno, Andrea da. See Sabbatini.
Salembeni, Arcangiolo  , 
Salimbeni, Cavaliere Ventura 
Salini, Cavaliere Tommaso 
Salis, Carlo 
Salm, Van 
Salmeggia, Enea, called II Talpino 
Salmeron, Cristobal Garcia 

Page
339339 339339340340341 341
341 342342
342 342
843 343 343344345345345345346346 347
347348348349351352 353
353

354354 354 354355355355356356356

Page
Salmincio, Andrea.  356
Saltzburger, P  356
Salvater, Rosa. See Rosa.
Salvi,. Giovanni Batista, called II Sassoferato 356
Salviati, Giuseppe, See Porta.
Salviati, Francesco Rossi, called II  357
Saly, James Francis  358
Samacchini, Orazio  358
Sandrart, Joachim de  358
Sandrart, Jacob de...  359
Sandrart, John Jacob de  359
Sandrart, Susanna Maria de  360
Sandrart, Lawrence de  360
Sandrino, Tommaso  ~  360
Sandys, Edwyn  360
Sanfelice, Ferdinando  360
Santa-Croce, Francesco Rizzo, da  360
Santa-Croce, Girolamo Rizzo,. da  361
Santafede, Francesco  361
Santafede, Fabrizio.  361
Santagostino, Giacomo Antonio  361
Santerre, John Baptist  361
Santi, or Santo, di Titi. See Titi.
Santi, Domenico  361
Santvoort, A  362
Sanuto, or Sanutus, Giulio  ,  362
Sanzio, Raffaelle. See Raffaelle.
Sarabia, Josef.....  362
Saracino, Carlo, called Veneziano  362
Sarbot,   362
Sarrabat, John  362
Sarragon, John  363
Sarti, Ercole, called II Muto, di Ficaroli  363
iSarto, Andrea Vanucchi, called del  363
Sartorius,  . See Appendix.
Sarzana, — — . See Fiasella.
Sas, Christian  366
Sassoferrato,  . See Salvi.
Savage, J  ,  366
Savart, Peter  367
Sauberlich, Laurence.  367
Savery, James  337
Savery, Roland  M  367
Savery, John  367
Savery, Solomon  368
Savoldo, Girolamo  368
Savona, II Prete di. See Guidoboni.
Sauve, John  368
Saxton, Christopher  368

INDEX.

741

Page
Scacciati, Andrea..  *  '369
Scacciati, Andrea  369
Scaichi, Gotefred  369
Scalberg, Peter  369
Scaligeri, Lucia  369
Scalvati, Antonio.....  369
Scaminossi, Raffaelle  369
Scanabecchi, — ¦  . See Dalmasio.
Scannavini, Maurelio..  370
Scaramuccia, Luigi, called II Perugino  370
Scarsella, Sigismondo, called Mondino.  370
Scarsella, Ippolito, called Lo Scarsellino..... 371
Schaerer, H. L  371
Sehaeuflin, Hans, or John, the elder  371
Schaeuflin, Hans, or John, the younger  371
Schaffnaburgensis, Matthews  372
Schagen, Giles van  372
Schalken, Godfrey  372
Schapff, Jorg  373
Schedone, B. See Schidoni.
Scheindel, or Scheyndel, George Henry  374
Scheitz, Matthew..  374
Scbellenberg, John Rudolf.  374
Schellenberger,  ..;  374
Schellincks, William  374
Schellincks, Daniel.,  375
Schenau, John Eleazar  375
Schenck, Peter  375
Schevenbuysen, Anthony  376
Schiavone, Andrea, called Medula  376
Schiavonetti,  =  . See Appendix.
Schidoni, or Schedone, Bartolomeo  377
Schley, Jacob Vander;.  377
Schlicht, Abel  377
Schmidt, George Frederick  378
Schmutzer, Joseph and Andrew  379
Schmutzer, Jacob  379
Schmuz, J. Rudolf.  379
Schnellbotz, Gabriel  380
Schnitzer, John  380
Schoen, Martin  330
Schoen, Bartholomew  381
Schoen, Erhard  381
Schoenfeld, or Schoonfeld, John Henry  381
Schoevarts, M  382
Schoonebeck, Adrian  382
Schoonjans, Anthony.  382
Schoore, J. V  382
Schooter, Franci  382

Page
Schorel, or Sehoreel, John...  382
Schorer, John Frederick  383
Schorqueus, J. van  383
Schouman, Artus  383
Schrpder, Hans, or John..  383
Schubart, Peter  384
Schulze, John Gottefreid.  384
Schumann, John George  384
Schuppen, Peter van, the elder  384
Schuppen, Peter van, the younger  385
Schurmans, Anna Maria..  385
Schurtz, Cornelius Nicholas  386
Schut, Cornelius  386
Schutz, Christian George  387
Schuter,   ,  387
Schuur, Theodore Vander  387
Schwabe, Lambert. See Suavius.
Schwarts, Christopher  378
Schwartz,   388
Sch wartzenberg, Melchior  388
Schweickhardt, H. W  388
Schyndal, or Schendel, Bernard  388
Schynvoet, J  388
Sciarpelloni,  . See Credi.
Scilla, or Silla, Agostino  388
Scolari, Giuseppe  389
Scoppa, Orazio  389
Scorza, Sinibaldo  389
Seotin, Gerard, the elder  389
Scotin, Gerard, the younger  389
Seotin, J. B  3grj
Scott, Samuel  390
Seamer,   390
Sebastiano, Fra. See Piornbo.
Secano, Geronimo  390
Seccante, Sebastiano  390
Sedelmayer, Jeremiah James  390
Segaers,   390
Segala, Giovanni  390
Segers, or Seghers, Gerard....,  390
Segers, or Seghers, Daniel./.  391
Segers, Hercules  392
Seis, P. P. A. Robert de  392
Selma, Fernando  392
Seraenti, or Semenza, Giacomo  392
Semini, Antonio  393
Semini, Andrea  393
Semini, Ottavio  393
Sempelius, D. G..,,  393

742

INDEX.

Page
Semolie, II. See Franco.
Septimus, Hercules. See Setti.
Serafini, Serafino de  394
Serenari, Gaspero  394
Serricus, Soye, or Sytius, Philip  ,394
Sermoneta, Girolamo Siciolante, called da... 394
Serres, Dominic  •• 394
Serwouter, Peter  395
Sessone, Francesco..  365
Sesto, Cesare, sometimes called Cesare Mi
lanese  395
Sestri,  . See Travi.
Setti, Ercole, or Septimus Hercules  395
Sevin, Peter.........  ;  395
Seupel, J. A  395
Seuter, John Gottfreid......  395
Seymour, James  396
Sezenius, Valentine.....  396
Shepherd, Robert  396
Sherlock,   396
Sherwin, William..  ,. 396
Sherwin, John Keyse  397
Sibelius,   397
Sibmacher, John  397
Sichem, Christopher van......  398
Sichem, Cornelius and Charles van  398
Siciolante, Girolamo. See Sermoneta.
Siegen, Lieut. Colonel van  398
Siena, Marco da. See Pino.
Siena, Matteo da  398
Signorelli, Luca  399
Sigrilli, B  399
Silvestre, Israel  399
Silvestre, Louis  ,  400
Silvestre, Alexander  400
Silvestre, Nicholas Charles  400
Silvestre, Susanna  400
Silvio, Giovanni  400
Silvius, Balthasar  401
Simon, Peter  401
Simon, John  401
Simone, Maestro  402
Simoneau, Charles  402
Simoneau, Louis  402
Simoneau, Philip  493
Simonet, John,  493
Simonini, Francesco  493
Simpson, William  493
¦Simpson, Joseph, the elder  493

Page
Simpson, Joseph, the younger..  404
Singher, Hans, or John  404
Sirani, Giovanni Andrea  404
Sirani, Elisabetta  404
Sirceus, Philip  405
Siries, Violante Beatrice  405
Skilhnan, William  405
Slabbaert,  >  405
Slater, T  r  „  405
Slingelandt, Peter van  405
Shtezer, ..  406
Sluys, Jacob Vander  406
Smibert, John  406
Smith, John........  406
Smith, Jacob..  408
Smith, Gabriel  408
Smith, Thomas  408
Smith, William, George, and John....  408
Smith, John Raphael  408
Smits, called Hartcamp  409
Smitz, Gaspar  409
Snayers, Peter  409
Snayers, or Snyers, Henry  410
Snellincks, John  410
Sneyders, or Snyders, Francis  410
Sobleo,  . See Desubleo.
Sodoma, II. See Razzi.
Soens, John  ;  411
Soest, or Zoest, Gerard  411
Soggi, Niccolo....  412
Sogliani, Giovanni Antonio  412
Sojaro,  . See Gatti.
Soitz, G. C  412
Solari, Andrea  412
Solario, Antonio, called Lo Zingaro  412
Soldi, Andrea  413
Sole, Antonio dal  413
Sole, Giovanni Giuseppe dal,..*  413
Soleri, Giorgio  413
Solimene, Francesco, called L'Abate Ciccio 414
Solis, Virgil  414
Solis, Francisco de  414
Solomaoor, Luis de. See Sotomayor.
Soly, Arthur  415
Somer, or Sommeren, Matthias van  415
Somer, John van  • 415
Somer, Paul van  416
Sompel, or Sompelen, Peter van  416
Son, Joris van  ,. 416

INDEX.

^43

Son, John van.
Son, A. de 
Sophonisba, —

See Angosciola.

Sorello, Miguel  417
Sornique, Dominick  417
Sorri, Pietro  417
Soubeyran, Peter  418
Soutman, Peter  418
Spada, Lionello  419
Spagnoletto, Josef Ribera, called II  419
Spagnuolo, Giovanni, called Lo Spagna  420
Spalthof, N  420
Speechi, Alessandro  420
Spectle, or Speckin, Vitus Rodolphus  421
Sperling, Jerome  421
Spierre, Francis  421
Spierings, N  '421
Spiers, Albert  422
Spilbcg, John  422
Spilberg, Adriana  422
Spilimbergo, Irene di  423
Spilman, Henry  ¦  423
Spilsbury, Inigo  423
Spinello,- Aretino  424
Spinelli, Gasparri, or Parri  424
Spirinx, J  424
Spirinx L  424
Spisano, Vincenzio, called Lo Spisanelli  424
Spofforth, Robert  424
Spolverini, Ilario  425
Spooner, Charles  425
Sprangher, Bartholomew  425
Spriett, J. Vander  426
Spruyt, Peter  426
Squarcione, Francesco  426
Staben, Henry  427
Staevaerts, or Stevers, Anthony Palamedes... 427
Staevaerts, or Stevers, Palamedes  427
Stalbent, Adrian'.  427
Stampart, Francis  427
Stanzione, Cavaliere Massimo  427
Staren, or Stern, Dirk van  428
Stamina, Gherardo  429
Starrenberg, John  ,  429
Stee, P  429
Steen, John  429
Steen, Francis Vander  430
Steenwyck, Henry, the elder  430
Steenwyck, Henry, the younger  430

Page Page
416 Steenwyck, Nicholas  t... 431
417 Stefaneschi, Giovanni Batista  431
Stefani, Tommaso de  431
Stefani, Benedetto  431
Stefanini, Giovanni  431
Stefano, called II Fiorentino  431
Stefano, Tommaso  432
Stefanone, Maestro  432
Stefanoni, Pietro  432
Stefanoni, Giacomo Antonio  432
Steidner, D  432
Stella, James  432
Stella, Francis..  433
Stella, Anthony Bousonnet  433
Stella, Claudine Bousonnet  433
Stella, Antoinette Bousonnet  434
Stelzer, Jacob   434
Stempsius,  . See Sempelius.
Stent, Peter  434
Stern, Ignazio  434
Stettler, William  434
Stevens, John, or Stephanus  435
Stevens, Peter  435
Stevers,  . See Staevarts.
Steudener, M. G  435
Stimmer, Tobias  435
Stimme r, John Christopher  435
Stoccade, Nicholas deHelt  436
Stock, Ignatius Vander  436
Stock, Andrew  436
Stock H  436
Steer, Lawrence  436
Stolker, J  437
Stone, Henry  ";  437
Stoop, Dirk, or Theodore  ,  437
Stoop, Peter, sometimes called Roderigo  437
Stoopendaal, B  437
Storer, Christopher  438
Stork, Abraham  438
Stoss, Francis  438
Strada, Vespasiano  438
Strada, or Stradanus, John  439
Straeten, Henry Vander  439
Strange, Sir Robert  k.  440
Streater, Robert  441
Streek, Jurian van.,  442
Streek, Henry van  442
Streten,  . See Straeten.
Stringa, Francesco  «••  442

744

INDEX.

Page
Stringa, Ferdinando  442
Strozzi, Bernardo, called II Cappucino, and
sometimes II Prete Genoese  442
Strudel, Peter  442
Strutt, Joseph  443
Stubbs, George  443
Stuven, Ernest  443
Suardi, Bartolomeo, called Bramantino  443
Suavius,  . See Suterman.
Subleyras, Peter  444
Subtermans, or Sustermans, Justus  444
Sueur, Eustachius le  444
Sueur, Peter le, called the elder  445
Sueur, Peter le, called the younger  445
Sueur, Vincent le  445
Sueur, Nicholas le  446
Suisse, Le  446
Suizer, John  446
Sulivan, Lake  446
Surchi, Giovanni Francesco, called Dielai... 446
Surrugue, Louis  447
Surrugue, Peter Louis..  447
Suterman, Lambert, or Suavius.,  447
Suyderhoef, Jonas  448
Swanenburg, William van  449
Swanevelt, Herman  449
Swelinck, John  450
Swerts, or Sweerts, Michael  450
Swiddc, William  450
Switzer, Christopher  451
Sybrecht, John  451
Syder, Daniel, called, II Cavaliere Danielle. 451
Sylvestre,  See Silvestre.
Sympson,  . See Simpson.
Sysang,   452
Syticus,  . See Serricus.

Taccone, Innocenzio. 
Tafli, Andrea 
Tagliasacchi, Giovanni Batista 
Talami, Orazio 
Talpino,  See Salmeggia.
Tamburini, Giovanni Maria 
Tancredi, Filippo 
Tanje, Peter 
Tanzi, Antonio 
Tardieu, Nicholas Henry 
Tardieu, Elizabeth Clara 
Tardieu, James Nicholas 

452 452 452 452 453 453 453 453
, 453
, 454
. 454

Page
Tardieu, Peter Francis  455
Tardieu, Peter Alexander......  455
Taricco, Sebastiano  455
Taruffi, Emilio  456
Tasca, Cristoforo  456
Tasniere, J  ,  456
Tassart, Peter Joseph  .,  456
Tassi, Agostino  456
Tatorac, V  457
Tavarone, Lazarro  457
Tavella, Carlo Antonio, called II Solfarola... 457
Taverner, Mr  457
Tavernier, Melchior  457
Taurini, R.  458
Taylorj T  458
Temini, Giovanni...-  ,  458
Tempel, Abraham Vanden  ,  458
Tempesta, Peter. See Molyn.
Tempesta, Antonio  458
Tempesta, or Tempestino, Domenico  459
Teniers, David, the elder  459
Teniers, David, the younger  459
Teniers, Abraham  451
Teoscopoli,  . See Greche.
Terasson, H  461
Terburg, Gerard  461
Terenzi, Terenzio da Urbino, called II Ron
dolino  462
Termisano, Dezio  432
Tersan,  . See Campion.
Terwesten, Augustine  462
Terwesten, Elias  463
Terwesten, Matthew  463
Terzi, Francesco  463
Terzi, Cristoforo  464
, Tesauro, Felippo, or Pippo  464
|Tesauro, Bernardo  464
Tesauro, Raimo Epifanio  464
Testa, Pietro, called II Lucchesino  464
Testa, Giovanni Cesare  465
Testana, Giovanni Batista  465
Testana, Gioseffo  466
Testelin, Louis  466
Teucher, John Christopher  466
Thacker, Robert  466
Theodore, A.  466
Theodore,   456
Thiboust, Benoit  „ 466
Thiele, John Alexander  ,  467

INDEX.

745

Page
Thielen, or Cowenberg, John Philip van  467
Thielen, Maria Theresa, Anna Maria, and
Frances Catherina van  467
Thiers, Baron de  467
Thim, Moses  468
Thoman, John  468
Thomas, James Ernest  468
Thomassin, Philip  468
Thomassin, Simon  469
Thomassin, Henry Simon  469
Thompson, R  470
Thomson, William  470
Thornhill, Sir James  470
Thourneyser, John James  471
Thufel, or Teufel, John  471
Thulden, or Tulden, Theodore van  471
Thys, Gysbrecht  472
Tiarini, Alessandro  472
Tibaldi, Fellegrino, called Pellegrino da Bo
logna  472
Tibaldi, Domenico Pellegrino  474
Tideman, Philip  474
Tiepolo, Giovanni Batista  474
Tiepolo, Giovanni Domenico  475
Tiepolo, Lorenzo  475
Tilburg, Egedius, or Giles van, the elder  475
Tilburg, Giles van, the younger  475
Till, John Charles van  475
Tillart, John Baptist  476
Tillemans, Simon Peter  476
Tillemans, Peter  476
Timoteo, da Urbino. See Vite.
Tinelli, Cavaliere Tiberio  476
Tiugius, A. M  476
Tinti, Lorenzo  • 476
Tinti, Camillo  477
Tintoretto, GiacomO Robusti, called II  477
Tintoretto, Marietta Robusti, called  479
Tintoretto, Domenico Robusti, called  479
Tischbein, John Henry, the elder  479
Tischbein, John Henry, the younger  479
Tischler, Anthony  480
fisi  •. See Garofalo.
Titi, Santi di  480
Titi, Tiberio  •  480
Titian, Tiziano Vecelli, da Cadore, called.... 480
Titiano, Girolamo Dante, called II  484
Tito, Pompilio  485
Tivoli, Rosa da. See'Roos.
Vol. II.

Page
Tobini, J  ¦  485
Tocque, John Louis.....  485
Tol, Van  485
Toledo, Juan de  485
Tolosano,  .. See Baron.
Tombe, N. la  ,  485
Tomolius, Luca  486
Toms, W.H  ,  486
Torbido, Francesco, called II Moro  .,,.. 486
Torelli, Cesare  487
Tornioli, Niccolo  ,  487
Torrentius, John  487
Tortebat, Francis  487
Tortorel, J  488
Toss, J  488
Tounier, Robert  488
Townley, Charles  488
Traballesi, Francesco  488
Traballesi, Giulio  488
Traini, Francesco  489
Tramazino, Franeo  489
Trasi, Lodovico  489
Travi, Antonio  489
Tremolliere, Peter Charles  489
Trento, Antonio da  490
Trevigi, or Trevisi, Girolamo  490
Trevillian, William  490
Treu, Martin  490
Trevisani, Cavaliere Francesco  490
Trevisani, Angelo  491
Tringham,   491
Tristan, Luis  491
Triva, Antonio  492
Troger, Paul  492
Tronchon,   492
Troost, Cornelius  492
Troschel, Hans, or John  492
Troschel, P  492
Troschel, James  493
Trost, Andrew  493
Trost, C. See Trotti.
Trotti, Cavaliere Giovanni Batista, called II
Malosso  493
Trouvain, Anthony  493
Troy, Francis de  494
Troy, John Francis de  494
Troya, Felix  494
Troyen, Rombout van  494
Troyen, John van  495
5C

746

INDEX.

Page
Truchi,   495
Tscherningk, D  495
Tscherningk, John  495
Tucarri, Giovanni  495
Tulden,  — . See Thulden.
Tura, Cosimo, called Cosmo da Ferrara  495
Turchi, Alessandro, called L'Orbetto  496
Turk, the. See Liotard.
Tuscher, M  496
Tutiani, Bartolomeo  496
Tyroff, Martin  496
Tyson, Michael  496
Tyssens, Peter  497
Tyssens, Augustine  497
Tyssens, N  497
Vaart, John Vander  498
Vaccaro, Andrea  498
Vaccaro, Francesco  498
Vaccellini,  . See Vascellini.
Vadder, Louis de  498
Vaga, Pierino del Vaga  499
Vajani, Anna Maria  500
Vajano, Orazio  500
Vaillant Wallerant  500
Vaillant, Bernard  501
Vaillant, James  501
Vaillant, Andrew   501
Val, Du  501
Val, Du, Mark  501
Valdez, Don Juan de  502
Valdor, John  502
Valentin, Peter  502
Valeriano, Padre Giuseppe  502
Valesio, or Valegius, Giacomo...,  503
Valesio, or Valegius, Francesco  503
Valesio, Giovanni Luigi  ,  503
Valet, or Vallet, William  503
Valk, Peter  -  504
Valk, or Valck, Gerard  504
Valkenburg, Theodore  504
Vallenburgh,   505
Valpuesta, Pedro  505
Van Balen. See Balen.
Vanderburgh, Adrian  505
Van Diest. See Diest.
Vandyck, Sir Anthony  506
Vandyck, Philip  512
Vangelisti, Vincenzio  522

Vanloo, James  512
Vanloo, John Baptist  512
Vanloo, Charles Andrew, called Carlo  513
Vanloo, Louis Michael  513
Vanmander, Charles  513
Vanni, Francesco Cavaliere  514
Vanni, Raffaelle  515
Vanni, Giovanni Batista  515
Vannini, Ottavio  ,  515
Vannucchi,  . See Sarto.
Vannucci,  . See Perugino.
Vansomer, Paul  516
Vanuden, Lucas  516
Vanuden, James  517
Vanvitelli, or Vanvitel, Gaspar, called Dagli 517
Occhiali  517
Varco, Alonso de  517
Vardy, John  517
Varela, Francisco..,  517
Vargas, Luis de  517
Varotari, Dario  518
Varotari, Alessandro, called II Padouanino.. 518
Varotari, Chiara  518
Vasari, Giorgio  518
Vascellini, Gaetano  519
Vasconi, Filippo  520
Vasquez, Alonso  520
Vassallo, Antonio Maria  520
Vasseur, John Charles le  520
Vassilacchi, Antonio, called L'Aliense  520
Vaughan, Robert  521
Vaughan, William..  :  521
Vauquer,   v  522
Ubertini, Francesco, called II Bachiacca  522
Uccello, Paolo Mazzocchi, called  522
Udine, Giovanni Nanni, called da  522
Udine, Martino da, called Pellegrino di san
Daniello  523
Veau, John le  523
Vecchi, Giovanni de  524
Vecchia, Pietro  524
Vecelli, Tiziano. See Titian.
Vecelli, Francesco  524
Vecelli, Orazio  524
Vecelli, Marco, called Marco di Tiziano  525
Vecelli, Tiziano, called Tizianello  525
Vecelli, Cesare  525
Vecq, James la  525
Veen, Martin van. See Hemskirk.

INDEX.

747

Page
Veen, Otho'and Gilbert van. See Venius.
Veenhuysen, J  526
Vegel, J. S  526
Vela, Christoval  526
Velasco, Don Antonio Palomino  526
Velasquez, de Silva, Don Diego  526
Velde, Esaias van de  529
Velde, John van de  530
Velde, William van de, the elder  530
Velde, William van de, the younger  531
Velde, Adrian van de  532
Veldner, John  533
Veli, Benedetto  533
Venanzi, Francesco  533
Venenti, Giulio Cesare..  534
Veneziano, Antonio. See Musis.
Veneziano, Sebastiano. See Piombo.
Veneziano, Carlo. See Saracino.
Veneziano, Antonio  534
Veneziano, Domenico  534
Venier, Nicholas  535
Venius, or Van Veen, Otho  535
Venius, or Van Veen, Gertrude  536
Venius, or Van Veen, Gysbert, or Gilbert... 536
Venturini, Giovanni Francesco  536
Venusti, Marcello  537
Verat, Darius  537
Verbeeck, or Verbeecq, Philip  537
Verbruggen, Henry  537
Verbruggen, Gaspar Peter  537
Verchio,  •. See Civerchio.
Vercruys,  See Kruger.
Verdizotti, Giovanni Maria  538
Verdoel, Adrian  538
Verelst, Simon  538
Verelst, Herman  539
Verelst, Cornelius  539
Verelst, Maria  539
Verendael, N  539
Vergazon, Henry  540
Verhaechet, Tobias  540
Verhelst, Egidius, or Giles  540
Verheyden, Francis Peter  540
Verhoek, Peter Cornelius  541
Verhoek, Gysbert, or Gilbert  5 11
Verkolie, John  541
Verkolie, Nicholas  542
Vermeulen, Cornelius.-.  542
Venneyen, John Cornelius  ,  543

Page
Vermiglio, Giuseppe  543
Vernet, Joseph  543
Vernici, Giovanni Batista  544
Verocchio, Andrea  544
Verona, Maffeo da  ,  544
Veronese, Paolo. See Cagliari.
Veronese, Alessandro. See Turchi.
Verrio, Antonio  545
Verschuring, Henry  545
Verschuring, William  546
Verstraelin, J  546
Vertangen, Daniel  546
Vertue, George  547
Verveer, Ary Hubertsz  549
Verwilt, Francis  549
Veyth,  . See Vyth.
Uggione, or Oggione, Marco  550
Uhlick,   550
Vianen, John van  550
Viani, Giovanni  550
Viani, Domenico  551
Vicaro, Francesco  551
Vicentino, Andrea  551
Vicentino, Francesco Maffei  551
Vicentino, Batista  551
Vicentino, Niccolo. See Boldini.
Vicentino, Giovanni Niccolo, called Rossig-
liani  551
Vico, or Vicus or Vighi, Enea  552
Victor, or Fictoor, John  552
Victoria, Vicente  553
Vidal, Gerald  553
Viehl, Peter  553
Vien, Joseph Maria  553
Vienot, Nicholas  554
Vighi,  . See Vico.
Vignali, Jacopo  ,  554
Vignon, Claude  554
Vigri, Caterina  554
Vila, Senen  554
Vila, Lorenzo  554
Viladomat, Don Antonio  ,  555
Villacis, Don Nicholas de  555
Villafranca, Pedro...  555
Villain, G.R  555
Villamena, Francesco  555
Villavicenzio, Don Pedro Nunez  556
Ville, A. de  556
Vilstercn, van  556
5 C2

748

INDEX.

Page
Vincent, Hubert  556
Vinci, Lionardo da  557
Vinckenbooms, David  560
Vinkeles, Renier  561
Vinne, Vincent Vander  561
Vinne, Lawrence Vander  561
Vinne, John Vander  561
Vinsac, Claude Dorainick  561
Viola, Giovanni Batista  561
Vispre,   562
Visscher, Cornelius  562
Vissher, John  562
Visscher, Lambert  564
Visscher, Nicholas John  564
Vitalba, Giovanni  565
Vitali, Candido  565
Vitali, Gioseffo  565
Vite, Timoteo della, da Urbino  565
Vite, Pietro della  566
Vite, Giovanni della. See Miel.
Vitus, Domenico  ¦.  566
Vivares, Francis  ». 566
Viveroni, F  567
Vivien, Joseph  567
Vivier, Johndu  567
Vlerick, Peter  567
Ulft, Jacob Vander  568
Vlieger, Simon de  568
Vliet, John George van  568
Vliet, Henry van  569
Ulivelli, Cosimo  569
Ulric, John  569
Ulrick, Henry  570
Umbach, Jonas  570
Voeiriot,  See Woeiriot.
Voerst, Robert Vander  570
Voet, Alexander  570
Voet, Charles Boschart  571
Vogel, Bernard  571
Voghter, Henry  571
Voisard, Stephen Claude  571
Volant,   571
Voligny,   571
Vollevens, John  571
Volpato, Giovanni  572
Volterra, Daniele Ricciarelli, called di  ,. 572
Volterrano, II. See Franceschini.
Voorhout, John  5173
Voort, M. Vander  574

Page
Vorsterman, Lucas, the elder  574
Vorsterman, Lucas, the younger  576
Vos, Martin de  576
Vos, Peter de  577
Vos, William de  577
Vos, Paul de  577
Vos, Simon de  577
Vosterman, John  577
Vouet, Simon  578
Vouillemont, Sebastian  579
Voyez, Nicholas Joseph  579
Voys, Ary de  579
Urbino, Raffaelle Sanzio di. See Raffaelle.
Urbino, Timoteo di. See Vite.
Urbino, Lucadi  580
Vries, John Fredeman de  580
Vries, Adrian de  580
Vroom, Henry Cornelius de  580
Vuibert, or Wibert, Remi  581
Uytenwael, Joachim  581
Vyth, or Veyth, John Martin  581
Waal, or Wael, John de  532
Waal, or Wael, Lucas de  582
Waal, or Wael, Cornelius de  582
Waal, or Wael, John Baptist  582
Waegman, Henry  582
Waesberge, Isaac  583
Wagner, Hans Erhard  583
Wagner, James  583
Wagner, Joseph  583
Wakkerdak, P. A  584
Walburg,   584
Walch, Jacob  584
Walch, George  584
Walch, S  584
Wale, Samuel  585
Walker, Robert  585
Walker, Anthony  535
Walker, William  535
Walraven, Isaac  536
Wandelaar, John  53s
Warnir, John  533
Wassemberg, John Abel  536
Wasser, Anna  537
Wastman, C. A  5317
Watelet, Claude Henry  537
Waterloo, Anthony  533
Watman, Henry,  .-  533

INDEX.

74.9

Page
Watson, Thomas  588
Watson, James.....  589
Watteau, Anthony  590
Waumans, Conrade..  591
Webber, John  591
Webbers, J  592
Weeling, Anselm  592
Weeninx, John Baptist  592
Weeninx, John  593
Weerdt, Adrian de  593
Weert, J. de  ,  593
Weesop,   594
Weigel, John  594
Weigel, Christopher  594
Weirotter, Francis Edmund  594
Weisbrod, Charles  594
Weishun, Samuel  595
Weisse, Gotthelf William  595
Welbronner, Nicholas  595
Wenceslaus, of Olmutz  595
Weng, J. G  596
Wengh,   596
Werdler,   596
Werdmuller, Rudolf.  596
Werenfels, Rudolf.  596
Werf, Adrian Vander  596
Werf, Peter Vander  598
Werner, Joseph  598
Wesel, Telman van...  598
Westerhout, Arnold van  -.  599
Wet, P. F  <  599
Weyde, Roger Vander  599
Weydmans, N  599
Weyer, Nicholas  600
Weyer, Hans, or John  600
Weyer, Gabriel  600
Weyermans, James Campo  600
Weyners, Johanssen.  600
Wheatley, Francis  600
White, Robert  601
White, George  601
White, Thomas  602
White, Charles  602
Wibert,  '. See Vuibert.
Wichman, J  602
Wickstead, Philip  603
Wideman, Elias  603
Wicfitz,   r  60S
Wielant, or Willant  603

Page
Wienbrouck, M. V  603
Wierengen, Cornelius  603
Wierix, or Wierx, or Wierinx, John  603
Wierix, or Wierinx, Hieronimus, or Jerome. 604
Wierix, or Wierinx, Anthony  605
Wigmana, Gerard  606
Wilbor, Nicholas. See Welbronner.
Wilde, Francis de  606
Wilde, Maria de  606
Wildens, John  607
Willaerts, Adam  607
Willaerts, Abraham  607
Wille, John George..  607
Wille, Peter Alexander  608
Willeborts, Thomas, sometimes called Boss-
chart  608
Willemans, Michael  609
Willems, Mark  609
Willengen, Peter Vander  609
Williams, Robert  609
Williams, William  610
Williams, John  610
Williamson, P  610
Wilson, Richard......  610
Wilson, Benjamin  612
Wilson, W  612
Wilson, William  612
Wilt, Vander  612
Wingandorp, F  612
Winstanley, Henry  613
Winstanley, Hamlet  613
Winter, Giles de  613
Wirz, John  613
Wissing, William  613
Wit, Peter de, called Pietro Candido  614
Wit, Gaspar de  614
Wit, Emanuel de  614
Wit, Jacob de  614
Witdoeck, Hans, or John  615
Withoos, Matthew  615
Withoos, John  616
Withoos, Peter  616
Withoos, Francis  616
Wittig, Bartholomew  616
Woeriot, or Voeiriot, Peter  616
Wolfgang, George Andrew  617
Wolfgang, Andrew Matthew  617
Wolfgang, John George  617
Wolfgang, Gustavus Andrew  617

750

INDEX.

Page
Wolgemut, Michael  618
Wolters, Henrietta  619
Wood, John  619
Woodcock, Robert  620
Woolaston, J  620
Woollett, William  620
Wootton, John  621
Worlidge, Thomas  621
Worms, Anthony van  622
Worner, T. W  622
Worsdale, James  622
Wortman, Christian Albert  622
Wouters, Francis  622
Wouters, G  623
Wowermans, Philip  623
Wowermans, Peter  624
Wowermans, John  624
Wright, Richard  624
Wright, Joseph  624
Wright, Inigo  625
Wulfraet, Matthias  625
Wust, Charles Louis  625
Wyck, Thomas  625
Wyck, John  625
Wynants, John  625
Wytman, Matthew  625
Xavin, Paul....  627
Ximenes, or Zimenes, Juan Fernandez. See
Mudo.
Yanes, Hernando  627
Yanus,   627
Yeates, Nicholas  627
Yepes, Thomas de  627
Yver, Peter  627
Yuso, Fray Mafias Antonio Trala  627
Zaagmoolen, Martin  628
Zaal, J  628
Zabelli, or Zabaglio, Antonio.  628
Zabello, Giovanni Francesco  628
Zacchetti, Bernardino  628
Zacchia, Paolo, II Vecchio  628
Zaccolini, Padre Matteo  •.  628
Zachtleven, Cornelius  629
Zachtleven, Herman  629
Zaech, Bernard  029
Zaganelli, ¦  . See Cotignola.

Page
Zagel, Matthias  630
Zagel, orZaghel, Theodore  630
Zais, Giuseppe  630
Zamboni, Matteo  630
Zambrano, Juan Luis  630
Zamora, Juan de  ,. 631
Zampezzo, Giovanni Batista  631
Zampieri,  . See Domenichino.
Zan, Bernard  631
Zanardi, Gentile  631
Zancarle, Poliphilos  631
Zanchi, Antonio  631
Zanetti, Count Antonio Maria  631
Zanetti, Antonio Maria, the younger  632
Zangrium, John Baptist.  ....,  632
Zani, Giovanni Batista  632
Zanimberti, Filippo  632
Zanotti, Giovanni Pietro  632
Zarinneua, Francisco  „... 633
Zarlatti, Gioseffo  633
Zatzinger,  . See Zagel.
Ze, De  633
Zeeman, Remy, or Renier  633
Zeeman, Enoch  633
Zeghers,  . See Seghers.
Zelotti, Batista  ,  634
Zenci, Domenico  634
Zenobio,  . See Carlevariis.
Zenone, Duce  634
Zetter, Paul de  634
Ziaruko, John  634
Zifrondi, Antonio  635
Zilotti, Domenico Bernardo  635
Zing, or Zingg, Adrian  635
Zing,  . See Zagel.
Zimmerman, Michael...  ,  635
Zoboli, Jacopo  635
Zocchi, Giuseppe  636
Zocchi, or Zucchi, Gioseffo. See Zucchi.
Zoffany,  . See Appendix.
Zola, Giuseppe  qqq
Zoppo, Marco  636
Zorg, Henry Martin Rokes, called  636
Zoroti, Domenico  636
Zoust,  . See Soest.
Zuberlein, or Ziberlein, Jacob  637
Zuccaro, or Zucchero, Taddeo  637
Zuccaro, or Zucchero, Federigo  638
Zuccherelli, Francesco  639

INDEX.

731

Zucchi, Jacopo  640
Zucchi, Andrea  640
Zucchi, Francesco  640
Zucchi, Lorenzo  640
Zucco, Francesco  641
Zugni, Francesco  641

Zupelli, Giovanni Batista  641
Zurbaran, Francisco  641
Zustrus, Lambert  641
Zyl, Gerard Pietersz van  642
Zylvelt, Adam van  642

INDEX TO APPENDIX.

Pa?e
A. A., H. Vander  645
Abatini, Guido Ubaldo  645
Abiatis, P. M  645
Abbot, John  645
Abents, Leonard  645
Aberry, J  645
Abshoven,   645
Adam, P  646
Adams, Charles  646
Adler, Philip  646
Adolffz,   646
Adorf, J. A. C  ,  646
Aels,   646
Aelts, Nicholas van  646
Aeneas, P  647
Aggas, Ralph  647
Agnelli, Federigo  «  647
Albanasi, Angelo  647
Albano, Francesco  647
Alberelli, Giacomo  647
Alhertus, H. C  647
Albini, Alessandro  647
Albrecht, C  647
Aide, H. van  648
Aleni, Tommaso  648
Alfiano, Epifanio d'  648
Algarotti, Count Francesco  648
Allegri, Antonio, da Coreggio  ,  648

Page
Altomonte, Andrea  648
Ammon, Johanu  648
Andrea, Alessandro  648
Andreae, T  648
Anesi, Paolo  ,  648
Angarano, Ottaviano  649
Angeli, Niccolo  649
Angelis, Peter  649
Angelus, Peter  649
Anglus, Benjamin  649
Angus, W  649
Antonianus, Silvius  649
Apens, C  650
Appelmans, G  650
Apsch, Jerome Andrew  650
Araldi, Alessandro  650
Aroa, Lionardi dell'  650
Arnoullet, Balthasar  650
Asschoonebeck, Adrian  650
Aubrier, .   650
Aubry, Abraham  650
Aubry, Peter  650
Aubry, John Philip  651
Aveele, or Avelen, J. Vander  651
Aveen, Adrian  651
Avellino, Onofrio  651
Averbach, John Gottfried  r  651
Aviani,   651

752

INDEX.

