THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 OF CALIFORNIA 
 
 LOS ANGELES
 
 BIOGRAPHICAL DICTIONARY 
 
 OF 
 
 PAINTERS, SCULPTORS, 
 ENGRAVERS, AND ARCHITECTS, 
 
 FROM THE EARLIEST AGES TO THE PRESENT TIME ; 
 
 INTERSPERSED WITH ORIGINAL ANECDOTES. 
 
 To which is added an Introduction, containing a brief Account of various School* 
 of Art and an Explanation of the Technical Terms used by Painters. 
 
 BY JOHN GOULD. 
 
 A NEW EDITION IN TWO VOLUMES, 
 
 WITH AN APPENDIX AND REMINISCENCES OF EMINENT PAINTERS, 
 
 BY C. J. NIEUWENHUYS. 
 
 VOL. I. 
 
 LONDON: 
 G. AND A. GREENLAND, POULTRY. 
 
 MDCCCXXXVIII.
 
 Art 
 Library 
 
 V. \ 
 
 tf] T0 
 
 Q SIR MARTIN ARCHER SHEE, KNT., 
 Prtfftrcnt of tfje Banal Scalrcm}?, 
 
 K.H.S., &c. Sec. &c. 
 THESE 
 
 BRIEF SKETCHES 
 
 OF 
 
 EMINENT ARTISTS, 
 
 ARE VERY RESPECTFULLY INSCRIBED, 
 WITH PERMISSION, 
 BY 
 
 THE AUTHOR.
 
 Art 
 Library 
 
 P R E F A C E. 
 
 IN presenting to the public a DICTIONARY OF EMI- 
 NENT ARTISTS, I need not expatiate on the interesting 
 nature of its contents, or on the utility of such a 
 performance. 
 
 In estimating the degrees of success or failure, in an 
 attempt, whether relating to works of science, litera- 
 ture, or art, I submit that it is first requisite to know 
 distinctly what a man has aimed to perform. He 
 should be judged by this standard only, and not by 
 that of any other individual, whose superior attain- 
 ments might qualify him for higher purposes. If it 
 be not customary with talented critics to found their 
 strictures on these grounds, I yet venture to hope that 
 an exception may be made in favour of one who, 
 unaffectedly and unequivocally, confesses himself no 
 regular author, either by profession or practice. 
 
 What I have laboured to perform may be stated in a 
 few words. Without presuming to any artistical skill, 
 
 750976
 
 IV PREFACE. 
 
 or arrogating to myself any powers of original and 
 recondite disquisitions, I have sought to produce 
 sketches of the lives and works of eminent artists of 
 ancient and modern times, the materials being care- 
 fully selected from the best authorities in biography and 
 criticism. I have done this for the purpose of com- 
 piling a concise book of reference, that should condense 
 into a small compass all the best parts of many volumi- 
 nous works ; and with the ambition of rendering it so 
 faithful and complete, as to merit a corner in the 
 libraries of public institutions, as well as in private 
 collections. 
 
 To effect this object, I have spared no pains and 
 considerable pains were requisite, nor have I hastily 
 obtruded my labours on the public (first published in 
 1810), having been employed many years in collecting 
 the materials. I declare it to be a sincere work ; and, 
 if it be little else, that I hope is something. Of the 
 literary execution I would speak humbly; the criti- 
 cisms I would refer, with proper deference, to real 
 judges ; but as to the truth of the biographies, and the 
 unprejudiced selection of all other materials, I may and 
 do speak with that confidence which becomes every 
 man who feels his own honesty and independence. 
 
 I owe an explanation to the public for offering the 
 new edition in two volumes, with some increase of
 
 PREFACE. V 
 
 price. I am sure the change of form originated in no 
 knack at book-making ; for I am not author enough to 
 understand the finesse of such cookeries, and am too 
 old, as well as too straight-forward, to learn. The plain 
 fact is, that I have found it necessary to add a mass 
 of matter ; and though it has been compressed as much 
 as possible, the work, nevertheless, assumed too robust 
 a shape for a single pocket volume, and therefore, 
 craving indulgence for the dilemma, I have made it into 
 two. 
 
 To the lovers of the works of art, if they would also 
 know something of the private lives of those whose 
 immortal names they reverence, and no less to artists 
 themselves, who must often worship where they cannot 
 rival, or feel proud of the sympathy which gives them 
 some justified hope of arriving at equal excellence, 
 I here make my final appeal ; believing that the most 
 talented among all classes will find, in these brief 
 memprials of true glory, the record of lives and works 
 which are the finest types of their own spirits, and the 
 noblest models for their devoted studies and aspira- 
 tions. 
 
 J. G.
 
 INTRODUCTION. 
 
 A. RTS are commonly divided into useful or mechanic, liberal or 
 poltte. The former are those wherein the hand and body are 
 more concerned than the mind ; of which kind are most of those 
 which furnish us with the necessaries of life, and are popularly 
 known by the name of trades ; as baking, brewing, carpentry, 
 smithery, weaving, &c. The latter are such as depend more on 
 the labour of the mind than that of the hand ; they are the pro- 
 duce of the imagination, their essence consist in expression, and 
 their end is pleasure. Of this kind are poetry, painting, music, 
 sculpture, &c. 
 
 In taking a slight sketch of the various branches of the fine arts, 
 v/e shall not by a slow and tedious process attempt to conduct our 
 readers through the long and rugged path, by which alone even 
 a moderate degree of excellence may be attained : we shall 
 rather, by a short inquiry into the fundamental principles of the 
 art, and a reference to the examples of the greatest masters, en- 
 deavour to draw their attention to the proper application of that 
 mechanical skill, by which have been produced such admirable 
 specimens of the genius of the human mind. 
 
 PAINTING. 
 
 THE art of Painting gives the most direct and expressive 
 representation of objects ; and it was doubtless for this reason 
 
 b
 
 11 INTRODUCTION. 
 
 employed by many nations, before the art of writing was in- 
 vented, to communicate their thoughts, and to convey intelli- 
 gence to distant places. The pencil may be said to write a 
 universal language ; for every one can instantly understand the 
 meaning of a painter, provided he be faithful to the rules of his 
 art. His skill enables him to display the various scenes of 
 nature at one view ; and by his delineation of the striking effects 
 of passion, he instantaneously affects the soul of the spectator. 
 Silent and uniform as is the address which a picture makes to us, 
 yet does it penetrate so deeply into our affections, that it seems 
 often to exceed the power of eloquence. Its effects are some- 
 times truly wonderful. It is said that Alexander the Great 
 trembled and grew pale on seeing a picture of Palamedes be- 
 trayed to death by his friends, as it brought to his mind an acute 
 recollection of his treatment of Aristonicus. Portia could bear 
 with unshaken constancy her final separation from Brutus, but 
 when she saw, some hours after, a picture of the parting of Hec- 
 tor and Andromache, she burst into tears. The influence of the 
 penci', indeed, is so great and extensive, that its productions have 
 constantly been the delight of all countries of the world, and of 
 all seasons of life. Poetry and Painting are sister arts : if the 
 latter borrow many subjects from the former, the obligation is 
 repaid by the glowing metaphors and striking illustrations with 
 which Painting requites Poetry. The Grecian painters caught 
 many of their finest ideas from poets and historians. The 
 imagination of Phidias was aided in forming his Olympian 
 Jupiter, by the sublime descriptions of Homer. The horrid story 
 of Count Ugolino and his family, as described in the expressive 
 strains of Dante, in his Inferno, gave a noble subject to the bas- 
 relief of Michel Angelo, and was afterwards as affectingly re- 
 presented by the masterly pencil of Reynolds. 
 
 A good picture produces a momentary enchantment, carries us 
 beyond ourselves, and either transports us into the midst of its most 
 delightful scenery, or places us by the side of saints, martyrs, and 
 heroes. It brings before us the most eminent persons, either living 
 or dead, charms the imagination with their ideal presence, and 
 assists us while we contemplate their persons and examine the
 
 INTRODUCTION. Ill 
 
 expression of their features, to recal the memory of their virtues. 
 It amuses the eye with the views of nature, however remote the 
 original scenes may be from the spectator, and gives to the 
 Swede or the Russian the fair portrait of Circassian beauty, or 
 the bright and smiling objects of Italian scenery. The land- 
 scapes of Claude Lorraine delight the eye with the rich selection 
 of palaces, extensive prospects, and glowing skies. The sea- 
 views of Vandervelde are justly admired for truth and accuracy. 
 The portraits of Vandyck charm by the lively expression of 
 character, or grace of design, and delicacy of colouring. But of 
 all pictures, none are so interesting in the display of figures, 
 none so powerful in effect, as the historical. This branch of the 
 art maintains the same superiority over all others, which tragedy 
 has acquired over epigrams, pastorals, and satires. In such 
 pictures there must be dignity of subject, combined with pro- 
 priety of expression ; but unity of design, that is, the connexion 
 of the subordinate figures with the principal one, forms their 
 great excellence. This unity of design is displayed in many 
 celebrated pictures, such as the Tent of Darius, by Le Brun ; 
 St. Paul preaching before Felix, by Raffaelle ; the Presentation 
 in the Temple, and the Taking down Christ from the Cross, by 
 Rubens ; and the Last Supper, by Poussin. The Death of Ge- 
 neral Wolfe, and the Resurrection of Lazarus, by West, possess 
 similar merit. 
 
 Invention in painting consists principally in three things : 
 first, the choice of a subject properly within the scope of the art ; 
 secondly, the seizure of the most striking and energetic moment 
 of time for representation ; and lastly, the discovery and selec- 
 tion of such objects, and such probable incidental circumstances 
 as, combined together, may best tend to develope the story, or 
 augment the interest of the piece. The cartoons of Raffaelle, at 
 Hampton-court, furnish us with an example of genius and saga- 
 city in this part of the art, too much to our present purpose to 
 be omitted. We shall describe it in the words of Mr. Webbe. 
 " When the inhabitants of Lystra are about to sacrifice to Paul 
 and Barnabas, it was necessary to let us into the cause of all the
 
 IV INTRODUCTION. 
 
 motion and hurry before us ; accordingly, the cripple, whom 
 they had miraculously healed, appears in the crowd ; observe 
 the means which the painter has used to distinguish this object, 
 and of course to open the subject of his piece. His crutches, 
 now useless, are thrown to the ground ; his attitude is that of 
 one accustomed to such a support, and still doubtful of his 
 limbs ; the eagerness, the impetuosity, with which he solicits his 
 benefactors to accept the honours destined for them, point out 
 his gratitude, and the occasion of it : during the time that he is 
 thus busied, an elderly citizen of some consequence, by his ap- 
 pearance, draws near, and lifting up the corner of his vest, sur- 
 veys with astonishment the limb newly restored ; whilst a man 
 of middle age, and a youth, looking over the shoulder of the 
 cripple, are intent on the same object. The wit of man could 
 not devise means more certain of the end proposed ; such a 
 train of circumstances is equal to a narration ; and I cannot but 
 think, that the whole would have been an example of invention 
 and conduct, even in the happiest age of antiquity." 
 