Autguers, C.
Auvray, 

Baccarini, Jacopo.
Bacciarelli, 

Page
 651
 651
 652
 652
Bacon, Sir Nathaniel  652
Baener, John Alexander  652
Bajardo, Gio. Batista  652
Bailie, Alexander  653
Bailleul, F  653
Bailly, J  653
Baily, J  653
Bakker, Baptist de  653
Baldini, Pietro Paolo  653
Baldini, Vittorio  653
Baldrey, J  653
Baldrighi, Giuseppe  653
Baltesys, F  '  654
Bannois, —   654
Baptist, J  654
Baquoy, Maurice  654
Baquoy, John  654
Baquoy, Peter Charles  654
Barabe,   654
Baraudie, Le  654
Barbasan, Louis  654
Barbiani, Andrea  654
Barducci, V  655
Barker, Samuel  655
Baroni, Giuseppe  655
Barrett, Ranelagh  655
Barroducceo, A  655
Bartsh, orBartasch, Godfrid  655
Bartolini, Gioseffo Maria  655
Bassclli, Daniello  655
Baston,T  655
Bathon,   655
Batley,   656
Baudouin, S. R  656
Badoux, or Beaudoux, Robert de  656
Baugin, J  656
Bechon, J  656
Beduschi, Antonio  656
Beger, Laurentius  656
Beitler, Mathias  656
Belbrule, Thomas  656
Bell, William  656
Beiiard, J. F  657
Bernard, B  657

Page
Berrestyn, C. V  <  657
Berterham, or Bexterham, J  657
Bertolotti, Gio. Lorenzo  657
Bertram,  —   ,  657
Bertram, Charles  657
Bertrand, P  657
Bettoli, Cajetanus  657
Beusekom, F. van  658
Beutler, James  658
Bexterham,  . See Berterham.
Beylbrouck, M  658
Bianchi, Sebastiano  658
Bianchi, Paolo  658
Bianchi, Pietro  658
Biard, or Biart, Peter...  658
Bichard,   659
Bievre,  de  659
Biltius,  —  659
Binet,   659
Binneman, Walter  659
Biord, Peter  659
Birck, Paul  659
Birckaert, or Birckart, Anthony  659
Birckenhult, Paul  659
Bizemont, Andre1 de  659
Blagrave, John  660
Blake, C. J  660
Blancus, or Bianchi, John Paul  660
Bleavit,   660
Bleyswick, F. van  660
Bloem, A  660
Blois, Abraham de  t  660
Blois,  de  660
Blondel, John Francis  660
Bloot, Peter  661
Bocklin, J. C  661
Bockman, G  661
Bodart, Peter....,  661
Boderecht, Mark  661
Boetto, Giovenal  661
Bojan, J. L  661
Bois, Elias du  662
Bois, Martin du...1  662
Bois, Peter du  662
Boissart, Robert  662
Boit,   662
Bol, Cornelius  662
Bollman, Jerome  662
Boncuore, Gio. Batista  662

INDEX.

753

P;ifie
Bonesi, Gio. Girolamo  662
Bonifaccio, or Bonifazio, Natalis  663
Bonis,  . See Buoni.
Bonito, Giuseppe  663
Bonncione, E  663
Bonneau, Jacob  663
Bonnemer, Francis  663
Bononieusis, F  >  663
Bonser, J  663
Bordino, J. F  663
Borgani, Francesco  663
Borgognone, Ambrogio  664
Bos, Balthasar  664
Bos, Marie Renard du  664
Bosc, J. du  664
Bosch, Elias  664
Boschi, Francesco  664
Boschini, Marco  664
Boselli, Felice  -.  664
Bossu,  le  665
Botet, F  665
Bouchard, Joseph  665
Boucher, John  665
Boud, R  665
Bouilliard, John  665
Boulanger, Matthew  665
Bourdon, Peter  665
Bourgeois, Sir Francis  665
Bower, Edward  i  666
Boxberger^ M  667
Boyce, Samuel  ;   667
Boyermans, Theodore  667
Braed, Nicholas  667
Brambini, Ambrogio  667
Brambilla, Gio. Batista  667
Brandt, R  667
Bregeon, Angelica  667
Brekelencamp,   668
Brentel, Frederick  668
Breteuil, Comte de  668
Bretherton, James  668
Brillon,  ¦  668
Briot, Anthony  668
Brissart, P  668
Broen, C. de  668
Brompton, Richard  669
Brooking,   669
Brosterhust, John  669
Brouck, M. V  670
Vol. II.

Brower, John  670
Brown, Robert  670
Browne, Joseph  670
Bruneau, Louis  670
Brunn, A. F  670
Brustoloni, Gio. Batista  670
Bryer, Henry  670
Bube, L  671
Buckshorn, Joseph  671
Buffagnoti, Carlo  671
Bugey,   671
Buisen, or Buysen, A. van  671
Bumel, or Bimel, Michael  671
Buoni, or Bonis, Floriano  671
Burgh, H  671
Burnford,   672
Busse, John  672
Buysen,  . See Buisen.
Bylert, or Bylart, John  672
Caccianigi, Francesco  672
Cagnoni, D  ,  672
Caisser, Henry de  672
Calderari, Gio. Maria  673
Call, John van  673
Cam, F. Vander  ,  673
Campanella, Agostino  673
Campbell, J  673
Campolo, Placido  673
Camu, Le  673
Cardonnel, Anthony de  673
Carot,   673
Carpentier, Adrian  674
Cartwright, William  674
Carwitham, J  674
Casembrot, Abraham  674
Cassione, Gio. Francesco  674
Castiglione, Salvatore  674
Cause, H  674
Cazes, Peter James  674
Cecchi, Gaetano  675
Cerceau,  du  675
Chardin, Simon  675
Charpentier, Francis Philip  675
Cherpignon,   675
Chisbout,   675
Choffard, Peter Philip  675
Chopy,   675
Chrieg, or Chreiger, Christopher  675
5D

754

INDEX.

Page
Ciamberlano, Luca  =  676
Claret, William  676
Clasens, D  676
Claseri, Marco  i  •••• 676
Classicus, Victorius  676
Clerissau, C  676
Clevely, John  677
Cloche, G  677
Coccetti, Pietro Paolo  G77
Cock, John Claus de  677
Coenradt, Lawers  677
Colbenschlag, or Clobenias, Stephen  677
Cole, John  077
Collet, Louis  677
Collet, John  677
Collins, John  678
Collins, James  678
Colombini, Cosimo...  678
Colyn, Michael  678
Combes, Peter  678
Comin, Jovan  678
Constantini, Gio. Batista  678
Cool, Peter  678
Coppa, Stefano  678
Coppens, Augustine  679
Cordier, V  679
Cornish,   679
Coronelli, P  679
Coster, Adainde  679
Coster, D  679
Cotta, Jacopo  679
Cottart, Peter  679
Courtois, Peter Francis  679
Couse, J  679
Coussin, H  ,  680
Cozens, John  680
Cremoniensis, Antonio  680
Cremonini, Gio. Batista  680
Crespy, or Crespi,   680
Croock, Hubert de  680
Culenback, or Culmback, Hans, or John  680
Cuny ngham, Doctor William  680
Curti, Bernardino  681
Daigremont, M  681
Dall, Nicholas Thomas  681
Dallevia, A  681
Dambrun,   ;... 681
Dame, Giles la  681

Page
Dance, Sir Nathaniel. See Holland.
Danckert, or Danckers, John  681
Dannoot, Peter  682
Dargenville, A. J. Dezalier  682
Dawe, Philip  682
Decker, J. de  682
Dehne, J. C  682
Denanto, Francesco  682
Dentone, Girolamo Curti, called II  682
Deodate,   ,  682
Devis, Arthur  682
Dickson, J  683
Dietel, Christopher and F. A  683
Diricksen, D  683
Dixon, John  683
Doesburgh, J  683
Doetecum,  . See Duetecum.
Donaldson, John  683
Donne, William  684
Donnet, S  684
Doort, P. van  ;  684
Douet,   684
Druefken,   684
Duetecum, or Doetecum, John and Lucas... 684
Duetecum, or Doetecum, Baptist  684
Dugy,  : — —  684
Dupont, Gainsborough  684
Durant, J. L  684
Durello, Simon  685
Durr, John  685
Dyck, Daniel Vanden  685
Echardt, or Eccardt,John Giles  685
Ecksteyn, George David  685
Edeling, J  685
Ellis, William  685
Emmett, William  686
Eynhouedts, R  686
Faber, Peter  686
Falco, Agnolo  686
Falcone, Aniello  687
Falconet, Peter  687
Faller, John  687
Favennes, J. de  687
Fayram,   687
Ferabosco, Martino  687
Ferte, M. de la  687
Filius, John  687

INDEX.

755

Page
Flamen, F  687
Flatman, Thomas  688
Fleshier, B  688
Fleur, Nicholas William de la  688
Florimus, John  688
Fo,   688
Fontaine, E  688
Fontana, Cesare  688
Fore, le  688
Forrester, J  ,  689
Four, N. du  689
Fournier, Isaye  689
Friquet, De Vaurose  689
Froyen,   689
Fulcarus, or Furck, Sebastian  689
Gagliardi, Bartolomeo  689
Galestruzzi, Gio. Batista  690
Galimard, Claude  690
Gaspars, John Baptist  690
Gast, Michael, de  690
Geilekerck, Nicholas van  ,  690
Gein, G. D  690
Germain,   691
Ghendt, Emanuel de  691
Giffart, Peter  , 691
Gifford, George  691
Gilardi, Pietro  691
Giles, or Gyles, Henry  692
Goeree, J  692
Gool, John van  692
Graffico, Camillo  692
Granville,   692
Grassi, Gio. Batista  692
Gresse, John Alexander  692
Guerin, C  693
Guernier, Rene  693
Guillemart,   693
Guttenbrunn, L  693
Gyles,  . See Giles.
Hall, John  693
Hancock, R  694
Handeriot, Francis  694
Harweyn, James  694
Hayls, John  694
Head, Guy  694
Heckell, van  695
Hefele,   695

P.'lgC
Hemmessen, John van  695
Henshaw, W.,  695
Heylen, Gonzales van  695
Highmore,   695
Hockner, John Gaspar  695
Hoffman, Francis  * 695
Holl, Elias  696
Holland, J  696
Holland, Sir Nathaniel Dance  696
Hooft, Nicholas  696
Hoppner, John  696
Horst, Nicholas Vander  697
Houssard,   698
Humphrey, William  - 698
Humphry, Ozias  698
Hyle, Francis  *  699
Jacobsz, C. Philip  «  699
Jefferies, James  699
Ireland, Samuel  700
Kettle, Tilly  700
Killegrew, Anne  700
Kock, M..  700
Koning, James  700
Kruger, Andrew Louis  700
Langley, T   701
Laub, J  701
Legat, F  701
Leipoldt, J...  701
Letellier, C. F  701
Lockley, David  ,  701
Lorme, A. de  701
Loutherbourg, Philip James de  701
Loyer,   „  702
Macourt, C  703
Maillet, Joseph  703
Mainero, Gio. Batista  703
Mallery, Philip de  703
Mandyn.John  703
Manini, Gaetano  703
Manwairing,   703
Marthi, Giuseppe  703
Marghucci, Giacomo  704
Mariani, Gio. Maria  704
Marot, Francis  704
Marrebeck, J  704
5D2

75(3

INDEX.

Page
Martinet,   704
Mascall, Edward  704
Mason, James  704
Maubert, James....,  704
Maurer, J  705
Mazot,   705
Meer, N. Vander  705
Meheux, James  705
Melar, Adrian  705
Michaelis, J. W  705
Mignot, Daniel  705
Mitchell, J  705
Moligny, C. D  705
Montagu,   705
Moreau, Edme  705
Moreau, P  706
Morel, Francis  706
More, John Gaspar  706
Morier, David  706
Moser, George Michael  706
Mosnier, John  706
Mutel,   706
Muys, R  706

Nachtglas,  .,  ™  707
Nagtegel, Arnold  707
Nain, Le  707
Newton, Fras. Milner  707
Nolli, Gio. Batista  707
Nyts, J  707

Ochtervelt,

  707
Orsi, Benedetto  708
Os, J. van  708
Ottini, Pasquale  708

Pacot,

708

Paladini, Arcangela  708
Paling, Isaac  709
Parigi, Giulio  709
Parker, John  709
Parry, William  709
Pars, William  710
Penny, Edward  710
Pescia, Mariano da  710
Pether, Abraham  71i
Picquet, J  711
Pierce, Edward  7H
Pieters, John  711

Pillement, John  711
Piper, Francis le  712
Plin, J  712
Plonich, Vedastus du  712
Plott, John  712
Plumier,   712
Ponchel, C. du  713
Pothove, H  713
Priwitzer, John  713
Pugh, Herbert  713
Pye.John  713
Raffaelli, Francesco  713
Rama, Camillo  713
Rathbone, John.....  713
Read, Catherine  714
Read, Richard  ,  714
Regne,   714
Rem, Matthew  714
Reysschoot, F. van  714
Ritus, Michael  714
Robertson, George  714
Robinson,   714
Rodtermondt,   715
Roper,   715
Rose, Susan Penelope  715
Ryder, Thomas  715
Sailliar, Louis  715
Saltarello, Luca  715
Salway, N  716
Sambin, Hugues  716
Sanby,Paul  716
Sartorius, J. C  717
Schiavonetti, Luigi  717
Schiavonetti, Niccolo  717
Schollenberg, H. J  718
Schoor, N. van  718
Schooten, George van  718
Scorodoomoff, Gabriel  718
Schubler, A. G. J  „  718
Schweizer, John  718
Secchiari, Giulio  718
Senex, John  718
Sequenot, L  719
Setlezky, Balthazar Sigismund  719
Shaw, James  719
Sluyter, P  719
Soius, Philip  719

INDEX.

757

Page
Sotomayor, Luisde  719
Spencer, Jarvis  719
Speranza, Gio. Batista  719
Spezzini, Francesco  720
Spicer, Henry  720
Spicer, — — —  720
Stevens, John  720
Sturt, John  720
Sunman,   720
Taraval, G  721
Terry, George  721
Texier, G. Le  721
Thelott, Jacob Gotlieb  721
Tilliard, F  721
Tilson, Henry  721
Tomkins, William  721
Tresham, Henry  722
Triere, P  722
Turco, Cesare  722

Page
Valker, Warner van  722
Valle6, or Valee, Simon  723
Vallory, the Chevalier de  723
Vast, Vander  723
Verboom,   723
Via, Alessandro della  723
Vou, J.de  724
Vyl, J. den  472
Uytembroeck, Moses  724
Wachsmuth, Jerome  724
Walmsley, John  ... 724
Watson, Caroline  724
Wilton,   725
Wolfaerts, Artus  725
Wyngaerde, Francis  725
Zago, Santo  725
Zentner, J. L  726
Zoffany, Johan  726
Zwoll, J. Aucker de  726

CHRONOLOGICAL INDEX

painters anti Cttgrabers.

1198 1213
1230
1239 1240
12571260 1262
1270 1276
1279
1285
1295 13001301
1308
13101320
1324

132513291330
1349
1354
1356
1370

Names of Painters and Engravers.

MargaritoneAndrea Taffi

Tommaso de Stefani . ,
Gaddo Gaddi . . .
Giovanni Cimabue . . .
Ambrogio Lorenzetti . .
Filippo, or Pippo Tesauro
Buonamico Buffalmacco .
Jacopo Cassentino . .
Giotto, or Ambrogiotto
Pietro Cavallini . .
Simone Memmi .
Lippo Memmi . .
Maestro Simone . .
Taddeo Gaddi . .
Stefano, called II Fiorentino
Aretino Spinelli ....
Antonio Veneziano . . .
Genarro di Cola ....
Angiolo Gaddi ....
Tommaso Stefano, called Gi-
ottino 
Maestro Stefanone . . .
Andrea Oreagna . . .
Bernardo Daddi ....
Paolo Mazzocchi, Uccello
Colantouio del Fiore . .
Gherardo Stamina . . .
Gasparri, or Parri Spinelli
Jacopo Avanzi ....

Arezzo Florence .
Naples Florence .
Florence .
Siena . .
Naples Florence .
Florence .
Vespignano
Rome . .
Florence .
Florence .
Naples Florence .
Florence .
Arezzo Florence .
Naples Florence .
Florence .
Naples
' FlorenceArezzo
Florence .
NaplesFlorence .
Arezzo
Bologna .

Studied under.

dis-

Soine Greek Painters
Apollonius, a Greek .
Studied the remains of
Grecian aft .
Andrea Taffi .
GiuntaPisano .
Incorrectly called
ciple of Giotto
Tommaso de Stefani
Andrea Taffi
Gaddo Gaddi
Giovanni Cimabue
Giotto . . .
Giotto . . .
Simone Memmi
Filippo Tesauro
Gaddo Gaddi .
Giotto . . .

Jacopo Cassentino
Taddeo Gaddi . . .
Maestro Simone . .
Taddeo Gaddi . .
Stefano, II Fiorentino
Genarro di Cola . .
Bernardo Oreagna
Aretino Spinelli . .
Antonio Veneziano
Francesco Simone . .
Antonio Veneziano
Aretino Spinelli . .
Franco da Bologna .

Painted or Engraved.

Died.

Aged

History ....
Revived the art of
Mosaic ....
History .
History and Mosaic
History ....
History ....
History ....
History ....
History ....
History and Mosaic
History ....
History ....
History ....
History ....
History ....
History.improvedPer- spective . . .
History ....
History ....
History ....
History ....
History ....
History, in oil before
Eyck 
History ....
History ....
Perspective, Birds,
Animals
History ....
History ....
History ....
History ....

1275 77
1294 81

131013121300
1340
1320
1340
1356 1336
1344134513601346
1352
1350 1400 1384
1370 1387
13561390 138.°
1380
14321444 1403
1425

8073
60
8360
78
86
GOC5
(JO
46

490274
50(J33265GO50
831)0
4909

760

CHRONOLOGICAL INDEX.

Names of Painters and Engravers.

1370 Hubert and John van Eyck

1376 1378
13801382 138713901392 139413981400

1401
1404 140514061407 1409
1410141514161420

1421
14221424 1425 1426

1428 14301431 1432 1434
14361437
1439 144014441445

Lippo Scannabecchi, Dal
masio ....
Masolino da Panicale
Galasso Galassi . .
Antonio Solario.Lo Zingaro
Fra. Gio. da Fiesole
Roger of Bruges
Gentile da Fabriano
Francesco Squarcione
Pietro della Francesca
Larenzo Bicci . .
Bennezzo Gozzoli .
Fra Filippo Lippo .
Francesco Traini
Masaccio ....
Pesello Pesello . .
Jacopo Bellini . .
Hugo Vander Goes .
Cosimo Tura . . .
Vincenzio Foppa
Andrea del Castagno
Dirk van Haerlem .
Pompeo Landulfo .
Cosimo Rosselli . .
Domenico Veneziano
Martin Schoen . .
Gentile Bellini . .
Giovanni Bellini
Israel van Mecheln .
Alesio Baldovinetti .
Antonello da Messina
Francesco Pesello .
Antonio Pollajuolo .
Pietro Pollajuolo
Buono de Buoni . .
Simone Papa, il Vecch
Andrea Mantegna .

Albert Glockenton
Andrea Verocchio
Michael Wolgemut
Baccio Baldini .
Sandro Botticelli
Luca Signorelli .
Bernardo Tesauro
Albert Ouwater .
Lionardo da Vinci

Where born.

Maeseyk

Bologna .
Panicale .
Ferrara .
Abruzzo .
Fiesole BrugesPaduaS. Sepolcro
Florence .
Florence .
Florence .
Florence .
Valdarno .
Florence .
Venice BrugesFerarra .
Brescia .
Castagno .
Haerlem •
Naple s
Florence .
Venice Culmbach
Venice Venice
Mecheln .

Studied under.

Painted or Engraved.

Died.

Their father

Vitale da Bologna
Gherardo Stamina

Florence .
Messina .
Florence .
Florence .
Florence .
Naples NaplesPadua . .
NurembergFlorence Nuremberg

Florence .
Florence .
Cortona .
Naples Haerlem .
Near Flo-

Lippo Scannabecchi .
Imitated the style of
Giottino ....
John van Eyck . .
Giovanni da Fiesolo .
Studied the antique .
An obscure artist . .
Gasparri Spinelli . .
FraGiovanni da Fiesole
Masaccio . . .
Andrea Oreagna .
Masolino da Pancale
Andrea Castagno .
Gentile da Fabriano
John van Eyck
Galasso Galassi .

Masaccio . . . .
Gio. Bernardo Lama
Antonio da Messina .

Jacopo Bellini
Jacopo Bellini

Masaccio, and John
van Eyck . . .
Pesello Pesello . .
Lorenzo Ghiberti
Andrea Castagna . .
Colantonio del Fiore .
Antonio Solario . .
Francesco Squarcione

Francesco Squarcione

Filippo Lippi . . .
Pietro della Francesca
Silvestro Buono . .

Andrea Verocchio

History. The inven
tion of oil-painling
has been by some
attributed to John
van Eyck .
History . .
History . .
History
History . .
History, Miniature
History . . .
History . . .
History . . ,
History . . .
History . . .
History . . .
History . . .
History . .
History . . .
History and Animals
History . .
History . .
History . .
History . .
History . .
History . .
History . .
History . .
History . .
Painted and engraved
History
History and Portraits
History . .
History, and various
subjects . .
History and Portraits
History and Portraits
History ....
History ....
History ....
History ....
History ....
Painted and engraved
History . . .
Engraved History
History . . .
Painted and engraved
History ....
Engraved History .
History ....
History ....
History ....
History ....
H istory and Portraits

14411415 1455
1445 1472
147414841460 147814691443
1481 147014691492
1480 1470
15901484 1476 1486 1501
1512

1499

14571498149814881505 14881519
1515
15151521 1515
1519

Aged

71 37
7358
8080
86 6078

427765 63
85 7160 75
68 56
66 8090

74

31727058 7456857978
82 7174

CHRONOLOGICAL INDEX.

761

Born,
or flou
rished.

Names of Painters and Engravers.

1446

14471449
1450

1451 1452
1454

1460

1468
1469 1470

1471

1472

Pietro Perugino . . .
Antonio del Rincon . ,
Francesco Bianchi . . .
Domc° Corradi, called II
Ghirlandajo ....
Niccolo Alunno ....
Carlo Crivelli ....
John Hemmelinck . • .
Donate Lazzari, called Bra
mante 
Quintin Matsys ....
Francesco Raibolini, called
Francesco Francia . .
Liberale da Verona . . .
Lorenzo Credi ....
Girolamo Mocetto, or Mo
cetus 
Francesco Monsignori . .
Bernardino Pinturiccio
Guido Aspertino . . .
Boccaccio Boccaccino . .
Fra Gio. Maria di Brescia
Benedetto Coda ....
Maso Finiguerra . . .
Gerard of Haerlem . .
Filippino Lippi ....
Niccoletto da Modena
Girolamo Monsignori . .
Domenico Panetti . . .
Roberta  ....
Niccolo Rondinello . .
Cornelius Engelbrechtsen .
Morto da Feltro . . .
Baccio della Porta, called
FraBartolomeo di S.Marco
Girolamo Alibrandi
Andrea Luigi d' Assisi .
Jerome Bos, or Bosche

Giovanni Francesco Carotto
John de Mabuse . .
Timoteo della Vite .
Albert Durer "...

Where born.

Studied under.

Citta della
Pieve .
Guadalax ara . .
Modena .

FlorenceFolignoVenice Damme

Castel Du
rante .
Antwerp .

BolognaVeronaFlorence
Verona
VeronaPerugiaBologna Cremona
Brescia Ferrara
Florence
HaerlemFlorence
Modena
VeronaFerrara Florence ,
RavennaLeyden Florence ,

Amico Aspertino
Vol. II.

Florence Messina
Assisi .
Bois-le-Duc

Verona .
MaubeugeUrbino .
Nuremburg

Bologna

Benedetto Bonfigli

Alesio Baldovinetti

Jacobello Flore

Bartolomeo Corradini

Marco Zoppo .
Jacopo Bellini .
Andrea Verocchio
Giovanni Bellini
Andrea Mantegna .
Pietro Perugino
Ercole di Ferrara ,
Pietro Perugino

Giovanni Bellini

Albert van Ou water
Sandro Boticelli

Benvenuto Garofalo

Giovanni Bellini . .
Imitated the works of
van Eyck ....

Cosimo Roselli .
Giovanni Bellini
Pietro Perugino

Liberale Veronese and
A. Mantegna . .
Francesco Francia
Michael Wolgemut
Franesco Francia . .
5E

Fainted or Engraved.

Aged

15241500 1510
1493

15221536 1530

History . . .
History and Portraits
History . . .
History . . .
History . . .
History . . .
History . . .

History ....
History ....
History ....
History andMiniature
History ....
Painted and engraved
History . . .
History . . . .1519
Hist, and Perspective 1513
History ....
History .... 1518
Painted and engraved
History . . .
History .... 1520
The earliest Italian
Engraver . . .
History .... 1488
History .... 1505
Painted Perspective
and engraved . .
History .... 1520
History .... 1530
Engraved bible sub
jects . . .
History . . . 85.-20
History .... 1533
Grotesque ornaments 1513
History .... 1517
History .... 1524
History . . .
Painted and engraved
historical and gro
tesque subjects .
History .... 1546
History and Portraits ' 1532
History .... J1524
Painted and engraved
historical and other
subjects . . . 1528
History . . .

78
54
63
41

1514 64
1529 79

85
78

65

58

60

2845

60
70

606545 4854

76
62 54

57

762

CHRONOLOGICAL INDEX.

Born,
or flou
rished.

1472

1474

1475

1476 1477

14791480

Kamea of Painters and Engravers.

Lucas Cranach

Adone Doni 
Melozzo da Forli . . .
Michele Angelo Buonaroti
Hans Burjfkrnair . . .

Girolamo da Libri . . .
Francesco Moroni . . .
Niccolo Soggi ....
Mariotto Albertinelli . .
Gio. Antonio d'Amato . .
Girolamo Marchesi, called
da Cotignola ....
Guglielmo da Marsiglia .
Francesco da Ponte, elder
Domenico Puligo . . .
Raffaelino del Garbo . .
Girolamo Genga . . .
Giorgio Barbarelli, called
Giorgione 
Francesco Granacci . .
Tiziano Vecelli, called Ti
tian 
Gio. Antonio Razzi, called
II Sodoma 
Antonio Badile ....
Henry de Bles ....
Antonio Capolongo . . .
Bernardino Luini
Joachim Patenier . . .
Martino da Udine . .
Marco Uggione, or Oggione
Roger Vander Weyde . .
Giuliano Bugiardini . .
Benvenuto Tisio, called
Garofalo 
Lodovico Mazzolini . .
Baldassare Peruzzi . . .

1482 Richard Aerts . . . .
1483 Raffaelle Sanzio di Urbino
1484 Domenico Beccafumi . .
Michael Dossier . . . .
Gaudenzio Ferrari - . .

Cranach

Assisi . .
Forli . .
Arezzo Augsbourg

VeronaVerona .
Florence .
Florence .
NaplesCotignolaMarseilles
Bassano .
Florence .
Florence .
UrbinoCastelfran- co . .
Florence .
Cadore

VercelliVerona' Bovines
Naples

1481

Luino . .
Dinant San Dani
ello . .
Oggione .
Brussels .
Florence .
Ferrara .
Ferrara Accajano .
Wyck UrbinoSiena .

Studied nnder.

Paris

Imitated the style of
A. Durer ....
Pietro Perugino . .
Pietro della Francesca
Domenico Ghirlandajo
Albert Durer . . .

His father ....
Domenico Moroni
Pietro Perugino . .
Fra Bartolomeo di S.
Marco 
Silvestro Buono . .
Francesco Francia

Giovanni Bellini .
Domenico Corradi
Filippino Lippi
Luca Signorelli

Giovanni Bellini . .
Domenico Ghirlandajo
Giovanni Bellini . .

Giacomo dalle Fonte .

Gio. Bernardo della
Lama 
Lionardo da Vinci

Giovanni Bellini .
Lionardo da Vinci

Painted or Bngraved.

M. Angelo Buonaroti
Boccaccio Boccaccino
Lorenzo Costa . . .

John Moestaert . .
Pietro Perugino . .
Gio. Antonio Vercelli

Valdugia

Painted and engraved
Hist, and Portraits
History and Portraits
Hist, and Perspective
History
Painted and engraved
historical and other
subjects
History History
History
History HistoryHistory History on glass and
in fresco
History
History History
History

S. Scotto, and Bern"
Luini 

History and Portraits
History ....
History, Portraits,
and Landscapes .
History ....
History ....
Hist, and Landscapes
History ....
History ....
Landscapes and Hunt
ings 
History ....
History ....
History ....
History and Portraits
History ....
History ....
History, Perspective,
Views, &c. . .
History ....
History and Portraits
Painted and engraved
History, &c. .
Engraved History and
Portraits
History . .

1553

1563

15551529
15541520 1555
15501537
1530152715341551

1511
1544

1576 1554 1560
1550

1545 1530
1529 15561559 1530 1536 15771520 1549

1550

Aged 8189

81558045807562
555-258 75

34 67

0975
80 70

65 5049 75 7849 55 95 37 65

66

CHRONOLOGICAL INDEX.

763

Born,

¦

-
or flou
rished.
Names of Painters and Engravers.
Where born.
Studied under.
Painted or Engraved.
Died.
^KC(I
1484
Gio Antonio Licinio, called
11 Pordenone . . . .
'ordenone
jiorgione ....
History and Portraits
1540
56
1485
Christopher Amberger
Etidolfo Corradi, called
Ghirlandajo ....
Nuremberg Florence .
Hans Holbein . . .
Fra Bartolomeo di S.
History and Portraits
1550
65
Marco ....
History . . .
1560
75
Pellegrino Munari, called
da Modena ....
Modena .
Raffaelle di Urbino .
History ....
1523
38
Fra Sebastiano del Piombo
Venice
Gio. Bellini and Gior-
History and Portraits
1547
62
Andrea Sabbatini, called
da Salerno ....
Salerno .
Raffaelle di Urbino .
History ....
1550
65
Antonio Semini ....
Genoa
Lodovico Brea . . .
History ....
1486
Bartolomeo Ramenghi, call
ed da Bagnacavallo . .
Bagnaca vallo .
Francesco Francia,Raf-
History ....
1542
5G
Ugo da Carpi ....
Rome . .
Painted History, and
engraved on wood
1487
Marc Antonio Raimondi .
Bologna .
Francesco Francia
Engraved History and
Portraits . . .
Hans Schaeuflein . . .
Nuremberg
Albert Durer . . .
Painted History, and
engraved on wood
1488
Albert Altdorfer . . .
Gio- Francesco Penni, called
Altdorff .
Albert Durer . . .
Painted History, and
engraved both on
wood and copper
Florence .
Raffaelle di Urbino .
History ....
1528
40
Andrea Vanucchi, called
-
del Sarto 
Florence .
Pietro di Cosimo . .
History and Portraits
1530
42
1490
John Walter van Assen .
Hans Baldung ....
Gio. Batista Benvenuto,
In Holland
Engraved History on
wood . .
Painted History, and
engraved on wood
called L'Ortolano . .
Ferrara .
Bartolomeo Ramenghi
History ....
1525
35
Ferrara .
Lorenzo Costa . .
History and Portraits
1560
70
Vincenzio di S. Gimignani
S. Gimig
nani
Raffaelle di Urbino
History ....
1530
40
Lorenzo Lotto ....
Bergamo .
Andrea Previtali, and
Gio. Bellini . . .
History ....
1560
70
Florence .
Raffaelle di Urbino
History ....
1527
37
Agostino de Musis, called
Agostino Veneziano . .
Venice
MarcAntonio Raimond
Engr. various subjects
1540
50
Bernard van Orley . . .
Brussels .
At Rome,underRaffaellt
History and Huntings
1560
70
Francesco Primaticcio
Bologna .
Giulio Romano . .
History ....
1570
80
1491
Michele Angelo Anselmi .
Siena . .
Gio. Antonio Vercelli
History ....
1554
63
Bonifacio, called Veneziano
Venice
Palma Vecchio . . .
History ....
1553
62
Ercole Grandi ....
Ferrara .
Lorenzo Costa . . .
History ....
1531
40
1492
Gio. Antonio Lappoli . .
Arezzo
Jacopo Carucci . .
History ....
1552
60
Giulio Romano ....
Rome . .
Raffaelle di Urbino .
History ....
1546
54
1493
Pietro Ligario ....
Jacopo Carucci, called da
Naples
Pontormo
Giulio Romano . .
Lionardo da Vinci and
History ....
1573
80
Mariotto Albertinelli
History ....
1556
63
1494
AntonioAllegri, da Coreggk
> Coreggio .
Franco Bianchi and
Giovanni Murani .
5 F. -2
History and Portraits
1534
i
40
764

CHRONOLOGICAL INDEX.

Born,
or flou
rished. 1494

1495

1496

1497

1498

Names of Painters and Engravers.

1499

1500

Lucas van Leyden

Domenico Riccio, called
Brusasorci 
Giovanni Nanni, called Da
Udine 
Polidoro da Caravaggio .
Gio. Batista Cima, called
II Conegliano ....
Gio. Filippo Criscuolo
Pietro Negrone ....
John Schorel, or Schooreel
Bartel Beham ....
Marco da Ravenna . . .
II Rosso, or Maitre Roux .
Baccio Bandinelli . . .
Michael Coxcie ....
Bias de Prado ....
Giulio Bonasoni . . .
Arnold Claessoon . . .
Giulio Giorgio Clovio
Jerome Cock ....
Batista Franco . . .
Martin van Hemskerk
Hans Holbein . . .
John von Calcar, or Kalcker
John Mostaert ....
Niccolo Beatrici ....
Hans Sebald Beham . .
Gio. Maria Calderari . .
Giulo Campi 
Joas van Cleef, or Cleeve .
Gio. Batista Ghisi, called
Mantuano 

Benedetto Montagna . .
Luca Penni 
Gregory Pentz, or Peins .
Gio. Batisto Castelli, called
II Bergamasco . . .
Vincenzio Catena . . .

Studied under.

Leyden

Verona Udine . .
CaravaggioConeglianoGaeta . .
In Calabria
Near Alk
maer .
Nuremberg
Ravenna .

Florence .
Florence .
Mechlin .
Toledo .
Bologna .
Leyden .
In Croatia
Antwerp .

Venice

HemskerkAugsbourg Kalcker .
Haerlem .
ThionvilleNurembergPordenone Cremona .
Antwerp .
Mantua .

Vicenza

Florence

Nuremberg

Gandino Venice

Cornelius Engelbrecht-
sen 

Niccolo Giolfino

Painted or Engraved.

Painted and engraved
History, Portraits,
Landscapes, &c.
History ....

Giorgione and Raffaelle Grotesque ornaments
Raffaelle .... History . . .

Giovanni Bellini . .
Andrea da Salerno and
Pietro Perugino
Gio. Antonio d'Amato '
James Cornelisz . .
Marc Antonio Raimondi
Marc Antonio Raimondi

Bernard van Orley
Alonso Berrugete . .
Lorenzo Sabbatini
Corn. Engelbrechtsen
Giulio Romano . .

John Schoorel . .
His father . . .
Titian ....
Jacob van Haerlem
Agostino de Musis
Bartel Beham . .
Gio. Antonio Licinio
Giulio Romano
William van Cleef
Giulio Romano

Raffaelle and Pierino
del Vago ....
Albert Durer , . .

Aurelio Busso
Giorgione .

History ....
History ....
History ....
History and Portraits
Painted and engraved
Hist. Portraits, &c.
Engraved historical
subjects . . .
History ....
History ....
History ....
History and Portraits
Painted and engraved
Hist, and Portraits
History ....
History in Miniature
Painted and engraved
Hist, and Portraits
Painted and engraved
History ....
History ....
History and Portraits
History and Portraits
History and Portraits
Engraved History and
Portraits . .
Engr. various subjects
History . . .
History . . .
History . . .
Painted and engraved
historical and other
subjects . . .
Painted and engraved
History and Land
scapes . .
Painted and engraved
History . .
Painted and engraved
Hist, and Portraits

History .... 1570
History and Portraits

1533
1567
15641543

1584
1565
1562
1540 1551
1541155915921557

1564
1578
1578 15611573
155415461555

1550
1564 1572
1536

Aged 3973
7048

8970
6744
55
4562
95 60

66
8080
637656
4756

50
64
7236

70

CHRONOLOGICAL INDEX.

765

Born,
or flou
rished.
1500

Names of Painters and Engravers.

1501 1502
1503
1504

1505

1506

1508

Francis Crabeth . . .
Cristoforo Gherardi, called
Doceno 
Peter Koeck, or Coeck
Lambert Lombard . . .
Gio. Batista Ponchino, call
ed II Bozzato ....
Cesare Sesto, called Cesare
Milanese 
Francesco Torbido, called
II Moro 
Pierino del Vaga . . .
John Cornelius Vermeyen
Mathias Zagel ....
Lazzaro Calvi ....
Girolamo da Carpi . . .
Luca Monverde ....
Henry Aldegrever . . .
Pedro Campanna . . .
Francesco Mazzuoli, called
II Parmigiano ....

James, or Jacob Binck

Girolamo Romanino . .
Girolamo Siciolante, called
da Sermoneta ....
Pomponeo Amalteo . . .
Giuseppe Calimberg . .
Francesco Maria Rondani
Domenico del Barbiere .
Hans Brosamer ....
Augustine Hirschfogel

Innocenzio Francucci, call
ed da Imola ....
Henry Lautensack . . .
Simone Papa, II Giovine .
Gio. Batista Averara . .

Where born.

Studied under.

Mechlin

Borgo S. Se
polcro .
Alost . .
Liege . .
Castelfran- co . .
Milan . .
Verona .
Florence .
BeverwyckIn Germany
GenoaFerraraUdine .

Zoust .
BrusselsParma

Raffaellino del Colle .
Bernard van Orley .
Andrea del Sarto . .

Titian ....
Lionardo da Vinci
Giorgione and Liberale
da Verona . . .
Ridolfo Ghirlandajo .

Cologne

Brescia

Sermoneta
S. Vito .
InGermany
ParmaFlorence

Pierino del Vaga . .
Benvenuto Garofalo .
Pellegrino di San Dani
ello 
Albert Durer . . .

Studied the works of
Raffaelle ....

Albert Durer, and Marc
Antonio . . .

Painted or Engraved.

Died. (Aged

History

History . . .
History, and engraved
on wood
History . . ,

Fulda . .
NurembergImola . .
NurembergNaplesBergamo .

Pierino del Vaga .
Pordenone .
Studied at Venice .
Antonio da Coreggio
II Rosso ....

His father

Francesco Francia and
Mariotto Albertinelli
Paulus Lautensach
Giovanni Antonio d'A-
mato 
Studied the works of
Titian 

History
History

History and Portraits
History ....
History ....
Engraved historical
and other subjects
History ....
History and Portraits
History ....
Painted and engraved
Hist. Portraits, &c.
History 

Painted and engraved
historical and other
subjects . . .
Engraved Portraits
and historical sub
jects, &c. . . .
History ....
History ....
History . . .
History ....
History ....
Painted and engraved
History ....
Engraved History
and Portraits . .
Painted in Enamel,
and engraved vari
ous subjects . .

History ....
Engraved historical
and other subjects
History ....
History ....

1548

1552
1550 1560

1560 1524

1581
15471559

1606
15561522
1562 1570

1540

1560156615501576
15701548

48

52
50
60

60

8147
5.9

1562
15691548

105 55
21
6067

37

5662
4671
6543

56
63
40

766

CHRONOLOGICAL INDEX.

orfliu- rishfd.

1508

Name3"of Painters and Engravers.

1509 1510

1511

Studied under.

1512

Marco Cardisco, called II
Calabrese 
Giovanni Lama ....
Antonio da Trento . . .

Girolamo da Trevigi . .
Gio. Batista Maganza . .
El Divino Morales . . .
Peter Breughel, the elder
Cornelius Bus . . . .

Giovanni Cariani . . .
Henry van Cleef . . .
Jacopino dal Conte . .
John Duvet, or Danet . .
Jacob Grimmer ....
Deodato Guinaccia . .
David Hopfer ....
Jacopo Palma, II Vecchio
Jacopo Panicciati . . .
Giacomo da Ponte, called
II Bassano 
Peter Porbus ....
Francesco Rossi, called II
Salviati 
Andrea Semini ....
Camillo Boccaccino . .
Agnolo Bronzino . . .
Lelio Orsi, called Lelioda
Novellara 
Niccolo dell Abati . . .
Solomon Bernard, called
Little Bernard . * . .
Gio. G iacomo Caraglio, or
Caralius 
Prospero Fontana . . .
Gio. Batista d'Angeli, Moro
Giacomo Robusti, called
II Tintoretto ....
Giorgio Vasari ....
Enea Vico, or Vicus . .

In Calabria
Naples
Trento .

Trevigi Vicenza Badajos

Breughel

Bois-le-Duc

Bergamo .
Antwerp .
Florence .
Langres .

Polidoro da Caravaggio
Gio. Antonio d'Amato
Parmigiano ....

Studied at Rome
Titian . . .
Pedro Campanno

Peter Koeck . . .
Studied the style of M.
da Ravenua . . .

Studied in Italy
Andrea del Sarto

Antwerp .
Messina .
Nuremberg Serinalta .
Ferrara .
Bassano .
Gouda Florence .
Genoa Cremona .
Florence .
Reggio .
Modena .
Lyons . .

Matthew Cock . .
Polidoro da Caravaggio

Painted or Eugraved.

Studied the works of
Giorgione and Titian History

History ....
History ....
Engraved History on
wood in chiar
oscuro ....
History ....
History and Portraits
Subjects of Sacred
History . . .
Landscapes and Drol
leries ....
Engraved historical
subjects . . .
History ....
Painted and engraved
Landscapes . .
History and Portraits
Engraved historical
subjects . . .
Landscapes and Ruins
History ....
Engraved History,
Portraits, &c.

1579
1544 1589 15861570

Dosso Dossi
Bonifaccio Veneziano

Verona Bologna Verona

Venice Arezzo Parma

And. del Sarto and Bac
cio Bandinelli . .
Pierino del Vaga . .
Boccaccio Boccaccino
Jacopo Carucci, da Pon-
tormo 
Studied the works of
Coreggio ....
Antonio Begarelli . .

History . . .
History, Portraits, and
Rural Subjects
History . . .

History ....
History and Portraits
History ....
History and Portraits

1598

1540

1592 1583

1563 1578
1546
1580

A^ed 71 36
8077 60

Marc Antonio Raimondi
Innocenzio Francucci
Francesco Torbido

Titian 
M. Angelo Buonaroti,
and Andrea del Sarto
Marc Antonio Raimondi

History .... 1587
History .... 1572
Engraved biblical sub
jects on wood . 1580
History and Gems .
History and Portraits 1597
Painted and engraved
Hist, and Landsc.
History and Portraits 1594
History .... 157
Engraved various sub
jects on copper
and wood . 1576

88

30

8273

5368 3569

76 61

68 85 82
64 64

CHRONOLOG[CAL INDEX.

767

Bom,
or flou
rished.

Names of Painters and Engravers.

Where born.

Studied under.

Painted or Engraved.

Died.
1588

Aged

1513

Paris Bordone ....

Trevigi .

History and Portraits

75

Francesco Minzocchi . .

Forli . .

Girolamo Genga . .

History ....

1514
Alessandro Bonvicino, call
ed 11 Moretto ....
Brescia
Titian 
History and Portraits
1564
50
Nuremberg
Engraved various sub
jects on wood and
on copper . . .
1570
56
1515
Alonso Sanchez Coello
In Portugal
Antonio Moro . . .
History and Portraits
1590
75
Polidoro Veneziano . .
Venice
Titian 
History ....
1565
50
Ottavio Semini ....
Genoa
Pierino del Vaga . .
History ....
1604
89
Marcello Venusti . . .
Mantua .
Pierino del Vaga . .
History . . .
1576
61
1516
Niccolo Circignani, called
Dalle Pomarance . .
Pomarance
History ....
1588
72
Lucas Krug, or Krugen .
InGermany
Painted and engraved
History, &c. .
1588
72
1518
Bartolomeo Genga . .
Urbino .
Girolamo Genga . .
History ....
1558
40
1519
Peter Aertsen ....
Amsterdam
Alaert Claessen . .
History, and Interiors
of Kitchens
1573
54
Sir Anthony More . . .
Utrecht .
John Schorel . . .
History and Portraits
1576
57
1520
Gaspar Becerra ....
James Bossius ....
Adrian Collaert ....
Antonio Fantuzzi, or Fon-
Baiza . .
In Flanders
M. Angelo Buonaroti
School of Marc Antonio
Raimondi ....
History ....
Engr. Hist, aud Port.
Engr. various subjects
1570
50
Viterbo .
Primaticcio ....
Engraved History .
Francis Floris ....
Antwerp .
Lambert Lombard
History ....
1570
50
Hubert Goltz, or Goltzius
Venloo
Lambert Lombard
Painted Hist, and en
graved Medals, &c.
1583
63
William Kay, or Key . .
Breda . .
Lambert Lombard
History and Portraits
1588
48
StephenLaulne,orStephanus
Engraved Hist. &c.
1560
48
Giulio Licinio,da Pordenone
Pordenone
Gio. Antonio Licinio .
History ....
Pedro deVillegas,Marmoleja
Marco da Pino ....
History ....
History ....
1599
79
Siena . .
Daniello da Volterra .
1587
07
Ercole Procaccini . . .
History ....
Bernard de Ricke . . .
History ....
Cristoforo Rosa ....
Perspective Views .
1576
56
Martin de Vos ....
Antwerp .
Francis Floris . . .
History and Portraits
1604
84
Francesco Terzi
Bergamo .
Gio. Batista Morani .
History ....
1600
80
1522
Pomponeo Allegri . . .
Coreggio .
Coreggio, and F. Maria
Rondani ....
History ....
1600
78
Bernardino Campi . . .
Cremona .
Ippolito Costa . . .
History ....
1592
7U
Paolo Farinato ....
Verona .
Niccolo Golfino . .
Painted and engraved
History ....
1606
84
Fray Nicolas Fator . .
Bernardino Lanini . . .
History ....
History ....
1583
(il
Vercelli .
Gaudenzio Ferrari
1578
56
Andrea Schiavone . . .
Sebenico .
Titian 
Painted and engraved
History ....
1582
00
15231524
Juan Bautista Juanes . ¦
Gio. Batista Fontana . ¦
Giorgio Ghisi, called Man-
History ....
Engraved History .
1579
56
Mantua .
Gio. Batista Ghisi
Engraved History and
Portraits . . .
1525
Romulo Cincinnato . .
Florence .
Francesco Salviati . .
History . . .
1600
75
Augustine Joris ....
Delft . .
James Mondt . . .
History ....
1552
27
Giuseppe Mazzuoli, called
11 Bastaruolo ....
Ferrara .
Dosso Dossi . . .
History ....
1589
64
Gio. Maria Verdizotti . .
Venice
Landsc. and Figures
1600
75
768

CHRONOLOGICAL INDEX.

Bom,
or llou- | Names of Painters and Engravers.
rished.

1525 Peter Woeriot

1526

1527

1528

1529

1530

Antonio Foler . .
Juan Fernandez Ximenes de
Navaretta, called El Mudo
Michele Alberti . . .
LucaCambiaso, orCangiagio
Cornelius Engelraems . .
Melchior Lorich, or Lorch

Pellegrino Tibaldi . . .
Mark Willems ....
Federigo' Baroccio . . .
Theodore de Bry, or Brie
Gio. Antonio Fasolo . .
Hans Sebald Lautersack .
Girolamo Muziano . . .
Luis de Vargas . . . .
Taddeo Zuccaro . . . .

Gaspar ab Avibus, or Pa-
tavinus 
Jacques de Backer . . .
Cesare Baglioni . . . .
Joachim Beuckelaer . .
Rene Boivin 

1531

Crispin Vanden Broeck
Gio. Batista Cavalleriis

Giles Coignet . . . .
Valerio Corte . . . .
Jean Cousin 
Adamo Ghisi, called Man-
tuano 

Bar-le-DucVeniceLogrono .
Borgo S. Se-
polero .
Genoa Mechlin .
Flensburg

BolognaMechlin Urbino

Liege . .
Vicenza .
Nuremburg AquafreddaSeville S. Angelo in
Vado

Padua Antwerp .
Bologna .
Antwerp .
Angers

Antwerp .
Near Bres
cia . .

Juan Labrador ....
Aurelio Luini ....
Baptista Parmensis . . .
Sigismondo Scarsella, called
Mondino 
Tommaso Lauretti . . .
Francesco Pagani . . .

Antwerp •
Venice Near Sens
Mantua .
Badajoz .
Milan
Parma Ferrara .
Palermo .
Florence .

Studied under.

Paolo Veronese . .
Vicente de Santo Do
mingo 

Daniello da Volterra
Giovanni Cambiaso

Bartolomeo Ramenghi
Michael Coxcie . .
Batista Veneziano . .

Bat. Zelotti, and Paolo
Veronese ....
Girolamo Romanino .
Studied at Rome . .
Studied the works of
Raffaelle ....
Giorgio Ghisi . . .
His father ....
His father ....
Peter Aertsen . .

Francis Floris

Antonio Palermo
Titian . . .

Morales . . .
Bernardino Luini

Paolo Veronese . .
Sebastiano del Piombo
Studied the works of
Polidoro da Caravag
gio 

Fainted or Engraved.

Engr. historical and
other subjects on
wood aud copper
History ....

History ....
History ....
History ....
History ....
Engraved various sub
jects on wood and
on copper . . .
History ....
History ....
Painted and engraved
History ....
Engraved a variety of
subjects . . .
History ....
Engr. Port.andLands.
Hist, and Landscapes
History and Portraits

History . . .
Engr. Hist, and Portr.
History ....
History, Animals,
Fruit, &c. . . .
Interiors of Kitchens
Engraved Portr. and
various subjects .
Painted aud engraved
History ....
Engraved Hist, and
various subjects .
Hist, and Landscapes
Portraits ....
-History ....
Engraved historical
subjects . . .
Flowers, Fruit, and
Still-life . . .
History ....
Engr. Hist, and Portr.
History ....
History ....

History

Died.

1616

1579

1585
1583

16001561
1612 1598
15721590 1590
1566 1566
156015901610 1610

16001580

1600
1593

16141610

1561

Aged

80

53

5856

733484
70

6262

37 36
306080 80

70
50

7063

84 79

30

CHRONOLOGICAL INDEX.

760

Born,

or flou
rished.
Names of Painters and Engravers.
Where born.
Studied under;
Painted or Engraved.
Die d.
Iged
1532
Anthony de Montfort,
Blocklandt ....
Montfort .
Francis Floris . . .
History ....
1583
51
Paolo Cagliari, called Paolo
Veronese 
Verona .
Antonio Badile . . .
History and Portraits
1588
56
Sebastiano Filippo, called
Gratella 
Ferrara .
M. Angelo Buonaroti
History ....
1602
70
Gio. Batista Lombardella,
called della Marca . .
Montenuo
vo . .
Marco Marchefti . .
History ....
1587
55
Orazzio Samacchini . .
Bologna .
Pellegrino Tibaldi . .
History ....
1577
45
Batista Zelotti ....
Verona
Antonio Badile . . .
History ....
1592
60
1533
Sofonisba Angosciola . .
Cremona
Bernardino Campi, and
Bernardo Gatti . .
History and Portraits
1626
93
Matteo da Sienna . . .
Dirk Barentsen ....
Lands, and Architect.
History and Portraits
1588 1592
55
1534
Amsterdam
His father and Titian
58
Luis de Carbajal . . .
Mechlin
Hist, and Landscapes
History . .
1593
1591
59
Toledo .
Juan de Villoldo . .
57
Lucas de Heere ....
Ghent .
Francis Floris . : .
History and Portraits
1584
50
1535
Alessandro Allori, called
Florence .
Agnolo Bronzino . .
History and Portraits
1607
72
Pablo Cespedes ....
Cordova .
Studied the works of
M. Angelo . . .
History ....
1608
73
Pietro Fachetti ....
Jerom Hopfer ....
History and Portraits
Engraved Portr. and
1613
78
Nuremberg
various subjects .
Girolamo Macchetti . .
Florence .
Giorgio Vasari . .
History ....
Giuseppe Porta, called Sal-
Castel Nuo
vo . .
Francesco Salviati . .
Painted History and
engraved on wood
1585
50
1536
Bernardo Buontalenti, call
ed Dalle Girandole . .
Florence .
Salviati, and Bronzino.
History ....
1606
70
Cornelius Cort ....
Hoorn
Jerome Cock . . .
Engr. Portr. Hist, and
various subjects .
1578
42
Maso Manzuoli, called Maso
di S. Friano ....
Florence .
Carlo Portelli . . .
History ....
1575
39
Cesare Nebbia ....
Orvieto .
Girolamo Muziano
History ....
1614
78
John Strada, or Stradanus
Bruges
Peter Aertsen . . .
History, Battles, and
Huntings . . .
1604
68
Philip Thomassin . . .
Troyes
Cornelius Cort . . .
Engr. Hist, and Portr
Giovanni de Vecchi . .
Borgo S. Se
polcro .
Raffaelle delle Colle,
aud Taddeo Zuccaro
History . .
1614
78
1537
Engraved Portr. and
various subjects .
Batista Naldini . . . .
Florence .
11 Pontormo, and An-
giolo Bronzino . .
History ....
1590
1538
Durante Alberti . . .
Borgo S. Se-
History ....
History ....
1613
75
Miguel Barrosso ... . .
Consuegra
Gaspar Becerra . .
1590
52
Francesso Curia . . . •
Naples .
Gio. Filippo Criscuolo
History ....
1610
72
Alessandro Fei, called Del
Florence .
RidolfoGhirlandaio.anc Tommaso Manzuoli
1 History ....
Citta S. Se
polcro .
Agnolo Bronzino, and
Baccio Bandinelli .
History ....
1603
05
Vol. II.
5 F
770

CHRONOLOGICAL INDEX.

Boru,
or flou-
rished.

1539

1540

Names of Painters and Engravers.

Dario Varotari .
Andrea Vicentino
Peter VIerick
Andrea Andreani

Livio Agresti
Peter Balten .

1541
1542
1543

1544

Peter Vander Borcht, the
elder 

Abraham Bruyn, or Bruin
Hans, or John Collaert
Cristofano Coriolano . .
Leon Daven, or Daris, or
Danet ......
Domenico Maria Fontana
Paolo Franceschi, called
Fiammingo ....
Raffaelle Guidi ....
Bartolomeo Passerotti . .
Stephen du Perac . . .
Francis Porbus, the elder
Martino Rota ....
Lorenzo Sabbatini, called
Lorenzino da Bologna .
Orazio Vecelli ....
Gerard de Jode ....
Arnold Mytens ....
Jacopo Zucchi ....
Bernardino Barbatelli, call
ed Poccetti ....
Lattanzio Gambara . . .
Domenico Campagnola
Jacopo Ligozzi ....
Gio. Francesco Surchi, call
ed Dielai .....
Federigo Zuccaro . . .
Giles Cooninxloo . . .
Jerome Franck, or Fracken
Francesco Morandini, call
ed II Poppi ....
Jacopo Palma, II Giovine

Verona .
VeniceCourtray .
Mantua .

Forli .
Antwerp
Brussels
Antwerp

Studied under.

Paolo Veronese
The elder Palma
II Tintoretto

Pierino del Vaga

Antwerp .
Nuremberg

In France
Parma . .

Adrian Collaert

In Flanders
Florence .
Bologna Paris .

Bruges
Sebenico .
Bologna .
VeniceAntwerp .
Brussels .
Florence .
Florence .
Brescia .
Padua . .
Verona .
Ferrara .
S. Angelo
in Vado
Antwerp .
Herenthals
Poppi . .
Venice

II Tintoretto . . .
Cornelius Cort, or Ag.
Caraeci . . . .
Taddeo Zuccaro . .

Peter Porbus

Studied the works of
Raffaelle ....
Titian 

Studied at Rome . .
Giorgio Vasari . . .
M. Ridolfo del Ghir-
landaio ....
Antonio Campi, and Gi
rolamo Romanino .
Titian 
Paolo Veronese . .

Dosso Dossi

Fainted or engraved.

Died.
15961614
1581

16231580
1611

History ....
History ....
History ....
Engraved History and
various subjects on
wood ....
History ....
Landscapes and vil
lage Festivals . .
Painted Landscapes,
and engraved va
rious subjects
Engraved Portr. and
various subjects .
Engr. various subjects
Engraved Portraits,
&c. on wood . .
Engr. Hist, and Portr.
Engraved History .

Hist, and Landscapes 1596

1622

Engraved History
History and Portraits
Painted and engraved
History ....
History, Landscapes,
and Animals .
Engr. Hist, and Portr

Taddeo Zuccaro
Giles Moestaert
Francis Floris .
Giorgio Vasari .
Antonio Palma .

History . .
History and Portraits
Engr. Hist, and Portr.
History ....
History ....

1595

1580

1577 37

Hist. Animals, &c.
History . . .
Painted and engraved
History and Lands
Painted and engraved
History ....
Hist.GrotesqueOrna- ments, and Landsc.
History and Portraits
Landscapes . .
History . . .
History . . .
Painted and engraved
History . . .

1576
1602
16121574
1G27
1590
1609
1628

Aged 577542

83
4071

56

55

40

36
6170
3284
47
66
84

CHRONOLOGICAL INDEX.

771

Born,

or flou
rished.
Names of Painters and Engravers.
Wliere born.
Studied under.
Painted or Engraved.
Died.
Aged
John Snellincks ....
History and Battles
1038 94
Tobias Stimmer . . .
Schaffhau-
Painted and engraver
Hist, and Portraits
1545
Padre Biagio Betti . . .
Gio. Batista Ricci, called
Pistoja
Daniello da Volterra .
History ....
1615
70
da Novarra ....
Novarra .
Raffaellino da Reggio
History ....
162(1
75
William Rogers ....
London
Engraved Portraits
Pedro de Rubiales . .
In Estrema
dura
Francesco Salviati
History . . .
Marco Vecelli, called Marco
Venice
Titian 
History ....
1611
6(S
1546
Francis Franck, tlie elder
Camillo Procaccini . . .
Antwerp .
Bologna .
Francis Floris . . .
Studied the works of
M. Angelo and Par
migiano ....
History ....
Painted and engraved
History . . .
1616
1626
70
80
George Hoefhagel . . .
Antwerp .
Studied in Italy . .
Views,Animals,Plants. &c. . . .
1600
54
Raffaellino del Colle .
Citta S. Se
polcro .
Raffaelle andG.Romano
History ....
Bartholomew Sprangher .
Antwerp .
John Madyn, and Fran.
Moestaert . .
History ....
1623
77
1547
Bartolome de Cordenas .
Nicholas Hilliard . . .
In Portugal
Exeter
Studied the works of
History ....
1606
59
Holbein ....
Portraits ....
1619
72
1548
Domenico delle Greche, or
Domenico Teoscopoli .
In Greece
Titian . ...
Painted and engraved
History ....
1625
77
Cornelius Ketel ....
Gouda
Anthony Blocklandt .
History and Portraits
1602
54
Francesco da Ponte, the
younger 
Bassano .
Giacomo da Ponte
History,Portraits, and
Rural Subjects .
1591
43
Giulio Cesare Procaccini .
Bologna .
Ercole Procaccini . .
History ....
1626
78
Charles Yanmander . .
Meulebeke
Lucas de Heere, and
I
P. Vlerick . . .
History ....
1606
58
Peter de Wit, called Peter
Bruges
Studied in Italy . .
History ....
1549
Giovanni Contarini . .
Venice
Studied the works of
History and Portraits
1605
5(5
Engraved historical
loot)
and other subjects
Pier Angiolo Basili . . .
Gubbio .
Cristofano Roncalli .
History ....
1604
54
Pietro Antonio Beruabei
j called della Casa . .
Parma
Studied the works of
Coreggio ....
History ....
Antwerp .
Studied in Italy
Landscapes . . .
1584
34
Michele Manchetti . . .
Genoa
Marco da Pino . . .
History ....
\lkniaer .
Francis Floris . .
History and Portraits
1604
54
! Domenico Mona, or Monna
Ferrara .
Giuseppe Mazzuoli .
History ....
1602
52
i Scipione Pulzoue, called
Gaeta . .
Jacopiuo del Conte .
History and Portraits
1588
38
Felice Riccio, called Bru-
, sasorci, the younger
Verona .
Jacopo Ligozzi . .
History . . .
1605
55
Christopher Schwarts . .
Engr. Hist, and Portr.
1600
50
Iugolstadt
History ....
1594
44
1 Henrv Steenwyck, the elder
Antwerp .
John de Vries . . .
Interiors of Churches
1
5F-2
and Temples . .
1603
53
772

CHRONOLOGICAL INDEX.

Born,
or flou
rished.

15501551

1552

1553

1554

Names of Painters and Engravers.

1555

John Wierix, or Wierinx
Francisco Zarrinena
Luigi Benfatto . . .
Teodosio Mingot . .
Francisco Ribalta . . .
Cherubino Alberti . .

Alessandro Casolani . .
Avanzino da Citta de Cas
tello 
Lavinia Fontana . . .
Francesco Padouanino
Cristoforo Roncalli, called
dalle Pomarance . . .
John Christopher Stimmer

Jerome Wierix, or Wierinx

Baldassare Croce
Geldorp Gortius,
Gualdorp . .

called

John Soens
Paul Bril .

Where born.

Amsterdam Valencia .
Verona InCataloniaCastellon de laPlana
Borgo S. Se
polcro .
Siena . .
Near Rome
Bologna .
Padua . .

Cesare Corte . . .
Jacopo Chimenti da Empoli
Wenceslaus Koeberger ".
Gio. Batista Paggi . . •
Anthony Wierix, or Wierinx
Denys Calvart ....
Lodovico Caraeci . . .
Francesco Montemezzano
Carlo Antonio Procaccini
Raphael Sadeler . . .
Antonio Tempesta . . .

Gio. Batista Trotti, called
II Malosso 
Vallenburgh 

1556

Giovanni Bizzelli .
John van Achen
Bartolomeo Cesi
Aurelio Lomi . .
Alessandro Maganza

PomaranceSchaffhaus en .
Amsterdam Bologna

Studied under.

Studied the works of
A. Durer ....
Titian 
Paolo Veronese . .
Gaspar Becerra . .
Juan Bautista Juanes
Michele Alberti . .
Cavaliere Roncalli
Niccolo Pomarance .
Prospero Fontana . .

Niccolo Circignano
Tobias Stimmer
John Wierix . .

Painted or Engraved.

Engr. Hist, and Portr.
History ....
History ....
History ....
History ....
Painted and engraved
Hist, and Portraits
History ....
History ....
History and Portraits
History and Portraits
History ....
Engraved various sub
jects on wood
Engr. Hist, and Portr.
History . . .

Louvain Bois le-Duc
Antwerp GenoaFlorenceAntwerp Genoa AmsterdamAntwerp .
Bologna .
Verona .
Bologna .
Brussels .
Florence .

Fran. Franck, and Fran.
Porbus ....
Giles Moestaert .
Matthew Bril . . .
Valerio Corte . . .
Tommaso Manzuoli .
Martin de Vos . . .
Luca Cambiasi . .
John Wierix . . .
Prospero Fontana, and
Lorenzo Sabbatini .
Prospero Fontana . .
Paolo Veronese
Ercole Procaccini . .
John Sadler ....
Santi di Titi, and John
Stradan ....

CremonaNuremberg

Florence Cologne Bologna Pisa .
Vicenza

Bernardino Campi
Studied the works of
Titian and P. Vero-

Alessandro Allori . .
Jerrigh, or George
Gio. Francesco Bezzi
Lodovico Cardi . .
Gio. Antonio Fasolo .

Died.

1624
161115901628

1615 16061629
16141617 1626

1628

History and Portraits
Landscapes .
Painted and engraved
Landscapes
History and Portraits
History . . .
History . . .
History Engr. Hist, and Portr.
History ....
Painted and engraved
History . . . .
History ....
Landscapes, Flowers,
and Fruit . . .
Engraved Hist. Portr,
and various subj ects
Painted and engraved
History and various
subjects . .
History . .. ,

History, Fairs, and
Festivals . . .
History ....
History and Portraits
History ....
History ....
History . . . .

1618

Aged

74
603977

63
54 776265 74

16261640 1634 1629

1619 1619 1600

1616

65

86 8075

646445

61

1630 75

16231612 1621 1629

6856 65 73

1630 74

CHRONOLOGICAL JNDEX.

773

Born,

- ¦ '

Or nou
rished.
Names of Painters and Engravers.
Where born.
Studied under.
Painted or Engraved.
Died.
Aged
Pietro Malombra . .
Venice
Giuseppe Porta . .
Hist, and Architect.
1618
62
In England
N. Hilliard, and F.
Zuccaro . .
Portr. in Miniature .
1617
61
Enea Salmeggia, called 11
Bergamo ;
Camillo Procaccini .
History ....
1626
70
Sienna
Cavaliere Passignano
History ....
1622
66
Lazzaro Tavarone . . .
Genoa
Luca Cambiaso . .
History ....
1614
58
Antonio Vassilacchi, called
Milo . .
Paolo Veronese
History ....
1629
73
Otho Venius, or van Veen
Leyden .
Judocus van Winghen
and Federigo Zuc-
History ....
1634
78
1557
Bernardo Castelli . . .
Genoa
Andrea Semini . .
History ....
1629
72
Gio. Batista Crespi . .
History, Animals, etc.
1633
76
Adam van Oort ....
Antwerp .
Lambrecht van Oort .
History ....
1641
84
Cosimo Piazza ....
Castel Fran
co . .
The younger Palma .
History ....
1621
64
Ventura Salimbeni . . .
Siena . .
Arcangiolo Salimbeni
Painted and engraved
History ....
1613
56
John de Waal ....
Antwerp .
Francis Frank .
History ....
1558
Giovanni Alberti . . .
Borgo S. Se
polcro .
Michele Alberti . .
Landsc. and Perspect.
1601
43
Jacques Bunel ....
Blois . .
Federigo Zuccaro
History ....
Agostino Caraeci . .
Bologna .
Prospero Fontana, and
Bartolomeo Passerotti
Painted and engiaved
Hist, and Portraits
1602
44
Belisario Corenzio . . .
Accaja
Tintoretto ....
History ....
1643
85
Henry Goltz, or Goltzius
Mulbrecht
Theodore Cuernhert
Painted and engraved
Hist, and Portraits
1617
59
Christopher Maurer . .
Zuric . .
Tobias Stimmer . .
Painted and engraved
Hist, and Animals
1614
56
Gregorio Pagani . . .
Florence .
Santi di Titi, and Lo
dovico Cardi . .
History ....
1605
47
Domenico Cresti, called
Passignano ....
Passignano
Batista Naldini, and F.
Zuccaro ....
History ....
1638
80
Leandro da Ponte, Bassano
Bassano .
Giacomo da Ponte
History and Portraits
1623
65
1559
Lodovico Cardi, called Ci-
Cigoli .
Aless. Allori, and San ¦
ti di Titi ....
Painted and engraved
History ....
1613
54
Francesco Cavazzoni . .
Bologna .
Barto. Passerotti, and
L. Caraeci . .
History ....
Antonio Scalvati . • •
Bologna .
Giacomo Lauretti
History and Portraits
1622
63
1560
Henry van Balen . . ¦
Bartolomeo Carducci . .
Antwerp .
Adam van Oort . .
History ....
1632
72
Florence .
Federigo Zuccaro . .
History ....
1610
50
Antonio Catalani, called
the Sicilian ....
Messina .
Studied the works of
F. Baroccio . . .
History ....
1630
70
Giuseppe Cesari, called
Antonio Circignani . . .
Arpino
Nicollo Pomarance
History ....
1640
80
Pomarance
Niccolo Circignani
History . . .
1620
60
Andrea Comodi ....
Florence .
Lodovico Cardi . .
History ....
1638
78
Bologna .
In the school of the
Caraeci ....
History ....
1602
42
Giacomo Franco . . .
Engr. Hist, and Portr.
Theodore Galle ....
Antwerp .
Philip Galle . . .
Engr. Hist, and Portr.
¦74

CHRONOLOGICAL INDEX.

Born,



or flou
rished.
Names of Painters and Engravers.
Where born.
Studied under.
Painted or Engraved.
Died.
Aged
Mark Gerards ....
Painted and engraved
Portr. and various
subjects . .
1635
75
Christopher Jamitzer . .
Nuremberg
Engr. Portraits and
various subjects .
Pedro Orrente ....
Monteale
gre . .
Giacomo Bassano . .
Hist, and Landscapes
1642
82
Crispin de Pass ....
Utrecht .
Theodore Cuernhert .
Engr. Hist. Portraits,
and various subjects
Diego Polo, the elder . .
Burgos
Patricio Caxes . . .
History ....
1600
40
Girolamo da Ponte . .
Bassano .
Giacomo Bassano . .
History ....
1622
62
Claudio Ridolfi ....
Verona .
Paolo Veronese . .
History and Portraits
1644
84
Pablo, or Juan de les Roeillas
Seville
Studied at Venice
History ....
1620
60
Fabrizio Santafede . . .
Naples
Francesco Santafede,
and Francesco Curia
History ....
Ippolito Scarsella, called
Lo Scarsellino . . .
Ferrara .
Giacomo Bassano, and
P. Veronese . . .
History and Portraits
1621
61
Bartolomeo Schidone . .
Modena .
In the school of the
Caraeci ....
History ....
1616
56
Marietta Robusti, called
Tintoretto 
Venice
Giacomo Robusti . .
Portraits ....
1590
30
Louis de Vadder . . .
Brussels .
Studied the works of
Titian 
Painted and engraved
Landscapes . .
1561
Lionardo Corona . . .
Cornelius Danckert, or
Murano .
Amsterdam
Rocco da S. Silvestro
History ....
Engraved Portr. and
various subjects .
1605
44
1562
Ferrau Fanzoue, or Faen-
Faenza
Cavaliere Vanni . .
History ....
1645
83
Cornelius van Haerlem
Haerlem .
Peter Aertsen, the
younger ....
History and Portraits
1638
76
Dominico Robusti, called
Venice
Giacomo Robusti . .
History and Portraits
1637
75
1563
Orazio Lomi, called Gen-
Pisa . .
Aurelio Lomi . . .
History ....
1647
84
Jodocus Hondius . . .
Engr. Portraits and
various subjects .
Francesco Vanni . . .
Sienna
Arcangiolo Salembini
Painted and engraved
History ....
1610
47
1564
Abraham Bloemaert . .
Gorcum .
Joseph de Beer . .
Hist, and Landscapes
1647
83
Bartolome Gonzalez . .
Valladolid
Patricio Caxes . . .
History and Portraits
1627
63
Matthew Greuter . . .
Strasburg
Hist. Portraits, Sec.
John Rottenhamer . . .
Munich .
Donower, and studied
in Italy ....
History ....
1606
42
1565
John Breughel, called Vel
vet Breughel ....
Brussels .
Peter Goekint . . .
Landscapes, Flowers,
and Fruit . . .
1642
77
Achille Calici ....
Bologna .
Prosp. Fontana, and L.
Caraeci ....
History • . . .
Augustin Castillo . . .
Seville
... ...
History ....
1626
61
•Dominick Custos . . .
Hist. Portraits, &c.
James Gheyn, or Ghein,
Antwerp .
Henry Goltzius . .
Hist. Portraits, &c.
1566 Domenico Carpinoni . .
Clusone .
The younger Palma .
History ....
16&8
92
Bartholomew Dolendo
Leyden . .
Henry Goltzius . .
Engraved Hist. &c.
CHRONOLOGICAL INDEX.

Born,
or flou
rished.

1567

1568

1569

1570

Names of Painters and Engravers.

Matthew Kager ....
Santo Peranda . . . .
Peter Cornelius de Ryck .
Agostino Tassi . . . .
Gysbert Venius, or van
Veen 
Tobias Verhaecht . . .
Francesco Villamena
Henry Cornelius de Vroom
Joachim Uytenwael . .
Martin Freminet . . .
Felice Pellegrini
Guglielmo Caccia, called
II Monalvo ....
Vincenzio Carducci . .
Nicholas Laniere . . .
Michael Janson Mirevelt .
M. Angelo Amerigi, called
da Caravaggio . . .
Carlo Bonone ....
Paolo Guidotti ....
Abraham Janssens . . .
Peter Isaacs 
Luccio Massari ....
Lucas Achtschelling . .
Andrew van Artevelt . .
Giles Backereel ....
Fabrizio Boschi . . .
Nicholas de Bruyn . .
Giulio Calvi, called II Co-
rouato 
Luca Cattapani ....
Henry de Clerc ....
Francesco Curradi . . .
James van Es ....
Cornelius Galle, the elder
Gio. Paolo Grazzini . .
Peter de Jode, the elder .
Christopher J. Vander La-
enen 
Thomas de Leu ....
Abraham Mathyssens . .
John Mulier 

Where born.

MunichVenice
Delft .
Perugia

Leyden .
Antwerp .
Assisi .
Haerlem .
Utrecht .
Paris .
Perugia .
Montabone Florence .
In Italy .
Delft . .
Caravaggio
Ferrara .
Lucca . .
Antwerp .
Helvezor .
Bologna .
Brussels .
Antwerp .
Antwerp .
Florence .
Antwerp .

CremonaCremonaBrusselsFlorence
Antwerp
Antwerp FerraraAntwerp
Antwerp

Studied under.

Studied in Italy . .
The younger Palma,and
Lionardo Corona .
James Willems, and H.
Jacobs 

Paul Bril

Paris . .
Antwerp .
Amsterdam

Cornelius Cort
Paul Bril . .

Joseph de Beer
His father . . .
Federigo Baroccio

Bartolomeo Carducci

Anthony de Montfort
Giuseppe d'Arpino
Giuseppe Mazzuoli .
Studied at Rome . .

Cornelius Ketel, and
John van Achen
Barto. Passerotti, and
Caraeci ....
Louis de Vadder . .

Domenico Cresti, Pas
signano . . . .
Abraham de Bruvn .

Gio. Batista Trotti .
In the school of the
Campi ....
Henry van Balen . .
Batista Naldini . .

Theodore Galle
Carlo Bonone .
Gerard de Jode

Painted or EngMvtd.