 The judicious disposal of the materials furnished by the ima- 
 gination, or invention, in such a manner as best to contribute to 
 the beauty, the expression, and the effect of the picture, consti- 
 tutes what is termed composition in painting. And here we 
 must observe, that the different parts of the art before mentioned, 
 are so intimately connected with, and so dependent on each 
 other, that the separate discussion of them must ever be attended 
 with great difficulty, and necessarily occasion a frequent recur- 
 rence to similar arguments and principles. It were in vain to 
 prescribe any other general rule for the distribution of the figures 
 of a picture, except such as are distinguished by the peculiar 
 circumstances and character of the story to be represented. 
 Much has been said of the pyramidal group, the serpentine 
 line, the artificial contrast ; and, upon doctrines like these, Lan- 
 franco, Cortona, Giordano, Maratti, and many others, their pre- 
 decessors as well as followers, formed a style better calculated to 
 amuse the eye than to satisfy the judgment. An inordinate but 
 ill-directed thirst of variety is the basis of this artificial system ;
 
 INTRODUCTION. V 
 
 contrast is succeeded by contrast, opposition by opposition ; but 
 as this principle pervades all their works the result is no variety 
 at all, and their conduct may be compared to that of the volup- 
 tuary, who, grasping at every enjoyment that presents itself, 
 acquires satiety instead of pleasure. 
 
 If Raffaelle can be said to have regulated his compositions by 
 any particular rule or maxim, it was that of making each as unlike 
 the other as possible, consistent with propriety of expression. 
 Thus, in the cartoon of Christ giving the keys to Peter, the 
 Apostles all crowding together to be witnesses of the action* 
 occupy the principal part of the picture, and form a group in 
 profile ; the Saviour, although in the corner of the picture, being, 
 nevertheless, rendered evidently the principal figure, by the 
 insulated situation given to him, as well as by the actions of the 
 Apostles, who all press forward towards him, as to the centre of 
 attraction. 
 
 In the process of painting, design may properly be said to 
 follow next after composition ; for although this part of the art 
 is, in a certain degree, requisite, even in making the first rough 
 sketch, it is not until afterwards that the artist exerts his utmost 
 powers to give that exact proportion, that beauty of contour, and 
 that grace and dignity of action and deportment to his figures, 
 which constitute the perfection of design. That which was first 
 only hinted at is now to be defined : a few rude and careless lines 
 were sufficient in the sketch to indicate the general attitude and 
 expression of the figure ; now the utmost precision is required, not 
 only in the outline of the naked parts, but even in the delinea- 
 tion of a lock of hair, or the intricate folds of a drapery. A very 
 high degree of excellence in design is, perhaps, considered the 
 greatest difficulty of painting. Many of the works of Raftaelle, 
 and his school, leave nothing to be desired on the score of com- 
 position and expression. Colouring was carried to the highest 
 pitch by Giorgione, Rubens, Rembrandt, and others of the Dutch 
 school ; but any thing approaching to perfection of design, if we 
 except some of the figures of the great Michel Angelo, is rarely 
 to be witnessed in the productions of modern art. The noble 
 b 2
 
 VI INTRODUCTION. 
 
 works of Grecian sculpture still remaining, sufficiently declare 
 the superiority of the ancients in this particular ; a superiority 
 indeed which the most enlightened judges have never ventured 
 to dispute. 
 
 The most perfect knowledge of form, however, only constitutes 
 a part of that branch of painting which we term design : the art 
 of fore-shortening, by which a line, or a figure, although only 
 occupying a diminished space on the canvass, is rendered in 
 appearance of its full length and magnitude, is an equally indis- 
 pensable object of the artist's attainment The sculptor, when 
 he has chiselled or modelled his group, with its just proportions, 
 has finished his work, which is rather the simple transcript than 
 the imitation of the image previously formed in his mind : his art 
 is undisguised, and without illusion : it presents, as well to our 
 touch as to our sight, the bodies and shapes of things without 
 the colour. The distinguished prerogative of painting, on the 
 other hand, and that from which arises its decided advantage 
 over every other artificial mode of representation, is its power to 
 give upon a limited plane the appearance of boundless space. 
 Michel Angelo has evinced such consummate skill in his frescos 
 in the Sistine chapel at Rome, that they can never be sufficiently 
 contemplated. The works of Correggio, and in particular his 
 two cupolas at Parma, may likewise be studied with advantage, 
 and sufficiently prove that even the boldest fore-shortening may 
 on many occasions be resorted to without detriment to the beauty 
 the grace, or expression of the figures. 
 
 Clair-obscure, or chiaro-scuro, is the art of distributing the 
 lights and darks in a picture, in such a manner as to give at once 
 proper relief to the figures, the best effect to the whole composi- 
 tion, and the greatest delight to the eye. We have said the lights 
 and darks in a picture, because the word chiaro-scuro, properly 
 speaking, denotes not only light and shade, but light and dark of 
 what kind soever, and in this sense it is nearly allied to colour- 
 ing, if not inseparable from it. A thorough conception and 
 knowledge of the chi ro-scuro is of the greatest importance to a 
 painter, as it is chiefly by the proper application of this branch
 
 INTRODUCTION. VII 
 
 of the art, that he is enabled to make the various objects in his 
 picture appear to project or recede, according to their relative 
 situations or distances ; and thus far, indeed, the principles of it 
 are necessary to the artist, ere he can hope to render his imitation 
 just or intelligible. But it is required in works of fine art, not 
 only that truth should be told, or that beauty should be repre- 
 sented, but likewise that the one and the other should be made 
 to appear to every possible advantage ; it has, therefore, ever 
 been the study of great painters, not only to give the due appear- 
 ance of roundness or projection to the objects in their pictures, 
 by proper lights and shadows, but likewise to unite or contrast 
 the masses of light and dark in such a manner as to give at once 
 the most forcible impression to the imagination, and the most 
 pleasing effect to the eye. 
 
 Leonardo da Vinci was the first artist of modern times who 
 treated the subject of chiaro-scuro scientifically ; but although he 
 gave great force and softness to his pictures, yet the system 
 which he recommended, and generally adopted, of relieving the 
 dark side of the figures by a light back-ground, and the light 
 parts by a dark one, prevented that expansion and breadth of 
 effect which Correggio soon after discovered could only be attained 
 by a contrary mode of conduct, that of relieving one shadow by 
 another still darker, and of uniting several light objects into one 
 great mass. The figures, as well as the other objects in the 
 pictures of Correggio, are at all times so disposed as naturally to 
 receive the light exactly in those parts where it is most wanted, 
 and best suits the effect of the whole ; and yet this is done so 
 skilfully, that neither propriety nor grace of action seems in any 
 respect to be sacrificed in the astonishing combination. 
 
 The principal painters of the Venetian school, Giorgioue, 
 Titian, Bassano, Tintoret, and Paolo Veronese, were masters of 
 effect ; but with them this effect is more frequently the result of 
 accordance or opposition of the local colours of the different 
 objects composing their pictures, than of any very studied or 
 skilful disposition of the masses of light and shadow. Rubens, 
 the great genius of the Flemish school, united the wide expansive
 
 Vlll INTRODUCTION. 
 
 effect of Correggio, the richly contrasted tints of the Venetians, 
 and the force of Caravaggio, and has only left us to regret that 
 his magnificent and bold inventions were not designed with the 
 purity of Raffaelle, or the correctness of Buonarotti. From the 
 scanty introduction of light in the works of Rembrandt, we 
 might be led to suppose that this surprising artist considered the 
 illuminated parts of his pictures as gems, acquiring increased 
 lustre from their rarity ; while the striking effects he has thereby 
 produced, happily teach us, how vain the attempt to limit or 
 restrain by rules the workings of genius in the human mind. 
 From an attentive study of the works of these great masters, the 
 student will derive the true principles of chiaro-scuro, and be 
 the better qualified to seize and avail himself of those transient, 
 but beautiful effects, which nature, the great master of all, every 
 day presents to his eyes. It remains for us to say a few words 
 on colouring. 
 
 Colouring is the art of giving to every object in a picture its 
 true and proper hue, as it appears under all the various circum- 
 stances or combinations of light, middle-tint, and shadow ; and 
 of so blending and contrasting the colours, as to make each 
 appear with the greatest advantage and beauty, at the same time 
 that it contributes to the richness, the brilliancy, and the har- 
 mony of the whole. " Should the most able master in design," 
 says Mr. Webbe, " attempt, by that alone, a rose or grape, we 
 should have but a faint and imperfect image ; let him add to each 
 its proper colours, we no longer doubt, we smell the rose, we 
 touch the grape." 
 
 Colouring, though a subject greatly inferior to many others 
 which the painter must study, is yet of sufficient importance to 
 employ a considerable share of his attention ; and, to excel in it, 
 he must be well acquainted with that part of optics which has 
 the nature of light and colours for its object. Light, however 
 simple and uncompounded it may appear, is nevertheless made 
 up, as it were, of several distinct substances ; and the number 
 and quantity of component parts have been happily discovered 
 by the moderns. Every undivided ray, let it be ever so fine, is
 
 INTRODUCTION. IX 
 
 a little bundle of blue, red, and yellow rays, which, while com- 
 bined, are not to be distinguished one from another, and form 
 that kind of light called white ; so that white is not a colour per 
 se, as the learned Da Vinci (so far, it seems, the precursor of 
 Newton), expressly affirms, but an assemblage of colours. Now, 
 these colours, which compose light, although immutable in them- 
 selves, and endued with various qualities, are continually, how- 
 ever, separating from each other in their reflection from, and 
 passage through other substances, and thus become manifest to 
 the eye. Grass, for example, reflects only green rays, or rather 
 reflects green ruys in greater number than it does those of any 
 other colour ; one kind of wine transmits red rays, and another 
 yellowish rays ; and from this kind of separation arises that 
 variety of colours with which nature has diversified her various 
 productions. Marj, too, has contrived to separate the rays of 
 light, by making a portion of the sun's beams pass through a 
 glass prism ; for, after passing through it they appear divided 
 into three pure and primitive colours, placed in succession on^ 
 by the other, like so many colours on a painter's pallet. 
 
 Although a knowledge of the science of optics may be of 
 great service to a painter, yet the pictures of the best colourists 
 are, it is universally allowed, the books in which a young painter 
 must chiefly look for the rules of colouring ; that is, of that 
 branch of painting which contributes so much to express the 
 beauty of objects, and is so requisite to represent them as what 
 they really are. Giorgione and Titian seem to have discovered 
 circumstances in nature which others have entirely overlooked ; 
 and the last in particular has been happy enough to express 
 them with a pencil as delicate as his eye was quick and piercing. 
 In his works we behold that sweetness of colouring which is 
 produced by union ; that beauty which is consistent with truth ; 
 and all the insensible transmutations, all the soft transitions, in 
 a word all the pleasing modulations of tints and colours. When 
 a young painter has, by close application, acquired from Titian, 
 whom ho can never sufficiently dwell upon, that art which, of all 
 painters, he has best contrived to hide, he would do well to turn 
 to Bassano and Paolo, on account of the beauty, boldness, and
 
 X INTRODUCTION. 
 
 elegance of their touches. That richness, softness, and fresh- 
 ness of colouring, for which the Lombard school is so justly 
 celebrated, may likewise be of great service to him ; nor will he 
 reap less benefit by studying the principles and practice of the 
 Flemish school, which, chiefly by means of her varnishes, has 
 contrived to give a most enchanting lustre and transparency to 
 her colours. 
 
 But from whatever pictures a young painter may choose to 
 study the art of colouring, he must take care that they are well 
 preserved. There are very few pieces which have not suffered 
 more or less by the length, not to say the injuries, of time ; and 
 perhaps that precious patina, which years alone can impart to 
 paintings, is in some measure akin to that other kind which ages 
 alone impart to medals ; inasmuch, as by giving testimony to 
 their antiquity, it renders them proportionably beautiful in the 
 superstitious eyes of the learned. It must indeed be allowed 
 that if, on the one hand, this patina bestows, as it really does, 
 an extraordinary degree of harmony upon the colours of a pic- 
 ture, and destroys, or at least greatly lessens, their original raw- 
 ness, it, on the other hand, equally impairs the freshness and life 
 of them. A piece seen many years after it has been painted, 
 appears much as it would do, immediately after painting, behind 
 a dull glass. It is no idle opinion, that Paolo Veronese, attentive 
 above all things to the beauty of his colours, and what is called 
 strepito, left entirely to time the care of harmonising them per- 
 fectly, and (as we may say) mellowing them. But most of the 
 old masters took that task upon themselves ; and never exposed 
 their works to the eyes of the public, until they had ripened and 
 finished them with their own hands. And who can say whether 
 the Christ of Moneta, or the Xativity of Bassano, have been more 
 improved or injured (if we may so speak) by the touchings and 
 retouchings of time, in the course of more than two centuries ? 
 It is indeed impossible to be determined ; but the studious pupil 
 may make himself ample amends for any injuries which his ori- 
 ginals may have received from the hands of time, by turning to 
 truth, and to nature, which never grows old, but constantly retains 
 its primitive flower of youth, and was itself the model of the
 
 INTRODUCTION. XI 
 
 models before him. As soon, therefore, as a young painter has 
 laid a proper foundation for good colouring, by studying the best 
 masters, he should turn all his thoughts to truth and nature. 
 And it would perhaps be well worth while to have, in the aca- 
 demies of painting, models for colouring as well as designing ; 
 that as from the one the pupils learn to give their due proportion 
 to the several members and muscles, they may learn, from the 
 other to make their carnations rich and warm, and faithfully 
 copy the different local hues which appear quite distinct in the 
 different parts of a fine body. To illustrate still farther the use 
 of such a model, let us suppose it placed in different lights ; now 
 in that of the sun, now in that of the sky, and now again in that 
 of a lamp or candle ; one time placed in the shade, and another 
 in a reflected light : hence the pupil may learn all the different 
 effects of the complexion in different circumstances, whether the 
 livid, the lucid, or transparent ; and, above all, that variety of 
 tints and half-tints, occasioned in the colour of the skin by the 
 epidermis having the bones immediately under it in some places, 
 and in others a greater or less number of blood-vessels or quan- 
 tity of fat. An artist, who had long studied such a model, would 
 run no risk of degrading the beauties of nature, by any parti- 
 cularity of style, or of giving into that preposterous fulness and 
 floridness of colouring, which is at present so much the taste ; 
 he would not feed his figures with roses, as an ancient painter of 
 Greece shrewdly expressed it. What statues are in design, 
 nature is in colouring ; the fountain head of that perfection to 
 which every artist, ambitious to excel, should constantly aspire : 
 and, accordingly, the Flemish painters, in consequence of their 
 aiming solely to copy nature, are in colouring as excellent as 
 they are commonly awkward in design. A good model for the 
 tone of colours, and the gradation of shades, is furnished by 
 means of the camera-obscura. 
 
 We may form a general idea of the various effects of reflections 
 from the following examples. If a blue be reflected on a yellow, 
 the latter becomes greenish ; if on a red, the red becomes purple ; 
 and so on through a variety of combinations. As the white is 
 of a nature to receive all the colours, and to be tinged with that
 
 XU INTRODftTION. 
 
 of each reflection, the painter must be careful how his carnations 
 may be affected by the several reflections. 
 
 In the present inquiry it has been our chief aim to enforce 
 such arguments as are calculated to draw the attention of the 
 reader to the legitimate end of the art. That, whilst the eye is 
 charmed with beautiful forms, the magic of chiaro-scuro, and 
 the richness and harmony of colours, the due expression of the 
 subject of a piece may be attained, it were folly to deny : this 
 union, indeed, constitutes the perfection of painting, which should 
 convey, like fine writing, truths to the mind, in language at once 
 the most forcible and beautiful ; but an attempt to point out the 
 means by which this delight may be conveyed to the sight, would 
 necessarily require a minute investigation of all the different 
 modes which it is in the power of the painter to adopt in the 
 executive departments of his art ; and consequently lead us, with 
 perhaps, after all, little prospect of success, far beyond the limits 
 we are obliged to prescribe to ourselves. 
 
 Simplicity with variety, inequality of parts with union in the 
 whole, are, perhaps, the basis of all those effects in painting, 
 which give pleasure to the sight. As in a composition one group, 
 or one figure, should strike the eye with superiority over the 
 secondary groups, or other objects in the picture ; so there should 
 be in a picture one principal mass of light, which, however con- 
 nected with others, should still predominate ; and for the same 
 reason no two colours should have equal sway in the same picture : 
 as we are at liberty to give the chief group or figure of the com- 
 position that situation which we judge most appropriate ; so there 
 is no rule by which we are obliged to place the principal light in 
 any one given part of the picture. In clair-obscure, an inequality 
 of parts, a subordination of several small masses to one large one, 
 never fails to produce richness and beauty of effect ; and thus, in 
 composition, a similar richness and beauty are the result of an 
 opposition of several small bodies or parts, to one large and sim- 
 ple ; and in the same manner, from an arrangement of several 
 small masses of colour in the vicinity of one large mass, the latter 
 seems enriched, and to acquire additional consequence and beauty.
 
 INTRODUCTION. Xlll 
 
 As by the addition of smaller masses of light, connected with 
 the principal mass, that mass acquires at once greater breadth 
 and influence, so the unity of action in a composition is in many 
 cases powerfully augmented by a repetition of nearly the same 
 action in two or three of the accessorial figures arranged together, 
 one nevertheless being principal : this was the frequent custom 
 of Raffaelle, has its foundation in nature, where similar sentiments 
 most frequently excite similar outward demonstrations, and never 
 fails, if judiciously managed, to produce its effect. 
 
 The doctrine of contrasts is equally applicable to composition, 
 to clair-obscure, and to colouring. As in composition the too 
 frequent contrast of lines, or of back to front figures, is destructive 
 of simplicity and force of expression ; so the inordinate and fre- 
 quent introduction of strong oppositions of lights and shadows, 
 or of colours, produces a spotty and confused appearance, wholly 
 subversive of breadth and grandeur of effect : the moderate and 
 judicious use of contrasts is of the greatest use ; it gives a zest to 
 the picture, and is like the discord in music, which sheds addi- 
 tional sweetness on the full harmony which succeeds it. 
 
 It will be easily perceived, that to accomplish all these objects, 
 is by no means an easy task. 
 
 In some an inclination to pursue the arts appears at a very 
 early period of life, and it is often difficult to ascertain the cir- 
 cumstance which gave that particular impulse to the mind ; 
 though there must always be some accidental circumstance, not 
 depending upon ourselves, that creates in us that desire. 
 
 When a boy is possessed of good talents, and has so strong a 
 passion for the arts, that scarcely anything can restrain him, there 
 can be little fear of his doing well, if suffered to follow the bent 
 of his inclination ; but without this nothing should induce him to 
 engage in a profession of so arduous a nature, and which requires 
 such unwearied application. He may learn to draw the correct 
 outlines of buildings, and other regular objects by the rules of
 
 XIV INTRODUCTION. 
 
 
 
 perspective ; but the forming fine pictures, so as to affect the 
 mind, is an art not reducible to rule ; and though much may be 
 taught, yet much more will ever depend upon the mind of the 
 artist. Here it is that the existence of a quality which distin- 
 guishes one man from another, is so obvious. This has been 
 denominated by various appellations, none of which are capable 
 of being correctly defined. It has been called genius, taste, soul, 
 mind, and a variety of other terms, all of which are indefinite, and 
 prove that we know but little of our own nature. Some even 
 deny the existence of this distinction altogether, and maintain 
 that men are mere machines, acted upon only by external circum- 
 stances, and capable of being trained to any purpose. 
 
 It will be foreign to our plan to enter into any discussion on 
 this subject ; but we shall add a passage relating to it, from the 
 Lectures of the late Sir Joshua Reynolds. " There is one pre- 
 cept," he observes, " in which I shall be opposed only by the 
 vain, the ignorant, and the idle. I am not afraid that I shall 
 repeat it too often. You must have no dependence on your own 
 genius. If you have great talents, industry will improve them ; 
 if you have moderate abilities, industry will supply their defi- 
 ciency. Nothing is denied to well-directed labour ; nothing is 
 to be obtained without it. Not to enter into metaphysical dis- 
 cussions on the nature or essence of genius, I will venture to 
 assert, that assiduity, unabated by difficulties, and a disposition 
 eagerly directed to the object of its pursuit, will produce effects 
 similar to those which some call the result of natural powers. 
 Though a man cannot at all times, and in all places, paint or 
 draw, yet the mind can prepare itself by laying in proper mate- 
 rials, at all times and in all places. 
 
 " I cannot help imagining that I see a promising young painter, 
 equally vigilant, whether at home or abroad, in the streets or in 
 the fields. Every object that presents itself is to him a lesson. 
 He regards all nature with a view to his profession, and combines 
 her beauties or corrects her defects. He examines the counte- 
 nances of men under the influence of passion, and often catches
 
 INTRODUCTION. XT 
 
 the most pleasing hints from subjects of turbulence or deformity. 
 Even bad pictures themselves supply him with useful documents ; 
 and as Leonardo da Vinci has observed, he improves upon the 
 fanciful images that are sometimes seen in the fire, or are acci- 
 dentally sketched upon a discoloured wall. 
 
 " The artist who has his mind thus filled with ideas, and his 
 hand made expert by practice, works with case and readiness]: 
 whilst he who would have you believe that he is waiting for the 
 inspirations of genius, is in reality at a loss how to begin, and is 
 at last delivered of his monsters with difficulty and pain." 
 
 " What then," exclaims the inimitable Gessner, who possessed 
 such true feeling for the sublimer parts of the art, "must be the 
 fate of those who do not join an inflexible labour to an habitual 
 meditation ? Let the artist who despises or neglects these 
 important means, make no pretension to the recompense due to 
 active and sensible minds. There is no reputation for him to 
 whom the hours he employs in its cultivation are not the most 
 delicious of his life ; to whom the study of it does not constitute 
 his real existence and his primary happiness ; to whom the 
 society of artists is not, of all others, the most pleasing ; to him 
 whose watchings, or dreams in the night, are not occupied with 
 the ideas of his art ; who in the morning does not fly with fresh 
 transport to his painting-room. But, of all others, unhappy is he 
 who descends to flatter the corrupt taste of the age in which he 
 lives, who delights himself with applauded trifles, who does not 
 labour for true glory, and the admiration of posterity. Never 
 will he be admired by it ; his name will never be repeated ; his 
 works will never fire the imagination, nor touch the heart of those 
 fortunate mortals who cherish the arts, who honour their favour- 
 ites, and search after their works."
 
 INTRODUCTION. 
 
 OF THE SCHOOLS OF PAINTING. 
 
 A SCHOOL, in the fine arts, denominates a class of artists who 
 have learned their art from a certain master, either by receiving 
 his instructions, or by studying his works ; and who of conse- 
 quence discover more or less of his manner, from the desire of 
 imitation, or from the habit of adopting his principles. 
 
 All the painters which Europe has produced since the renova- 
 tion of the arts are classed under the following schools : the 
 school of Florence, the school of Rome, the school of Venice, 
 the Lombard school, the French school, the German school, the 
 Flemish school, the Dutch school, and the English school. 
 