Painted and engraved
History .... 1634

Henry Goltzius

History . .
History and pastoral
subjects . . .
Sea-ports and Archi
tecture ....
Engr. Hist, and Portr.
Landscapes . . .
Engr. Hist, and Portr.
Tempests and Sea-
fights . . .
History ....
History ....
History ....
History ....
History ....
History and Portraits
History and Portraits
History ....
History . . .
History ....
History ....
History and Portraits
History ....
Landscapes . . .
Sea-pieces and Storms
History ....
History ....
Engraved Hist, and
various subjects .
History ....
History ....
History ....
History ....
Flowers, Birds, and
Fish 
Engr. Hist. Portr. &c.
History ....
Engr. Hist, and Portr.
Conversations and
gallant subjects .
Engr. Hist, and Portr.
Hist, and Landscapes
Engraved Hist, and
Portraits . . .

1638

1642

16311626

1619

16251638
16461841 1609
16321629

1633

1642

1596

1661

16321634

Aged 68
72
76

6560

52

57707873400360

64

72-

•26

91

62 G4

Hi

CHRONOLOGICAL INDEX.

Born,

or flou
rished.
Names of Paiuters and Engravers.
Where born.
Studied under.
Painted or Engraved.
Died.
Aged
Peter Neef, or Neefs, the
Henry Steenwyck, the.
Insides of Churches
and Temples . .
Francis Porbus, the younger
History and Portraits
1622
52
Gio. Mauro Rovere, called
11 Fiamminghino . . .
Milan
GiulioCesareProcaccin
History • . . .
1640
70
Giles Sadeler ....
Engr. Hist. Portr. &c,
1629
59
John Saenredam . . .
Leyden .
Henry Goltzius and
James de Gheyn .
Engr. Hist. Portr. &c
Anthony Salaert . . .
Painted Hist, and en
graved on wood .
1571
Francis Badens ....
Antwerp .
His father, and studiec
in Italy ....
Hist. Portraits, and
Conversations . .
Antiveduto Grammatica .
Near Rome
Domenico Perugino .
History ....
1626
55
James Matham ....
Haerlem .
Henry Goltzius . .
Engr. Hist. Portr. &c.
Dietrich Meyer ....
Painted and engraved
Hist, and Portraits
Pier Francesco Mazzuchelli,
called 11 Morazzone
Morazzone
History ....
1626
55
Paul Moreelze ....
Utrecht •
Michael Mirevelt . .
Hist. Portraits, and
Architecture . .
1572
John Bara, or Barra . .
In Holland
Engr. Hist. Portr. &c.
1573
Angiolo Caroselli . . .
Odoardo Fialetti . . .
Rome . .
Bologna .
M.Angelo daCaravaggio
Gio. Bat. Cremonini,
and 11 Tintoretto .
History and Portraits.
Painted and engraved
History . . .
1651
1638
78
65
Sebastian Franck . . .
Antwerp .
Adam van Oort . .
Landscapes, Battles,
<&c
1574
Francesco Brizzio, or Brie-
Bologna .
Bart. Passerotti, and L.
Caraeci ....
Painted and engraved
Hist. Landscapes,
Perspective, &c. .
Adam Elsheimer . .
Frankfort
Philip Offenbach . .
Landscapes, with his
torical subjects .
1620
46
Lucas Francois ....
History aud Portraits
1643
69
Bartolomeo Manfredi . .
Mantua .
Cristofano Roncalli .
History, Gamesters,
Banditti, &c. . .
Bologna .
Denys Calvart, and L.
Caraeci ....
Painted and engraved
History ....
1642
68
Peter Serwouter . . .
Engraved History and
various subjects .
Antonio Tanzi ....
History ....
1644
70
1575
Gio. Andrea Donducci, call
ed 11 Mastelletta . .
Bologna .
In the school of Caraeci
Hist, and Landscapes
1655
80
Phelipe Liano ....
Madrid .
Alonso Sanchez Coello
Portraits ....
1625
50
Nicholas Liemaeker, called
Ghent .
M. Gerards, and Otho
Venius ....
History ....
1647
72
Tiburzio Passerotti . .
Bologna .
Bartolomeo Passerotti
History ....
1612
37
Vincenzio Pellegrini . .
Perugia .
Federigo Baroccio
History . . . .
Marcello Provenzale . .
Cento . .
Paolo Rossetti . . .
Distinguished himself)
as a Mosaicist
1639
64
Tommaso Salini .... 1
Rome . . 1
Baccio Pintelli . . .
History, Flowers, and
Fruit .... |
1625
50
CHRONOLOGICAL INDEX.

Ill

Burn,
or flou
rished.

1576

Names of Painters and Engraver?.

Tommaso Sandrino . .
John Badens 
Giovanni Bilivert . . .
Gio. Batista Bissoni . .
Francisco de Herrera, the
elder .......
Henry Hondius, the elder
Theodore Kruger . . .

1577

Isaac Major 
Charles de Mallery . . .
Rutilio Manetti ....
Roland Savery ....
Lionello Spada ....
Paul Vansomer ....
| Maffeo da Verona . . .
Gio. Batista Viola . . .
Cristofano Allori, called
Bronzino 
Giacomo Cavedone . .
Eugenio Caxes ....
Gio. Batista Maganza, the

1578

1579

1580

younger . . .
Sir Peter Paul Rubens

Alessandro Tiarini . . .
Adam Willaerts ....
Francesco Albano . . .
Agostino Ciampelli . . .
Baccio Ciarpi ....
Baldassare Alloisi, called
Galanino . . . .
Martin Pepin . . .
Matteo Rosselli ....
Henry Staben ....
Giles van Tilburg, the elder
Tiberio Titi 
David Vinckenbooms . .
Castellino Castello . . .
Lucas Kilian ....
Donato Mascagni, called
Fra Arsenio ....
Francis Sneyders, or Snyders
Jacob Roger Block . .
Vol. II.

Brescia Antwerp
Florence
Padua

SevilleDuffel .
Munich .
Frankfort
Antwerp .
Siena . .
Courtray .
Bologna .
Antwerp .
Verona .
Bologna .
Florence .
Sassuolo .
Madrid .
Vicenza .
Cologne .

Bologna
AntwerpBolognaFlorence FlorenceBologna
Antwerp FlorenceAntwerpAntwerp

Florence .
Mechlin .
Turin . .
AugsbourgFlorence .
Antwerp .
Gouda

Studied under.

His father . .
Lodovico Cardi
Fran00 Apollodoro,
Dario Varotari

Luis Fernandez
John Wierix
Imitated the style
Villamena
Roland Savery .

ofF.

Francesco Vanni
James Savery .
In the school of
Caraeci . .

and

Paiuted or Engraved.

Died.

the

Luigi Benfatto .
Annibale Caraeci
Santi di Titi . .
Annibale Caraeci
Patricio Caxes .

Alessandro Maganza .
Adam van Oort, and
Otho Venius . .
Pros. Fontana, and Bar
tolomeo Cesi . .

D. Calvart and Caraeci
Santi di Titi . . .
Santi di Titi . . .
In the school of the
Caraeci ....
Studied in Italy . .
Gregorio Pagani, and
Passignano . .
II Tintoretto . .

Santi di Titi . .
Philip Vinckenbooms
Gio. Batista Paggi
Dominick Custos .
Jacopo Ligozzi . .
Henry van Balen . .
Studied in Italy
5G

Hist. andArchitecture
History and Portraits
History ....
History ....
History, Fairs, and
Markets . . .
Engr. Hist. Portr. &c.
Engraved History .
Painted and engraved
Landscapes, &c.
Engraved Hist, and
various subjects .
History ....
Landscapes, with Fi
gures and Animals
History ....
Portraits ....
History ....
Landscapes . . .
History and Portraits
History ....
History and Portraits
History ....
History, Portraits,
Landscapes, &c. .
History . .
Marines and Seaports
Hist, and Landscapes
History . . .
History . . .

History and Portraits
History ....
History ....
Interiors of Galleries
Flemish Wakes and
Festivals . . .
Portraits ....
Hist, and Landscapes
History and Portraits
Engr. Hist, and Portr.
History ....
Animals, Huntings,
Fruit, &c. . . .
Perspective and Ar
chitecture . . .

1631 1613
16441636

1656

163716391622
16211618 1622
1621 1660 16421617
1640166816401666 16401642
1638

1650
1650

1637
1649 1636
1657

563768
60

JtO

61 6346454246
44 83 6540
639163 8802 64 60

7272

5970
57 78

778

CHRONOLOGICAL INDEX.

Born,

or flou.
risbed.
Nanaes of Painters and Engravers.
Where born.
Studied nnder.
Painted or Engraved.
Died.
Aged
Daniel Block ....
Stettin
Jacob Scherer . . .
Portraits .... 1661
81
Michael Le Blond . . .
Frankfort
Engraved Historyand
various subjects .
Conelius Boel ....
Antwerp. .
In the school of the
Sadelers ....
Engraved Battles and
various subjects .
Boetius Adam Bolswert .
Engr. Hist. Portr. &c.
Orazio Borgiani ....
Rome . .
Giulio Borgiani . .
Painted and Engrav
ed History . .
1618
38
Andrea Boscoli ....
Florence .
Santi di Titi . - .
History and Portraits
Gio. Domenico Cappellino
Genoa
Gio. Batista Paggi
History ....
1651
71
Giambatista Caracciulo .
Naples
Franco Imparato, and
M.Angelo Caravaggio
History ....
1641
61;
Jacob Gerritze Cuyp . .
Dort . .
Abraham Bloemaert .
Landscapes, with Fi
William James Delft,, or
gures and Cattle .
Delft . .
Jacob Delft ....
Painted and- engrav
ed Portraits . .
James Fouquieres . . .
Antwerp .
John Breughel . . .
Landscapes . . .
1659
79
Francis Franck, the younger
Antwerp .
FrancisFranck,the elder
History . ... ,
1642
62
Lorenzo Garbieri, called 11
Bologna .
Lodovico Caraeci. -. .
History ....
1654
74
Pietro Paolo Bonzi, called
IlGobbo 
Cortona- .
In the school of the
Caraeci ....
Hist. Landsc. Fruit.
1640
60
Nicholas Vander Heck
Hague
John Naeghel . . .
Hist, and Landscapes
Fray Augustin Leonardo .
History and Portraits 1640
60
History and Portraits
Jodocus Momper . . .
Landscapes . . .
Antwerp .
Philip Gall& . . .
Engr. sacred subjects
Francisco Pacheco .
Seville
Louis Fernandez . .
History- . . . ,
1654
74
Bernardino Passero, or Pas-
Rome

Painted and engraved
History . . .
History, Portraits, and
Gerard Peters ....
Amsterdam
James Lenards . . .
Conversations
John van Ravesteyn . .
Portraits ....
Camillo Ricci ....
Ferrara .
Lo Scarcellino . . .
History 
1618
38;
Giacomo Sementi . . .
Bologna ..
D. Calvart, and Guido
History .....
Adrian Stalbent ....
Landscapes and Views
Lucas Vorsterman, the elder
Antwerp .
Engraved History and
Portraits . . .
»
1581
Sisto Badalocchio- . . .
James de Bye, or Bie . .
ParmaAntwerp .
In the school of the
Caraeci ....
In the school of tlie
Collaerts ....
Painted and engraved
History. . . .
Engraved History and
Portraits . . .
-
Deodato Delmont . . .
St. Tron .
History ....
1634
53
Domenico Zampieri, called
Domenichino ....
Bologna .
D. Calvart, and the
Caraeci. . . . „
Hist, and Landscapes
1641
60
Wolfgang Kilian . • .
Augsbourg
Dominick Custos . ;
Engraved History and
Portraits . . .
History ....
Giovanni Lanfranco . .
Parma
Agostino Caraeci . .
1647
66.
Peter Lastman ....
Haerlem .
Cornelius Cornelisz .
Painted and engraved
Bernardo Strozzi, called II
History . . .
Cappuccino ....
Genoa
Pietro Sorri . . . j
History ....
1644
63
CHRONOLOGICAL INDEX.

¦771)

or flou
rished.

1582

Names of Painters and Engravers.

William van Swanenburg
Remigio Cantagallina .

Gaspar de Crayer .
Ottavio Padouanino
Alessandro Turchi .
David Teniers, the elder

Simon Vouet

1583 Paolo Biancucci
Henry Vander Borcht
Antonio Caraeci, called II
Gobbo ....
Giles Hondecooter

1584

1585

Gio. Andrea Ansaldo
Jacopo Apollonio .

David Baili

Juan del Castillo
Giacinto Gilioli . .
Francis Hals . . .
William van Nieulant

John W'ildens
Simone Barabbino
Barbe ....

Bartolomeo Coriolano . .
Henry, Count de Goudt .
Ottavio Leoni, or Lioni .
Crispin de Passe, the younger
Carlo Saracino, called Ve
neziano 

Massimo Stanzione . . .
Cesare Torelli ....
Ottavio Vannini . . . .
Filippo Zanimberti . . .
Scheltius a Bolswert . .
Theodore Raphael Camp-
huvsen 

Where born.

Studied under.

LeydenFlorence

Antwerp
Padua .
Verona
Antwerp Paris .
Lucca .
Brussels

Venice Utrecht
Voltri .
BassanoLeyden Seville
Bologna MechlinAntwerp

AntwerpGenoaAntwerp

Bologna UtrechtRome .

Utrecht

VeniceNaples
Rome .
Florence
Brescia Bolswert

Gorcum

John Saenredam . .
In the school of the
Caraeci ....
Raphael Coxcie . .
Francesco Padouanino
Felice Riccio . . .
Rubens 
His father, and studied
in Italy ....
Guido Reni ....
Giles Valkenborg . .

Annibale Caraeci .

Orazio Cambiasi . .
Giacomo da Ponte, da
Bassano . . .

Luis de Vargas . . .
In the school of the
Caraeci . • . .
Karel van Mander
Roland Savery, and
Paul Bril ....

Bernardo Castelli . .
In the school of the
Wierixes . . . .
Under the Caraeci

Crispin de Passe, the
elder 
Camillo Mariani . .
Gio.Batista Caracciuolo
Giovanni de Vecchi
Gio Batista Mercati
and Dom. Passignano
Santo Peranda . .
Rubens ....

Dietric Govertze .
6 G '2

Painted or Engraved.

Engraved History,
Portraits, &c.
Engraved various sub
jects 
History ....
History and Portraits
History ....
Merrymakings, For
tune-Tellers, &c. .
History and Portraits
History ....
Painted Flowers and
Fruit, and engraved
various subjects .
History ....
Landscapes, Birds,
and Fowls . . .
History ....
History ....
Portraits, and insides
of Churches . .
History ....
History ....
Portraits ....
Painted and engraved
Landscapes
Landscapes . . .
History ....
Engraved historical
subjects . . .
Engraved historical
subjects . .
Engraved subjects
after Elsheimer .
Painted and engraved
History and Por
traits ....
Engraved History and
Portraits . .
History . . .
History . . .
History . . .
History . . .
History . . .
Engraved History,
Portraits, Land
scapes, &c. . .
Land scapes,a ud Vie ws
of the Rhine .

Died.

16691634 1648

1641 1653

16601618

1638

1654

Aged

87
5266

5970

77
35

54

70

54

1638 1640i 56
i
1605 81
1666 82

1644i 60

1656

1643 1636

71

5851

780

CHRONOLOGICAL INDEX.

Born,

— ...,.

|

or flou
rished.

Names of Painters and Engravers.

Where born.

Studied under.

Painted or Engraved.

Died. 1 Aged

1586

Francesco da Castello . .

In Flanders

History ....
1636
50
George Jamesone .
Aberdeen
In the school of Rubens
History, Portraits, anc
Landscapes . .
1638
52
Antonio de Lanchares
Madrid .
Eugenio Caxes . . .
History ....
1658
72
Gio. Stefano Marucelli
In Umbria
Andrea Boscoli . .
History ....
1646
60
Pietro Medici ....
Florence .
Lodovico Cardi . ,
History ....
1648
62
Cornelius Poelemburg . .
Utrecht .
Abraham Bloemaert .
Landscapes, with Fi
gures ....
1660
74
Tiberio Tinelli . . . .
Venice
Gio. Contarini, and Le
1638
52
1587
Francesco Allegrini, called
Gubbio .
andro Bassano . .
Guiseppe Cesari D'Ar-
History and Portraits
History ....
1663
76
John Le Clerc ....
Nancy
Carlo Saracino, called
Veneziano . . .
Painted and engraved
History ....
1633
46
Juan de la Corte . . .
Landscapes, Battles,
and Perspective .
1660
73
Antonio L'Horfelin . . .
Saragossa
Studied the works of M.
Angelo and Raffaelle
History ....
1660
73
Ravenna .
Luigi del Friso . .
History ....
1631
44
1588
Marc Antonio Bassetti
Verona
..Felice Riccio . . .
History ....
1630
42
Peter van Broukhorst . .
Delft
Interiors of Churches
and Temples . .
1661
73
Francesco Gessi ....
Bologna .
Guido Reni ....
History ....
1649
61
Henry Hondi us, the younger
London .
Henry Hondius, the
Engraved Portraits .
Giaco. Antonio Santagostino
Milan . .
Giulio Cesare Procac-
History ....
1648
60
James Ernest Thomas . .
Hagelstein
Adam Elsheimer . .
Landscapes, with Fi
gures ....
1653
65*
Henry Verbruggen . . .
Utrecht .
Abraham Bloemaert .
History ....
1640
52
1589
Domenico Feti ....
Domenico Fiasella, called
Rome . .
Lodovico Cardi . .
History ....
1624
35
Sarzana .
Gio. Batista Paggi
History and Portraits
1669
80
Bartolomeo Gennari . .
Cento . .
Guercino ....
History ....
1658
69
Dirk Hals 
Mechlin .
Abraham Bloemaert .
Animals, Huntings,
and Festivals . .
1656
67
Samuel Hofman ....
Zuric . .
History, Portraits,
Fruit, &c. . . .
1648
59
Michael Natalis ....
Liege . .
Charles Mallery . .
Engraved Portraits
and History . . .
Sinibaldo Scorza . . .
Voltaggio
Gio. Batista Paggi
History, Landscapes,
and Animals . .
1631
42
Gerard Segers, or Seghers
Antwerp .
Henry van Balen and
Abraham Janssens
History ....
1651
62
Josef Ribera, called 11 Spag-
Xativa
M. Angelo da Cara
vaggio 
Painted and engraved
Henry Steenwyck, the
History ....
1656
67
Antwerp .
Henry Steenwyck, the
Interiors of Churches
and Temples . .
John Torrentius . . .
Amsterdam
Conversations and
free subjects . .
1640
51
Alonso Vasquez ....
Ronda
Luis de Vargas . . .
History ....
1650
61
1590
Luciano Borzone . . .
Genoa
Filippo Bertolotti
Painted and engraved
Hist, and Portraits
Giovaunj Campino . .
Camerino |
Abraham Janssens
History ....
CHRONOLOGICAL INDEX.

781

Boru,

or flou
rished.
Names of Painters and Engravers.
Where born.
studied under.
Painted or Engraved.
Died.
1630
Aged
Giovanni Carloni . . .
Genoa
Passignano ....
History ....
40
Bartolomeo Cavarazzi, call
ed Crescenzi ....
Viterbo .
Cavaliere Roncalli
History ....
1625
35
Gio. Batista Coriolano . .
Bologna .
Gio. Lodovico Valesio
Painted History, and
engraved on wood
and copper . .
Daniello Crespi ....
Milan . .
Giulio Cesare Procac-
History ....
1630
40
Gio. Batista Discepoli . .
Lugano .
Camillo Procaccini
History ....
1660
70
Simon Frisius ....
Leuwarde
Engr. various subjects
Artemisia Gentileschi . .
Rome .
Orazio Gentileschi
History and Portraits
1642
52
Peter Grebber ....
Haerlem .
Henry Goltzius . .
History and Portraits
Gio. Francesco Barbieri,
called Guercino . . .
Cento . .
Gio. Batista Cremonini
History ....
1666
76
Cornelius Janssen . , .
Amsterdam
... ....
Portraits ....
1665
75
Adrian van Linschooten .
Delft . .
Studied in Italy . .
History ....
1678
88
John van Londersell . .
Bruges
Nicholas de Bruyn
Engr. various subjects
Andrea Mainardi . . .
Cremona .
Bernardino Campi
History ....
Giovannni Mannozzi . .
San Giovan
ni . .
Matteo Rosselli . .
History ....
1638
48
Peter van Mol ....
Antwerp .
History ....
1650
60
Cremona .
Andrea Mainardi, and
Guido Reni . . .
History ....
1683
93
William de Passe . . .
Utrecht .
Crispin de Passe . .
History and Portraits
Francis Perrier ....
Macon
Giovanni Lanfranco .
Painted and engraved
Hist. Portraits, &c.
1660
70
Niccolo Trometto Pesaro
Pesaro
Federigo Zucarro . .
History ....
1660
70
Mario Righetti ....
Bologna .
Lucio Massari .
History ....
Courtray
Roland Savery . . .
Painted and engraved
Landscapes . .
Daniel Segers, or Seghers
Antwerp .
John Breughel . . .
Flowers and Fruit .
1660
70
Peter Soutman ....
Haerlem .
Painted and engraved
Alessandro Varotari, called
Hist. Portraits, &c.
11 Padouanino . . .
Padua
Studied the works of
History ....
1650
60
Esais Vande Velde . . .
Leyden .
Peter Denyn . . .
Painted and engraved
Landsc. andBattles
Claude Vignon . . . .
Tours .
Studied the works of
M. Angelo da Cara
vaggio 
Painted and engraved
History . . .
1670
80
Matteo Zaccolini . . .
Perspective Views .
1630
40
1591
Domenico Bruni ....
Sir Balthasr Gerbier . .
Brescia .
Tommaso Sandrini
Architectural Views
Portraits in Miniature
1666
75
Gio. Antonio Lelli . . .
Rome . .
Lodovico Cardi . .
History ....
1640
49
Martin Ryckaert . . .
Antwerp .
Tobias Verhaecht . .
Landscapes and Views
1636
45
Lucas de Waal ....
Antwerp .
John Breughel . . .
Landscapes and Bat
tles 
1676
85
1592
Francisco Lopez Caro . .
Pietro Damini ....
Seville
Castelfran-
Pablo de las Roellas .
History and Portraits
1662
70
co . .
Gio. Batista Novelli .
History ....
1631
39
Gerard Honthorst, called
Gherardo dalle Notti .
Utrecht .
Abraham Bloemaert .
Historical subjects by
torchlight . . .
1660
68
Jacopo Vignali ....
Florence .
Matteo Rosselli . .
History ....
1664
72
1593
Nancy
Cantagallina and Philip
Thomasin . '. .
Engraved Portr. and
various subjects .
1635
42
782

CHRONOLOGICAL INDEX.

Born,

or flou
rished.
Names of Painters and Engravers.
Where born.
Studied under.
Painted or Engraved.
Died.
Aged
Girolamo Cialdieri ... 1
Urbino
Claudio Ridolfi . .
Hist, and Landscapes
Matthew Merian, the elder
Basle . .
Dietrich Meyer . .
Engr. Portraits and
Ercole Sarti, called 11 Muto
various subjects .
1651
58
Ficarola .
Carlo Bonone . . .
History . » . .
1637
40
Peter Snayers ....
Antwerp .
Henry van Balen . .
History, Portraits, and
Battles ....
1670
77
1594
Charles Audran ....
Adrian de Bie ....
Paris . .
Liere . .
Studied the works of
C. Bloemaert . .
Wouter Abts, and Ro
dolph Schoof . .
Engraved History,
Portraits, &c.
History and Portraits
1674
80
Gio. Batista Carloni . .
Genoa
Passignano ....
History ....
1680
86
Antonio Maria Fabrizzi .
Perugia .
Annibale Caraeci . .
History ....
1649
55
Luis Fernandez ....
Madrid .
Eugenio Caxes
History ....
1654
60
Jacob Jordaens ....
Antwerp .
Adam van Oort . .
History and fabulous
subjects . , .
1678
84
Juan Bautista Mayno . .
Toledo
Domenico delleGrecche
History ....
1654
60
Nicholas Poussin . . .
Andely
Quintin Varin . . .
Hist, and Landscapes
1665
71
Andrea Sacchi ....
Rome . .
Francesco Albano . .
History ....
1661
67
Near Tole
do . .
Domenico delleGrecche
History ....
1649
55
Don Diego Velasquez . .
Seville
F. Herrera, and F.
Pacheco ....
History and Portraits
1660
66
Cornelius de Waal . . .
Antwerp .
John de Waal . . .
History and Battles
1663
68
Francesco Zugni ....
Brescia
Giacomo Palma . .
History ....
1636
42
1595
Barcelona
Eugenio Caxes . . .
History ....
1693
98
Francesco Caraeci . . .
Bologna .
Lodovico Caraeci.
Painted and engraved
History . . .
1622
27
Cesare Dandini ....
Florence .
Passignano, and C. Al-
History ....
1658
63
Pietro Desani ....
Bologna .
Lionella Spada . . .
History ....
1657
62
Antonio Giarola, or Gerola
Verona
Guido and Albano
History ....
1665
70
TVtirViapl I.asne
Engraved History and
Portraits . . .
iTiik/Uai.1 xjaoiAv. ....
Francesco Parone . . .
Milan
His father ....
History ....
1634
39
Francesco Rustici . . .
Siena . .
Francesco Vanni . .
History ....
1625
30
Vincenzio Spisano, called
Lo Spisanelli ....
Orta . .
Denys Calvart . . .
History ....
1662
67
Lucas Vanuden ....
Antwerp .
His father ....
Painted and engraved
Landscapes . .
1660
65
John van de Vtlde . . .
Painted and engraved
Landscapes and va
rious subjects . .
1596
Pietro Antonio Barbieri .
Flowers, Fruit, Game,
and Fish . . .
1640
44
Gregorio Bausa ....
Mallorca .
Francisco Ribalta
History ....
1656
60
Camillo Berlinghieri, called
11 Ferraresino ....
Ferrara .
Carlo Bononi . . .
History . : . .
1635
39
Leonard Bramer . . .
Delft . .
Studied in Italy . .
History ....
Peter Brebiette ....
Painted and engravec
History ....
Antonio Catalani, called 11
Bologna .
Francesco Albano
History ....
Nicholas Chaperon . j. .
Chateau- dun
Simon Vouet . . .
Engr. Hist, and Portr
Pietro Berretini, daCortons
i Cortona .
Baccio Ciarpi . . .
History ....
1669
73
Pedro Cuquet ....
Barcelona
History ....
1666
70
CHRONOLOGICAL INDEX.

783

Born,
or flou
rished.

1597

Names of Painters and Engravers.

Studied under.

John van Goyen ....
Peter Mirevelt ....
Paul Pontius 
Ercole Procaccini, juniore
James Stella 
Raffaelle Vanni . . . .
Robert Vander Voerts . .
Francisco Zurbaran . .
Giacomo di Calstro . . .
Lodovico Lana ....
Tommaso Luini ....
John Parcelles ....

1598

1599

Leyden Delft .
Antwerp Milan .
LyonsSiena- .
ArnheimNear Seville
Sorrento ModenaRome .
Leyden

John Pinas ....
Roland Rogman . .
Theodore Rombouts .
Antonio dal Sole . .
Justus Subtermans . .
Francesco Cairo . .
Alessandro Algardi
Gio. Andrea de Ferrari
Matthias Fuessli . .
j Don Juan Galvan . . .
! Pedro de Obregon . . .
I Orazio Riminaldi . . .
Bartolome Roman . . .
Andrea Vaccaro ....
Christoval Vela ....
Daniel Vertangen . . .
Francisco Collantes . .
Hubert Jacobsz, called Gri
mani 
John Miel 

Sir Anthony Vandyck . .
Gio. Batista Vanni . . .
Juan Luis Zambrano . .
3 Filippo dAngeli . .
Michele Angelo Cerquozzi,
called dalle Battaglie
Michele Angelo Colonna .

HaerlemAmsterdam Antwerp .
Bologna .
Antwerp .
Varese Bologna .
Genoa Zurich Lo.esia
Madrid .
Pisa . .
Madrid .
NaplesJaen . .
HagueMadrid ,

Esais vande Velde
Mich. Janson Mirevelt
Lucas Vorsterman
GiulioCesareProcaccini His father, and studied
in Italy ....
Antonio Caraeci . .

Delft . .
Near Ant
werp . .
Antwerp .
Florence .
Cordova .
Rome . .
Rome . .
Ravenna .

Pablo de las Roelas
Gio. Batista Caracciuoli
Ippolito Scarcellino .
Studied the works of M
Angelo da Caravaggio
Henry Cornelius de
Vrooms ....
Studied in Italy . .

Abraham Janssens
Francesco Albano . .
William de Vos . .
Pier Francesco Moraz
zone 
Giulio Cesare Conventi

Painted tor Engraved.

Landscapes and Views
Portraits ....
Engr. Hist, and Portr.
History ....
History ....
History 
Engraved Portraits .
History ....
History ....
History ....

Bernardo Castelli,
B. Strozzi
Gothard Ringgli

and

Studied at Rome . .
Vincenzio Carducci .
Orazio Lomi, Genti
leschi 
Vincenzio Carducci, and
Velasquez . . .
Massimo Stanzione
P. de Cespedes, and
Vincenzio Carducci
Cornelius Poelemburg

Studied at Venice
Gerard Segers .

Rubens ....
Cristoforo Allori .
Pablo de Cespedes

Pietro Paolo Bonzi
Gabrielle Ferrantini,
and Girolamo Curti

History . . .
Painted and engr. Sea-
pieces and Storms
History and Portraits
Painted and engraved
Landscapes
History, Concerts, and
Merry-makings .
Landsc. and Figures
History and Portraits
History ....
Engraved History and
various subjects
HistoryBattles and Conflagra
tions 
History ....
History ....
History ....
History ....
History ....
History ....
Landsc. with Figures
Hist, and Landscapes
Portraits ....
History, Fairs, Festi
vals, &c. . . .
History and Portraits
Painted and engraved
History ....
History ....
Landsc. and Battles
Battles, Fairs, and?
Festivals . . .
Perspective Views .

1656
16321676 1647

166216871646 1632

AgerT 60368051

6590 49 35

16371677 1681 1674

1669
166516581658 16301659 1670 1658 1656 1628

1664 1641

1639 1640

1660
1687

40 80 84 76

71976000 32 61 72 60 5729

6542

4040

60 87

784

CHRONOLOGICAL INDEX.

Born,
or flou
rished.

1600

Names of Painters and Engravers.

Giovacchino Axareto . .
Giuseppe Badaracco . .
Antonio Ricci, called Barba
Iunga . ... . . .
John William Baur . . .
James Blanchard . . .
J. G. Blecker ....
Frederick Bloemaert . .
William de Buytenweg
Guido Cagnacci ....
Giuseppe Caletti . . :
Alonso Cano 

Dancker Danckert . . .
Jacinto Jeronimo de Espi-
nosa 
John Baptist Franck . .
Cornelius Galle, the younger
John Frederick Greuter .
John David de Heem . .
John van Hoeck . . .
Claude Gelee, of Lorraine
John Louys, or Loys . .
Giuseppino da Macerata .
Andrea Malinconico . .
Vincenzio Manenti . . .
Theodore Matham . . .
Gio. Batista Mercati . .
Peter Molyn, the elder
Francesco Montelatici . .
Peter Neef, the younger .
Pier Martire Negri . . .
John van Nes 
Jacob van Oost ....
Giovanni Paderna . . .
William Panneels . . .
Gio. Batista Pasqualini
Francesco di Rosa, called
Pacicco 
Cornelius Schut ....

Where boru.

GenoaGenoa Messina .
Strasburg Paris . .
Haerlem .

Utrecht .
Rotterdam

Castel Du
rante .
Ferrara .
Grenada .
Antwerp .
Valencia .
Antwerp .
Antwerp .
Rome . .
Utrecht .
Antwerp .
Chamagne
Antwerp .
Macerata .
Naples Canimorto Haerlem .
Citta S . Se
polcro .

Haerlem .
Florence .
Antwerp .
Cremona
Dort .
BrugesBologna .
Antwerp Cento
Naples Antwerp

Studied under.

Gio. Andrea Ansaldi
Gio. Andrea Ansaldi
Domenichino . .
Frederick Brendel .
Nicholas Botteri .

Abraham Bloemaert

Guido Reni . . .
Studied the works of
Titian 
Francesco Pacheco, and
Juan del Castillo
Cornelius Danckert

Francisco Ribalta
Sebastian Franck
His father . .
Matthew Greuter
His father . .

Rubens . .
Agostino Tassi
Peter Soutman

Agostino Caraeci . .
Massimo Stanzioni
Giuseppe Cesari, and
Domenichino
Cornelius Bloemaert .

Pietro da Cortona

Giovanni Bilivert
His father . .
Gio. Batista Trotti
Michael J. Mirevelt
Studied in Italy
Girolamo Curti

Rubens .
Ciro Ferri

Massimo Stanzione
Rubens . . . .

Painted or Engraved.

History ....
History ....
History ....
Views, and engraved
various subjects .
Painted and engraved
History . . .
Engraved History and
Landscapes
Engr. various subjects
Painted Conversations
and Landscapes,
and engraved . .
History ....
History ....
History ....
Engr. Landsc. &c. .
History ....
Interiors of Galleries,
and Conversations
Engr. Hist, and Portr.
Engr. Hist. Portr.&c.
Flowers, Fruit, Vases,
&c 
History and Portraits
Landc. and Sea-ports
Engraved History,
Portraits, &c. . .
History ....
History ....
History 
Engraved History and
Portraits . . .
Painted and engraved
History . . .
Painted and engraved
Landscapes . .
History ....
Insides of Churches
and Temples . .
History ....
History and Portraits
History and Portraits
Perspective and Ar
chitecture . . .
Engr. Hist, and Portr.
Painted and engraved
History . . .
History . . .
Painted and engraved
History . .

1649 1657

1638

1680

1660

1676

1680

1674 1650 1682

1674

1661

16501671
1640

16541660

Aged 4957

38

80

60

76

80

74 s

74

61

507140

54 60

CHRONOLOGICAL INDEX.

785

-Born ,
or fioa-
¦-fished

1601

1602

1603

1604

Names of Painters and Engravers.

Christopher van Sichem
Peter van Sompel . .
Jonas Suyderhoef . .
Terenzio Terenzi, da Urbino
Rombout van Troyen .
Orazio Vajano . . .
Peter Valentin . . .

Nicholas John Visscher

Studied under.

Paul de Vos . .
John Writdoeck .
John Wynants
Giulio Benso . .
Andrea Camassei
Claude Mellan .
Angelo Nardi
Peter Nolpe . .

Peter Oliver

Solomon Savery .
Francis Stella
Evert van Aalst, or Aelst .
Felix Castello ....
Costanza Cattanio . . .
Philip de Champagne . .
Justus van Egmont . . .
Sebastian Martinez . .
Peter Quast 
Carlo Ridolfi. . .' . .
Simon Peter Tillemans
Mario Nuzzi, called Mario
di Fiori 
Pietro Paolini ....
Cristobal Garcia Salmeron
Simon de Vos ....
Peter John van Ascli . .
Connelius Bloemaert .
John van Bronkhorst . .

Amsterdam
Antwerp .
Leyden .
Urbino
Antwerp .

Florence .
Colomiers en Brie
Amsterdam

Alost .
AntwerpHaerlem
Genoa Bevagna

Henry Goltzius
Peter Soutman . .
Peter Soutman . .
Federigo Baroccio
Studied in Italy

Simon Vouet

Francis Snyders

Abbeville
In Italy .
Hague . .

London .
Amsterdam
Lyons .
Delft . .

MadridFerrara
BrusselsLeydenJaen .
Hague

Vicenza
Bremen Penna .
Lucca .
Cuenca
AntwerpDelft .
UtrechtUtrecht

Gio Batista Paggi . .
Domenichino, and A.
Sacchi 
Simon Vouet . . .
Paolo Veronese . .

Isaac Oliver

James Stella

Vincenzio Carducci
Ippolito Scarcellino,and
Guido Reni . .

Rubens

Antonio Del Castillo . . Seville
Michael Corneille, the elder Paris .
John Cosiers ..... Antwerp
.Francesco Curti .... Bolon a
Nicholas Knufer, or Knuffer; Leipsic
Mario Balassi .... I Florence
Vol. II.

Antonio Vassilacchi
Studied in Italy
Tommaso Salini
Angelo Caroselli .
Pedro Orrente . .
Rubens ....

Crispin de Passe .
John Verburg .
Francisco Zurbaran
Simon Vouet . .
Cornelius de Vos .

Abraham Bloemaert .
Roselli, and D. Passig
nano 
5H

Painted or Engraved.

Engr. Hist, and Portr-
on wood and copper
Engr. Hist, and Portr.
Engr. Hist. Portr. and
various subjects .
History ....
Architectural Views
and Ruins . . . 1650
History . . .
History, Concerts,
Gamesters, &c. . 1632
Engraved Portr. and
various subjects .
Animals and Huntings
Engraved History
Landscapes . . . 1670
Hist, and Perspective 1668
History .... 1648
Engr. Hist, and Portr. 1688
History in Spain . 1660
Engr. Hist. Portr. and
various subjects .
History and Portraits
in Miniature . . 1660
Engr. Hist, and Portr.
History . . . . ;j.«;i
Game, Armour, Vases,
&c  1658
History .... 1656
History .... 1665
History and Portraits 1674
History .... 1674
History .... 1667
Painted and engraved
Drolls, Beggars,&c.
History and Portraits 1660
Portr. andLandscapes
Flowers and Fruit . 1673
History, Conversa
tions, &c. . . . 1681
History and Animals 1666
History and Portraits
Landscapes . . .
Engr. Hist, and Portr. 1680
Painted on glass, and
engraved . . .
History ....
Painted and engraved
History ....
History ....
Engr. Hist, and Portr.
History and Battles 1660

Aged

History

1667 63

50

32

70
67
47 87
59

59
60
56
54
63
72 72
65
53
7078
63
77 64

57

786'

CHRONOLOGICAL INDEX.