 THE SCHOOL OF FLORENCE. 
 
 This school is remarkable for greatness ; for attitudes seem- 
 ingly in motion ; for a certain dark severity ; for an expression 
 of strength, by which grace perhaps is excluded ; and for a cha- 
 racter of design approaching to the gigantic. The productions 
 of this school may be considered as overcharged ; but it cannot 
 be denied that they possess an ideal majesty, which elevates 
 human nature above mortality. The Tuscan artists, satisfied 
 with commanding the admiration, seem to consider the art of 
 pleasing as beneath their notice. 
 
 This school has an indisputable title to the veneration of all 
 the lovers of the arts, as the first in Italy which cultivated them. 
 
 Painting, which had languished from the destruction of the 
 Roman empire, was revived by Cimabue, born of a noble family 
 in Florence in the year 1240. This painter translated the poor 
 remains of the art from a Greek artist or two into his own country. 
 His works, as may easily be imagined, were in a very ordinary 
 style, but they received the applause and admiration of his fellow-
 
 INTfiODPCTlOff. XVli 
 
 citizens ; and if Cimabue had not found admirers, Florence would 
 not in all probability have been honoured with Michel Angelo. 
 The number of painters became soon so considerable in Florence, 
 that in the year 1350 they established a society under the pro- 
 tection of St. Luke. 
 
 Of the three great artists, whose genius was to bring to matu- 
 rity all that was excellent in painting, and to expound and sim- 
 plify the rules of art to their successors, 
 
 LEONARDO DA VINCI 
 
 Appeared the first. 
 
 He was born at the castle of Vinci, near Florence, in the year 
 1445, and died in 1520, aged 75. He was descended from a 
 noble family, and from his infancy had an education suitable to 
 his birth ; being carefully instructed in the sciences, and every 
 branch of polite literature. And having showed a peculiar fond- 
 ness for designing, he was placed as a disciple with Andrea Ve- 
 rocchio, at that period of time when Pietro Perugino studied in 
 the school of that master. From the excellence of his genius, 
 his proficiency was so rapid, that he surprised his instructor in 
 an eminent degree ; and being appointed by Verocchio to paint 
 the Angel who was to be represented as bearing the garment of 
 Christ when he was baptized by St. John, the design and the 
 colouring of the disciple so far discountenanced the work of the 
 master, and so much astonished Verocchio, that it provoked him 
 to quit the profession entirely. No artist before his time ever 
 had such comprehensive talents, such profound skill, or so dis- 
 cerning a judgment, to explore the depths of every art or science 
 to which he applied, as Leonardo; and the virtues of his 
 mind were only equalled by the powers of his understanding. 
 He studied nature with a curious and critical observation ; 
 and it might have been wished that he had sought even 
 more than he did, to improve, correct, and refine nature, by 
 a greater attention to the antique ; yet, in all other respects, 
 his thoughts were perpetually employed in searching out every 
 c'2
 
 XV111 INTRODUCTION. 
 
 principle, every circumstance, that could enable him to arrive at 
 excellence; and he had the happiness to be at last successful. 
 
 He was peculiarly attentive to mark the passions of the human 
 mind distinctly, being convinced that a just expression is not only 
 the most difficult part of the painter's province, but also that part 
 which will always afford to the judicious and the learned the most 
 sensible satisfaction. To strengthen his ideas in that point, he 
 sketched every countenance that appeared to have any singu- 
 larity, and attended the processions of criminals carried to execu- 
 tion, that he might impress on his memory the variety of passions 
 which he noticed among the crowd, every individual being per- 
 haps differently affected ; and to trace, through the visage of the 
 sufferers, those strong emotions of mind, which become visible in 
 every feature, from the near approach of a sudden and violent 
 death. In the year 1494, he went to Milan, where he was affec- 
 tionately received by the Duke Ludovico Sforza, on account of 
 his many accomplishments in music, poetry, and architecture, as 
 well as for his superior merit in his profession ; and the fondness 
 that prince afterwards expressed to Leonardo, increased to a 
 height that seemed scarcely credible. By order of the duke he 
 painted a Nativity for an altar-piece, which was presented to the 
 emperor ; and he likewise painted that incomparable picture of 
 the Last Supper, in the church of the Dominicans, at Milan, 
 which will, to the end of time, display the elevated genius of its 
 author. 
 
 As that composition is a master-piece of Da Vinci, it ought 
 not to be passed over without a particular observation on its 
 allowed merit ; and the reader will probably be more instructed 
 and entertained, by reciting to him the opinion of Rubens on that 
 subject, than by any remarks of others, who must be confessedly 
 his inferiors. In a Latin manuscript, part of which has been 
 translated by De Piles, Rubens observes, " That nothing escaped 
 Leonardo that related to the expression of his subject *; and, by 
 the warmth of his imagination, as well as by the solidity of his 
 judgment, he raised divine things by human, and understood how
 
 INTRODUCTION. XIX 
 
 to give men those different degrees that elevate them to the 
 character of heroes. The best of the examples that Leonardo 
 has left us, is the Last Supper, in which he has represented the 
 Apostles in places suited to them ; but our Saviour is in the midst 
 of all, in the most honourable, having no figure near enough to 
 press or incommode him. His attitude is grave, his arms are in 
 a loose free posture, to show the greater grandeur, while the 
 Apostles appear in agitation, by their vehement desire to know 
 which of them should betray their master ; in which agitation, 
 however, not any meanness or indiscreet action can be observed. 
 In short, by his profound speculations, he arrived to such a degree 
 of perfection, that it seems impossible to speak as highly of him 
 as he deserves, and much more impossible to imitate him." 
 
 This picture was left unfinished for some time, in respect to the 
 head of Christ, and to the face of Judas ; the former was left im- 
 perfect, as the painter could not express that sublime idea which 
 he had conceived in his mind, of the Redeemer of the world, in 
 a human form ; and he delayed the latter, as he wanted to com- 
 bine, in the features of one face, avarice, ingratitude, malice, 
 treachery, and every malignant disposition of the human heart. 
 The first he never attempted to finish ; but he amply answered 
 his purpose in the head of Judas, by giving the intended figure a 
 striking likeness of the prior of the Dominican convent. He was 
 remarkably slow in finishing his pictures ; but whenever he did 
 finish them, they were exquisite. He spent four years on one 
 portrait, which was Mona Lisa, the wife of Francesco di Gio- 
 condo, in which it is astonishing to observe how closely he has 
 imitated nature : the eyes have all the lustre of life, the hairs 
 of the eye-brows and lids seem real, and even the pores of the 
 skin are perceptible. In his composition he was careful to 
 avoid encumbering it with a multitude of figures, and therefore 
 never admitted a greater number into his designation than what 
 were absolutely necessary to illustrate his subject. He possessed 
 a very enlarged genius, a lively imagination, a beautiful inven- 
 tion, and a solid judgment. His design was extremely correct, 
 his disposition judicious, and his expression natural. But as to 
 his colouring, it is not agreeable, as the violet tint predominates
 
 XX INTRODUCTION. 
 
 to an extreme degree. However, it may not be improbable that, 
 when his colours were first laid on, they might have had a very 
 different appearance ; nay, from the indisputable judgment as- 
 cribed to Leonardo, it seems more than probable that, as he made 
 nature his constant study, his original colouring had all the look 
 of nature and life. 
 
 His biographers concur in representing him as " endowed by 
 nature with a genius uncommonly elevated and penetrating, eager 
 after discovery, and diligent in the pursuit not only of what related 
 to the three arts dependent on design, but to mathematics, me- 
 chanics, hydrostatics, music, and poetry. He was versed also in 
 the accomplishments of horsemanship, fencing, and dancing. His 
 manners were polished and affable, fitting him for the society of 
 the great, with whom he lived on a footing of familiarity and 
 friendship." 
 
 In addition to his great attainments as an artist, he was distin- 
 guished as a scientific writer ; he was a discoverer in optics and 
 mechanics ; his hydraulic works on the Adda, which he rendered 
 navigable for two hundred miles, continue to the present day 
 monuments of his mechanical science. 
 
 His mode of painting may be divided into two styles, one 
 abounding in shadow, which gives admirable brilliancy to the 
 contrasting lights ; the other more quiet, and managed by merely 
 having recourse to middle tints. In each, the grace of his design, 
 the expression of his mental affections, and the delicacy of his 
 pencil, have not yet been surpassed, or perhaps equalled. He 
 appears, however, to have been more solicitous to advance his art 
 than to multiply his pictures ; a kind of timidity and fastidious- 
 ness a longing after an excellence which he considered he could 
 not attain appear often to have induced him to leave his works 
 unfinished, not being able to arrive at that truth which he consi- 
 dered necessary to perfection. In addition to his merit as a 
 painter, he was eminent as a sculptor. 
 
 His life is usually divided into four periods ; the first during the
 
 INTRODUCTION. XXI 
 
 time he remained at Florence. The second was whilst he was at 
 Milan, where he was invited by Ludovico Sforza, and where he 
 is represented to have delighted every one by performing on a 
 silver lyre (a new instrument of his own construction), no less than 
 by his eloquence and his poetry. The seven years he spent at 
 Milan, were after he attained the maturity both of his age and 
 tame, as he did not leave Florence before he was thirty. Whilst 
 there, however, he painted little, except his celebrated picture of 
 the Last Supper. 
 
 Francis I., who had seen the painting of the Last Supper at 
 Milan, became desirous of possessing so eminent an artist ; and 
 although Da Vinci was then an old man, he invited him to his 
 court. The rivalry which existed between Da Vinci and Michel 
 Angelo, and the fact that the latter was preferred to him both at 
 Rome and at Florence, probably induced him to quit his native 
 country with little regret, particularly as, by withdrawing from all 
 cause of excitement and irritation, he was enabled to consult his 
 own ease and happiness. He accordingly went to France, where, 
 however, he expired in 1520, in the arms of his royal patron, 
 before he had employed his pencil in his service. 
 
 MICHEL AXGELO BUONAROTTI. 
 (The second of the great triumvirate.) 
 
 HE was born at the Castle of Capressa, in Arezzo, Tuscany, 
 in 1474, and died in 1564, aged 90. He was descended from 
 a noble family, and at an early age became the disciple of Dome- 
 nico Ghirlandaio, some of whose designs he copied, and afterwards 
 entered the school opened by Lorenzo de Medici, for students of 
 design and sculpture. Sculpture was his primary pursuit, and at 
 the age of fifteen he executed the head of a faun, which still 
 exists, and may enter into competition with the finest pieces of 
 antiquity. In the palace of Lorenzo, he executed a fine bas- 
 relief of the battle of the Centaurs. So great was his attachment 
 to sculpture, that it was with great reluctance he entered on the 
 enterprise of those immortal works which he has left in painting.
 
 XXU INTRODUCTION. 
 
 He resided for some time in the convent of St. Spirito. His 
 first great work in painting 1 , on which the result and application 
 of his anatomical labours are displayed, was the design so much 
 celebrated under the name of the Cartoon of Pisa ; begun in 
 competition with Leonardo da Vinci, for the great saloon of the 
 public palace at Florence. This work represents a number of 
 soldiers bathing, and on a sudden attack leaping, or rushing for- 
 ward, to arm and defend themselves. At Rome he distinguished 
 himself by some beautiful works of sculpture : Julio II. em- 
 ployed him to make his monument, and a bronze statue in the 
 act of distributing alms; and also employed him to paint the 
 dome of a chapel. By the command of Julio II., he proceeded 
 to paint the series of frescoes which occupy the ceiling and arches 
 of the chapel of Sixtus IV. Their subjects in various historic 
 compartments, and single figures, is Theocracy, or the Empire 
 of Religion ; the Origin of the Human Race, and its progress 
 to Society. Leo X. employed him in several architectural works, 
 in which he displayed the same elegance of taste and design. 
 He was engaged in fortifying Florence, and after the place was 
 taken, went to Venice, where he gave a design for the Rialto. 
 On the death of the architect of St. Peter's, at Rome, the direc- 
 tion of that work was intrusted to him ; and he devoted seventeen 
 years to it without a salary. He built a front to the Capitol, and 
 restored it to its ancient splendour. Among others of his most 
 celebrated works at Rome, he continued the building of the 
 Farnese-palace, which was begun by Bramante ; the Studo Pub- 
 lico della Suprenza, &c. By order of Leo X., the second chapel 
 in the church of St. Andrea della Valle ; part of the Campi- 
 doglio ; the superb deposito, in S. Pietro in Vincoli ; the chapel 
 of Sig. Sforza, in the Basilica of Santa Maggiore ; some alterations, 
 particularly to the form of the Greek cross, to the church of Santa 
 Maria del Angeli, near the bath of Dioclesian, &c. 
 
 Clemente had conceived the idea of employing him in two 
 large pictures, the Fall of the Angels, over the door, and the 
 Last Judgment, on the opposite side, over the altar of the Sistine 
 Chapel. The times prevented, and death intercepted, the ex- 
 ecution of the plan. It was resumed in part by Paul III., who,
 
 INTRODUCTION. XXUl 
 
 soon after his succession, in a visit which he paid the artist in 
 person, attended by ten cardinals, prevailed on him to undertake 
 the altar-piece, or rather to fill up the enormous facade of the 
 chapel above the altar with the immense composition of the Last 
 Judgment. This, if we follow Vasari, he must have accomplished 
 in seven years. He indulged in this a satirical humour, by 
 introducing, among the damned, a cardinal who was his enemy. 
 His last public work was in the opposite chapel, called the 
 Paulina. The subjects which he chose were the Conversion of 
 St. Paul, and the Crucifixion of St. Peter. 
 
 Michel Angelo called oil-painting the art of females and of 
 idlers ; and that he never practised it, is now reduced to the soli- 
 tary evidence of one picture. He is the inventor of epic painting, 
 in the sublime compartments of the Sistine Chapel. He has 
 personified motion in the groups of the Cartoon of Pisa ; em- 
 bodied sentiment on the monuments of Lorenzo ; unravelled the 
 features of meditation in his Prophets and Sibyls ; and in the Last 
 Judgment, with every attitude that varies the human body, and 
 traced the master-trait of every passion that sways the human 
 heart. 
 
 The following extracts from the lectures of Sir Joshua 
 Reynolds, contain his opinions on the merits of Michel Angelo, 
 as a painter. 
 
 " When we consider that Michel Angelo was the great arche- 
 type to whom Parmegiano was indebted for that grandeur which 
 we find in his works, and from whom all his contemporaries arid 
 successors have derived whatever they have possessed of the 
 dignified and the majestic ; that he was the bright luminary, 
 from whom painting has borrowed a new lustre ; that under his 
 hands it assumed a new appearance, and is become another and 
 superior art. I may be excused if I take this opportunity, as I 
 have hitherto taken on every occasion, to turn your attention to 
 this exalted founder and father of modern art, of which he was not 
 only the inventor, but which, by the divine energy of his own 
 mind, he carried at once to its highest point of possible perfection.
 
 XXIV INTRODUCTION. 
 
 " The sudden maturity to which Michel Angelo brought our 
 art, and the comparative feebleness of his followers and imitators , 
 might, perhaps, be reasonably, at least plausibly explained, if we 
 had time for such an examination. At present I shall only 
 observe, that the subordinate parts of our art, and perhaps of 
 other arts, expand themselves by a slow and progressive growth ; 
 but those which depend on a native vigour of imagination burst 
 forth at once into fulness and beauty. Of this, Homer, probably, 
 and Shakspeare more assuredly, are signal examples. Michel 
 Angelo possessed the poetical part of our art in a most eminent 
 degree; and the same daring spirit, which urged him first to 
 explore the unknown regions of the imagination, delighted with 
 the novelty, and animated by the success of his discoveries, could 
 not have failed to stimulate and impel him forward in his career 
 beyond those limits, which his followers, destitute of the same 
 incentives, had not strength to pass. 
 
 " To distinguish between correctness of drawing, and that part 
 which respects the imagination, we may say the one approaches 
 to the mechanical (which, in its way too, may make just pre- 
 tensions to genius) and the other to the poetical. To encourage 
 a solid and vigorous course of study, it may not be amiss to 
 suggest that, perhaps a confidence in the mechanical produces a 
 boldness in the poetic. He that is sure of his ship and tackle, 
 puts out fearlessly from the shore ; and he that knows that his 
 hand can execute whatever his fancy can suggest, sports with 
 more freedom in embodying the visionary forms of his own 
 creation. I will not say Michel Angelo was eminently poetical, 
 only because he was greatly mechanical ; but I am sure that 
 mechanical excellence invigorated and emboldened his mind to 
 carry painting into the regions of poetry, and to stimulate that 
 art in its most adventurous flights. Michel Angelo equally 
 possessed both qualifications. Yet, of mechanical excellences, 
 there were certainly great examples to be found in ancient sculp- 
 ture, and particularly in the fragment known by the name of the 
 Torso of Michel Angelo ; but of that grandeur of character, air, 
 and attitude which he drew into all his figures, and which so well 
 corresponds with the grandeur of his outline, there was no
 
 INTRODUCTION. XXV 
 
 example ; it could, therefore, proceed only from the most poetical 
 and sublime imagination. 
 
 " It is impossible not to express some surprise, that the race of 
 painters who preceded Michel Angelo, men of acknowledged 
 great abilities, should never have thought of transferring a little 
 of that grandeur of outline which they could not but see and 
 admire in the ancient sculpture, into their own works ; but they 
 appear to have considered sculpture as the later schools of artists 
 look at the inventions of Michel Angelo as something to be 
 admired, but with which they have nothing to do : quod super 
 nos, nihil ad nos. The artists of that age, even Raffaelle himself, 
 seemed to be going on very contentedly in the dry manner of 
 Pietro Perugino ; and if Michel Angelo had never appeared, 
 the art might still have continued in the same style. 
 
 " This grandeur of style has been, in different degrees, disse- 
 minated over all Europe. Some caught it by living at the time, 
 and coming into contact with the original author, whilst others 
 received it at second hand ; and being every where adopted, it has 
 totally changed the whole taste and style of design, if there could 
 be said to be any style before his time. Our art, in consequence, 
 now assumes a rank to which it could never have dared to aspire, 
 if Michel Angelo had not discovered to the world the hidden 
 powers which it possessed without his assistance we never 
 could have been convinced that painting was capable of producing 
 an adequate representation of the persons and actions of the 
 heroes of the Iliad. 
 
 " I would ask any man, qualified to judge of such works, 
 whether he can look with indifference at the personification of 
 the Supreme Being in the centre of the Capella Sistina, or the 
 figures of the sybils which surround that chapel, to which we 
 may add the statue of Moses ; and whether the same sensations 
 are not excited by those works, as what he may remember to 
 have felt from the most sublime passages of Homer? I mention 
 those figures more particularly, as they come nearer to a com- 
 parison with his Jupiter, his demigods, and heroes, those sybils 
 
 d
 
 XXVI INTRODUCTION. 
 
 and prophets being a kind of intermediate beings between men 
 and angels. Though instances may be produced in the works of 
 other painters which may justly stand in competition with those I 
 have mentioned, such as the Isaiah and the Vision of Ezekiel, by 
 Raffaelle ; the St. Mark of Frate Bartolommeo, and many others ; 
 yet these, it must be allowed, are inventions so much in Michel 
 Angelo's manner of thinking, that it may be truly considered as 
 so many rays, which discover manifestly the centre from whence 
 they emanated. 
 
 " The sublime in painting, as in poetry, so overpowers and 
 takes such a possession of the whole mind, that no room is left 
 for attention to minute criticism. The little elegancies of art in 
 the presence of these great ideas thus greatly expressed, lose all 
 their value, and are, for the instant, at least, felt to be unworthy 
 of our notice. The correct judgment, the purity of taste, which 
 characterises Raffaelle ; the exquisite grace of Correggio and 
 Parmegiano, all disappear before them. ***** 
 
 " I feel a self-gratulation in knowing myself capable of 
 such sensations as he intended to excite. I reflect, not without 
 vanity, that these discourses bear testimony to my admiration 
 of that truly divine man ; and I should desire that the last words 
 which I should pronounce in this academy, and from this place, 
 might be the name of Michel Angelo." Sir J. Reynolds s Dls- 
 
 " Michel Angelo," says Fuseli, " did for painting what Homer 
 had planned for poetry, the epic part of which, with the utmost 
 simplicity of a whole, should unite magnificence of plan and 
 endless variety of subordinate parts. He in time became generic, 
 perhaps too uniformly grand : character and beauty were admitted 
 only as far as they could be made subservient to grandeur. The 
 child, the female, meanness, deformity, were by him indiscrimi- 
 nately stamped with grandeur. A beggar rose from his band a 
 patriarch of poverty ; the hump of his dwarf is expressed with 
 dignity ; his women are moulds of generation ; his infants teem 
 with the man ; his men are giants." FuscHs Discourses.
 
 INTRODUCTION. XXV11 
 
 Flaxman, speaking of Michel Angelo, says, " His name was 
 great and venerable, without an equal in the three sister arts ; 
 one which became the wonder and example of his own and suc- 
 ceeding ages ;" and in his tenth lecture, speaking of his sculpture, 
 he observes ; " The character of Michel Angelo's sculpture is 
 too lofty and original to be dismissed without further notice ; 
 although we must acknowledge it has been criticised with severity, 
 because it rarely possesses the chaste simplicity of the Grecian 
 art. True, but although Michel Angelo lived long, he did not 
 live long enough to give absolute perfection to all his works ; 
 yet the pensive sitting figure of M. de Medici, in the Medici 
 chapel, is not without this charm ; and the Madonna and Child, 
 on the north side of the same chapel, is simple, and has a senti- 
 ment of maternal affection never found in Greek sculpture, but 
 frequently in the works of this artist, particularly in his paintings, 
 and that of the most tender kind. The recumbent statues in the 
 monument of Julian de Medici, in the same chapel, of Day- 
 break, or Dawn, and Night, are grand and mysterious : the 
 characters and forms bespeak the same mighty mind and hand 
 evident throughout the whole ceiling of the Sistine Chapel, and 
 the Last Judgment." Flaxman s Lecture^. 
 
 Sir Thomas Lawrence observes, in a letter from Rome, " It 
 often happens that first impressions are the truest ; we change, 
 and change, and then return to them again. I try to bring my 
 mind to all the humility of truth, when estimating to myself the 
 powers of Michel Angelo, and Raffaelle ; and again and again, 
 the former 'bears down upon it with the compacted force of 
 lightning.' The diffusion of truth and elegance, and often 
 grandeur, cannot support itself against the compression of the 
 sublime. There is something in that lofty abstraction, in those 
 deities of intellect, that people the Sistine Chapel, that converts 
 the noblest personages of Raffaelle's drama into the audience of 
 Michel Angelo, before whom you know that, equally with 
 yourself, they would stand silent and awe-struck. Raffaelle 
 never produced figures equal to the Adam and Eve of Michel 
 Angelo."
 