Born,
01 flou
rished.

Names of Painters and Engravers.

Where born.

Studied under.

Painted or Engraved.

Died.

Aged

Camillo Congio ....
Fraricisco Fernandez . .

Engraved History .
History ....

Madrid .
Bartolomeo Carducci
1646
42
Francesco Furini . . .
Florence .
Roselli, and D. Passig-
History ....
1646
42
Daniel van Heil ....
Brussels
Landscapes and Con
flagrations . . .
William Honthorst . . .
Utrecht .
Abraham Bloemaert .
History and Portraits
1683
79
Christian van Kowenberg
Delft . .
John van Es . . . .
History . . . . '
1667
63
John Anthony Leisnian
In Germany
Studied in Italy . .
Hist. Portr. Landsc. „
Anthony Palamedes Stae-
and Sea-ports . .
1698
94
Francis Vander Steen . .
Delft
Conversations . .
Engr. Hist. Portr. &c.
1680
76
1*»05
Ottavio Amiconi . . .
Brescia
Antonio Gandini . .
History ....
1661
56
Annibale Cas'telli . . .
Bologna .
Pietro Faccini . . .
History ....
Carlo Cornara ....
Milan . .
Camillo Procaccini
History 
1673
68
Francesco Cozza . . .
Istilo . .
Domenichino . . .
History . . . .
1682
77
Charles David ....
Engraved History and
various subjects .
Luca de Ferrari ....
Reggio .
Guido Reni ....
History . . . .
1654
49
Felice Ficherelli ....
Florence .
Jacopo Empoli . . .
History ....
1660
55
Padua . .
Alessandro Varotari .
History ....
1687
82
Rodolph Meyer ....
Zuric . .
John Meyer ....
Painted and engraved
Gio. Batista Salvi, called II
Hist, and Portraits
Sassoferrato ....
Sassoferrato
Tarquinio Salvi . .
History ....
1685
80
Pietro Vecchia ....
Venice
Alessandro Varotari .
Banditti, Corps-de-
Lucas Vorsterman, the
Galrdes, &c. . .
1678
73
Antwerp .
His father ....
Engr. Hist, and Portr.
Francesco Zucco . . .
Bergamo . ,
Pietro Moroni . . .
History and Portraits
1627
22
K06
John Boulanger ....
Troyes
Guido Reni ... .
History ....
1660
54
Gio. Domenico Cerrini
Perugia .
Guido Reni ....
History ....
1681
75
Peter Clouet, or Clowet .
Antwerp .
Spierre and Bloemaert
Engr. Hist. Portr. &c.
Dort . .
Jacob Gerritze Cuyp .
Landscapes, Cattle,
Sea-pieces, Frost-
pieces, &c. . .
Caesar van Everdingen
Alkmaer .
John van Bronkhorst .
History and Portraits
Orazio Ferrari ....
Voltri
Gio. Andrea Ansaldi .
History ....
1657
51
Peter Francois ....
Mechlin .
His father, andG.Segers
History and Portraits
1654
48
Simon Francois ....
Louis Primo, called Gentile
Portraits ....
History and Portraits
16711670
65
Brussels .
Studied at Rome . .
04
Gio. Francesco Grimaldi,
called 11 Bolognese . .
Bologna .
The Caraeci . . . i
Painted and engraved
Landscapes . .
1680
74
Lawrence de la Hire . .
Paris . .
Stephen de la Hire .
Painted and engraved
Hist. Landsc. &c.
1656
50
Peter de Jode, the younger
Antwerp .
His father ....
Engr. Hist, and Portr.
Lorenzo Lippi ....
Florence .
Studied the works of S.
History ....
1664
58
Henry Mauperche . . .
Painted and engraved
Hist, and Landsc.
Monnicks, or Monnix . .
Bois-le-Duc
Studied at Rome . .
Architectural Views,
Markets, &c. . .
1686
80
Egbert van Panderen . .
Engraved Hist, and
various subjects .
London .
Simon de Pass . . .
Engraved Portr. and
Various subjects
1647
41
Francis Lucas Peters . .
Mechlin .
Gerard Segers . . .
Landsc. and Figures
1654
48
Pablo Pontons ....
Valencia . 'i
Pedro Orrente . . .
History a"nd Portraits
1670
64.
CHRONOLOGICAL INDEX.

787

Born,
or flou
rished.

Names of Painters and Engravers.

Rembrandt van Ryn
Pietro Ricchi, called
Lucchese . . .

1607

Joachim de Sandrart

Francisco Varela
Cornelius Zachtleven

Vincenzio Dandini .
Abraham Diepenbeck
Israel Henriet . .
Wenceslaus Hollar .

John Lievens

1608

1609

Where born.

Alfonso Rivarola, called II
Chenda .....
Anna Maria Schurmans
Palamedes Staevaerts . .
Theodore van Thulden
Remi Vuibert ....
Emanuel de Wit ....
Adrian Brower . . . :
Salvi Castellucci . . .
Josse Craesbecke . . .
Gio. Stefano Danedi . .
Jerome David ....
Nicholas Mignard . . .
Carlo Francesco Nuvolone
Gerard Terburg . . .
Henry van Vliet . . .
Jacob de Backer . . .
Louis Boullongne, the elder

Near Ley
den . ,
Lucca . .
Frankfort

Seville . .
Rotterdam

Florence
Bois-le-Duc
Naney .
Prague Leyden

FerraraUtrecht London

Studied under,

Painted or Engraved.

Jacob van Zwaanenburg
Passignano and Guido
Reni 
Matthew Merian and T.
de Bry, and Gerard
Honthorst . .
Pablo de las Roelas

Carlo Ceresa ....
Solomon Coninck . .
Samuel Cooper . . .
Bertram de Fouchier .
Bernardino Gagliardi .

Bois-le-Duc
Paris . .
Alkmaer .
Haerlem .
Arezzo .
Brussels .
Treviglio .
Paris . .
Troyes Milan . .
Zwoll . .
Delft . .
HarlingenParis . .

Pietro da Cortona .
Rubens . . . .
Antonio Tempesta

History.Portraits, and
Landscapes
History . . .

Matthew Merian

Peter Lastman

Carlo Bononi

Bergamo .
Amsterdam
London .
Bergen-op- Zoom .
Citta di Cas
tello

Rubens ....
Simon Vouet . .
Evert van Aelst
Francis Hals . .
Pietro da Cortona .
Adrian Brower
Cavaline Morazzone

Studied the works of
Primaticcio . . .
GiulioCesareProcacciniHis father . . .
William van Vliet .

Daniello Crespi
Nicholas Moyaert
John Hoskins .
A. Vandyck . .
Avanzino Nucci
5H2

History ....
History ....
Interiors of Farm
houses and Kitch
ens, Drunken Fro-
licks, &c. . . .
History ....
History ....
Engraved Views and
various subjects .
Engraved History,
Portraits, Views,
and various subjects
Painted and engraved
History, Portr. and
various subjects .
History ....
Portraits, &c. . .
Battles and Attacks
of Robbers . .
History, and Village
Festivals . . .
Painted and engraved
History ....
Interiors of Churches
and Temples . .
Drunken Frolics and
Quarrels . . .
History ....
Drolls and Drunken
Frolics ....
History "...
Engr. Hist, and Portr.
History ....
History and Portraits
Domestic subjects,
and Musical Parties
Portraits and Interiors
of Churches . .
History and Portraits
Painted and engraved
History ....
History and Portraits
Painted and engraved
Hist, and Portraits
Portraits in Miniature
History and Drolls
History . . .

Died.
1674
1675

1688
1656

167516751661

1677
1640 1678
16381676
1692
164016721688
1689

1668
16611681

1651
16741679

1672
1674 1660

Aged 63
69

8250

68
63
54

70
3371 31
69
85
326430
81

0053
73

42
6570

63
65 51

788

CHRONOLOGICAL INDEX.

Born,

i

¦  '
or flou
rished.
Names of Painters and Engravers.
Where born.
Studied under.
Painted or Engraved.
Died.
Aged.
John Baptist van Heil . .
History and Portraits
Robert van Hoeck . . .
Historv, Landscapes,
Battles, &c, . .
Nicholas Lastman . . .
Haerlem .
John Pinas ....
Engr. Hist, and Portr.
Peter van Lint . . . .
Antwerp .
Studied at Rome . .
History and Portraits
Agostino Mitelli . . .
Bologna .
In the school of the
Caraeci ....
Painted and engraved
architectural sub-
1660
51
Pietro Francesco Mola
Coldra .
Giuseppe Cesari, and
F. Albano . . .
Hist. and Landscapes
1665
50
Erasmus Quellinus . . .
Antwerp .
History and Portraits
1678
69
Giulio Cesare Veuenti . .
Bologna .
Filippo Brizio . . .
Engr.Hist.andLand sc.
Danielle da Volterra . .
Volterra .
Gio. Antonio Razzi, and
Bal. Peruzzi . , .
History ....
1666
57
Herman Zachtleven . . .
Rotterdam
John van Goyen . .
Landscapes and Views
on the Rhine . .
1685
76
1610
M. Angelo Campidoglio .
Rome . .
Fioravanti ....
Flowers and Fruit .
1670
60
Antwerp .
Esais Vande Velde
Landscapes andViews
1660
50
Stefano della Bella . . .
Florence .
Cautagallina . . .
Engraved History and
various subjects .
1664
54
James Bellange ....
Chalons .
Claude Henriet . .
Engraved History .
Domenico de Benedettis .
InPiedmont
Fabrizio Santafede, and
Guido Reni . . .
History ....
1678
68
John van Bockhorst, called
Langen Jan ....
Munster .
Jacob Jordaens . .
History and Portraits
Abraham Bosse ....
Tours . .
Imitated the style of
Callot 
Engr. Hist. Portr. and
various subjects .
Utrecht .
Abraham Bloemaert .
Landscapes .
1650
40
Giuseppe Cremonese . .
Painted and engraved
History ....
1660
50
Engr. Hist, and Portr.
William Dobson . . .
London .
Robert Peake . . .
History and Portraits
1646
36
Anthony Vander Does . .
Engr. Hist, and Portr.
Edward Eckman . . .
Mechlin .
Imitated the style of
Callot 
Engraved various sub
jects on wood . .
Giacomo Giorgetti . . .
Assisi . .
Giovanni Lanfranco .
History ....
Gregory Huret ....
Juriaen Jacobsz
Engr. Hist, and Portr.
Hamburg
Francis Snyders . .
Hist. Portr. Animals,
and Huntings . .
1664
54
Leonard Vander. Koogen .
Haerlem .
Jacob Jordaens. . .
Conversations, and
Boors regaling
1681
71
Francesco Lauri . . . .
Rome . .
Andrea Sacchi . . .
History ....
1635
25
Don Simon de Leon Leal .
Madrid .
Pedro de las Cuevas .
History and Portraits
1687
77
William de Leuw . . .
Antwerp .
Peter Soutman . . .
Engr. Hist. Portr. and
various subjects .
Peter Mignard ....
Troyes
Simon Vouet . . .
History and Portraits
1695
85
Gio. Batista Monti . . .
Genoa
Luciano Borzoni . .
History and Portraits
1657
47
Pedro de Moya ....
Granada .
Juan del Castello . .
History ....
1666
56
Adrian van Ostade . . .
Lubeck .
Francis Hals . . .
Painted and engraved
Boors regaling, Inte
Juan de Pareja ....
In South
riors of Kitchens,&c.
1685
75
America
Studied the works of
1
Velasquez . . .
History and Portraits
1670
60
> Gio. Batista Passeri . .
Rome . .
Domenichino . . .
History, Portraits,
i
dead Game, &c.
1679
69
CHRONOLOGICAL INDEX.

789

Burn,
or lion.
ri.hed.

Names of Painteis aud Engravers.

Pietro del Po

1611

James Pornia . . .
John de Reyn . .
Raffaelle Scaminossi

Gio. Andrea Sirani
Dirk, or Theodore Stoop
David Teniers, the younger

John Thomas ....
Francis Tortebat . . .
William Vande Velde, the
elder 
Cornelius Visscher . . .
John George van Vliet
John van Balen ....
Don Sebastian de Herrera
Barnuevo 
Ferdinand Bol ....
Gio. Batista Bolognini . .
Giulio Carpioni . . . •
Gio. Francesco Cassana .
Baldassare Franceschini .
Cha. Alphonse du Fresnoy
Giacinto Gimignanl . .
Adrian Hanneman . . .
Minderhout Hobbema . .
Francesco Quaini . . .
Christopher Storer . . .
Pietro Testa 

Studied under.

1612

Palermo .
Workum .
Dunkirk .
Borgo S. Se
polcro .
Bologna .
In Holland
Antwerp .

Ypres .
Paris .

Juan de Toledo ....
Mark de Bye, or Bie . .
Simone Cantarini, called Si
mone da Pesaro . . .

Emelraet . . . .
Domenico Garguoli
Peter Janssens . .
Lorenzo Loli .

Peter Lombard .
Domenico Maroli
Jusepe Martinez

Domenichino . .
Wybrant de Gheest
Anthony Vandyck
Raffaellino del Colle
Guido Reni . . .

Hisfather, andA.Brower

Rubens . .
Simon Vouet

Painted or Engraved.

Leyden .
Haerlem .
Delft . .
Antwerp .
Madrid Dort . .
Bologna .
Venice Genoa Volterra .
Paris . .
Pistoja Hague
Haerlem .
Bologna .
ConstanceLucca . .

Lorca . .
HaguePesaro
Antwerp .
Naples Amsterdam
Bologna .
Paris . .
Messina .
Saragossa

Peter Soutman . . .
Rembrandt ....
Henry van Balen . .
Alonso Cano . . .
Rembrandt ....
Guido Reni ....
Alessando Varotari
Bernardo Strozzi . .
M. Rosselli, and Gio
vanni de S. Giovanni
Simon Vouet . . .
N. Poussin, and P. da
Cortona ....
John Ravesteyn . ..

Agostino Mitelli . .
Ercole Procaccini . .
Domenichino, and P.
da Cortona . . .
Anniello Falcone . .
J. Vander Does . .
Guido Reni . . . .
Studied at Rome . .
Anniello Falcone . .
John van Bronckhorst
Guido Reni . . . .
Simon Vouet . . .
Antonio Ricci . . .
Studied at Rome . .

Painted and engraved
History ....
History and Portraits
History and Portraits
Painted and engraved
History ....
Painted and engraved
History ....
Painted and engraved
Landsc. and Horses
Painted and engraved
Landscapes and
Merry-makings
History . . .
Painted and engraved
History and Portr.
Shipping and Sea-
fights ....
Engraved Hist. Portr.
and various subjects
Engr. Hist. Portr. &c.
History ....
History ....
Painted and engraved
Hist. Portraits, &c.
Painted and engraved
History ....
Hist, and Bacchanals
History and Portraits
History ....
History ....
History ....
History and Portraits
Landscapes . . .
Architectural Views
History ....
Painted and engraved
History, &c. . .
History, Battles, and
Sea-pieces . . .
Painted and engraved
Landsc. and Cattle
Painted and engraved
History . . .
Landscapes . .
Hist, and Landscapes
History on Glass
Painted and engraved
History ....
Engr. Hist, and Portr
History ....
History . . '. .

Died.

16921684 1678

1670

1694

1693

1671

1688
1674 16911689
16651680 16801680 1671

1650

1665

1648 1679
1672

16741682

Aged

82
7468

GO

84

83

00

770330 78546969 0900

39

54

30 0700

0270

79a

CHRONOLOGICAL INDEX.

Born,
or flou
rished.

Names of Painters and Engravers.

Where born.

Studied under.

Painted or Bograved.

i Died.

Aged

John Meyssens ....

Brussels .

Anthony van Opstal .

Painted and engravec
Hist, and Portraits

John Morin 
Paris . .
Philip de Champagne
Engr. Hist, and Portr.
Bartolomeo Palombo . .
Rome . .
Pietro da Cortona . .
History ....
In Holland
Battles, Huntings, and
Sea-ports .
1686
74
Simon de Vlieger . . .
Amsterdam
Sea-pieces andLandsc
Renier Zeeman ....
Amsterdam
Painted and engravec
Views and Sea-
pieces ....
1613
Jaques Artois ....
Thos. Willeborts Boschaert
Brussels .
Bergen-op-
John Wildens . . .
Landscapes . . .
1665
52
Zoom .
Gerard Segers . . .
History ....
1656
43
Giovanni Maria Bottala .
Savona
Pietro da Cortona . .
History ....
1644
31
John Boulanger ....
Troyes

Engr. Hist, and Portr.
Gerard Douw ....
Leyden .
Rembrandt ....
Portraits and domes
tic subjects . .
1674
61
Bartholomew Vander Heist
History and Portraits
1670
57
Peter de Laer, called Bam-
i
Laaren
Studied in Italy . .
Fairs, Huntings, &c.
1673
60
Otho Marcellis ....
Amsterdam
Reptiles, Insects, and
Plants ....
1673
60
Juan de Montero . . .
Madrid .
Pedro de las Cuevas .
History ....
1680
67
Bartolome Estevan Murillo
Seville
Don Diego Velasquez
History and Portraits
1685
72
Gio. Paolo Oderico . .
Genoa
Domenico Fiasella
History and Portraits
1657
44
Simon de Pass ....
Utrecht .
Crispin de Pass . .
Engraved Portr. and
various subjects .
Gaspar Poussin ....
Rome . .
Nicholas Poussin . .
Landscapes . . .
1675
62
Mattia Preti, called 11 Cala-
Taverna .
Gio. Lanfranco, and
Guercino ....
History ....
1699
86
Antonio Travi, called II
Sordo di Sestri . . .
Sestri . .
Bernardo Strozzi . .
Landscapes • . .
1668
55
Abraham Willaerts . . .
Utrecht .
John Bylaert, and Si
mon Vouet . . .
History ....
1660
47
1614
John Almeloven ....
Iu Holland
Engraved Portraits
and Landscapes .
Baldassare Bianchi . . .
Bologna .
Giovanni Paderna . .
History ....
1679
65
Don Juan Carrenno . .
Abiles . .
Pedro de las Cuevas .
History and Portraits
1685
71
Bertholet Flemael . . .
Liege . .
Gerard Douffliet . .
History ....
Govaert Flink ....
Cleves
Rembrandt ....
History and Portraits
1660
46
Pedro Nunnez . • . .
Seville .
Guercino ....
History ....
1654
40
Bonaventura Peters .
Sea-pieces and Storms
Engr. Hist, and Portr.
History.Portraits, and
1652
38
f-rilpQ Tt nnsjcipllpt .
' Mll.l lWllOJC.lll.1 ....
Nicholas de Helt Stoccade
Nimuegen
Martin Ryckaert . .
Landscapes . .
Pedro Valpuesta . . .
Osma . .
Eugenio Caxes . . .
History ....
1668
54
Thiiips Vnnlno
History and Portraits
Hist, and Landscapes
1670
56
viilllV'O T uUlVv • * • ¦
Francis Wouters ....
Liere . .
1659
45
1615
Matthias Vanden Berg
Benjamin Cuyp ....
Ipres . .
Dort . .
Studied the works of
Rembrandt . . .
History ....
History ....
Giovanni Fulco ....
Messina .
Massimo Stanzione
History ....
1680
65
Abbeville
Claude Mellan . . .
Engr. Hist, and Portr.
Gabriel Metzu ....
Domestic subjects
and Conversations
1658
43
John Dughet, called Poussin
Rome .
Nicholas Poussin . .
Engraved History .
CHRONOLOGICAL INDEX.

791

Born, |

¦

" ' 1

or flou
rished.

Names of Painters and Engravers.

Where born.

Studied under.

Painted or Engraved.

Died. Aged

Arnold van Ravesteyn

Hague

John van Ravesteyn .

Portraits ....

Salvatore Rosa ....
Naples
Anniello Falcone .
Hist, and Landscapes
1673
58
David Ryckaert ....
Antwerp .
Martin Ryckaert . .
Peasants regaling.Mu-
sical Parties, &c.
Louis Testelin ....
Paris . .
Simon Vouet . . .
Painted and engraved
History
1655
40
1616
Sebastian Bourdon . . .
Gio. Benedetto Castiglione
Montpelier
Genoa . .
Studied in Italy . .
Gio. Batista Paggi, and
Gio. Andrea di Ferrari
Painted and engraved
History and Lands.
Hist. Lands, with Ani
mals, and etched
1671 1670
5554
Pier Francesco Cittadini .
Milan
Guido Reni ....
History, Fruit, Flow
ers, Game, &c. .
1681
65
Florence .
Jacopo Vignali . . .
History ....
1686
70
Onofrio Gabriello . . .
Messina .
Antonio Ricci, and P.
da Cortona . . .
History ....
1706
90
Lndolph de Jong . . .
Overschie
C. Zachtleven, and John
Bylaert ....
Portraits, Huntings,
and Battles . .
1697
81
John Jordaens ....
Delft . .
Studied in Italy . .
History ....
Solomon Ruysdael . ; .
Lands, and Views .
1670
54
Luigi Scarramuccia . . .
Perugia .
Guido Reni ....
Painted and engraved
History ....
1680
64
Giles van Schagen . . .
Alkmaer .
Solomon van Raven-
Dutch Kitchens and
Conversations
1668
52
Amsterdam
Studied in Italy . .
Portraits, Landscapes,
and Views . . .
1676
60
Thomas Wyck ....
Fairs, Markets, and
Sea-ports . . .
1686
70
1617
Thomas Blanchet . . .
Gio. Agnolo Canini . .
Paris . .
Rome . .
Andrea Sacchi . . .
Domenichino, and Bar
History ....
1689
72
balunga ....
History ....
1666
49
Bernardino Capitelli . .
Siena . .
Alessandro Casolani .
Painted and engraved
History ....
Michael Dorigny . . .
St. Quintin
Simon Vouet . . .
Painted and engraved
History . . .
1665
48
Sir Peter Lely . . . .
Soest . .
Peter Grebber . . .
History, but chiefly
Portraits . . .
1680
63
Isaac van Ostade . . .
Lubeck .
Adrian van Ostade .
Landscapes, and Win
ter pieces .
Tutin Ip Pmiti-p
Engraved various sub-
J\JU11 It A OU 11 t. ....
1682
65
Giacomo Piccini . . .
Engr. Hist, and Portr.
Pavia . .
Studied the works of
Paolo Veronese . .
History ....
1706
89
Gio. Francesco Romanelli
Viterbo .
Pietro da Cortona
History ....
1662
45
Eustachius Le Sueur . .
Paris . .
Simon Vouet .
History ....
1655
38
1618
Gallarate
Cavaliere Morazone .
History ....
1688 70
Francis Chaveau . . .
Paris . .
Lawrence de la Hyre
Engraved History and
various subjects .
1676 58
Gonzales Coques . . .
Antwerp .
David Ryckaert . .
Small Portraits . .
1684 66
Gioseffo Danedi ....
Treviglio .
Guido Reni ....
History ....
1688
70
Conrad Meyer ....
Zuric . .
Matthew Merian . .
Painted History and
Portraits, and en
graved various sub
jects ....
1689
71
792

CHRONOLOGICAL INDEX.

Born,or flou-
-rishert.

1619

1620

Names of PainterB and Engravers.

Niccolo Musso

Gio. Pietro Possenti . .
Josef Sarabia 
Abraham Vanden Tempel

John Philip van Thielen
Anthony Waterloo . .
Charles Le Brun . .
Nicholas Cochin . .
James William Delft
Philip de Koning . .
Pietro Montanini . .
Arnold Vander Neer
John Henry Schoenfeld

John Spilberg
William van Aelst
Stephen Baudet .
Cornelius Bega .

Clemente Bocciardo
Gio. Batista Bonacina
Ippolito Borghese .
Geronimo de Bovadilla
Frederick Boutats .

Bartholomew Breemberg
Dom. Maria Canuti
Gio. Batista Cavazza
Cornelius van Delen
Francis Deloram
Ignacio de Iriarte .
Theodore Kessell .
Nicholas Lauwers .
Arnold Maas . . .

Juan Beautista Mazo
Henry Naiwinck
Jurian Ovens . .
Gabriel Perellc . .

Where born.

Casalmon- ferrato .
Bologna .
SevilleLeyden .
Mechlin .
Utrecht .
Paris . .
Troyes .
Delft . .
AmsterdamPerugia .
Amsterdam Biberach .

DusseldorpDelft . .
Blois . .
Haerlem .

Genoa
Milan . .
Naples Antequera

Antwerp

Studied under.

M. Angelo da Caravag
g'° 
Benedetto Possenti
Francisco Zurbaran .
George van Schooten
Daniel Segers . . .

Simon Vouet . .
James Callot . .
Michael Mirevelt .
Rembrandt . . .
Ciro Ferri, and Sal.Rosa
John Sichelbein

Govaert Flink . .
Evert van Aelst
Studied at Rome .
Adrian van Ostade
Bernardo Strozzi :

Francesco Curia .
Francisco Zurbaran

Utrecht .
Bologna .
Bologna .
Antwerp .
London .
Biscay

Antwerp
Leuze .
Gouda

Madrid Utrecht Amsterdam Paris . .

Studied in Italy . .
Guido Reni . . .
Cavedone, and Guido
Cornelius Visscher

Francisco de Herrera,
the elder ....

Paul Pontius . .
David Teniers, the
younger . . . .
Don Diego Velasquez

Rembrandt .

Painted or Engraved.

Died

History . . .
History and Battles
History . . .
History,Portraits, and
Conversations .
Flowers . . .
Painted and engraved
Landscapes
History . . .
Engraved History and
various subjects
Painted and engraved
Portraits . . .
History and Portraits
Landscapes . . .
Views by Moonlight
Painted History, and
engraved various
subjects . . .
History and Portraits
Dead Game and Still-
life 
Engraved Hist. Portr.
and Landscapes
Painted and engraved
Dutch Peasants re
galing ....
History ....
Engr. Hist, and Portr.
History ....
Hist, and Perspective
Views ....
Engraved Portr. and
various subjects .
Landsc. with Figures
Painted and engraved
History and Portr.
Painted and engraved
History ....
Engr. Hist, and Portr.
Engraved Portraits
Landscapes . . .
Engr. Hist. Portr. &c.
Engr. Hist, and Portr,
Painted Wakes and
Festivals . . .
Painted Hist. Portr.
and Landscapes .
Painted and etched
Landscapes . .
Portr. and subjects
by torchlight . .
Engraved Landscapes

1669
1672 1667

1690

168916891683

16891690 16791691

1664 1658

1680 1660

1685

Aged

1670

51
5449

71

70
7064

70
715971

44 38

6040

65

50

CHRONOLOGICAL index.

793

Bom,

or flou
rished.
NameB of Painters and Engravers.
Where born.
Studied under.
Painted or Engraved.
Died.
Aged
Andrea Podesta ....
Genoa
Gio. Andrea Ferrari .
Painted and engravec
History ....
History ....
Diego Polo, the younger .
Burgos
Antonio Lanchares
1655
35
Francis Post 
Haerlem .
John Post ....
Painted and engravec
Views ....
1680
60
Nicholas Ryckman . . .
Antwerp .
Paul Pontius , . .
Engraved History .
Herman Swanevelt . . .
Woerden
G. Douw, and studied
in Italy, under Claude
Painted and engraved
Sebastian Vouillemont . .
Bar-sur- Aube .
Daniel Rabel . . .
Landscapes
Engraved historical
subjects, &c. . .
1690
70
Philip Wowermans . . .
Haerlem .
John Wynants . . .
Huntings, Horse- fairs,
Halts of Cavalry,&c. 1668
48
Gio. Batista Zampezzo
Cittadello
Jacopo Apollonio . .
History ....
1700
80
1621
Jacopo Chiavistelli . . .
Florence .
M. Angelo Colonna .
Perspective and Ar
chitectural Views
1698
77
Francis Colignon . . .
Nancy
James Callot . . .
History and Views .
Jacopo Cortese, called 11
Borgognone ....
St. Hippo-
lyte . .
Studied the works of
Giulio Romano . .
Painted and engraved
Battles ....
1676
55
Gerbrant Vanden Eeckhout
Amsterdam
Rembrandt ....
History and Portraits
1674
53
Aldert van Everdingen . .
Alkmaer .
Roland Savery, and
Peter Molyn . .
Painted and etched
Landscapes, Water
falls, and Sea-pieces
1675
54
Cornelius Maan ....
Delft . .
Studied in Italy . .
History and Portraits
1706
85
MatthewMerian.theyounger
Basle . .
Rubens, aud Vandyck
History and Portraits
G iulio Cesare Milani . .
Bologna .
Flaminio Torre
History ....
1678
57
Adam Pynaker ....
Pynaker .
Studied in Italy . .
Landscapes . . .
1673
52
Domenico Santi ....
Bologna .
Agostino Mitelli . .
Perspective and Ar
chitectural Views
1694
73
Israel Silvestre ....
Nancy
Israel Henriot . . .
Engr. various subjects
1691
70
Flaminio Torre ....
Bologna .
Cavedone, and Guido
Painted and engraved
History
John Baptist Weeninx . .
Amsterdam
Abraham Bloemaert .
Hist. Portr. Landsc.
H. Martin Rokes, called
Sea-ports, &c.
1660
3.9
Zorg 
Rotterdam
David Teniers, the
younger ....
Peasants regaling, and
conversations .
1682
61
1622
Dominique Barriere . .
Marseilles
Studied at Rome . .
Engr. various subjects
Bernardo Cavallino . . .
Naples
Massimo Stanzioni
History ....
1656
34
DonDiegoGonzalez de Vega
Madrid .
Francisco Rici . . .
History ....
1697
75
Francisco de Herrera, the
Seville
His father ....
History/Flowers, and
Fish 
1685
63
Melchior Kusell ....
Augsbourg
Matthew Merian . .
Engr. Portraits and
Various subjects .
Gio. Maria Morandi . .
Florence .
Giovanni Bilivert . .
History and Portraits
1717
95
Emanuel Murant . . .
Amsterdam
Philip Wowermans
Views and Buildings
Francis Poilly, the elder .
Abbeville
Peter Daret ....
Engr. Hist, and Portr.
1693
71
1G23
Lazzaro Baldi ....
Francesco Barbieri, called
daLegnano ....
Pistoja
Near Bres
Pietro da Cortona
History ....
1703
80
cia . .
Pietro Ricchi . . .
Hist, and Landscapes
1698
75
Vol. II.
5 1 1
794

CHRONOLOGICAL INDEX.

Boru,

•

 —
or flou
rished.
Names of Painters and Engravers.
Where born.
Studied under.
Painted or Engraved.
Died.
Aged
Giacinto Brandi ....
Poli . .
Gio. Giacomo Sementi,
and Lanfranco . .
History ....
1691
68
Frederick Casaubon . .
Solingen .
Charles Le Brun . .
History and Portraits
1690
67
Eugenio de lasCuevas
Madrid .
Pedro de las Cuevas .
Portraits ....
1667
44
Jacob Vander Does, the elder
Amsterdam
Nicholas Moyaert . .
Landsc. and Cattle .
1673
50
Giovanni Ghisolfi . . .
Milan . .
Salvatore Rosa . . .
History and Sea-ports
1683
60
Filippo Lauri ....
Rome . .
Angelo Caroselli . .
Hist, and Bacchanals
1694
71
Francesco di Maria . . .
Naples
Domenichino . . .
H istory and Portraits
1690
67
Engr. Hist. Portraits,
and Landscapes .
Peter Paul Puget . . .
Marseilles
History ....
1695
72
Antonio Garcia Reynoso .
Cabra . .
Sebastian Martinez .
Hist, and Landscapes
1677
54
Peter van Schuppen, the
Engr. Hist, and Portr.
Wallerant Vaillant . . .
Lisle .
Erasmus Quellinus
Painted Portraits, and
engraved various
subjects . . .
1677
54
1624
Nicholas Berghem . . .
Haerlem .
J. van Goyen and John
Baptist Weeninx
Painted and etched
Landsc. and Cattle
1683
59
Paolo Emilio Besenzi . .
Reggio .
Francesco Albano . .
History ....
1666
42
Albert Clouet ....
Antwerp .
Cornelius Bloemaert .
Engr. Hist, and Portr.
Giacomo Farelli ....
Naples
Andrea Vaccaro . .
History ....
1706
82
Antonio Giusti ....
Florence .
Cesare Dandini, and
Mario Blassi . .
History, Huntings,
and Landscapes .
1705
81
Theodore Helmbrecker .
Haerlem .
Peter Grebber . . .
Fairs and Views in
Rome ....
1694
70
Nicholas Loir ....
Paris . .
Sebastian Bourdon
Painted and engraved
History
1679
55
Robert Streater ....
London .
Du Moulin ....
History, Portraits,
Landscapes, &c .
1680
56
1625
Alexander Adriansen . .
Fruit, Flowers, and
Fish 
History and Portraits
Pietro Bellotti ....
Venice
Girolamo Forabosco .
1700
75
Antwerp .
Francis Snyders . .
Animals, Birds, Flow
ers and Fruit . .
Jacob de Bray ....
Haerlem .
Solomon de Bray . .
History ....
1680
55
Antonio Busca ....
Milan . .
Ercole Procaccini . .
History ....
1686
61
Valerio Castelli ....
Genoa
Domenico Fiasella
History and Battles
1659
34
Antonio Castrejon . . .
History ....
1690
65
Cornelius Caukerken . .
Engr. Hist, aud Portr.
Francis du Chatel . . .
Brussels .
David Teniers, the
younger ....
Small Portraits and
Conversations
William van Drillenburg .
Utrecht .
Abraham Bloemaert .
Landscapes .
Animals, particularly
Gio. Maria Galli, called Bi-
Dogs ....
Bibiena .
Francesco Albano . .
History ....
1665
40
John van Heck ....
Quaremon- de . .
Studied at Rome . .
Landscapes, Flowers,
and Fruit . . .
John Lingelbach ....
Frankfort
Studied at Rome . .
Landscapes, Italian
Markets, and Sea
ports ....
1687
62
Vincent Malo ....
Cambray
Rubens, and David Te
"';.
niers, the elder . .
Landsc. and Battles
1670
45
CHRONOLOGICAL INDEX.

795

Born,

I

.

or flou
rished.

Names of Painters and Engravers.

Where born.

Studied under.

Painted or Engraved.

Died.

Aged

Carlo Maratti ....
Camurano
Andrea Sacchi . . .
Painted and engraved
History ....
1713
88
Enkhuysen
Peter Potter . . .
Painted and engraved
Landsc. andAnimals
1654
29
John Sybrecht ....
Antwerp .
His father ....
Landscapes andViews
1703
78
Orazio Talami ....
Reggio .
Pietro Desani . . .
Hist, and Architect.
1699
74
Giles van Tilburg, the
Brussels .
His father, and Teniers
Village Festivals
Peter Tyssens ....
Antwerp .
Studied the works of
Vandyck ....
History and Portraits
1692
67
Bernard Vaillant . . .
Lisle . .
Wallerant Vaillaint
Painted and engraved
Portraits . . .
History and Portraits
James la Vecq ....
Dort . .
Rembrandt ....
Cosimo Ulivelli ....
Florence .
Baldassare Franceschini
History ....
Peter Wowermans . . .
Haerlem .
Roland Rogman, and
Philip Wowermans .
Huntings, Horse-fairs,
&c 
Painted and engraved
1626
Alessandro Badiali . . .
Bologna .
Flaminio Torre . . .
Francis Barlow ....
In Lincoln
shire
Shepherd ....
History . . .
Animals, Birds, Fish,
&c 
Engraved Portr. and
1671
45
In Holland
Cornelius Visscher
various subjects .
Carlo Cesi, or Cesio . .
Antrodoco
Pietro da Cortona . .
Painted and Engrav
ed History . .
1686
60
Richard Collin ....
Luxemburg
Joachim Sandrart . .
Engr. Hist, and Portr.
Stephen Gantrel . . .
Nicholas Poilly ....
Engr. Hist, and Portr.
Engr. Hist, and Portr.
Abbeville
Francis Poilly . . .
1696
70
Cesare Pronti ....
Rimino
Guercino ....
History ....
1708
82
Josef Ramirez ....
Valencia .
Geronimo de Espinosa
History ....
1686
60
Naples
Massimo Stanzioni
History ....
1651
25
James Rousseau ....
Paris . .
Herman Swanevelt
Landscapes . . .
Antonio Triva ....
Reggio .
History ....
1699
73
Gerard Valk, or Valck
Amsterdam
Abraham Blooteling .
Engr. Hist, and Portr.
1627
Francisco Caro ....
Seville
Alonso Cano . . .
History ....
1667
40
Gerard Edelinck . . .
Antwerp .
Cornelius Galle . .
Engr. Hist, and Portr.
1707
80
Ippolito Galantini . . .
Henry Grauw ....
Genoa
Gio. Batista Stefaneschi
History ....
1706
79
Hoorn
P. Grebber, and Jacob
van Kampen . . .
Historical and fabu
lous subjects . .
1682
55
Samuel van Hoogstraeten .
Dort . .
Rembrandt ....
Portraits.Landscapes ,
and Still-life . .
1678
51
Onorio Marinari . . .
Florence .
Carlo Dolci ....
History ....
1715
88
John Vander Meer, the elder
Schoonho ven .
Studied in Italy . .
Landscapes, with Cat
tle and Marines .
1691
64
Francis de Neve ....
Antwerp .
Studied in Italy . .
Painted and engraved
Landsc. and Figures
John van Ossenbeck . .
Rotterdam
Studied at Rome . .
Painted and engraved
various subjects' .
1678
51
Peter Roestraeten .
Haerlem .
Francis Hals . . .
Portraits and Still-life
1698
71
Alessandro Rosi
Florence .
Cesare Dandini . .
Hist, and Bacchanals
1697
70
Henry Verschuring . . .
Jacob Vander Ulft . . .
Gorcum .
John Both ....
Landsc. and Battles
History, Processions,
and Markets . .
1690
03
Matthew Withoos . . .
Amersfort
Jacob van Kampen
512
Reptiles, Insects, and
Plants ....
1703
76
796

CHRONOLOGICAL INDEX.