 XXV111 INTRODUCTION. 
 
 In estimating the character of Michel Angelo, we must judge 
 of him, like Bacon, by his times, and must consider what progress 
 had been made since the revival of the arts ; how few ancient 
 statues had been discovered, and how little of the principles of 
 art had been then defined. It is not so much his works that 
 remain ; those of his pencil have long lost all their freshness, and 
 most are fast fading to decay ; but it is the great and universal 
 change which his genius effected that will make him always 
 illustrious. The graceful, the elegant, and the refined style of 
 the ancients could not perhaps be surpassed ; but the grand and 
 terrific seems to have been his peculiar province. In invention, 
 vigour, energy of mind, and knowledge of form, he led the way. 
 
 It has been objected, and with some truth, that his statues are 
 most of them rather pictures than statues, to be seen in one view 
 only ; and indeed most of them were executed for monuments, 
 and not to be seen isolated. It may fairly be inferred, from the 
 excellence of his Moses and other figures, that, had he confined 
 himself through life to sculpture alone, he would have attained 
 the highest reach of the art. 
 
 The character of this great artist, who has obtained from the 
 admiration of his countrymen, the distinguished appellation of 
 the " Angelic Painter," is thus ably defined by Fuseli : " In 
 painting, in sculpture, and in architecture, this great artist rose 
 above all competition, and has remained unrivalled. In painting 
 (for which he was most valued), sublimity of conception, grandeur 
 of form, and breadth of manner, are the elements of Michel 
 Angelo's style : by these principles he selected or rejected the 
 objects of imitation. As a painter, as a sculptor, and as an 
 architect, he attempted, and above all other men succeeded in, 
 uniting magnificence of plan, and endless variety of subordinate 
 parts, with the utmost simplicity and dignity. To give the most 
 perfect ease to the most perplexing difficulty, was the exclusive 
 province of this great artist."
 
 INTRODUCTION. XXIX 
 
 THE ROMAN SCHOOL. 
 
 ANCIENT Rome, rich with the works brought from Greece, or 
 finished in its own bosom by Grecian artists, handed down in its 
 ruins the remains of that glory to which it had been elevated. It 
 was by the study of these remains that the modern artists were 
 formed : they derived from them the knowledge of design, the 
 beauty of exquisite form, greatness of style, and justness of ex- 
 pression, carried to that length only which did not affect the 
 beauty of the figure. From them also they derived the principles 
 of the art of drapery ; and they followed these principles even 
 while they made the drapery of modern paintings more large and 
 flowing than what was practised by the ancient sculptors. The 
 Roman school was altogether devoted to the principal parts of 
 the art to those which require genius and vast conceptions ; 
 and was no farther occupied with colours than what was necessary 
 to establish a difference between painting and sculpture, or rather 
 between painting varied with colours and in chiaro-scuro. 
 
 At the head of this school is placed 
 
 RAFFAELLE, OR RAPHAEL, SANZIO DA URBINO 
 
 ( The third and last of the great triumvirate.) 
 HE was born at Urbino in 1483, and died in 1520, aged 37. 
 He was the son of Giovanni Sanzio, a painter of no extraordinary 
 eminence, who, observing the early inclination of his son to the 
 art of painting, instructed him in the rudiments of it while he was 
 extremely young ; and Raffaelle showed such a wonderful capacity 
 and genius, that in a few years he was enabled to assist his father 
 in some of those works in which he was employed at Urbino. 
 But Giovanni, desirous to give his son the best opportunity of 
 improving his talents, placed him as a disciple under Pietro 
 Perugino, who was then in his highest reputation. The genius of 
 Raffaelle soon displayed itself under that artist, and in a short 
 time he imitated the style of his master in so exact a manner, 
 that the work of the one could hardly be distinguished from that 
 of the other ; and, as a proof of this, a picture of the Crucifixion 
 is cited, which by all the ablest judges and artists would have 
 been accounted the performance of Perugino, if it had not been 
 inscribed with the name of Raffaelle. However, he soon perceived
 
 XXX INTRODUCTION. 
 
 that by adhering to the manner of his master he should never 
 attain that perfection to which he aspired ; and therefore he 
 devoted himself to the study of the antiques, and made himself 
 thoroughly acquainted with all their beauties, in order to diffuse 
 them through his own compositions. The more he studied them, 
 the more he was enamoured of their excellencies ; and not 
 content with the persual of those wonderful sculptures of the 
 ancient artists to which he had access, he employed at his 
 own expense several good painters to design every object 
 that was curious at Puteoli, Baiae, and the different cities of 
 Greece, either in statuary or architecture, of which he made 
 a charming and judicious use in his subsequent compositions. 
 As the works of Leonardo da Vinci and Michel Angelo, at 
 Florence, were at that time universally admired, he went thither, 
 and having obtained the style of each of those famous painters 
 with the utmost accuracy, he saw sufficient merit in both to 
 improve his own taste and design, and altered that manner which 
 he had acquired in the school of Perugino. He also consider- 
 ably advanced his knowledge of colouring, by observing the 
 manner of Masaccio at Florence ; and gained additional skill 
 in perspective, as well as in the management of an union of 
 colours, by his intimacy with Bartolomeo Baccio. Every ac- 
 complishment and qualification necessary to form an illustrious 
 painter was combined in Raffaelle, a sublimity of thought, a fruit- 
 ful invention, remarkable correctness in drawing and design, and 
 a wonderful disposition and expression. His attitudes are noble, 
 natural, and graceful, and contrasted without the smallest appear- 
 ance of affection or constraint, and to the elegance and grandeur 
 of the antique he added the simplicity of nature ; for, though he 
 admired the antique statues as highly as he ought, yet he studied 
 nature with equal assiduity ; from which combined attention to 
 both resulted that amazing variety and elegance in the forms, 
 actions, and attitudes of his figures, and those delicate and grace- 
 ful airs of the heads, which distinguish his compositions from all 
 others, and in which he surpassed the greatest masters who have 
 flourished since the revival of the art of painting. It has been 
 objected to Raffaelle that, by too nice a regard to the purity and 
 correctness of his outline, his outline often became hard ; but what-
 
 INTRODUCTION. XXXI 
 
 ever small imperfections may be imputed to that inimitable artist, 
 he is allowed to have diffused more grace through all his works 
 more truth, nature, and sublimity, than any painter that has yet 
 appeared. Correggio alone could enter even into a competition 
 with him for grace ; but he was unequal to Raffaelle in every 
 other branch of his art. At different periods of his life Raffaelle 
 had very different manners. His first was derived from the 
 school of Perugino, which he retained for a long time ; and it is 
 the opinion of some writers, that he never entirely abandoned 
 it. But as soon as he had contemplated the cartoons of Michel 
 Angelo, and Leonardo da Vinci, he, in a great measure, di- 
 vested himself of the dryness of his first master, and, blending 
 the boldness of Michel Angelo with his own graceful ideas, he 
 formed a style of design more perfect than his model ; and 
 at last struck out a manner peculiar to himself, and superior 
 to all others, full of grace, dignity, ease, and elegance, which 
 he retained as long'as he lived. Every new composition added 
 to his fame, and his latest work of the Transfiguration is accounted 
 his best. He excelled in portrait as well as in history, and by 
 his pencil immortalised Pope Julius II. and Leo. X. with many 
 of the cardinals of his time, representing them with such life and 
 nature, such dignity of character, and such expression, as sur- 
 passes the power of description. He finished his pictures, 
 especially his easel pictures, exquisitely, and took all possible 
 care to give them the utmost perfection ; and yet it is said he 
 was expeditious in his manner of working. From the time he 
 shook off the dry taste of Perugino, his draperies were cast 
 in a most noble style, disposed with an excellent mixture of 
 simplicity and grandeur, and always so placed, that the finer 
 parts of the naked, particularly about the joints, were discern- 
 ible in every figure. It is remarkable, that the most capital 
 fresco paintings of Raffaelle, in the Vatican, do not strike one 
 with the surprise which undoubtedly is expected from the 
 fame of that illustrious master ; and a story is related, that 
 a person of acknowledged taste and judgment, who also was 
 an idoliser of Raffaelle, visited the Vatican, with an eager 
 desire to study his works, passed by those very compositions with 
 indifference which were the objects of his inquiry and curiosity,
 
 XXX11 INTRODUCTION. 
 
 till he was recalled by his conductor, who told him he had over- 
 looked what he sought for. That effect is supposed by De Piles to 
 be occasioned by the want of strength of colouring proper for each 
 object, that colouring not being sufficiently supported by a powerful 
 chiaro-scuro. But another fine writer accounts for it in a different 
 manner. He observes, that the works of Raffaelle strike little at first 
 sight, because he imitates nature so well, that the spectator is no 
 more surprised than when he sees the object itself, which would ex- 
 cite no surprise at all ; but that an uncommon expression, strong 
 colouring, or odd and singular attitudes of an inferior painter strikes 
 us at first sight, because we have not been accustomed to see them 
 elsewhere. And to illustrate this point, he compares Raffaelle to 
 Virgil, sublime, easy, natural, and majestic ; and the Venetian 
 painters, with their constrained attitudes, he compares to Lucan. 
 Virgil, more natural, strikes us at first less, to strike us afterwards 
 more sensibly ; Lucan strikes immediately, but strikes us abun- 
 dantly less after ; and certainly there cannot be a stronger 
 test of the excellency of any performance, either in painting or 
 poetry, than to find the surprise we at first feel to be not very 
 powerful, and yet to find, by more frequently conversing with 
 it, that it not only supports itself, but increases in our esteem, and 
 at last leads us to admiration. 
 
 The prodigious number of works in which Raffaelle was en- 
 gaged loaded him with riches and honour, and constrained him 
 to procure young artists to assist him in the execution of his 
 designs ; and by that means many eminent painters were formed 
 under his direction. But he was so particularly careful, that he 
 corrected with his own hand whatever he found imperfectly 
 executed by his disciples, and gave those finishing touches to the 
 whole which have rendered those works the admiration of the 
 world. Though, in several of his paintings, the colouring may 
 not seem to equal the perfection of the other parts, yet most of 
 his portraits, and many of his easel pictures, for their high finish- 
 ing, and exquisite colouring, are not surpassed by the pencil of 
 the greatest painter, not even by Titian. His portraits of Pope 
 Julius, Leo X., and Alexander Farnese, who was afterwards 
 Paul III., as also the St. Michael, and the Holy Family, which
 
 INTRODUCTION. \X\11I 
 
 are in the royal collection in France, and the St. John in the 
 Desert, are incontestible evidences. To enumerate the various 
 and extensive works of this astonishing genius would require a 
 volume ; and to describe them justly, in proportion to their merit, 
 would demand an understanding as large as his own. But as 
 they are now universally known to all the lovers of the art, by 
 the multitude of prints published after his designs ; and as the 
 works of Raffaelle have been examined by the curious of all 
 nations, who have travelled v through the different parts of Europe, 
 a particular description or recital seems to be less necessary ; 
 though we cannot omit the mentioning of a few. 
 