Born,

or flou-
ri.lied.
Names of Painters and Engravers.
Where born.
Studied under.
Painted or Engraved.
Died.
1670
Aged
1628
John Teunisz Blankhof .
Alkmaer .
Caesar van Everdingen
Marines and Sea-ports
42
Carlo Cignani ....
Bologna .
Francesco Albano . .
History ....
1719
91
Guglielmo Cortese . . .
St. Hippo-
lyte. .
Pietro da Cortona . .
History ....
1679
51
Paris . .
Guillerier ....
History ....
1707
79
Pietro Liberi . . .
History ....
1703
75
Amsterdam
Studied the works of
Bamboccio . . .
Landscapes, with Fi
gures and Animals
1709
81
Prosper Henry Lankrinck
Germany .
Studied the works of
Titian 
Landscapes . . .
1672
44
Alonso de Mesa ....
Madrid .
Alonso Cano . . .
History ....
1668
40
Domenico Piola ....
Genoa
Gio. Dom. Capellini .
History ....
1703
75-
Theodore Vander Schuur .
Hague
Sebastian Bourdon
History and Portraits
1705
77
Jatnt-s Vaillant ....
Lisle . .
Wallerant Vaillant
History and Portraits
John Wowermans . .
Haerlem .
Philip Wowermans
Landsc. andBuildings
1666
3»
1629
Henry Berkmans
Clunder .
Tho8 W. Boschaert, and
Jacob Jordaens . .
History and Portraits
Jeremiah Falck ....
Dantzic .
Francis Chaveau . .
Engr. Hist, and Portr.
John van Hoogstraeten
David Klocker ....
Dort
History and Portraits
History and Portraits
Hamburg
George Jacob . . .
1698
69
Theodore van Loon . .
Brussels .
Carlo Maratti . . .
History ....
Bartolomeo Morelli . .
Pianora .
Francesco Albano . .
History ....
1683
54
Lorenzo Pasinelli . . .
Bologna .
Simone Cantarini . .
History ....
1700
71
Giovanni Peruzzini .
Ancona .
Simone Cantarini . .
History ....
1694
65
John Erasmus Quellinus .
Antwerp .
Erasmus Quellinus . .
History ....
1715
86
Agostino Scilla ....
Messina .
Antonio Ricci, and An
drea Sacchi . . .
History ....
1700
71
Francisco de Solis . . .
Madrid .
Juan de Solis . . .
History ....
1684
55
Vincent Vander Vinne . .
Haerlem .
Francis Hals ....
Historv,Portraits, and
Drolls ....
1702
73
Rudolf Werenfels . . .
Basle . .
Studied in Italy . .
Portraits ....
1673
44
1630
William van Bemmell .
Utrecht .
Herman Zachtleven
Landscapes . . .
1703
73
Cornelius Bischop . . .
Dort . .
Ferdinand Bol . . .
History and Portraits
1674
44
Peter van Bredael . . .
Antwerp .
Imitated the works of
John Breughel . .
Landsc. with Figures.
Orazio Bruni 
Engraved History .
Francis Carre ....
In Friesland
Landscapes, and Vil
1
lage Festivals . .
1669
39
Henry Danckers ....
Hague . .
Studied in Italy . . .
Painted and engraved
Landscapes . ,
William Doudyns . . .
Hague . .
Alexander Petit . . .
History ....
1697
67
John Edelinck ....
Antwerp •
Gerard Edelinck . .
Engr. Hist, and Portr.
Juan Antonio Escalante .
Cordova .
Francisco Rici . . .
History ....
1670
40
Francisco Guirro . . .
Barcelona
History ....
1700
70
William Kalf 
Amsterdam
Hendrick Pot . . .
Still-life ....
1693
63
Bartholomew Killan . .
Augsbourg
Matthew Merian . .
Engr. Hist, and Portr.
Josef de Ledesma . . .
Engr.Hist. and Portr.
In Old Cas
tile . .
Don Juan Carenno
History ....
1670
40
Rene Lochon 
Poissy
Imitated the style of
Nanteuil ....
Engr. Hist, and Portr.
David Loggan ....
Dantzic .
Simonde Pass, and Hon-
Engr .Portr. andViews
Paris . .
Nicholas Loir . . .
Engraved historical
subjects . . .
Ambrosio Martinez . .
Granada .
Alonso Cano ....
History ....
1674
44
CHRONOLOGICAL INDEX.

797

Bom,
- or flou
rished.

1631

Names of Painters and Engravers.

Where born.

Studied under.

Painted or Engraved.

1032

Livio Mebus, or Meus . .
Robert Nanteuil ....
Gio. Batista Natali . . .
James Neef, or Neefs . .
Maria van Oosterwyck
Girolamo Rossi ....
Jacob de Sandrart . . .
Gio. Cesare Testa . . .
Francesco Maffei Vicentino
Conrade Waumans . . .
Michael Willemans . . .
Germain Audran . . .
Ludolph Backhuysen . .
John Baron, or Baronius .
Adrian Vander Cabel . .

Pompeo Ghiti . . .
Don Juan Ninno de Guevara
Stephen Picart ....
Christopher Pierson . .
Nicholas van Plattenberg
John Henry Roos . .
Don Juan de Valdez .
Giacomo Alboresi . .
Mary Beale ....
Bartolomeo Biscaino .

Oudenarde Rheims .
Cremona .
Antwerp .
Nootdorp Rome . .
Frankfort Rome . .
Vicenza .
Antwerp .
Lubeck .
Lyons Embden .
Toulouse .
Ryswick .

Marone .
Malaga .
Paris . .
Hague Paris . .
Otterberg

163.3

Luca Giordano . . .
Gio. Carlo Loti, or Loth
Nicholas Maas . .
Gio. Batista Merano
William Schellincks .
Jurian van Streek .
Emilio Taruffi . .
John de Baan . . .
Charles Emanuel Biset

Agostino Bonisoli . . .
Juan Martin de Cabezalero
William Chateau . . .
Ottomar Elliger ....
Claude le Fevre ....

Benedetto Gennari . . .
Don Pedro Ruiz Gonzalez
Miguel Marc 

Pietro da Cortona .
Nicholas Regnesson
Pietro da Cortona .

John David de Heem .
Simone Cantarini .
Corn" Dankerts, and W1
Hondius
Pietro Testa .
Santo Peranda
Peter Bailliu .
Rembrandt .
Charles Audran
Aldert van Everdingen
Studied at Rome . .
John van Goyen . .

Gio. Batista Discepoli
M. Maurique,and Alonso
Cano 
Studied at Rome . .
Bart. Meybourg . .
Philip de Champagne
Adrian de Bie . . ,

Seville .
Bologna .
In Suffolk
Genoa
Naples Munich .
Dort . .
Genoa Amsterdam
Amsterdam Bologna .
Haerlem .
Antwerp .

Agostino Metelli . .
Sir Peter Lely . . .
Valerio Castelli . . .
Giuseppe Ribera . .
Cavaliere Pietro Liberi
Rembrandt . . . .
Valerio Castelli . . .
John Lingelbach . .
Francesco Albano . .
Jacob de Backer . .

Cremona .
Almaden .
Orleans .
GottenburgFontain bleau
Cento .
Madrid Valencia

Batista Tortiroli .
Don Juan Carreno .
J. Frederick Greuter
Daniel Segers . .
Eust. Le Sueur, and Le
Brun ....
Guercino . . .
Antonio Escalante
Estevan Marc . .

History and Portraits
Engraved Portraits .
History ....
Engr. Hist, and Portr.
Flowers, Fruit, and
Still-life . . .
Engr. Hist, and Portr.
Engraved Portraits .
Engraved History .
History ....
Engr. Hist, and Portr.!
History ....
Engraved Portr. arid
various subjects .
Marines and Sea-
storms ....
Engr. Hist. and Portr.
Painted and engraved
Landscapes, Cattle,
and Marines . .
History ¦ . . . .
History and Portraits
Engr. Hist, and Portr.
History, Portraits,
and Still life . .
Painted and engraved
Hist, and Portraits
Painted and engraved
Lands, and Animals
History . .
Hist, and Architecture
Portraits ....
Painted and engraved
History
Painted and engraved
History ....
History ....
History and Portraits
History ....
Landsc. and Sea-ports
Portr.Dead Game,&c.
Hist, and Landscapes
Portraits . .
Concerts, Balls, and
¦ Conversations
History ....
History ....
Engr. Hist, and Portr
Flowers and Fruit .

Portraits ....
History and Portraits
History ....
History and Battles

Died.
16911678
1700

1693 1660 16971710
1709

16951703 169817211714 1706 1685
1691
16771697 1657
1705 16981693
1700 1678 1678
16941702

170016731683

1715
1709 1670

Aged 6148 70

03

07 7973

6472
67 90 8375
54604565 25 7366010846460269

07 40
50

827637

798

CHRONOLOGICAL INDEX.

Born,

or flou
rished*
Names of Painters and Engravers.
Where born.
Stadied nnder.
Painted or Engraved.
Died.
Aged
Frederick Moucheron . .
Embden .
John Asselyn . . .
Landscapes . . .
1686
53
Nicholas Pitau ....
Antwerp .
Francis de Poilly . .
Engr. Hist, and Portr.
Antwerp .
Studied in Italy . .
Landscapes . . .
William Vaode Velde, the
Amsterdam
Simon de Vlieger . .
Sea-pieces, Calms,
Fresh Breezes, and
Tempests . . .
1707
74
1634
Gio. Batista Benaschi . .
Abraham Blooteling . . .
Gaspar Vanden Bos . .
InPiedmont Amsterdam
Pietro del Po . . .
In the school of the
Visschers . . .
History ....
Engraved Portr. and
various subjects .
Sea-pieces and Tem
pests ....
1688
54
1666
32
Rotterdam
Landscapes, Confla
grations, &c. . .
1685
51
Rome . .
Pietro da Cortona
History ....
1689
55
Antonio Franchi . . .
Lucca . .
Baldassare Francesch ini
History ....
1709
75
Evangelista Martinotti
Castel- Monfer-
rato
Salvatore Rosa . .
Hist, and Landscapes
1694
60
Anthony Francesco Vander
Brussels .
Peter Snayers . . .
Battles and Sieges .
1690
56
Giuseppe Maria Mitelli .
Bologna .
Flaminio Torre . .
Painted History, and
engraved various
subjects . . .
1718
84
Giuseppe Recco . . .
Naples
Auiello Falcone . .
Huntings, Dead-game,
1695
61
Lorenzo Tinti ....
Bologna .
Gio. Andrea Sirani
Painted and engraved
History ....
History ....
Lodovico Trasi ....
Ascola
Andrea Sacchi . . .
Antonio Verrio ....
History ....
History ....
Engraved History and
various subjects .
1707
73
1635
Gio. Batista Barbiani . •
Pipfrrn Snnri Bartoli
l icliu uauu ua.i l\.»i . .
Sebastiano Bombelli . .
Udine . .
Guercino ....
History and Portraits
1685
50
Giovanni Bonati ....
Ferrara .
Guercino,and P.F. Mola
History ....
1681
46
Gio. Batista Cacciuoli
Near Bolog
na . .
Dom. Maria Canuti .
History ....
1675
40
Matteo Cerezo ....
Burgos
Juan Carenno . . .
History ....
1685
50
Dirk van Delen ....
Heusden .
Francis Hals . . .
Architecture and Per
spective . . .
John Hackaert ....
Amsterdam
Painted and engraved
Landscapes . .
John van Hagen ....
Cornelius Kick ....
Landscapes and Views
Portraits, Flowers,
Amsterdam
His father ....
aud Fruit . . .
1675
40
John Zachary Kneller . .
Lubeck .
Sir Godfrey Kneller .
Portraits, Architec
ture, and Still-life
1702
67
Ernest Lairesse ....
Liege . .
Gerard Lairesse . .
Huntings and Animals
1675
40
S. A. van Lamsweerde .
Engraved Portraits .
Gio. Batista Langetti . .
Genoa
Pietro da Cortona
Heads and Busts of
Old Men . . .
1676
41
Francis Mieris, the elder .
Leyden .
Gerard Douw . . .
Portraits and domes
John Baptist Monnoyer,
tic subjects . .
1681
46
called Baptist . . .
Francesco Stringa . . .
Flowers and Fruit .
History ....
16991709
64
Modena .
Lodovico Lana . . .
74
Pedro Nunez Villavicencio
Seville . Bartolome Estevan Mu-
rillo 
History ....
1700
65
CHRONOLOGICAL INDEX.

799

Born,
or flou
rished.

1636

1637

Names of Painters and Engravers.

1638

Adam van Zynvelt . .
Don Josef Antoniles
Nicholas Bazin . . .
John Beeldemaker . .
John Le Due ....
Heyman Dullaert . .
John Forest ....
Peter Gyzen ....
Melchior Hondecooter
David de Koninck . .
Adrian Lommelin . .
Anthony Masson . .
Cornelius Meyssens
Daniel Mytens, the younger
John van Neck . . .
Gaspar Netscher . .
Francesco Paglia . .
Jacob Ruysdael . . .
John Steen ....

Wheie born.

Amsterdam Seville
Troyes Hague

Studied under.

Claudine Bousonnet Stella
Francesco Vaccaro . . .
William Valet ....
Sigismondo Caula . . .
Andrea Celesti ....
Sebastian, le Clerc . . .
George Glover ....
John Vander Heyden . .
James Lubiu 
Giovanni Marracci . . .
PeterMolyn.called Tempesta
Giovanni Moneri . .
Jacob -van Oost, the young
Gerard Soest, or Zoest

Giovanni Viani . .
Joseph Werner . .
Don Pedro Athanasio
Lodovico Garzi . .
William de Heusch-.
Abraham Hondius .

Hague RotterdamParis . .
Antwerp .
Utrecht .
Antwerp .
Amiens .
Orleans .
Antwerp .
Hague
Naarden .
Prague Brescia .
Haerlem . .
Leyden .

Lyons .
Bologna
Paris .
ModenaVenice

Metz

Painted or Engraved.

Died.

Don Francisco Rici
Claude Mellan . .

Paul Potter ....
Rembrandt ....
Pietro Francesco Mola
John Breughel . . .
John Baptist Weeninx
John Fyt ....

John Meyssens . . .
His father, and studied
in Italy ....
Jacob de Backer . .
Gerard Terburg . .
Guercino ....

London .
Gorcum .
Paris . .
Lucca . .
Haerlem .
VisoneBruges InWestpha- lia . .
Bologna .
Berne . .
Grenada .
Pistoja Utrecht .
Rotterdam

Nicholas Knuffer, and
John van Goyen
James Stella . .
Francesco Albano .
Francis Poilly . .
John Boulanger
Matteo Ponzoni .

Engraved Portr. and
various subjects .
Hist, and Landscapes ' 1676
Engr. Hist, and Portr.
Huntings of the Boar
and Stag . . .
Cattle and Corps-de-
gardes ....
History and Portraits 1684
Landscapes . . . ' 1712
Landscapes and Views
of the Rhine . .
Live Fowl and Dead 1695
Game ....
Huntings, Animals,
and Birds . . . 1687
Engr. Hist, and Portr.
Engr. Hist, and Portr.
Engraved Portraits .
History and Portraits 1688
History and Portraits , 1714
Portraits and Conver
sations .... 1684
History and Portraits
Landc. and Sea-pieces 1681

Gerard Edelinck . .
Pietro da Cortona . .
His father, and studied
in Italy ....
Gio. Francesco Roraa-
nelli 
His father ....

Flaminio Torre .
Matthew Merian
Alonso Cano
Andrea Sacchi .
John Both . .

Drolls and domestic
subjects . .
Engraved History and
various subjects ,
Perspective and Ar
chitecture . . ,
Engr. Hist, and Portr.
History ....
History, and pastoral
subjects . . .
Engr. Hist. Portr. and
various subjects .
Engraved Portraits .
Views of Buildings .
Engr. Hist, and Portr.
History ....
Storms and Tempests
History ....
History and Portraits
Portraits ....
History ....
History and Portraits
History ....
History ....
Landscapes . .
Painted and engraved
Huntings and Ani
mals 

1689

Aged

41

4876

5951

5278 48 45

53

1706
1714 1712
17041701 1714
1713 1681 1700 1710
1688 17211695

69
777567647776 4463 73
50 83

57

800

CHRONOLOGICAL INDEX.

Born,
or flou
rished.

Names of Painters and Engravers.

Where born.

Studied tinder.

Fainted or Engraved.

Died.

Aged

Romeyn de Hooghe . .
Theodore Roos ....

Engr. various subjects

Wezel
A. de Bie, and John
Henry Roos . . .
Portr. and Landscapes 1698
60
Elisabetta Sirani ....
Bologna .
Gio. Andrea Sirani
History aud Portraits 1664
26
Simon Thomassin . . .
Paris . .
Bernard Picart . . .
Engr. Hist, and Portr.
1639
Justus Amman ....
Engr. various subjeets
on wood and copper
1591
52
James Blondeau . . . .
Engr. Hist, and Portr.
Andrea Carloni ....
Genoa
Gio .Batista Carloni .
History ....
1697
58
Louis de Chastillon . . .
St. Mene-
Painted Miniature,
and engr. Hist. &c.
Abraham Mignon . . .
Frankfort
John David de Heem
Flowers and Fruit .
1679
40
Parma
Pietro da Cortona
History ....
Paris . .
Sebastian Bourdon
Painted and engraved
Hist, and Landsc.
Bernardo Racchetti . .
Milan . .
Giovanni Ghisolfi . .
Sea-ports ....
1702
63
Charles Simoneau . . .
Orleans .
Noel Coypel, and W.
Chateau ....
Engr. Hist, and Portr.
Adrian Vande Velde . .
Amsterdam
John Wynants . . .
Painted and engraved
Landsc. and Cattle
1672
33
Antonio Zanchi ....
Venice
Francesco Rusca . .
History ....
1722
83
1640
Jacques d'Agar ....
Paris . .
Simon Vouet . . .
Portraits ....
1716
76
Filippo Abbiati . ...
Milan . .
Gioseffo Nuvolone
History ....
1715
75
Don Juan de Alfaro . .
Cordova .
Don Diego Velasquez
History and Portraits
1680
40
Bernard Appelman . . .
Gerard Audran ....
Portr. and Landscapes
Engr. Hist, and Portr.
Lyons
Charles Audran . .
1703
63
Anthony Francis Bauduins
Dixmude .
F. A. Vander Meulen .
EngravedLandscapes,
Samuel Botschild . . .
Sangerhau-
Views, &c.
Painted and engraved
History ....
1700
60
Bon Boullongne ....
Paris . .
Louis Boullongne . .
History ....
1717
77
Levinus Cruyl ....
Ghendt .
Studied at Rome . .
Engraved Views and
various subjects .
Francis Ertinger ....
Gio Batista Fa Ida
Wvl
Eng. Hist Portr. &c.
Engr. Views in Rome
History ....
VJI 1 \J • J-IUl'kJ I.CJL A. UZVl.%4 * • a
Paolo Domco Finoglia . .
Orta . .
Massimo Stanzione .
Charles de la Fosse . . .
Paris . .
Charles Le Brun . .
History ....
1716
76
Abraham Genoels . . .
Antwerp .
James Backereel . .
Painted and engraved
Landsc. and Views
Elias Hainzelmann . . .
Augsbourg
Francis Poilly . . .
Engr. Hist, and Portr.
Karel du Jardin ....
Amsterdam
Nicholas Berghem
Painted and engraved
Landsc. and Cattle
1678
38
Gerard Lairesse ....
Liege . .
Bertholet Flemael . .
Painted and engraved
Nicholas de Larmessin, the
History . . .
1711
71
elder
Engraved Portraits .
History ....
Clemente Majoli . . .
Ferrara .
Pietro da Cortona
Andrea Monticelli . . .
Bologna .
Agostino Mitelli . .
Flowers, Fruit, Vases,
1716
76
Giuseffo Risvenno . . .
Granada .
Alonso Cano . . .
History . . .
1721
81
-
Dominick Nollet . . .
Bruges
Jacob vanOost, the elder
Landscapes, Battles,
and Sieges . . .
1736
96
Antonio Perez de Pineda .
Seville .
Bart. Estevan, Murillo
History ....
! Peter van Slingelandt . .
Leyden
Gerard Douw . , .
Portraits and domes
tic subjects- . .
1691
51
John Wira . . . : .
Zuric . .
Conrad Meyer . .. .
Painted Portraits, and
engraved various
subjects . . .
CHRONOLOGICAL INDEX.

80 i

Born,

or flou
rish. 1.
Names of Painters And Engravers.
Where born.
Studied under.
Fainted or Engraved.
Died.
1693
Aged
1641
John Francis Ermels . .
Hist, and Landscapes
52
Cesare Gennari ....
Cento
Guercino ....
History ....
1688
47
John Hainzelmann . .
Augsbourg
Francis Poilly . . .
Engr. Hist, and Portr.
Charles de la Haye . .
Fontain-
Engraved History .
Pasquale Rossi ....
History ....
1700
59
James Toornvliet . . .
Leyden .
Studied in Italy . .
History ....
1719
78
Ary de Voys .....
Leyden .
Abraham Vanden Tem-
-pel 
Portraits and Conver
sations ....
1642
Francesco Bassi, the elder
Cremona .
Landscapes • . .
1700
58
Michael Corneille . . .
Paris . .
His father ....
Painted and engraved
History ....
Tommaso Gatti ....
Pavia . .
Andrea Sacchi . . .
History ....
John van Haansbergen
Utrecht .
Cornelius Poelemburg
Portraits and Landsc.
1705
63
Andrea Pozzo ....
History and Portraits
1709
67
Andrea Scacciati . . .
Florence .
Lorenzo Lippi . . .
Animals, Flowers, and
Fruit ....
Gerard Seotin, the elder .
Gonesse .
Francis Poilly . . .
Engraved History,&c.
Peter Cornelius Verhoek .
Boodegra ven .
Abraham Hondius . .
Landsc. and Battles
1643
Job Berkheyden . . .
Landscapes and Mer
ry-makings . .
1698
55
Adrian de Backer . . .
Amsterdam
Studied in Italy . .
History ....
1686
43
Theodore Freres . . .
Enkhuysen
Studied in Italy . .
History ....
1693
50
Gio. Antonio Fumiani . .
Venice
Studied the works of
P. Veronese . . .
History ....
1710
67
Filippo Gberardi . . .
Lucca
Pietro da Cortona
History ....
1704
61
Gabriel Vander Leeuw
Dort . .
SebastianVander Leeuw
Landsc. with Cattle
1688
45
Eglon Hendrick Vander
Amsterdam
His father, and J. Van
Portraits and domes
tic subjects . .
1703
60
Luighi Quaini ....
Bologna .
Guercino, and C. Cig-
History ....
1717
74
Pandolfo Reschi ....
Dantzic .
Giacomo Borgognone
Battles and Landsc.
1699
56
Godfrey Schalcken . . .
Dort . .
Gerard Douw . . .
Portraits, and subjects
by candlelight
1706
63
Francis van Spierre . .
Nancy
Francis de Poilly .
Engr. Hist, and Portr.
1081
38
John Vosterman ....
Bommel .
Herman Zachtleven .
Landsc. and Views .
1644
Marziale Carpioni . . .
Nicholas Duval ....
Clusone .
Hague
Ciro Ferri . . • .
N. Weilling, and P. da
History ....
1722
78
Cortona ....
History ....
1732
88
Gregorio di Ferrara . .
Porto Mau-
rizio
Domenico Fiasella
History ....
1726
82
Lodovico Gimignani . .
Rome . .
Giacinto Gimignani .
History ....
1697
53
John Jouvenet ....
Rouen
Laurent Jouvenet . .
History ....
1717
73
Peter Vander Leeuw . .
Dort . .
Sebastian Vander Leeuw
Landsc. and Cattle .
Antwerp .
Imitated the style of
N. Poussin . . .
Landscapes . . .
1680
36
Urbano Romanelli . . .
Viterbo .
His father, and Ciro
History ....
1682
88
Gysbert Verhoek . . •
Boodegra
ven . .
Peter Corn8 Verhoek .
Battles and Encamp
ments ....
1690
40
Cornelius Vermeulen . .
Engr. Hist, and Portr.
John Weeninx ....
Amsterdam
John Baptist Weeninx
Huntings and Dead
Vol. II.
5K
Game . . . . 1
1719
75
802

CHRONOLOGICAL INDEX.

Bom,
or flou
rished.
1645

Nanifs of Painters and Engravers.

1646

1647

1648

Giulio Avellino . . . ,
Alonso del Barco . . ,
Dirk van Bergen . . .
Gerard Berkheyden . .
Arnold de Gel'der . . ,
Vicente Salvador Gomez ,
John Griffier . . . . ,
Hemskerk, the
younger 

Egbert

John Ulric Kraus . .
Andrea Lanzani . . .
Albert Meyering . .
Michael van Muscher .
John Louis Roullet . .
Sebastiano Taricco . .
Francis de Troy . .
Alonso de Varco . .
Robert White . . .
Lorenzo Bergunzoni
John de Bischop
Giacinto Calandrucci .
John van Cleef . . .
Nicholas Colombal . .
John Baptist Corneille

Pietro Dandini
Benoit Fariat .
John Glauber

John van Hugtenburg
Francesco Monti
John Riley . . .

Matthew Scheitz

James Denys . . .
Matteo Gilarte . .
Maria Sibylla Merian
Matthew Neveu . .
David Vander Plaas
Daniel Syder . . .

John Vander Vaart .
Gaspar Vanvitel . .
John Voorhout . .
Gio. Raffaelle Badaracco
Ambrogio Besozzi . .

Where boi-ii.

Studietl under:

Fainted or Engraved.

Died.

Aged

Messina .

Salvatore Rosa . . .

Landscapes . . .

1700

55

Madrid .

Josef Antonilez . .

Landscapes . . .

1685

40

Haerlem .

Adrian Vande Velde .

Landsc. with Cattle

1689

44

Haerlem .

Job Berkheyden . .

Views of Buildings .

i693

48

Dort . .

Rembrandt ....

History and Portraits

1727

82

Valencia .

J. G. de Espinosa . .

Hist. Landscapes, &c.

Amsterdam

Roland Rogman . .

Landscapes andViews

17i8

73

Haerlem .

Peter Grebber . . .

Drolls and Drunken

Frolics ....
1704
59
Augsbourg
Melchior Kussel . .
Engr. Hist, and Portr.
Milan . .
Carlo Maratti . . .
History ....
1712
67
Amsterdam
His father ....
Landscapes . . .
1714
69
Rotterdam
Various masters . .
History ,Portraits, and
Conversations
1705
60
Aries . .
Francis de Poilly . .
Engr. Hist, and Portr.
Cherasco .
Studied the works of
the Caraeci . . .
History ....
1710
65
Toulouse .
Nicholas Loir . . .
History and Portraits
1730
85
Madrid •
Josef Antonilez . .
Landscapes . . .
1680
35
London .
David Loggan . . .
Engraved Portraits .
1704
59
Bologna .
Gio. Bat.Bolognini,and
Guercino ....
History and Portraits
Engr. various subjects
1686
40
Palermo .
Carlo Maratti . . .
History ....
1707
61
Venloo
Gaspar de Crayer . .
History ....
1716
70
Sotteville
Eus'tache Le Sueur
History ....
1717
71
Paris . .
Michael Corneille, the
Painted and engraved
Hist, and Portraits
Florence .
Vincenzio Dandini
History ....
1712
66
Lvons . .
William Chateau . .
Engr. Hist, and Portr.
Utrecht .
Nicholas Berghem
Painted and engraved
Landscapes . .
1726
80
Haerlem .
John Wyck ....
Painted and engraved
Battles ....
1733
87
Brescia .
Pietro Ricchi . . .
Horses and Battles .
1712
66
London .
Isaac Fuller, aud Gerard
Portraits ....
1691
45
Hamburg
Philip Wowermans
Painted and engraved
Landscapes and
Merry-makings .
Antwerp .
Erasmus Quellinus
History and Portraits
Valencia .
Francisco Ribalta . .
History ....
1700
53
Frankfort
Jacob Murel . . .
Flowers, Fruit, and
Insects ....
1717
70
Leyden .
Gerard Douw . . .
Domestic subjects
and Conversations
1721
74
Amsterdam
Studied in Italy . .
Portraits ....
1704
57
Vienna
Carlo Loti, and Carlo
Maratti ....
History and Portraits
1721
74
Haerlem .
Thomas Wyck . . .
Landsc. and Still-life,
aud engraved Portr.
1721
74
Utrecht .
Studied in Italy . .
Views in Rome . . j 1736
89
Amsterdam
John van Noordt . .
History and Portraits
Genoa
Carlo Maratti . v .
History ....
1726
78
Milan
Gioseffo Danedi, and
Ciro Ferri . . .
Architectural Views
1706
58
CHRONOLOGICAL INDEX.

803

bum,
or flou
rished.

Names of Painters and Engravers.

1649

1650

Elizabeth Sophia Cheron
Lodovico Antonio David
Raymond de la Fage
Marc Antonio Franceschini
Gerard Hoet ....
Cornelius Huysman
Sir Godfrey Kneller .
Joseph Parrocel . . .
John Withoos . . .
Peter Vander Banck
Renier Brakenburg . .
John Vander Bruggen .
John Greenhill . . .
John Langlois . .
William Lodge . . .
Jacob Moelaert . . .
John van Nikkelen . .
Paolo Antonio Paderna
Gio. Stefano Robatto .
Daniel Saiter ....
Augustine Terwesten .
John Vollevens . . .

John Vander Bent . . .
Domenico Maria Bonavera
Philibert Boutats . . .
Bernardino Ciceri . . .
David Colyns ....
Peter Eyckens ....
William Faithorne, the elder
Barent Gaal ....
Nicholas Habert . .
Matthew van Helmont .
Abraham de Heusch
Bernard van Kalraat .
Gio. Batista Lama . .
Henry Lutterel . . .
Alessandro Mari . .
Daniel Marot . . .
John Moortel . . .
Crescenzio di Onofrio •
Peter Peuteman . . •
Pietro Paolo Raggi . .
Peter Reuven . . .

Paris . .
Lugano .
Toulouse Bologna .
Bommel .
Antwerp .
Lubeck .
Brignoles
AmersfortParis . .
Haerlem .
Brussels .
SalisburyParis . .
Leeds . .

Studied under.

Painted or Engraved.

Dort . .
Haerlem .
Bologna .
SavonaVienna
Hague . .
Gertruy- denberg
AmsterdamBologna .
Antwerp .
Pavia . .
Amsterdam
Antwerp .
London .
Haerlem .

Paris .
Brussels
Utrecht Dort .
Naples Dublin
Turin .

Paris .
Leyden

Rome . .
RotterdamVienna Leyden .

Her father ....
Ercole Procaccini, and
Carlo Cignani .

Carlo Cignani . .
Warnar van Rysen
Jacques Artois . .
F. Bol, and Carlo Ma
ratti ....
Borgognone . . .
Matthew Withoos
Francis Poilly . .
Bernard Schendel .

Sir Peter Lely .
Studied at Rome

Nicholas Maas . .
His father . . .
Guercino, and C. Cig
nani ....
Carlo Maratti . .
Carlo Loti . . .
William Doudyns .
N. Maas, and John de
Baan 
Adrian Vande Velde .
Domenico Maria Canuti

Carlo Sacchi

Robert Peake . . .
Philip Wowermans

Christian Striep . .
Albert Cuyp . . .
Luca Giordano . .
Du Blois . . .
Cavaliere Libcri, and
Lorenzo Pasinelli .

Gaspar Poussin

Studied at Genoa
Jacob Jordaens
5K2

Portraits . . .
History and Portraits
Engraved History,&c
History ....
History, and fabulous
subjects . . .
Landscapes . .
Portraits ....
History and Battles
Landscapes . . .
Engr. Hist, and Portr
Merry-makings . .
Engraved Portr. and
various subjects .
Portraits ....
Engr. Hist. Portr. &c
Engraved Portraits
and Views . . .
History and Portraits
Landscapes . .
Hist, and Landscapes
History . . .
History . . .
History . . .

1728
1690

1691

Portraits ....
Landsc. with Cattle
Engraved History .
Engraved Portraits .
History ....
History ....
History ....
Engr. Hist, and Portr.
Battles, Horse-fairs,
&c 
Engraved Portr. &c.
Fairs and Italian
Markets . . .
Plants, Insects, and
Reptiles . . .
Landscapes andViews 1721
History ....
Engraved Portraits .
History . . . .
Engraved Views, &c
Flowers, Fruit, and
Still-life ...
Landscapes . . .
Musical Instruments
and Still-life . . 1692
Hist, and Landscapes 1724
History and allegori
cal subjects . . 1718

1711

1690 1729
1733
1727 17231704 1685
1697

1676

16891727 1716 1708
17341705 1711

Aged

63

4-281
8579

5037
48

407867 59 85 5662

79
40

71

69

42 74 68

804

CHRONOLOGICAL INDEX.

Born ,

... 



 1 

orfl.Mi- righcrt

Names of Painters and Engravers.

Where born.

Studied under.

Painted or Engraved.

Died. |
1726

Aged

Anthony Schoonjans . . '

Antwerp .

Erasmus Quellinus

History and Portraits

76

John van Son ....
Antwerp .
Joris van Son . . .
Flowers, Fruit, Dead
Game, &c. . .
1700
50
Abraham Stork ....
Amsterdam
Marines and Sea-
pieces . . . .
1708
58
John Verkolie ....
Amsterdam
John Lieven* . . .
Painted and engraved
/
History, Portraits,
and Conversations
1693
4*
John Visscher ....
Amsterdam
Engraved Portraits,
Landscapes, &c. .
John Martin Vyth . . .
Schaf hau •
sen . .
Studied in Italy . .
History ....
1717
67
Matthew Wytman. . . .
Gorcum .
John Bylaert . .
Domestic subjects,
Flowers, &c. . .
1689
m
1651
Carl Gustavus Amling . .
Nuremburg
Francis de Poilly . .
Engr. Hist, and Portr.
Niccolo Bambini
Venice
Carlo Maratti ." . .
History ....
Claud Guy Halle . . .
Paris . .
Daniel Halle . . .
History ....
1736
85*
William van Inghen . .
Utrecht .
Peter Grebber, and
Carlo Maratti . .
History and Portraits
Bonaventura Lamberti
Carpi . .
Carlo Cignani . . .
History ....
1721
70*
John Baptist Santerre . .
Magny
Bon Boulongne . .
History,Portraits, and
domestic subjects
1717
66
Elias Terwesten . . .
Hague
Augustine Terwesten
Animals, Flowers,
Fruit, &c. . . .
1724
73
1652
Marc Antonio Chiarini
Bologna .
Francesco Quaini . .
Architectural Views
Gerard Edema ....
In Friesland
Aldert van Everdingen
Landscapes .
1700
48
Antonio Domenico Gabbiani
Florence .
Vincenzio Dandini
History and Portraits1 1726
74
Richard van Orley . . .
Brussels .
Peter van Orley . .
Painted and engraved]
History ....
John Klaasze Rietschoof .
Hoorn
Ludolf Backhuysen .
Sea-pieces and Storms 1719
67
Domenico Tempesta . .
Florence .
Baldassare Franceschini
Painted and engraved'
Hist, and Portraits
1653
Tommaso Aldrovandini
Bologna .
Mauro Aldrovandini .
Architecture and Per
spective . . .
1736
83
In Kent .
Henry Lutterel . . .
Engraved Portraits
Antonio Calza ....
Verona
C. Cignani, and Bor
gognone ....
Landsc. and Battles
Simon Vander Does . .
Amsterdam
Jacob Vander Does, the
Portr. domestic sub
Henry Chrisf Fehling . .
Sangerhau-
jects, and Landsc.
1717
64
sen . .
Samuel Botschild . .
History ....
1725
72
Theodore Lubienetski . .
Cracow .
Jurian Sturn, and G.
Lairesse ....
Hist, and Landscapes
1716
63
Winterthur
John Francis Ermels .
Painted and engraved
Landscapes .
1713
60
Charles Francis Poerson .
Paris . .
Noel Coypel . . .
History
1725
72
1654
Don Isidoro Arredondo .
Colmenardt
Oreja .
Francisco Rici . . .
History ....
1702
48
Antonio Bellucci . . .
Venice
Domenico Difinico .
History ....
John van Bunnick . . .
Utrecht .
Herman Zachtleven .
Landscapes and Views
1727
73
Giuseppe Chiari ....
Rome .
Carlo Maratti . . .
History ....
Jacob Vander Does, the
Amsterdam
Gerard Lairesse . .
History ....
Louis Dorigny ....
Paris . .
Charles Le Brun . .
Painted and engraved
J. Bap' Blain de Fontenay
Caen . .
John Baptist Monnoyer
History ....
Flowers, Fruit, Vases,
1742
1715
88 61
CHRONOLOGICAL INDEX.

805

-Horn,
or flou
rished.

1
Names of Painters and Engravers, j

Where born.