 In the royal collection of King George the Third are those 
 celebrated cartoons, which have been for so many years the glory 
 of England, and the envy of all other polite nations. And his 
 Majesty, who was so eminently distinguished as an encourager of 
 the fine arts, must merit the applause of posterity, as well as o. 
 the present age, for expressing such a judicious attention to those 
 precious treasures, as to order them to be removed from Hampton 
 Court, where they were evidently in danger of perishing, to place 
 them under his own royal care and inspection. In France are 
 the pictures of St. Margaret and St. George ; the latter of which 
 (according to Sandrart), was formerly in the possession of King 
 Charles I. ; as also the remarkable and lovely pictures of St. 
 John in the Desert, and that Holy Family mentioned by Sand- 
 rart, in which an Angel is represented shedding flowers round the 
 Virgin. In the treasury of Loretto is one of RafFaelle's pictures, 
 amazingly fine, representing the Virgin with Christ on her lap ; 
 which cannot be looked on without feeling a veneration and 
 awe, as well as admiration ; the grandeur of the object ex- 
 cluding all idea of the painter, for it appears more of a reality 
 than a picture. There appears in the face of the Virgin some- 
 what that looks more than mortal ; and the Infant, though in the 
 innocent posture of throwing up the legs and arms, though all 
 the air of infancy is in the face, has yet something that is divine 
 in every part. The look is sweeter than that of a human face, and 
 yet, with all the grace that is diffused through it, there is an air
 
 XXXIV INTRODUCTION. 
 
 that is awful. The disposition in this picture has an inimitable 
 dignity and ease ; the drapery of the Virgin has a noble sim- 
 plicity, and the attitude of the head hath such an inconceivable 
 grace and softness, as not only charms, but astonishes every be" 
 holder. The original design for the famous picture of the School 
 of Athens, is preserved in the Ambrosian Library at Milan. 
 
 In the early part of his life he had accustomed himself to copy 
 nature with great exactness, but without being solicitous about 
 the choice, or perhaps ignorant that any choice was necessary. 
 When he saw the works of Leonardo da Vinci and Michel 
 Angelo, they gave to his genius a new direction ; he perceived 
 that there was something more in the art of painting than a 
 simple imitation of truth. It was at Rome, in the works of the 
 ancients, that he found models of ideal beauty, which he after- 
 wards imitated. His design is admirable, he excelled in repre- 
 senting the character of philosophers, apostles, and other figures 
 of that kind. The Greeks were superior to him in ideal figures, 
 but if he did not succeed in embellishing nature in the same high 
 degree, he saw, at least, and imitated her in whatever was ex- 
 pressive and beautiful. The Greeks (says Mengs) sailed with 
 majesty between earth and heaven ; Raffaelle walked with 
 propriety on the earth. 
 
 THE VENETIAN SCHOOL. 
 
 THE School of Venice is the child of nature. The Venetian 
 painters, not having under their eyes, like the Romans, the 
 remains of antiquity, were destitute of the means of forming a 
 just idea of the beauty of forms and of expressions ; they copied, 
 without choice, the forms of nature, but were chiefly delighted 
 with the beauties which presented themselves in the mixture and 
 variety of colours. Colouring was their chief object ; and they 
 endeavoured, by the agreement and opposition of colours, and by 
 the contrast of light and shade, to produce a vigorous effect, to 
 demand and fix the attention. In this they succeeded.
 
 INTRODUCTION. XXXV 
 
 Domenico, who was the second Italian 'artist who painted in 
 oil, had educated, before he quitted Venice, Giacomo Bellino, 
 who had two sons, Gentile and Giovanni, both of whom were 
 painters ; the latter contributed much to the progress of his art, 
 in painting constantly in oil after nature. Giorgione and Titian, 
 his scholars, are considered as the founders of the Venetian school- 
 
 Giorgione distinguished himself by a better taste in designing 
 than his master ; but he chiefly surpassed him in colouring. He 
 died in his 32nd year. 
 
 Tiziano Vecelli, better known by the name of Titian, was 
 instructed in the school of Bellino, to copy nature in the most 
 servile manner ; but when he had seen the works of Giorgione, 
 he began to study the ideal in colouring. The truth of history is 
 not to be expected in his paintings, or in those of the artists 'of 
 the same school. He paid little attention to the consistence of 
 scene, to the costume, to expression adapted to the subject, or, 
 finally, to the accommodation of parts which characterise the 
 works of those who have studied the ancients. 
 
 The artists of the Florentine and Roman schools painted most 
 commonly in water colours, or in fresco ; and, instead of nature 
 they finished their works from their first sketches. Titian painted 
 in oil, and finished from the objects in nature ; and this practice, 
 joined to exquisite talents, gave the greatest truth to his colours. 
 His being a portrait painter was also of advantage to him as a 
 colourist. In this department he was accustomed to the colours 
 of nature in carnations and draperies. 
 
 He was a landscape painter ; and here he also took the colours 
 from nature. 
 
 Titian has, in general, little expression in his pictures ; and he 
 sometimes introduces figures which augment the coldness of the 
 piece ; for if it be true that heads, even in historical painting, 
 ought to be studied from nature, it is true also that individual 
 nature should not be presented, but one general and ideal. The
 
 INTRODUCTION. 
 
 painter fails in the effect which he ought to produce, if, when he 
 represents Achilles, Hector, and Caesar, his personages are familiar 
 to our observation. 
 
 THE LOMBARD SCHOOL 
 
 THE distinguishing characteristics of this school are grace ; an 
 agreeable taste for design, without great correctness ; a mellowness 
 of pencil ; and a beautiful mixture of colours. 
 
 Antonio Allegri, called Correggio, was the father and greatest 
 ornament of this school ; he began by imitating nature alone, but 
 as he was chiefly delighted with the graceful, he was careful to 
 purify his design ; he made his figures elegant and large, and 
 varied his outlines by frequent undulations ; but was not al- 
 ways pure and correct, though bold in his conceptions. 
 
 Correggio painted in oil, a kind of painting susceptible of the 
 greatest delicacy and sweetness ; and as his character led him to 
 cultivate the agreeable, he gave a pleasing captivating tone to all 
 his pictures. He sought transparent colours to represent shades 
 conformable to nature, and adopted a manner of glazing which 
 actually rendered his shadows more obscure. Obscurity in painting 
 cannot be fully obtained without transparent colours ; for these 
 absorb the rays of light, and of consequence give less reflection. 
 He laid his colours very thick on the brightest parts of his pic- 
 tures, to make them capable of receiving, by a proper touch, the 
 greatest degree of light. He perceived that the reflections of 
 light correspond with the colour of the body from which they are 
 reflected ; and on these principles he founded his theory of 
 colours with respect to light and shade and reflection. But it is 
 chiefly in the colour of his shades that he deserves to be imitated ; 
 for his lights are too clear, and somewhat heavy ; and his fleshy 
 parts are not sufficiently transparent. 
 
 Harmony and grace are connected together ; and on this 
 account Correggio excelled also in harmony. As the delicacy 
 of his taste suffered him not to employ strong oppositions, he
 
 INTRODUCTION. XXXVII 
 
 naturally became a great master in this part, which chiefly 
 consists of easy gradations from one extreme to another. He 
 was harmonious in his design, by making the lines which 
 formed the angles of the contour arched and undulated. Both 
 in the lights and shades, he placed always between the two 
 extremes a space which served to unite them, and to form a 
 passage from the one to the other. The delicacy of his organs 
 made him perceive, better than any other artist, what relief was 
 necessary to the eye after a violent exertion ; and he was there- 
 fore careful to follow a bold and prevailing colour with a demi-tint, 
 and to conduct the eye of the spectator, by an invisible gradation, 
 to its ordinary state of tension. In the same manner (says Mengs) 
 does agreeable and melting music pull one so gently out of sleep, 
 that the awakening resembles enchantment more than the dis- 
 turbing of repose. A delicate taste in colours, a perfect knowledge 
 of the chiaro-scuro, the art of uniting light to light and shade 
 to shade, together with that of detaching the objects from the 
 ground, inimitable, grave, and perfect harmony, were the qualities 
 which distinguished Correggio from all the painters, and placed 
 him near the head of his profession. 
 
 The Carracci, Lewis, Augustin, and Annibale, formed what is 
 called the second Lombard School, which is frequently dis- 
 tinguished by the name of the School of Bologna. 
 
 Lewis was the master of the other two ; he had studied the 
 works of Titian and Paolo Veronese at Venice, those of Andrea del 
 Sarto at Florence, those of Correggio at Parma, and those of 
 Julio Romano at Mantua; but he chiefly endeavoured to imitate 
 the manner of Correggio. Annibale fluctuated between Correggio 
 and Titian. Augustin, their rival in painting, had his mind cul- 
 tivated by learning, and devoted part of his time to poetry and 
 music, to dancing, and to other manly exercises. 
 
 They established an academy at Bologna, which their zeal for 
 the advancement of their art made them call 1'Academia degli 
 Desiderosi ; but it was afterwards called the Academy of the 
 Carracci. In this school were taught the art of constructing
 
 XXXV111 INTRODUCTION. 
 
 models, perspective, and anatomy ; lessons were given on the 
 beautiful proportions of nature, on the best manner of using 
 colours, and on the principle of light and shade. They held 
 frequent conferences, in which not only artists, but men of general 
 knowledge, were permitted to elucidate points relative to the art 
 of painting : but they were separated upon Annibale's going to 
 Rome to adorn the gallery of the cardinal Farnese. 
 
 The works of the Carracci are often, from the resemblance 
 of manner, confounded together ; especially those which were 
 finished previous to the residence of Annibale at Rome. Mean- 
 while each of them has a decided character distinct from the 
 other two. Lewis had less fire, but more of gracefulness and 
 grandeur : Augustin had more spirit in his conception, and more 
 pleasantness in his execution : Annibale is characterised by bold- 
 ness, by a design more profound, by an expression more pleasing, 
 and by an execution more solid. 
 
 Lodovico Carracci (says Sir Joshua Reynolds) appears to me 
 to approach the nearest to perfection. His unaffected breadth 
 of light and shadow, the simplicity of colouring, which, holding 
 its proper rank, does not draw aside the least part of the attention 
 from the subject, and the solemn effect of that twilight which 
 seems diffused over his pictures, appears to me to correspond 
 with grave and dignified subjects better than the more artificial 
 brilliancy of sunshine which enlightens the pictures of Titian. 
 
 Annibale is esteemed by the best judges as a model for beauty 
 and design. Those who blame him for becoming less a colourist 
 at Rome than he was at Bologna, ought to recollect it is his 
 performances at Rome which have chiefly secured his reputation. 
 Severe critics have maintained that his design is too little varied 
 in his figures ; that he excels only in male beauty ; that in imi- 
 tating ancient statues, he excites some resemblance, but without 
 arriving at the sublimity of ideas and of style which characterise 
 the ancients. 
 
 The success of Annibale, and the reputation which he acquired,
 
 INTRODUCTION. XXXIX 
 
 have been pernicious to the art. His successors, deluded by 
 these considerations, have made him the object of their imitation, 
 without ascending to the sources from which he derived his 
 knowledge, and which they never could equal. The result has 
 been, that instead of becoming equal to Annibale, they have 
 often copied his imperfections. 
 
 THE FRENCH SCHOOL. 
 
 THIS school has been so different under different masters, that it 
 is difficult to characterise it. Some of its artists have been formed 
 on the Florentine and Lombard manner, others on the Roman, 
 others on the Venetian, and a few of them have distinguished 
 themselves by a manner which may be called their own. In 
 speaking in general terms of this school, it appears to have no 
 peculiar character ; and it can only be distinguished by its apti- 
 tude to imitate easily any impression ; and it may be added, 
 speaking still in general terms, that it unites in a moderate degree 
 the different parts of the art, without excelling in any one of 
 them. 
 