Studied under.

Painted or Engraved.

Died.

Aged

Bartolomeo Guidobono .

Savona

Studied the works of
Ben" Castiglione

Animals, Flowers,
Fruit, &c. . . .

1709

55

John Hoogzaat ....

Amsterdam

Gerard Lairesse . .

History ....

1712; 58

Gregorio Lazzarini . . .

Venice

Francesco Rosa . .

History ....

Francesco Leonardini . .
History and Portraits
1711 57
John Mariette ....
Paris . .
J. B. Corneille . . .
Engraved Hist, and
various subjects .
1742 t_
Don Sebastian Munnoz
Navalcar-
nero
C.Coello.and C. Maratti
History ....
1690
36
Giuseppe Passeri . . .
Rome . .
Carlo Maratti . . .
History ....
1714
60
Giacomo del Po . . . .
Rome .
P. del Po, and N. Poussin
History ....
1726
72
M. Angelo Ricciolini . .
Giuseppe Roli ....
History and Portraits
Painted and engraved
1715
61
Bologna .
Domco Maria Canuti .
History . . .
Gio. Giuseppe dal Sole .
Bologna .
Dom00 M. Canuti, and
Lorenzo Pasinelli .
History ....
1719
65
1655
Francis Andriot ....
Adrian van Diest . . .
Engr. Hist, and Portr.
Landscapes andViews
1704
Hague
His father ....
49
Alessandro Gherardini
Florence .
Alessandro Rosi .
History ....
1723
68
Vittore Ghislandi . . .
San Leonar
do . .
Sebastiano Bombelli .
History and Portraits
1743
88
RoelofKoets ....
Zwoll . .
Gerard Terburg . .
Portraits ....
1725
70
Angelo Massarotti . . .
Cremona .
A. Bouisoli, and Carlo
Cesi 
History ....
1723
68
Philip Meusnier ....
Paris . .
Jacques Rousseau . .
Architectural Views
1734
79
Giacomo Pavia ....
Bologna .
Antonio Crespi . . .
History ....
1740
85
Philip Roos, called Rosa da
Tivoli 
Frankfort
John Henry Roos . .
Pastoral subjects and
Animals . . .
1705
50
John Jacob de Sandrart .
Ratisbon .
Joachim de Sandrart .
Engr. Hist, and Portr.
Maurelio Scannavini . .
Ferrara .
Carlo Cignani . . .
History ....
1698
43
Filippo Tancredi . . .
Messina .
Carlo Maratti . . .
History ....
1725
70
Benoit Thiboust . .
Chartres .
Studied at Rome . .
Engraved History .
Augustine Tyssens . . .
Antwerp .
Peter Tyssens . . .
Landsc. with Cattle
1056
John Fra' van Blocmen,
called Orizonti . . .
Antwerp .
Studied at Rome . .
Landscapes . . .
1740
84
Simone Brentana . . .
Venice
Studied the works of 11
Tintoretto . .
History ....
Amsterdam
Jacob Jordaens
Landsc. and Animals
1721
65
John Clostermans . . .
Osnaburg
His father ....
Portraits ....
1710
54
Michael Dahl ....
Stockholm
Ernstiaen Klocke . .
Portraits ....
1743
87
Louis Deyster ....
Bruges
John Maes ....
History ....
17111 55
Francis Douven ....
Ruremonde
Gabriel Lambertin
History and Portraits
1727
71
John Gottlieb Glauber
Utrecht .
1703
47
James Huysmans . .
Antwerp .
Giles Backereel . .
History and Portraits
1696
40
Nicholas de Largilliere
Paris . .
Francis Gobeau .
History and Portraits
1746 £
Haerlem .
N. Berghem, and John
van Huchtenburg .
Battles, Huntings,&c.
Karel de Moor ....
Leyden .
G. Douw, and Godfrey
Schalcken ....
Portraits, domestic
subjects, &c. . .
1738
82
John van Orley ....
Brussels .
Richard van Orley
History ....
Christian Reder ....
In Saxony
Studied at Rome . .
Battles ....
1729
73
Louis Simoneau ....
Engr. Hist, and Portr.
Francesco Trevisani . .
Trevigi .
Antonio Zanchi
Hi.story ....
1746
90
1
William Wissing . . .
Amsterdam
William Doudyns . .
Portraits ....
1687
31
806

CHRONOLOGICAL INDEX.

Born,or flou
rished.

1657

1658

1659

1660

Names of Painters and Engravers.

Louis Boullongne, the
younger 

Elias Vanden Broeck
Sir Nicholas Dorigny
Gio. Batista Draghi
Ferdinando Galli .
Jacob de Heusch
Peter Rysbraeck
Francesco Solimene
Ilario Spolverini . .
Ernest Stuven . .
William Verschuring
Joseph Vivien . .
Philip Tideman . .
Antonio Zifrondi
Matthew Elias . .
Fulgenzio Mondini .
James Parmentier .
Vicente Victoria
Lawrence Vander Vinne
Peter Berchet . .
'Faustino Bocchi . .
Niccolo Cassana . .
Dirk Dalens . . .
Francesco Galli . .

Justus van Huysum, the
elder . 
Christopher. Lubienetski .
Michael Maddersteg
Ottavio Parodi . .
Nicholas Piemont .
Sebastiano Ricci
Hyacinth Rigaud
John Melchior Roos
Bernard Schyndal .
Henry van Streek .
N. Verendael . . .
Fra8 Peter Verheyden
Adrian Vander Werf
Peter Brandel . .
John Brandenberg .
Antonio Burini . .
John Rodolph Byss .
Gio. Agostino Cassana
Louis Cheron . . .

Felice Cignani .
Francesco Civalli

Where born.

Paris . .
Antwerp .
Paris . .
GenoaBologna .
Utrecht .
Antwerp .
Nocera di
Pagani
Parma HamburgGorcum .
Lyons HamburgClusone .
Cassel
Bologna .
Paris . .
Valencia .
Haerlem .
Paris . .
Brescia .
Venice Amsterdam
Bologna .

Amsterdam
Stettin AmsterdamPavia .
Amsterdam Belluno .
PerpignanFrankfort Haerlem .
Amsterdam
Antwerp .
Hague
Near Rot
terdam .
PragueZug . .
Bologna .
Soleure .
Genoa
Paris . .
Bologna .
Perugia .

Studied under.

Painted or Engraved.

Died. Aged

His father . . .
Abraham Mignon .
Studied in Italy
Domenico Piola
Carlo Cignani . .
William de Heusch
Francis Mil6 . .
Giacomo del Po
Francesco Monti .
Abraham Mignon .
John Verkolie . .
Charles Le Brun .
Gerard Lairesse .
Marc Ant0 Franceschini
 Corbeen . .

Studied the works of
Guercino . . .
Sebastian Bourdon
Carlo Maratti . .
Vincent Vander Vinne
Charles de la Fosse
Angelo Everardi .
Gio. Francesco Cassana
William Dalens
L. Pasinelli, .and C
Cignani . . .
Nicholas Berghem
Adrian de Backer
Ludolph Backhuysen
Andrea Lanzano .
Nicholas Molenaer
Federigo Cervelli .
Matthias Rigaud .
John Henry Roos .
Hendrick Mommers
Emanuel de Wit .
Studied the works of
F. Snyders . .
Eglon Vander Neer
John Schroeter
Studied in Italy
Domenico Canuti .
Studied the works of
Lairesse . . .
Gio.Francesco Cassana
Studied iu Italy
Carlo Cignani . .
Gio. Andrea Carloni

Painted and engraved
History ....
Flowers and Fruit .
Engraved History .
History ....
Architect. Views, &c.
Landsc. with Figures
Landscapes . . .
History,Portraits, &c.
History, Battles, &c.
Flowers and Fruit .
Portraits and domes
tic subjects . .
Portraits ....
History ....
History ....
History ....
History ....
History and Portraits
History and Portraits
Flowers, Plants, &c,
History ....
Battles and Skirmishes
History and Portraits
Landscapes . . .
Hist. and Architecture
Landsc. Flowers, &c .
History and Portraits
Sea-pieces and Storms
History ....
Landscapes . . .
History ....
History and Portraits
Landsc. and Animals
Fairs and Merry-mak
ings . .
Interiors of Buildings
Flowers and Fruit .
Animals, Fowls.Game,
&c 
History and Portraits
History ....
History, Battles, &c.
History ....
Hist, and Landscapes
Portraits, Animals, &c.
Painted and engraved
History ....
History ....
History and Portraits

17361711
1746
1712
1743 1701

1742 1734 1712

17351705 1730
1741

1730
17121724 1720
17421713
16881739171617191709

1734
1745 17311716 1713

1711 1722
1739 1729

173817201713
1724
1703

80
5489
5586
44

857755

78
48 7383

72
54666183 5429
8057
6050

75
86 7257 54

52
637909

7360
53 6443

CHRONOLOGICAL INDEX.

807

tiorn,


or nou
rished.
Names of Painters and Engravers.
Where born.
Studied under.
Painted or Engraved.
Died.
1717
Aged
Luke Cradock ....
Birds and Animals .
57
Giuseppe Diamantini . .
Romagna
Painted and engraved
History ....
Cesare Fantetti ....
Engraved History .
Bois-le-Duc
Peter van Slingelandt
Portraits and domes
tic subjects . .
Constantine Franck . .
Battles and Sieges .
Gio. Girolamo Frezza . .
Near livoli
Arnold van Westerhout Engraved Hist. &c.
Michael Vander Gucht
Antwerp . .
Io the school of the j
Boutats .... j Portraits, &c. . .
1725
65
William van Heede . . .
Fumes
Studied in Italy . . ¦ History ....
1728
68
Arnold Houbraken . . .
Dort . .
Samuel van Hoogstrae- 1
ten ...
History and Portraits
Ferdinand van Kessel . .
Antwerp .
John van Kessel . .
Landscapes . . .
John Lamsvelt ....
Utrecht .
Imitated the style of
R. de Hooghe . .
Engraved Portr. &c.
Stefano Legnani . . .
Milan . . .
C. Cignani, and C. Ma-
History and Battles
1715
55
Godfrey Maas ....
Antwerp .
His father ....
History ....
Sir John Medina . . .
Brussels .
Francis du Chatel . .
History and Portraits
1711
51
Leyden .
Francis Mieris, the el-
History and Portraits
1690
30
Gaspar James van Opstal
History and Portraits
Bonaventura van Overbeck
Amsterdam
Gerard Lairesse .
History ....
1706
46
Jacob Vander Sluys . . .
Leyden .
A. de Voys, and Peter
Slingelandt . . .
Domestic subjects .
1736
76
Valencia .
Gaspar de la Huerta .
History ....
1731
71
Antwerp .
Peter Tyssens . . .
Flowers, Fruit, Dead
Game, &c.
1661
Benoit Audran ....
Gregory Brandmuller .
Lyous Basle . .
Germain Audran . .
G. Meyer, and Charles
Engr. Hist, and Portr.
Le Brun ....
History ....
1691
30
Anthony Coypel ....
Paris . .
Noel Coypel . . .
History ....
1722
61
Francis Desportes . . .
Champigne-
ul . .
Nicasius Bernaert . .
Huntings and Animals
1743
82
Nunzio Ferrajuoli . . .
Nocera de
Pagani .
L. Giordano, and Giu
seppe dal Sole . . .
Hist, and Landscapes
Simon Gribelin ....
N. Leyssens 
Blois . .
Engr. Hist, and Portr.
History ....
1733
72
Antwerp .
Peter Eyckens . . .
Theodore Netscher . .
Portraits ....
1732
71
Valsolda .
Studied at Venice . .
History ....
1716
55
Nicholas van Ravesteyn .
Bommel .
William Doudyns . .
History and Portraits
1759
98
1662
Anthony Aveline . . .
Engraved Landscapes
and Views . . .
"jfTHrtf-Twi-*- Il ii r> n a n era -¦
Engr. Hist, and Portr.
History ....
uaopai lyui/iiaugv ...
Paolo de Matteis . . .
Naples
Luca Giordano . . .
1728
66
: Lodovico Mattioli . . .
Bologna .
Carlo Cignani . . .
Engraved History .
William Mieris . . . .
Leyden .
Francis Mieris . . .
Domestic subjects .
1747
85
Dominico Maria Muratori
Bologna .
Lorenzo Pasinelli . .
History ....
1749
87
Teresa Muratori ....
Bologna .
Emilio Taruffi, and L.
Pasinelli ....
History ....
1708
46
1663
Robert van Audenaerde .
Ghent .
J. van Clef, and C. Ma
Painted and engraved
Hist, and Portraits
Louis Laguerre ; . . .
Paris . .
Charles Le Brun . .
History ....
1721
58
Giovanni Odazzi . . .
Rome . .
Ciro Ferri, and Gio.
Bat. Gaulli . . .
History ....
1731
68
808

CHRONOLOGICAL INDEX.

Born,or flou
rished.

1664

1665

1666

Names of Painters and Engravers.

Giacomo Parolini . .
Bernard Picart . . .
Giovanni Segala . ...
Francesco Bassi, the younger
Giacomo Bolognini
Gioseffo Cristona . .
Peter Drevet, the elder
Victor Honorius Janssens
John Anthony Leepe .
Alessandro Ma-rchesini
Gio. Paolo Melchiori .
N. Morell 
Giuseppe Nasini . .
Rachel Ruisch . . .
John George Wolfgang
Simon Verelst . . .
Joachim Francis Beisch
Luca Carlevariis . .
Gio. Maria Crespi . .

Cornelius Dusart

Antonio Lorenzini . . .
John Vander Meer, the
younger 
Tommaso Redi . . . .
Jonathan Richardson . .
Henry Vander Straeten
Peter Vander Werf . . .
Antonio Balestra . . .

Ferdinando Cairo . .
Michael Carr6 . . .
OttomarElliger,the younger
Giovanna Fratellini . .
Henry Henegouts . .
Joseph Gabriel Imbert
Benedetto Luti . . .
Thomas Murray . . .
Juriaen Pool ....
Felice Ramelli .
George Philip Rugendas

Albert van Spiers . .
AnthonyTrouvain . .
Arnold van Westerhout

Ferrara .
Paris . .
Venice Bologna .
Bologna .
Pavia . .
Lyons . .
Brussels .
Bruges

VeronaRome .
Antwerp .
Siena . .
AmsterdamAugsbourg

Antwerp Munich

Udina . .
Bologna .
Haerlem .
Bologna .
Haerlem .
Florence .
London .
In Holland
Rotterdam Verona

Varese . .
Amsterdam Hamburg Florence .
Mechlin .
Marseilles

Studied under.

Carlo Cignani . . .
StephenPicart . . .
Antonio Zanchi . .
Lorenzo Pasinelli . .
Gio. Batista Bolognini
Bernardino Ciceri . .
Germain Audran . .
Studied at Rome . .

Carlo Cignani . . .
Carlo Maratti . . .
N. Verendael . . .
Ciro Ferri ....
William van Aelst . .
George Andrew Wolf
gang 

William Beisch

Domco Maria Canuti,
and Carlo Cignani .
Adrian van Ostade

Lorenzo Pasinelli .
Nicholas Berghem
Carlo Maratti, and Ciro
Ferri 
John Riley ....
Adrian Vander Werf .
A. Belucci, and C. Ma
ratti 
Pier Fran00 Morazzone
Nicholas Berghem
Michael van Musscher
and G. Lairesse
Anl° Domco Gabbiani

Florence .
In Scotland
Amsterdam InPicdmont
Augsbourg AmsterdamMontdidierAntwerp .

C. Le Brun, and Vander
Meulen . . .
Ant0 Dom00 Gabbiani
John Riley . . .

Danese Rho . . .
Gio. Batista Molinari
William van Inghen .
Bernard Picart . » .
Studied at Rome . .

Painted or Engraved.

Died.

History ....
Engr. Hist. Portr. &c.
History ....
History ....
History ....
Landscapes andViews
Engr. Hist, and Portr.
History ....
Landscapes and Sea-
pieces ....
History ....
History ....
Flowers, Fruit, &c.
History ....
Flowers and Fruit .
Engraved Portraits .
Portraits and Flowers
Painted and engraved
Landscapes
Painted and engraved
Landsc. and Views
Painted and engraved
History . . .
Painted and engraved
Drolls and Merry
makings . . .
Painted and engraved
History ....
Landsc. with Cattle
History and Portraits
Portraits .
Landscapes . . .
History and domestic
subjects . . .
Painted and engraved
History . . .
History and Portraits
Landscapes . . .
History ....
History aud Portraits
History ....
History ....
History ....
Portraits ....
Portraits ....
History and Portraits
Painted and engraved
Battles . . .
History . . .
Engr. Hist, and Portr.
Engr. Hist, and Portr.

17331733
1720 1693

1739 1739 1720' 1738

A ged
70
7057
29

7575
5674

1736 72
1750 86

1710 ^
"48 83
1729 64
1747 82
1704 39
1688 23
1726 61
1745 80
1718 53

1692 26
1728 02
1732 66
1731 65

1749
1724 1724 1745 1740
1742 1718

8358 58 7974 7652

CHRONOLOGrCAL INDEX.

809

Born,or flou
rished.

Names of PaiulerB and Engravers.

Where born.

Studied under.

Painted or Engraved.

Died.

Aged

1667

Lyons

Gerard Audran . .

Engr. Hist, and Portr.

1756

89

Nicholas Bertin ....

Paris . .

John Jouvenet . . .

History ....

1736

69

Giacomo Maria Giovannini

Bologna .

Antonio Roli . . .

Painted and engraved
History ....

Peter van Gunst ....
Amsterdam
Engr. Hist, and Portr.
John Kupetzki ....
Porsina .
Studied in Italy . .
History and Portraits
1740
73
Como Mogalli ....
Florence .
Gio. Batista Foggini .
Engr. Hist, and Portr.
Elias van Nimeguen . .
Nimeguen
His brother ....
History, Landscapes,
and Flowers . .
1745
78
Anthony Rivalz ....
Toulouse .
Studied in Italy . .
History ....
1735
68
Cristoforo Tasca . . .
Bergamo .
Studied at Venice . .
History ....
1737
70
Giovanni Tucarri . . .
Messina .
His father ....
Battles and Skirmishes
1743
76
1668
John Charles Allet . . .
James Anthony Arlaud
Paris . .
Geneva .
Studied at Rome . .
Engr. Hist, and Portr.
Portraits and fancy
subjects . . .
17321743
6475
John Rodolph Huber . .
Basle . .
Joseph Werner . .
History and Portraits
1748
80
Domenico Parodi . . .
Genoa
Sebastiano Bombelli .
History ....
Carlo Antonio Tavella .
Milan . .
11 Tempesta ....
Landscapes . . .
1738
70
Gaspar Peter Verbruggen
Antwerp .
Peter Verbruggen . .
Flowers and Fruit .
1720
52
1669
Francis Beeldemaker . .
Hague
William Doudyns . .
History and Portraits
Arnold Boonen ....
Dort . .
Godfrey Schalcken .
Portraits ....
1729
60
Bologna .
Lorenzo Pasinelli . .
History ....
1744
75
Joseph Vander Kerkhove .
Bruges
Erasmus Quellinus, the
History ....
1724
55
John Baptist Poilly . . .
Paris .
Nicholas Poilly . .
Engr. Hist, and Portr.
1728
59
1670
Louis Audran ....
Martin Bernigeroth . . .
Lyons .
Ramels-
Gerard Audran . .
Engraved History .
1712
42
Engraved Portraits .
1733
63
James Chrisf Le Blond .
Frankfort
Carlo Maratti . . .
Painted and engraved
Portraits, &c. . .
1741
71
James Coelmans . . .
Antwerp .
Cornelius Vermeulen
Engr. Hist, and Portr.
Nicholas Cramer . . .
Leyden .
Wm Mieris, and C. de
Portraits, and domes
tic subjects . .
1710
40
Alexander van Gaelen
Haerlem .
John van Huchtenburg
Battles and Huntings
1728
58
Louis Galloche ....
Paris . .
Louis Boulongne . .
History ....
1761
91
Christopher Elias Heiss .
Menimin-
Engr. Hist, and Portr.
Landscapes . . .
1720
Naples
Giacomo del Po . .
50
Francesco Antonio Meloni
Bologna .
Marc Ant0 Franceschini
Engraved History .
Isaac Moucheron . . •
Antwerp .
His father, and studied
at Rome ....
Landscapes . . .
1744
74
Constantine Netscher . .
Hague . .
Gaspar Netscher . .
Portraits and domes
Guglielmo Capodoro Pa-
tic subjects . .
1722
52
Mantua .
Antonio Calza . . .
Battles and Encamp
ments ....
Gio. Domenico Picchianti
Florence .
Gio. Batista Foggini .
Engr. Hist, and Portr.
Matthew Pool ....
Amsterdam
Engr. various subjects
Arcangelo Resani . . .
J. Rudolf Schmuz . . .
Rome . .
Gio. Batista Boncuore
Animals and Huntings
Zuric . .
Mathias Fuessli . .
Portraits ....
1715
45
Matthew Terwesten . .
Hague
D. Mytens, and W"
Doudyns ....
History ....
1735
65
Domenico Viani ....
Bologna .
Giovanni Viani . .
History ....
1716
46
Charles Boschart Voet
Zwolle .
His brother ....
Flowers, Fruit, Plants,
1745
75
1671
Francisco Camilo . .
Madrid .
Pedro de las Cuevas .
History ....
•
Donato Creti ....
Cremona .
Lorenzo Pasinelli . .
History ....
1749
78
Vol. II.
5L
810

CHRONOLOGICAL INDEX.

Burn,
nr flou
rished.

Names of Painters and Engravers.

Wiiere born.

Studied nnder.

Fainted or Engraved.

Died.

Aged

Pietro de Petri ....

Premia .

Carlo Maratti . - .

History ....

Andrea Procaccini . . .

Rome . .

Carlo Maratti . . .

History ....

1734

63

1672

Don Juan Antonio Bouzas
Alberto Carlieri ....
Gerard Rademacker . .

Santiago .
Rome . .
Amsterdam

Luca Giordano . .
Gio. de Marchi, and
Andrea Pozzo . .
A. van Goor, and stu

History ....
Architectural Views

died at Rome . .
Hist. andArchitecture
1711
39
1673
Jacob de Baan ....
Hague
John de Baan . . .
Portraits . . . .
1700
27
Claude Gillot ....
Langres .
J. B. Corneille . . ,
Painted and engraved
various subjects .
1722
49
Pietro Paltronieri . . .
Architectural Views
1741
68
Peter van Schuppen, the
Paris . .
Nich9 de Largilliere .
History and Portraits
1751
78
Nicholas Verkolie . . .
Delft . .
John Verkolie . . .
Painted and engraved
Hist, and Portraits
1746
73
Gerard Wigmana . .
Workum .
Studied in Italy . .
History ....
1741
68
1674
Mark van Duvenede . .
Bruges
Carlo Maratti . . .
History ....
1729
55
Pier Leone Ghezzi . .
Rome . .
Giuseppe Ghezzi . .
Hist, and Caricatures
1755
81
Gioseffo Palmieri . . .
History and Animals
1740
66
Antonio Pelligrini . . .
Venice
Sebastiano Ricci . .
History ....
Montpellier
Hyacinth Rigaud . .
Portraits ....
1735
61
Nicholas Henry Tardieu .
Paris . .
John Audran . . .
Engr. Hist, and Portr.
1749
75
Gio. Pietro Zanotti . . .
Paris . .
Lorenzo Pasinelli . .
History ....
1765
91
1675
Jacopo Amiconi ....
History ....
J 758
83
Sigismondo Benini . . .
Cremona .
Angelo Massarotti
Landscapes . . .
Balthasar Vanden Bosch .
Antwerp .
A Painter named Tho-
Portraits, and Interi
ors of Galleries . ¦
1715
40
Francesco Faraone Aquila
Engraved History .
Pier Francesco Cavazza .
Bologna .
Domenico Viani . .
History ....
1733
58
Henry van Limburg . .
Rotterdam
Adrian Vander Werf .
History and Portraits
Aureliano Milani . . .
Bologna .
Lorenzo Pasinelli . .
History ....
1749
74
Abraham Rademacker . .
Amsterdam
Landscapes . . .
Rosalba Carriera . . .
Chiazza .
Giovanni Diamentini
Portraits in Crayons
1757
82
Francis Stampart . . .
Antwerp .
Peter Tyssens . . .
Portraits ....
1750
75
Theodore Valkenburg . .
Amsterdam
John Weeninx . . .
Portraits, Animals,
and Dead Game .
1721
46
Anselm Weeling ....
Bois-le-Duc
Imitated the works of
G. Schalcken . .
Subjects by Candle
light ....
1749
74
1676
Sebastiano Conca . . .
Gaeta . .
Francesco Solimene .
History ....
1764
88
Gio. Batista Cozza .
Milan . .
History ....
History ....
1742
1746
6670
Sebastiano Galeotti . .
Florence .
Gio. Gioseffo dal Sole
Francis Pilsen ....
Ghent
Robert van Audevaerde
Painted and engraved
History . . .
History ....
Sir James Thornhill . .
Weymouth
1734
58
John Francis de Troy . .
Toulouse .
Nicholas Loir . . .
History and Portraits
1752
76
1677
Charles Breydel ....
Antwerp .
Peter Rysbraeck . .
Battles and Attacks of
Cavalry ....
1744
67
Lucia Casalini ....
Bologna .
Giuseppe dal Sole
History and Portraits
1762
85
Louis du Guernier . . .
Paris . .
L. de Chastillon . .
Engr. Hist.Portr. &c.
1716
39
Montpellier
Bon Boulongue . .
History and Portraits
1734
57
1678
Carlo Bolognini ....
Bologna .
Giulio Trogli . . .
Architectural Views
Claude Duflos ....
Paris . .

Engr. Hist, and Portr.
1747
09
Anthony Faistenberger .
Inspruck .
Studied the works of
•
G. Poussin . . .
Landscapes . . .
1722
44
Peter Hardime ....
Hague
Simon Hardime . .
Flowers and Fruit .
1748
70
CHRONOLOGICAL INDEX.

8M

Born,

1

orfloo-
r isliod.
Names of Painters and Engravers.
Where born.
Studied under.
Painted or Engraved. Died,
Aged
Cesare Mazzoni ....
Bologna .
Lorenzo Pasinelli . .
History ....
1763
85
Gioseffo Maria Milani . .
Pisa . .
Camillo Gabrielli . .
History ....
M. Angelo Monticelli . .
Bologna .
Domenico Viani
Landsc. and Battles.
Henry Rietschoof . . .
Hoorh . .
John KlaaszeRietschoof
Sea-pieces and Storms
Don Antonio Viladomat .
Barcelona
History ....
1755
77
1679
Francis Breydel ....
Antwerp .
Peter Rysbraeck . .
Conversations and
Assemblies . . .
1750
71
Giuseppe Dallamono . .
Architectural Views
1758
79
Domenico Olivieri ...
Turin
History, Fairs, &c. .
Flowers and Fruit .
Conrade Roepel ....
Hague
Constantine Netscher
1748
69
Zuric . .
Joseph Werner - . .
Portraits and pastoral
subjects . . .
1713
3J
James Campo Weyermans
Amsterdam
Ferdinand van Kessell
Flowers, Fruit, and
Still-life. . . .
1747
68
1680
Gio. Carlo Aliberti . . .
Asti
History ....
Portr. and Landscapes
1740
60
Amsterdam
David Vander Plaas .
1751
71
Francesco Boccaccino . .
Cremona .
Carlo Maratti . . .
History ....
1750
70
Andrew Bouys ....
In Provence
Francis de Troy . .
Painted and engraved
Portraits . . .
Antonio Carnio ....
Portogru- aro . .
His father ....
History and Portraits
Francis Chereau ....
Blois . .
Gerard Audran . .
Engr. Hist, and Portr.
1729
49
Nicholas Edelinck . .
Paris . .
Gerard Edelinck . .
Engr. Hist. and Portr.
Lorenzo Ferrari ....
Genoa
Gregorio Ferrari .
History ....
1744
64
Girolamo Ferroni . . .
Milan . .
Carlo Maratti . . .
Painted and engraved
History ....
Gioseffo Gambarini . .
Bologna .
L. Pasinelli, and Cesare
Genarri ....
History and domestic
subjects
Jacob van Huysum . . .
Amsterdam
John van Huysum
Flowers and Fruit .
1746
66
Edme Jeaurat ....
Paris . .
Bernard Picart
Engr. Hist, and Portr.
Silvestro Manaigo . . .
Venice
Gregorio Lazzarini .
History ....
Ignatius Parrocell . .
Paris . .
Joseph Parrocell .
Battles and Huntings
1722
4 2
Filippo Pasquali ....
Bologna .
Carlo Cignani . .
History ....
Blois . .
Gerard Audran . .
Engraved History .
1711
31
Francesco Rainieri . . .
Mantua .
Giovanni Canti
Landsc. and Battles
1758
76
Carlo Rambaldi ....
Bologna .
Domenico Viani . .
History ....
1717
37
Belluno .
Sebastiano Ricci
Landscapes and Ar
chitecture .
1730
50
Verona
Giuseppe dal Sole . .
History ....
1763
83
In the Ty-
rolese .
Carlo Loti ....
History ....
1717
37
Philip Vandyck ....
Amsterdam
Arnold Boonen . . .
Portraits and domes
tic subjects . .
1752
72
Candido Vitali ....
Bologna .
Carlo Cignani . . .
Animals, Birds, Flow-
1753
73
Antonio Maria Zanetti . .
Engr. various subjects
1757
77
1681
Girolamo Donnini . . .
Coreggio .
Carlo Cignani . . .
History ....
Lucerne .
Carlo Maratti . . .
Engr. Hist, and Portr.
1752
71
Gio. Batista Grati . . .
Bologna .
Gioseffo dal Sole . .
History ....
1758
77
Alessandro Magnasco . .
Genoa
Filippo Abbiati . .
Battles, Marches, &c.
1747
66
John Baptist Masse . . .
Painted and engraved
Portraits . . .
1682
Giacomo Adolfi ....
William Aikman ....
Bergamo .
¦n Aber
Benedetto Adolfi . .
History ....
1741
59
deenshire
Studied in Italy . .
Portraits ....
1731
49
Mosen Vicente Bru . .
Valencia .
Juan Conchillos . .
r. L 2
History ....
1703
21
8r*2

CHRONOLOGICAL INDEX.

Born, or flou
rished.

1683

1684

1685

1686

J 087

1688

J 039

Names of Painters and Engravers.

Louis Desplaces ....
John van Huysum . . .
Gio. Domenico Lombardi .
Gio. Batista Piazzetta . .
Ciro Adolfi 
Andrea dell Asta . . .
John van Breda ....
Segres James van Helmont
Marco Benefial ....
Gio. Angelo Bononi . .
Peter Casteels ....
Justus van Huysum, the

younger 
Nicholas Larmessin, the

younger 
Herman Vander Myn . .
Peter Tillemans ....
John Baptist Vanloo . .
George Vertue ....
Anthony Watteau . . .
Balthasar Denner . . .
Charles Dupuis ....
Bernardo German Llorente
Antonio Lunghi ....
Francesco Monti . . .
John Mark Nattier . . .
Domenico Bocciardo . .
Carlo Carloni ....
Pietro Ligario ....
John Baptist Oudry . .
W. Laurent Reiner . . .
James de Roore ....
John George Bergmuller .
Nich" Dauphin de Beauvais
Giacomo Boni ....
Chas Nich8 Cochin, the elder
Placido Costanzi
Ercole Graziani . .
Robert Griffier . .
Frederick Hortemels
Adrian Manglard
Francis Le Moine . .
Henry Simon Thomassin
Peter van Bemmell . .

Where bom.

Paris .
Amsterdam

Lucca .
Venice
BergamoNaples Antwerp
AntwerpRome .
Cremona Antwerp

Amsterdam
Paris .
Amsterdam
Antwerp .
Aix . .
London .
Valenci ennes .
HamburgParis . .
Seville Bologna .
Bologna .
Paris . .
Finale . .
Near Como
Sandrio .
Paris . .
Prague Antwerp .
Dirkheim
Paris . .
Bologna .
Paris . .
Rome . .
Bologna .
London .
Paris . .
Paris . .
Paris . .
Paris . .
N member!

Studied under.

Justus van Huysum .
Pietro Paolini . . .
His father . . . .
Benedetto Adolfi . .
Francesco Solimene .
Alexander van Breda .
Mattw van Helmont .
Angelo Massarotti

His father .
Ernest Stuven

His father, and Ben0
Luti 
Michael Vandergucht

Claude Gillot

Gaspar du Change- .
His father ....
Gio. Gioseffo dal Sole
Gio. Gioseffo dal Sole

Gio. Maria Morandi .
Giulio Qualio . . .
Lazzaro Baldi . . .
Nicholas Largilliere .
Peter Brandel . . .
G. J. van Opstal . .
Andrew Wolf . . .
John Audran . . .
Marc Ant" Franceschini

Donato Creti
John Griffier

Studied at Rome
Louis Galloche .
Bernard Picart .

Fainted or Engraved.

Engraved History .
Flowers, Fruit, and
Landscapes . .
History ....
History ....
History ....
History ....
Landscapes and Hunt
ing Parties . . .
History ....
History ....
History ....
Painted and engraved
Birds, Flowers, and
Fruit ....
Battles 
Engr. Hist. Portr. &c.
History and Portraits
Landscapes andViews
History and Portraits
Engraved Portraits,
and various subjects
Balls, Concerts, and
pastoral subjects
Portraits, and Fancy
Heads ....
Engr. Hist, and Portr.
History and Portraits
History ....
History ....
Portraits ....
History ....
Painted and engraved
History ....
History ....
History,Portraits, and
Huntings . . .
Landsc. and Battles
History and Conver
sations ....
Painted and engraved
History ....
Engraved History .
History ....
Engr. Hist, and Portr.
History ....
History ....
Views of the Rhine
Engr. Hist, and Portr
Painted and engraved
Landsc. and Marines
History ....
Engr. Hist. Portr. &c.
Painted and engraved
Landscapes

1749
1752 1754
17581721 1750
1726
1764
1772

1749 1706

1741 1734
1746
17561721

1747

62

1742

57

1757

72

1757

72

1768

83

1776

91

1775

89

1748

62

1755

69

1743

57

1747

1766 1759 1765

1761173717411723

Aged

677072754867
438088

65
22

57
50 62
72
37

01

787177

73
49 5334

CHRONOLOGICAL INDEX.

813

Born, i
or ftou-
rishpcl.1 \

Names of Painters and Engravers.

I
Where born.

Studied under.

Painted or Engraved.

Died.
1738

Aged

Paul Francis Ferg . . .

Vienna

Hans Graaf, and Orient

Landsc. with Figures.

49

Philip Mercier ....

Berlin . .

Studied in Italy . .

Portraits, and domes
tic subjects . .

1700

71

Francis Mieris, the younger

Leyden .

William Mieris . . .

Domestic subjects .

Charles Parrocel . . .
Paris . .
Charles de la Fosse .
Huntings and Battles
1752
63
Francesco Simouini . . .
Parma . .
Ilario Spolverini . .
Battles and Skirmishes
John Abel Wassemberg
Groninguen
Adrian Vander Werf .
History ....
1750
61
1690
Gio. Antonio Faldoni . .
Ascola . .
Antonio Luciano . .
Engr. Hist, and Portr.
Lorenzo Maria Fratellini .
Florence .
A. Dominico Gabbiani
History and Portraits
1729
39
Nicholas Lancret . . .
Paris . .
Anthony Watteau
Concerts and pastoral
subjects . . .
1743
53
Pietro Lucatelli ....
Rome . .
Pietro da Cortona . .
History ....
Gio. Batista Pittoni . .
Vicenza .
Francesco Pittoni . .
History ....
1767
77
Domenico Rosetti . . .
Architectural Views
Gerard Scotiu, the younger
Paris . .
Gerard Seotin, the
Engr. various subjects
Nicholas Le Sueur . . .
Paris . .
Peter Le Sueur, the
younger ....
Engr. Hist, on wood
1691
Agostino Masucci . . .
Rome
Carlo Maratti . . .
History ....
1758
67
Litterio Paladini . . .
Messina .
Sebastiano Conca . .
History ....
1743
52
Gio. Paolo Pannini . . .
Piacenza .
Pietro Lucatelli . .
Architectural Views
1758
67
1692
Antonio Baldi ....
Gio. Domenico Campiglia
La Cava .
Lucca . .
Andrea Magliar . .
T. Redi, and Gio. dal
Engr. Hist, and Portr.
Painted and engraved
Hist, and Portraits
Comte de Caylus . . .
Paris .
Engr. various subjects
1765
73
Noel Nicholas Coypel . .
Paris .
Noel Coypel . . .
History ....
1735
43
Gio. Domenico Ferretti .
Florence .
Gio. Gioseffo dal Sole
History ....
Jacob Folkema ....
Engr. Hist. Portr. &c.
Joseph Highmore . . .
London .
His uncle . . , .
History and Portraits
1780
88
Rouen
John Jouvenet . . .
History ....
1768
76
John Wandelaar . . .
Amsterdam
Jacob Folkema .
Engraved Portr. &c.
Gustavus Andrew Wolfgang
Augsbourg
John George Wolfgang
Engraved Portraits .
Henrietta Wolters . . .
Amsterdam
James Christ1, Le Blond
Portraits ....
1741
49
1693
Jerome Sperling ....
Augsbourg
John Justin Preisler .
Engr. various subjects
Adrian Vanderburg . .
Dort . .
Arnold Houbraken
Portraits and domes
tic subjects . .
1733
40
1694
Claudio Beaumont . . .
Turin . .
Studied at Rome . .
History . . .
1766
72
Jacques Chereau . . .
Blois . .
Francis Chereau . .
Engr. Hist, and Portr.
1759
65
Charles Anthony Coypel .
Paris . .
Anthony Coypel .
Portraits and Bamboc-
hades ....
1752
58
Giuseppe Pedretti . . .
Bologna .
Marc Ant° Franceschini
History ....
1778
84
1695
Alonso del Arco ....
James Gabriel Huquier .
Madrid .
Antonio de Pereda
History and Portraits
Engr. various subjects
1770
75
Edward Kirkall ....
Sheffield
Engraved History .
Engr. Hist, and Portr.
John Baptist Pater . . .
Valenci ennes .
Anthony Watteau . .
Balls, Concerts, and
pastoral subjects
1636
41
John Raymond ....
John Elias Ridenger . .
Engraved History .
Painted and engraved
Ulm . .
Christopher Resch
Animals and Hunt-
Louis Surrugue ....
Paris . .
Bernard Picart . .
Engr. Hist. Portr. &c.
1769
74
John Alexander Thiele
Erfurt .
Studied from nature .
Painted and engraved
Landscapes . .
Zell . .
Dom0 Giuseppe Alberti
History and Landsc.
-814

CHRONOLOGICAL INDEX.

B orn,
or flou-
lighed.

Names of Painters and Engravers.

Where born.

Studied under.

Fainted or Engraved.

Died.

Aged

Jacob de Wit ....

Amsterdam

Albert van Spiers . .

History ....

1696

Nicholas Boschaert . . .

Antwerp .

jp _

Flowers and Fruit .

~— ~-— -- -— v^repu ...
Nicholas Gabriel Dupuis .
Paris . .
Gaspar Duchange
Engr. Hist, and Portr.
1770
74
Giles Edme Petit . . .
Paris . .
J. Chereau ....
Engr. Hist, and Portr.
John Louis Tocqui . . .
Paris . .
N.Bertin, and H. Rigaud
Portraits ....
1772
76
1697
Antonio Canal ....
Perspective Views .
1768
71
Peter Drevet, the younger
Paris . .
His father ....
Engr. Hist, and Portr.
1739
42
Antonio Gionima . . .
Padua
Aureliano Milani . .
History ....
1732
35
William Hogarth . . .
satirical subjects .
1764
67
Gio. Batista Tiepolo . .
Venice
Gregorio Lazzarini
Painted and engraved
History ,and various
subjects. . . .
1770
73
Cornelius Troost . . .
Amsterdam
Arnold Boonen . . .
Conversations and ga-
lant subjects . .
1750
53
1698
Carlo Giovannini . . .
Jacob Houbraken . . .
George Knapton . . .
Dort
Painted and engraved
History ....
Engraved Portr. &c.
Painted and engraved
London .
Jonathan Richardson .
Portr. and Landsc.
1788
90
John Bap' Michael Papillon
Paris . .
John Papillon . . .
Engraved various sub
jects on wood . .
John Justin Preisler . .
Nuremberg
John Daniel Preisler .
Engr. various subjects
Anthony Joseph Prenner .
Engraved Portr. and
various subjects .
Ignazio Stern ....
In Bavaria
Carlo Cignani . . .
History, Concerts, &c.
1746
48
Francesco Zucchi . . .
Venice
Andrea Zucchi . . .
Engr. Hist, and Portr.
1699
Bernard Lepicie ....
Paris . .
John Audran . . .
Engr. Hist, and Portr.
1755
56
Giuseppe Marchesi . .
Bologna .
Aureliano Milani . .
History ....
Bartolomeo Nazzari . .
Clusone .
Benedetto Luti . .
History ....
1758
59
Gio. Agostino Ratti . .
Savona
Benedetto Luti
Hist, and Caricatures
1775
76
Peter Subleyras ....
Usez . .
Anthony Rivalsz . .
History ....
1749
50
1700
IVTipiiapl Aiihprt
Engr. Hist, and Portr.
Engr. Hist, and Portr.
LiJ. if. ij ci-ci nuuv^i I. • ¦ • •
Bernard Baron ....
Paris . .
Nicholas Henry Tardieu
Sebastiano Ceccarini . .
Urbino
Agostino Castellacci .
History ....
1780
80
Ferrara .
Gio. Batista Cozza
History ....
1769
69
Philip Endlich ....
Amsterdam
Bernard Picart . . .
Engraved Portraits .
John Charles Flipart . .
Giuseppe Grisoni . . ¦
Engr. Hist, and Portr.
History and Portraits.
Florence .
Tommaso Redi . . .
1769
69
John Haussard ....
John Baptist Herregouts .
Engraved History .
History ....
Bruges
Henry Herregouts . .
Modena .
Gio. Paolo Pannini
Architectural Views
1777
77
Salvatore Monosilio . .
Messina .
Sebastiano Conca . .
History ....
Charles Natoire ....
Nismes
Francis Le Moine .
History ....
1775
75
Giuseppe Peroni . . .
Parma
Agostino Masucci . .
History ....
1776
76
Francesco Polanzani . .
Andale

Engr. various subjects
George Martin Preisler .
Nuremberg
Studied in Italy . .
Painted Portraits.and
engraved various
subjects . . .
Engraved Landscapes
and Views . . .
Antonio Rossi ....
Bologna .
Marc Ant0 Franceschini
History ....
Amsterdam
Engraved Portr. and
various subjects .
1701
Giuseppe Bazzani . . .
Thomas Hudson ....
Reggio .
In Devon
Giovanni Canti . .
History ....
1769
68
shire .
Jonathan Richardson
Portraits ....
1779
78
CHRONOLOGICAL INDEX.

815

Born,
or flou
rished.

Names of Painters and Engravers.

1702

1703

1704

1705

1706

1707

1708

1709

1710

Don Josef Romeo . .
John Antiquus . . .
Francesco Appiani . .
Pompeo Battoni . . .
Lawrence Cars . . .
John Stephen Liotard .
James Seymour .
Francesco Zuccherelli .

John Daulle . .
John Jacob Haid

Gio. Marco Pitteri . . .
Peter Charles Tremolliere
Francis Boucher ....
Gaetano Lapis ....
Lorenzo Zucchi ....
Quintin Pierre Chedel . .
Charles Andrew Vanloo .
Christian Frederick Boetius
John Gaspar Fuessli . .
Francis Krause ....
Joseph Francis Nollikins .
Simon Francis Ravenet
Joseph Wagner ....
Gio. Batista Piranesi . .
Conte Pietro Rotari . .
Louis Michael Vanloo . .
James Philip Le Bas . .
Gottfried Bern1" Goetz .
Francis Hayman ....
John Holzer 
Philip Jerome Brinckman

Paolo Cignani . .
Gio. Bettino Cignaroli
Francesco Fontebasso
Allan Ramsay . .
James M'Ardell . .
Peter Aveline . .
Peter Charles Canot
J. B. Chatelain . .
John Christ' Dietzsh

Cervera
GroninguenAnconaLucca Lyons
Geneva

London .
Pitigliano
Abbeville
Wurten- berg .
Venice Chollet .
Paris . .
Cagli . .
Venice
Chalons .
Nice . .
Leipsic .
Zuric . .
Augsburg
Antwerp .

Studied under.

Agostino Masucci . .
John Abel Wassenberg
Domenico Simonetti .

His father

Gio. Maria Morandi,
and Pietro Nelli
Robert Hecquet . .
John Elias Ridinger .
Gio. Antonio Faldoni
John Baptist Vanloo .
Francis Le Moine . .
Sebastiano Conca . .
Andrea Zucchi . . .

Paris . .
Thalendorf Rome .
Verona .
Toulon .
Paris .
Kloster -
Welchrod
In Devon
shire
Burgriess
Spires . .
Bologna .
Verona .
Venice EdinburghIn Ireland
Paris .
Paris . .
London .
Nuremburg

J. B Vanloo, and Ben'
Luti 
C. A. Waterman , .
John Kupetsky . .
Gio. Batista Piazzetta
Peter Tillemans . .

Lawrence Cars .

Antonio Balestra .
John Baptist Vanloo
Nicholas Tardieu .

John Geo. Bergmuller
Robert Brown . . .
J. B. Bergmuller . .
J. G. Dathan . . .
Carlo Cignani . . .
Antonio Balestra . .
Sebastiano Ricci . .
Solimene and Imperiale
John Baptist Poilly

Painted or Engraved.

History ....
History and Portraits
History ....
History and Portraits
Engr. Hist. Portr. &c.
Painted and engraved
Portraits . . .
Horses, &c. . . .
Landsc- with Figures
Engr. Hist, and Portr,
Painted and engraved
Portraits . . .
Engr. Hist. Portr. &c
History ....
Pastoral and fancv
subjects . . .
History ....
Engraved History .
Engr. various subjects
History ....
Engraved Portr. and
various subjects .
Portraits ....
History and Portrait
Landscapes and do
mestic subjects .
Engr. Hist, and Portr.
Engr. Hist. Portr. &c.
Engr. Architecture
History and Portraits
History and Portraits
Engraved Portr. and
various subjects .
Painted and engraved
History and Portr,
History, &c. . . .
Painted and engraved
History . .
History.Portiaits, and
Landscapes
History . .
History . . .
Painted and engraved
various subjects .
Portraits ....
Engr. Hist, and Portr.
Engraved History and
various subjects
Engraved Landscapes,
Views, and Marines
Engraved Landscapes
and Views ... .
Painted and engraved
Portr. and Landsc.

Aged

17721750
17921787

1752
1788

1739
17681776

1765

1781
1754 1748
17741778
1762 1771

1770

1784 1765

7J
48
9085

50

86

36
64 72

GO

75
48
4-2
68
715564

1776 68

1764 5561

7r.

816

CHRONOLOGICAL INDEX.

Born,
or flou
rished

1711

1712

1713

1714

1715

Names of Painters and Engi-avers.

Claude Drevet . .
Giuseppe Ghedini .
Charles Grignon
George Lambert . .
Fras Anthony Meyer
Violante Beatrice Siries
Joseph Maria Vien . .
Noel Halle . . . .
Jacopo Marieschi . .
Peter Anthony Quillart
Giuseppe Zocchi . .
Jacques Bacheley . .

Thomas Bowles ....
Christ" Wm Ernest Dietrich

Francesco Guardi . . .
Louis Jacob ...
Giovanni Leonardis . .
John Moyereau ....
Edward Rooker ....
Geo. Frederick Schmidt .
Joseph Vernet ....
Francis Vivares ....
John Martin Bernigeroth .
John Balthr Bullinger . .
Don Francisco Preciado .
Enrico Alberici ....
Francesco Dagin . . .
Stephen Fessard . . .
Philip Andrew Kilian . .
George Smith ....
Richard Wilson ....
John James Balechou . .
Charles Nicholas , Cochin,
the younger ....
Louis Joseph de Lorraine

Thomas Major ....
John Baptist Maria Pierre
John Martin Preisler . .
Jacob Vander Schley . .

Lyons . .
Ferrara .
In France
London .
Prague

Florence .

Paris Venice
Paris . .
Florence .
Pont L'E-
vesque .
London .
Wiemar .

Venice Lisieux
Venice Paris .

Studied under.

Painted or Engraved.

Died. Aged

Peter Drevet . .
Giacomo Parolini .
William Hassell .

Giovanni Fratellini

Montpellier Charles Natoire
Claude Guy Halle
Gasparo Diziani .
Anthony Watteau ,

London .
Berlin . .
Avignon .
MontpellierLeipsic .
Langnau .
Seville .
Vilminore VeniceParis . .
Augsbourg
Chichester In Montgo
meryshire
Aries . .

John Alexander Thiele

Canaletti 
Gerard Seotin, the
younger . . . .
Gio. Bat. Tiepolo . ,

ParisParis

LondonParis .
Nuremburg Amsterdam

Nicholas Larmessin .
Adrian Manglard . .
J. B. Chatelain . . .
Martin Bernigeroth .
Gio. Bat. Tiepolo . .
Dom. Martinez, aud S.
Conca . . . . .
Ferdinando Cairo . •
Gio. Bat. Piazzetta .
Edme Jeaurat . . .
Geo. Martin Preisler .

Thomas Wright

His father . .
 Dumont

Studied at Rome .
George Frederick
Schmidt . . .
Bernard Picart . .

Engraved Portraits .
History ....
Engr. various subjects
Landscapes andViews
Portraits and domes
tic subjects . .
History, Portraits,
Flowers, &c. . .
History ....
History ....
Architectural Views
History ....
History and Views .
Engraved Landscapes
and Views . .
Engraved Views
Painted and engraved
History and various
subjects . . ,
Architectural Views
Engraved History ,
Engraved History .
Engraved History and
various subjects .
Engraved architectu
ral Views, &c.
Engr. Hist. Portr. &c
Landscapes, Views,
and Marines . .
Engraved Landscapes
and Views . .
Engr. Portraits, &c.
Pain ted 'and engraved
Landscapes . .
History ....
History ....
History ....
Engr. Hist, and Portr,
Engr. Hist, and Portr.
Painted and engraved
Landscapes

1768 1755 1765
1782

1781 1794
1730
1776

1781

17741793

17751786
1767

1789 1775
1784

1766 1782

Landscapes . . ,
Engraved Portraits,
and various subjects 1764
Engr. Hist, aud Portr
Theatrical decora
tions, and engraved
historical subjects
Engr. various subjects
History . . .

Engr. Hist, and Portr,
Engraved Portraits .

1789

1794

584555
72

7083
1965

6281

63
7454

7661 70

5268 49

74 79

CHRONOLOGICAL INDEX.

817

Bom,
or flou
rished .
1716 1717

1718 1719
1720

Names of Painters and Engravers.

Giacomo Guarana .
Giuseppe Bottani .
John James Francois
Frederick Oeser . .
John Smith . . .

Peter Louis Surrugue
John George' Wille .

Fra* Anthony Aveline
John Gotfried Saiter
James Nicholas Tardieu
Claude Henry Watelet

John Boydell

Carlo Gregori . . .
Augustin de St. Aubin
Peter Francis Beaumont
Andrea Casali . . .

Charles Hall ....
John Sebastian Mulier.
JohnWootton . . .
1721 1 John Baptist de la Fosse
j Sir Robert Strange . .

1722

1723

Robert Gaillard . . .
Giles de Marteau, the elder
Peter Stephen Moitte . .
Gaspar Prenner ....
Dominick Sornique . . .
John Henry Tischbein, the
elder. 
Francis Basan ....
John Christ" Brand . .
Batista Chiappe ....
John James Flipart . . .
Francesco Londonio . •

1724

Noel le Mire . . .
Niccolo Mogalli . .
Sir Joshua Reynolds
Bernardo Bellotti .
Giuseppe Camerata
Thomas Chambers .
Thomas Frye . •
Nicholas Ozanne
Vol. II.

VeniceCremona .
Nancy

Presburg .
Chichester
Paris . .
Konings- berg .

Paris . .
Augsbourg
Paris . .
Paris . .
DoringtonFlorence .
Paris . .

Paris

Civita Vec
chia
London .
Bernhausen
LondonParis .
Orkney

Paris .
Liege .
Paris .
ViennaParis .
HaynaParis .
ViennaNovi .
Paris .
Milan .

Rouen Florence .
Plympton
Venice Venice
London .
London .

Paris

Studied under.

Gio. Batista Tiepolo
Agostino Masucci .

Raphael Donner

Peter Surrugue

Peter Aveline . .
G. M. Preisler . .
Nicholas Henry Tardieu
J. B. M. Pierre .
H. W. Toms . .
Jacob Frey . ; .
Laurent Cars . .

Sebastiano Conca .

John George Wille
John Wyck ....
Stephen Fessard
Cooper, and J. P.

Le Bas

P. F. Beaumont . .
Studied at Rome . .
Charles Simonneau .
Gio. Bat. Piazzetta .
S. Fessard, and J. Daule

Studied at Rome .
John Charles Flipart

J. P. Le Bas .
J. D. Picchiante
Thomas Hudson
CanalettiGiovanni Cattini

5M

Painted or Engraved.

Died.

History . . .
History ....
Engr. Portraits and
various subjects .
Painted and engraved
History . .
Painted and engraved
Landscapes .
Engr. Hist. Portr. &c.
Engr. Hist. Portr. and
various subjects
Engr. various subjects
Engr. Hist, and Portr.
Engr. Hist. Portr. &c
Engraved Portr. and
various subjects .
Engraved Landscapes
and Views . . .
Engr. Hist, and Portr
Engr. Hist. Portr. and
various subjects
Engraved Landsc and
various subjects
History ...
Engraved Portr. &c
Engr. Hist, and Portr.
Landsc. and Animals
Engraved Portr. &c.
Engr. Hist. Portr. &c.
Engr. Hist. Portr. &c.
Engr. Hist. Portr. &c.
Engr. Hist. Portr. &c.
Painted and engraved
History ....
Engr. Hist, and Portr,
Painted and engraved
History
Engraved Portr. and
various subjects .
Landscapes . . .
History ....
Engr. Hist, and Portr.
Landscapes and pas
toral subjects . .
Engr. Hist. Portr. &c.
Engr. various subjects
History, Portraits &c
Architectural Views
Engr. Hist, and Portr,
Engr. Hist, and Portr.
Painted and engraved
Portraits . . .
Engraved Landscapes

1784
1786
1795 1764

67 69 7847

1804

85

1783

1792

63

71

1765
1783

17921780

42

60

69
50

818

CHRONOLOGICAL INDEX.

Born,or flou
rished.

1725

1726

1727

1728

1729

1730

Names of Painters and Engravers.

George Stubbs .

William Philip Benoist
John James Boissieux .
Francis Cotes . . .
Bartolomeo Crivellari .
Louis Simon Lempereur
John Ouvrier . . .
Christian Bernard Rode
Gio. Batista Brostoloni
Claude Donat Jardinier
Gio. Domenico Tiepolo
Benigno Bossi , . .
Pietro Campana . . .
Domenico Cunego . .
William Elliott . . .
Thomas Gainsborough
George Melchior Kraus
Louis J. FraB Lagren6e
Peter Charles Levesque
John Henry Rode
Jacques Aliamet .
George Barret .
Fabio Berardi
Giuseppe Canale
Gio. Batista Cipriani
Antonio Raphael Mengs
Jeremiah Meyers . .

Joseph Roos . . .
Giulio Traballesi
Francesco Allegrini .
Justus Chevillet . .

Carlo Faucci ....
Claude Galimard . .
Joseph Goupy . . .
John Andrew Nothnagel

Alexander Bannerraan
Francesco Bartolozzi ,

Frederick Aug" Brand

Where born.

Studied under.

Liverpool CoutancesLyons London .
VeniceParis . .
Paris . .
Berlin . .
Venice Paris . .
Venice

Milan . .
Soria . .
Verona .
Hampton- court .
Sudbury .
Frankfort

Paris

Paris . .
Berlin . .
AbbevilleDublin .
Siena . .
Rome . .
Florence .

Auszig
Tubingen Vienna Florence .
Florence .
FrankfortFlorence .
Troyes Nevers

Buch

Cambridge
Florence .

Vienna

George Knapton
Joseph Wagner •
Peter Aveline .

Charles Vanloo, and J.
Restout . . . .
Joseph Wagner . .
N. Dupuis, and Law
rence Cars . . .
Gio. Batista Tiepolo .

Rocco Pozzi

J.H.Tischbien

John George Wille
James Philip Le Bas .

Joseph Wagner . .
James Frey ....
Studied the works of
A. D. Gabbiani . .
His father, and studied
at Rome ....
Zinck 

John George Wille
Carlo Gregori . .

Joseph Wagner

Painted or Engraved.

Animals, particularly
Horses . . . .
Engr. Hist, and Portr,
Engraved Landscapes
Portraits . . .
Engr. various subjects
Engr. Hist, and Portr,
Engr. various subjects
History and Portraits
Engraved Portr. and
various subjects .
Engraved History,&c,
Painted and engraved
History . . .
Engr. various subjects
Engr. Hist. andPorlr.
Eugraved History,&c.
Engraved Landscapes
Portraits and Landsc
Painted and eugraved
Landscapes . .
History and various
subjects . . .
Engr. Hist, and Portr
Engr. Hist, and Portr.
Engr. various subjects
Landscapes . . .
Engraved History,&c
Engr. Hist, and Portr.
Painted and engraved
History and Portr.
History ....
Portraits, in enamel
and miniature . .
Landscapes and Cattle
Engraved History .
Engraved Portr. &c.
Engraved Portr. and
various subjects .
Engraved History .
Engraved History .
Painted Landscapes,
and engraved Hist.
Painted Landsc. and
Festivals, and engr,
various subjects .
Engr. Hist, and Portr,
Designed and engrav
ed History and va
rious subjects
Painted and engraved
Hist, and Landsc.

Died.

Aged

1806

1770

82

45

17661788

1759178417851779
1789

3961

3254
57
5161

1763

34

CHRONOLOGICAL INDEX.

819

Born,
or flou
rished.

Names of Painters and Engravers.

Where born.

Studied under.

Painted or Engraved.

Died.

Aged

Antonio Capellani . . .

Venice

Joseph Wagner . .

Engr. Hist. Portr. &c

Paris . .
J. P. Le Bas ...
Engr. Hist. Portr. &c.
John Gottfried Haid . .
Engraved Portr. &c.
Augsbourg
John Jacob Haid . .
Engr. Hist, and Portr.
Nathaniel Hone ....
Rich" Abbe, de St. Non .
Christian George Schutz .
Dublin
Portr. and Caricatures
Engraved Views . .
Landscapes and Views
Floersheim
of the Rhine . .
Fras Edmond Weirotter .
Inspruck .
John George Wille
Engraved Landscapes
1731
Stephen Ficquet ....
Corns Ploos van Amstel
Engraved Portraits .
1732
Amsterdam
Engr. various subjects
Francesco Casanova . .
London .
Francesco Simonini .
Landsc. Battles, &c.
Blaise Louis Henriquez
Paris . .
N. G. Dupuis . . .
Engr. Hist, and Portr.
John William Meil . . .
Attenbourg
Engr. various subjects
Paris . .
James Philip Le Bas .
Engr. various subjects
William Wynne Ryland .
London .
Simon Fra" Ravenet .
Engr. Hist, and Portr.
1783
51
1733
James Firmin Beauvarlet .
Sawrey Gilpin ....
Abbeville
Charles Dupuis, and L.
Engr. Hist. Portr. and
various subjects .
Animals, particularly
Horses ....
1807
74
Alessandro Longhi . . .
Venice
Giuseppe Nogari . .
Painted and engraved
Portraits, &c. . .
John Baptist Le Prince
Paris . .
J. M. Vien, and F.
Boucher ....
Painted and engraved
various subjects .
Jacob Schmutzer . .
Vienna
John George Wille
Engr. Hist, and Portr.
I7C4
Francis Aliamet ....
Francisco Bayen . . .
Abbeville Saragossa
Sir Robert Strange
Antonio Gonzales Ve
Engr. Hist. Portr. &c.
lasquez ....
History ....
1795
tjl
Gaetano Gandolfi . . .
S. Matteo
della De-
1802
68
James Philip Hackert . .
Prentzlau
N. B. Le Sueur . .
Painted and engraved
Landsc. and Views
Frederick Reclam . . .
Magdeburg
J. B. Pierre ....
Painted arid engraved
Port, and Landsc.
1774
40
George Romney ....
John Charles Le Vasseur .
Furness
Studied at Rome . .
History, Portraits, &c
1802
titi
Abbeville
Daulle and Beauvarlet
Engraved History and
various subjects .
Joseph Wright ....
Derby
Thomas Hudson . .
Subjects by candle
light and fire-pieces
1797
03
1735
Edinburgh
Studied in Italy . .
Landscapes . . .
1796
61
Vittorio Blanseri . . .
Venice
Cavaliere Beaumont .
History ....
1775
40
Claude Anthony Littret .
Engraved Portr. and
various subjects .
J 775
40
Giovanni Ottaviani . . .
Rome . .
Joseph Wagner . .
Eugraved History .
William Woollett . . .
Maidstone
 Tinney . . .
Engraved Landsc. and
various subjects .
1785
50
Richard Wright ....
Liverpool
1775
40
1736
William Baillie ....
Louis James Cathelin . .
Matthew Liart ....
Joseph de Longeuil . . .
John James Pasquier . .
John Pelletier ....
Peter Joseph Tassart . .
In Ireland
Paris . .
James Philip Le Bas .
Engr. various subjects
Engr. Hist. Portr. &c
Engraved History .
Engr. various subjects
Engr. various subjects
Engr. various subjects
Paris .
Lawrence Cars . .
Engraved History .
5 M2
820

CHRONOLOGICAL INDEX.

Born,
or flou
rished

1737 1738

1739

1740

1741

1742

Names of Painters and Engravers.

John Le Veau . . .
John Baptist Daudet .
Christian de Mechel .
John Frederick Bause .
John Ernest Mansfeld .
John Baptist Michel .
Pietro Monaco . . .
Henry Spilman . . .
Giovanni Voipato . .
Valentine Green . .
Nicholas de Launay
Pietro Antonio Martini
John Hamilton Mortimer
John Gotlieb Prestel .

Gio, Pietro Romegiallo
Innocenzio Alessandri .
William Austin . . .
James Basire ....
John Blackmore . . .
Emanuel Salvr Carmona
Bernardo Dominici . .
John Elias Haid . . .
John Hall 
J. Heins 

Ferdinand Kobell

Robert Lawrie
Peter Maleuvre

John Massard ,
Jacob More .

Bened. Alphon8 Nicolet
D. P. Pariset ....
Philip Parizeau . . .
Porporati

John Rudolf Schellenberg
Gaetano Vascellini . . .
James Barry 
Francis Anne David . .
Louis Dennel 
John Vitus Kauperz . .
Louis Joseph Masquelier .
John Michael Moreau . .
Hubert Robert . . . .
Angelica Maria Kauffman

Where born.

Rouen LyonsBasle .
Halle .
PragueParis .
BellunoHague

Bassano .
InWarwick- shire
Paris . .
Parma
Eastbourne Grunebach

MorbegnoVeniceLondon LondonLondon
Madrid
Naples AugsburgWivenhoeNorwich ,

Manheim

Paris . ,
Paris . .
Edinburgh

St. Imer .
Lyons . .
Paris . .
Turin . .
Winterthur Castello, S.
Giovanni
Cork . .
Paris . .
Abbeville
Gratz . .
Lisle . .
Paris . .
Paris . .
Coire . .

Studied under.

James Philip Le Bas
John George Wille
John George Wille

Peter Chenu

Francesco Bartolozzi

J. L. Lempereur

Thomas Hudson . .
Giuseppe Nogari, and
Joseph Wagner . .
Agostino Masucci . .
Francesco Bartolozzi .
George Bickham . .

Charles Dupuis
Joachim Fras Beisch
John Gottfried Haid
S. F. Ravenet . „

Beauvarlet, and Sir R.
Strange ....
John George Wille .
Alexander Runciman,
and studied at Rome

G. Des Marteau
Beauvarlet . .

Carlo Faucci . .
Studied in Italy
James Philip Le Bos
Beauvarlet . . .
Jam.es Schmutzer .
James Philip Le Bas
Studied at Rome .
Studied in Italy .

Fainted or Engraved.

Died.

1779

Engr. various subjects
Engr. -various subjects
Engraved Portr. &c.
Engr. various subjects
Engraved Portr. &c.
Engr. Hist, and Portr.
Engr. Hist, and Portr.
Painted and engraved
Portr. and Landsc.
Engraved History and
various subjects .
Engr. Hist, and Portr.
Engr. Hist. Portr. &c
Engr. various subjects
History . . .
Painted and engraved
Hist, and Landsc
History . . .
Engraved History and
Landscapes
Engraved Landscapes
Engr. various subjects
Engraved Portraits .
Engr. Hist, and Portr.
Landscapes .
Engr. Hist, and Portr.
Engr. Hist, and Portr.
Painted Portraits, and
engraved various
subjects . .
Painted and engraved
Landscapes . .
Engr. Hist. Portr. &c
Engraved Portr. and
various subjects .
History, Portraits, &c
Landscapes . .
Engraved Portr. &c.
Engraved Portraits .
Engr. various subjects
Engraved History
Engr. various subjects

Engr. Hist, and Portr,
History ....
Engraved Portr. and
various subjects .
Engraved History .
Engraved Portr. &c.
Engr. various subjects
Engr. Hist, and Portr.
Architectural Views
History and Portraits 1807

Aged

1813 74

1797 1770

1795

1806

40

5730

55

65

65

CHRONOLOGICAL INDEX.

821

Born. or flou
rished.

1743

1744

1745

17461747

1748

Names of Painters and Eugravers.

Giles Verhelstj . .
Gerard Vidal . . .
Nicholas Joseph Voyez
John Browne . . .

William Byrne . .
Ferdinando Gregori
Michael Rooker . .

1749

1750

Isidore Stanislaus Helman
Peter Paul Benasech
Daniel Berger
Charles Guttenberg
George Hackert . .
William Hodges . .
John Gothard Mulier
Victor Maria Picot .
Vincenzio Vangelisti
Francis Dequevauviller
Peter Laurent . .
Simon Charles Miger
Joseph Strutt . *
Martin de Mouchy .
John George Janota
Francis Robert Ingouf
Ben. Louis Prevost .
Francis WTieatley .
Pietro Bettelini . .
Gio. Batista Cecchi
Francis Godfroy . .
James Mechau . .
Robert Menageot .
Giuseppe Perini . .
Francesco Piranesi .
Anthony Romanet .
Peter Alexander Wille
John Mathieu . .
Henry Pfenninger .
John Gottfried Schulze
John Baptist Bradel

Benedetto Eredi
John Baptist Lienard
Giles de Marteau,
younger . . •
John Baptist Racine
Peter Savart . . .

John Raphael Smith
Thomas Watson . .

the

Where born.

Studied under.

In Bavaria
Toulouse Abbeville
Tinchin- field .
London .
Florence .
London .

Lisle , .
London .
Berlin . .
NurembergPrentzlau London .
Bernhausen
AbbevilleFlorence .
Abbeville Marseilles Paris . .
London

John George Wille
Beauvarlet . . .

John George Wille
John George Wille
Paul Sandby . .
James Philip Le Bas
Francis Vivares

Painted or Engraved.

John George Wille
Richard Wilson
John George Wille
John George Wille
John Daulle . . .
CharlesNicholas Cochin

Paris .
In Bohemia
Paris .
Paris .
London

LuganoFlorence Rouen
Leipsic

ParisRomeRome

Paris .
Paris ,
Paris .
Zuric .
DresdenParis .

Augustine de St. Aubin
John James Flipart
John Ouvrier . .

Gaetano Gandolfi .

James Philip Le Bas
Bernard Rode . .
Francis Boucher .

Florence
Lisle .
Liege .
Paris •
ParisLondon
London

Gio. Batista Piranesi .
John George Wille
J. M. Vien and Greuze
J. de Longueil . . .
J. B. Bullinger . . .
John George Wille

James Philip Le Bas .
His uncle ....
Francis Aliamet . .
Imitated the style of
Fiquet 

Aged

Engraved Portr. &c.
Engraved History .
Engr. Hist. Portr. &c.
Engraved Landscapes
Engr. various subjects
Engr. Hist, and Portr.
Painted and engraved
Views ....
Engraved History .
Engr. various subjects
Engr. Hist, and Portr.
Engraved Portr. &c,
Engraved Landscapes
and Views , .
Landsc. and Views
Engr. Portraits, &c
Engr. various subjects
Engr. Hist, and Portr.
Engraved Landscapes
Engr. various subjects
Engr. Hist, and Portr.
Engraved History and
Antiquities . .
Engr. Hist, and Portr.
Engr. Hist, and Portr.
Engraved Portr. and
various subjects .
Engraved Portr. &c.
History and rural sub
jects 
Engraved Portr. &c.
Engr. Hist. Portr. &c
Engr. various subjects
Painted and engraved
Hist, and Landsc,
Engr. various subjects
Engraved History
Engr. Architecture
and Antique Statues
Engr. Hist. Portr. &c
Domestic subjects .
Engr. various subjects
Painted and engraved
Portraits, &c. ,
Engr. Hist, and Portr.
Engraved Portr. and
various subjects .
Engr. Hist, and Portr.
Engraved Landscapes
and Views .
Engr. various subjects
Engr. various subjects
Engraved Portraits
Engraved Portr. &c
Engr. Hist, and Portr.

18011805

1801

59
62

58

1797

53

1801

54

1811 1781

61 31

822

CHRONOLOGICAL INDEX.

Born, or flou
rished.

1751

1752

Names of Painters and Engravers.

1753
1754

1755

1756

1757
1760
17611762
1763
1764
1766
1773
1775

Gotthelf William Weisse . .
William Hamilton . . .
John Christian Klenghel .
Noel Pruneau ....
John Henry Tischbein, the
younger 
Peter Bellejambe . . .
Antonio Cavallucci . . .
James Durno 
Frederick Christian Klass
Clement Kohl ....
C. F. A\ Macret ....
George Michault . . .
Charles Reuben Riley . .
John Webber 
Quintin Mark ....
George Farington . . .
Sebastian Ign8Klauber
Robert de Launay . . .
Charles Weisbrod . . .
Jerome Danzel ....
Raphael Morghen . . .
Simon Ravenet ....
Peter Viehl 

J. J. D'Avril 
Charles Clem' Bervic . .
Henry Frederick Laurin .
Adam Bartsch . . . .
Giuseppe Cunego . . .
John Augustine Patour
John Opie 
John George Schumann .
Vicente Calderon de la
Barca 
Lemuel Abbot ....
George Morland . . .
William Kobell . . . .
Anthony Cardon . . .
Thomas Girtin ....

Where born.

Dresden .
London .
KesseldorfParis . .
Hayna
RouenSermoneta
London .
Dresden .
NurembergAbbevilleAbbeville
London .
London .
Littau . .
In Lanca
shire .
Augsburg
Paris . .
Hamburgh
AbbevilleNaplesLondon .
Paris . .
Paris . .
Paris . .
Dresden .
Vienna

Studied under.

Painted or Engraved.

Giuseppe Canale . .
Studied at Rome . .
C. W. E, Dietricy . .
Augustin de St. Aubin
His father ....

Died.

Aged

Verona .
Paris . .
TruroDresden .

Guadalaxa ra . .
In Leices
tershire
London .
Manheim .
Brussels .
London .

A. Casali,and Mr. West
Francesco Casanova .
J. Schmutzer . . .
N. G. Dupuis . . .
Francis Aliamet . .
J. Hamilton Mortimer

J. Schmutzer . .
Benjamin West . .
John George Wille
Nicholas de Launay
John George Wille
John James Flipart
Giovanni Volpato .
Simon Fra' Ravenet
B. L. Prevost . .
John George Wille
John George Wille
Adrian Zingg . .

Domenico Cunego
Halle and Flipart

Francisco Goya
Francis Hayman
Henry Morland
Ferdinand Kobell
His father . .
Edward Dayes .
THE END.

1801

17951795

1783
1798
1793

Engr. Hist. Portr. &c.
History, and various
subjects . . .
Painted and engraved
Landsc. and" Views ,
Engraved Portraits . '
Painted and engraved
Landscapes, &c.
Engr. Hist, and Portr.
History ....
History ....
Painted and engraved
Landscapes . .
Engr. Hist, and Portr
Engraved History .
Engr. Hist, and Views
History, &c. . .
Landsc. and Views
Engraved Hist. &c

History and Portraits
Engr. Hist, and Portr.
Engr. various subjects
Engraved Landscapes
Engraved Hist. &c.
Engr. Hist, and Portr.
Engraved History .
Engraved History and
Landscapes . .
Engraved History and
various subjects .
Engraved Portr. and
various subjects .
Engraved Landscapes
and Views . . .
Engraved Portr. and
various subjects .
Engraved Landscapes
Engr. various subjects
History and Portraits 1807
Engraved Landscapes
and Views . .

50

1788

4343

31
4641

34

History and Portraits
Portraits ....
Landscapes, rural sub
jects, &c. . . .
Painted and engraved
Landscapes . .
Engraved History and
various subjects .
Landscapes . . .

1794
1803
18041813

1802 27

46
32
40
40
40

Wliiuiiighain and liowland, Printers, Goswell Street, London.

ERRATA in Vol. II.

Page 12, line 8, from the bottom, for 1648, read 1638.
20,  23, for statute, read statue.
22,  18, for Mariani, read Marinari.
46,  17, from the bottom, for 33, read 23.
64,  4, from the bottom, for Beccafiwni, read Beccafumi.
71,  12, for Padona, read Padoua.
81,  13, from the bottom, for 1726, read 1626.
156,  5, for attention, read inattention.
163,  12, from the bottom, for Clement VII. read Clement VIII.
197,  16, from the bottom, for Piazzo, read Piazza.
236,  4, for Trent, read Trento.
274,  14, from the bottom, for 43, read 73.
310,  23, for instructed, read intrusted.
340,  14,/or Runcinan, read Runciman.
363,  9, from the bottom, for 1448, read 1488.
384,  21, for Scuman, read Schuman.
404, — — ¦ 1, from the bottom, for Padona, read Padoua.
427,  11, for 80, read 72.
457,  17, for 1641, read 1614.
512,  19, for Baptise, read Baptist.
517,  20, for 40, read 35.
538,  13, from the bottom,/or 1604, read 1664.
607,  15, from the bottom, for 53, read 47.
616,  10, from the bottom, for Woreriot, read Woeriot.
641,  15, for 62, read 42.
712,  5, for 1740, read 1640.