 It is equally difficult to determine the progress of painting in 
 France. Miniature painting, and painting on glass, were early 
 cultivated in that country ; and in these two kinds, the Italians 
 had often recourse to the French artists. 
 
 Cousin, a painter on glass, and portrait painter, was the first 
 who established any kind of reputation in France ; he was 
 correct, but possessed very little elegance of design. Painting, 
 for some time encouraged by Francis I., fell into a state of 
 languor, from which it was not recovered till the reign of Louis 
 XIII. Jaques Blanchard, formed in the Venetian school, and 
 called the .French Titian, flourished about this period ; but as he 
 left no pupils to perpetuate his manner, he must be regarded as a 
 single good artist, and not as a founder of the French school. 
 
 In the same manner Poussin, whom they call the Raffaclle of
 
 XI INTRODUCTION. 
 
 France, educated no pupils, and formed no school. His style 
 and manner of painting are described by Sir Joshua Reynolds 
 as simple, careful, pure, and correct. No works of any modern 
 have so much the air of antique painting 1 , as those of Poussin. 
 His best performances have a certain dryness of manner, which 
 seems perfectly correspondent to the ancient simplicity that dis- 
 tinguishes his style. In the latter part of his life he changed 
 from this manner into one much softer and richer, where there is 
 a greater union between the figures and the ground. His favpurite 
 subjects were ancient fables; and no painter was ever better 
 qualified to paint such subjects, not only from his being eminently 
 skilled in the knowledge of the ceremonies, customs, and habits 
 of the ancients, but from his being so well acquainted with the 
 different characters which those who invented them gave their 
 allegorical figures. 
 
 Poussin, more admired than imitated, had no manner of influ- 
 ence in forming the French school. Simon Vouet, his enemy 
 and persecutor, had this honour, because his pupils, in the happy 
 age of the arts in France, conferred on it the greatest splendour. 
 Vouet was a man of distinguished abilities ; but the school which 
 he erected would have had no continuance if his scholars had 
 pursued his manner of painting. He had a kind of grandeur and 
 facility ; but his design was false with regard to colours, and 
 without any idea of expression. It was said of him, that he only 
 needed to take the pencil in his hand to finish with one stroke 
 the subject which he had conceived ; and on this account one is 
 tempted to be pleased, because he astonished. He had the merit 
 of destroying the insipid manner which reigned in France, and of 
 pointing the way to a better taste. 
 
 He had a noble conception and a fruitful imagination. He was 
 on no occasion inferior to the vast compositions which he under- 
 took, and he chiefly excelled in rigorous costume and exact like- 
 nesses. 
 
 Few painters have united so great a number of essential quali- 
 ties and accessories of the art ; and if he had superiors, it con-
 
 INTRODUCTION. x 
 
 sisted in this, that they possessed some particular quality in a 
 more eminent degree. He was a good drawer, but his design 
 was far from being so elegant as that of Raffaelle, or so pure as 
 that of Domenichino.and it was less lively than that of Annibale 
 Carracci, whom he had taken for a model. In drapery he 
 followed the Roman school : the clothes which he gave to his 
 figures were not, like those of the Venetian school, of such and 
 such a stuff ; they were draperies, and nothing more, and this 
 manner agreed with the heroic style of his works ; but in this 
 part he was not equal to the painter of Urbino. He had studied 
 the expression of the affections of the soul ; but after observing 
 the general characters, and establishing the principal strokes of 
 expression, he thought he reached the whole extent of this sub- 
 ject, which is so infinitely extended. He loved and possessed in 
 a high degree the grand machine of the art : he was delighted 
 with great compositions, and he gave them life, and animation, 
 and variety ; but he wanted the vigour and inspiration of 
 Raffaelle. His compositions are formed on philosophical prin- 
 ciples, but those of Raffaelle are created. Le Brun thought well ; 
 Raffaelle, Poussin, Le Sueur, thought most profoundly. Le Brun 
 had elevation, but he was not elevated, like Raffaelle, to the 
 sublime. 
 
 In colouring, Le Brun did not follow the painters of the 
 Venetian school. The sweet attractions, and strong and solid 
 colours of the schools of Rome and Lombardy, seem rather to 
 have been the object of his imitation ; and from them also he 
 learned an easy, agreeable, and bold management of the pencil. 
 
 Eustach le Sueur was the cotemporary and rival of Le Brun, 
 and no painter approached nearer to Raflfaelle in the art of 
 drapery, or in disposing the folds in the most artful and the 
 noblest manner. His design was in general more slender than 
 that of Raffaelle, but, like his, it was formed on the model of the 
 ancients. Like Raffaelle, he represented with art and precision 
 the affections of the soul ; like him, he varied the hair of the 
 head according to the condition, the age, and the character of his 
 personages; and like him, he made the different parts of every
 
 xlli INTRODUCTION. 
 
 figure contribute to the general effect. His intention in com- 
 posing was to express his subject, not to make shining contrasts 
 or beautiful groups of figures, not to astonish and bewitch the 
 spectator by the deceitful pomp of a theatrical scene, or the 
 splendour of the great machine. His tones are delicate, his 
 tints harmonious, and his colours, though not so attractive as 
 those of the schools of Venice and Flanders, are yet engaging. 
 They steal peaceably on the soul, and fix it, without distraction, 
 on the parts of the art superior to that of colouring. 
 
 If Le Sueur had lived longer, or if, like Le Brun, he had been 
 employed under a court fond of the arts and of learning, to exe- 
 cute the great works of the age, the French school would have 
 adopted a different and a better manner. The noble beauty of 
 his heads, the simple majesty of his draperies, the lightness of 
 his design, the propriety of his expression and attitudes, and the 
 simplicity of his general disposition would have formed the cha- 
 racter of this school. The deceitful pomp of theatrical decora- 
 tion would have been more lately introduced, or perhaps would 
 never have appeared, and Paris might have been the counterpart 
 of Rome. 
 
 But as Le Brun, by an accidental concurrence of favourable 
 circumstances, was the fashionable painter, to be employed or 
 rewarded, it was necessary to imitate his manner ; and as his 
 imitators possessed not his genius, his faults became not only 
 current but more deformed. 
 
 The French school not long ago changed its principles ; and, 
 if they follow the road which they have marked out for them- 
 selves, they have the chance of becoming the most rigid ob- 
 servers of the law imposed on the Greek artists. 
 
 The Count de Caylus, pupil of Buchardon, who by his rank 
 and fortune had the means of encouraging the imitators of the 
 ancients, and of the masters of the 15th century, first formed the 
 design of restoring a pure taste to the art of painting. He was 
 seconded by the talents of M. Vien, an artist who had only occa- 
 sion to have his lessons and his examples laid before him.
 
 INTRODUCTION. xliil 
 
 In this manner commenced a revolution, so much the more 
 wonderful, as it was scarcely ever known that any nation substi- 
 tuted a system of simple and rigid excellence in place of false 
 and glittering taste. The history of all nations, on the contrary, 
 discovers a gradual progress from a rude beginning to perfection, 
 and afterwards to an irremediable decay. The French have the 
 prospect of stopping short in this ordinary course. They have 
 begun in a manner which promised success, and the best conse- 
 quences may be expected from the study of those master-pieces 
 of ancient art with which the capital of France was enriched 
 during the reign of the Emperor Napoleon, and which, to the 
 honour of his government, were open to the inspection of every 
 one. It is almost needless to mention that these invaluable 
 works were the most capital productions of art, collected by the 
 Emperor from Florence, Rome, Turin, Naples, and the cities in 
 the Austrian Netherlands. 
 
 THE GERMAN SCHOOL. 
 
 IN Germany there can hardly be said to be a school, as it is 
 a continuation of single artists, who derived their manner from 
 different sources of originality and imitation. There were some 
 German painters of eminence, when the art, emerging from its 
 barbarous state, first began to be cultivated in Europe. As they 
 were totally unacquainted with the ancients, and had scarcely 
 access to the works of their contemporaries in Italy, they copied 
 nature alone, with the exception of somewhat of that stiffness 
 which forms the Gothic manner. But this is by no means the 
 case with their successors, part of whom were educated in Flan- 
 ders, and part in Italy. But if Mengs or Deitrich were compre- 
 hended in this school, there would be nothing peculiar to its 
 manner discovered in their works. It is therefore necessary to 
 confine our observations to the most ancient German painters, in 
 whom the Gothic style is conspicuous. 
 
 Albert Durer was the first German who corrected the bad taste 
 of his countrymen. He excelled in engraving as well as painting. 
 His genius was fertile, his compositions varied, his thoughts inge- 
 nious, and his colours brilliant. His woik?, thoiurh numerous,
 
 Xliv INTRODUCTION. 
 
 were finished with great exactness ; but as he owed every tiling 
 to his genius, and as works of inferior merit were by the false 
 taste of the times preferred to his, it was impossible for him alto- 
 gether to avoid the faults of his predecessors. He is blamed for 
 stiffness and aridity in his outlines, for little taste or grandeur in 
 his expression, for ignorance of the costume, of aerial perspective* 
 and of gradation of colours ; but he had studied linear perspec- 
 tive, architecture, and fortification. 
 
 John Holbein, nearly contemporary with Albert Durer, painted 
 in oil and water-colours. He excelled chiefly in history, and in 
 portrait painting. His colours are fresh and brilliant, and his 
 works highly finished ; but in his historical subjects his draperies 
 are not in so good taste as those of Albert Durer. 
 
 THE FLEMISH SCHOOL. 
 
 THE Flemish school is recommended to the lovers of the art 
 by the discovery, or at least the first practice, of oil in painting. 
 It has been generally attributed to John Van Eyck, who was 
 accustomed to varnish his distemper pictures with a composition 
 of oils, which was pleasing on account of the lustre it gave them. 
 In the course of his practice, he came to mix his colours in oil, 
 instead of water, which he found rendered them brilliant without 
 the trouble of varnishing. From this and subsequent experi- 
 ments, arose the art of painting in oil, of which wonderful disco- 
 very Van Mander gives a particular account ; but the truth of it 
 is now very much questioned ; and it is even proved that this 
 method of painting was discovered long before the time of John 
 Van Eyck. It is admitted that John and his brother Eubert 
 were the first who brought it into general practice, by showing 
 the excellence of which it was susceptible ; their own paintings 
 having acquired, all over Europe, great reputation for the soft- 
 ness and delicacy of their colours. The attention of the Italian 
 painters was soon excited ; and Antonio de Massiny performed 
 a journey into Flanders for the express purpose of acquiring 
 the confidence of John Van Evck, and of discovering the secret.
 
 INTRODUCTION. xlv 
 
 John of Bruges was the founder of painting as a profession in 
 Flanders. Peter Paul Rubens was the founder of the art This 
 extraordinary person produced an immense number of works. 
 He excelled equally in historical, portrait, and landscape paint- 
 ing ; in fruits, flowers, and in animals. He invented, and exe- 
 cuted with the greatest facility. The works of Rubens were 
 destitute of that soft inspiration, productive of sweet and pleasant 
 effects, so conspicuous in the works of Raffaelle ; but he possessed 
 that sprightliness of genius and strength of mind which are ever 
 ready to burst forth in wonderful and astonishing effects. His 
 figures appear to be the exact counterpart of his conceptions, 
 and their creation nothing more than a simple act of the will. 
 His chief merit consists in colouring ; though in this branch of 
 the art he has not equalled Titian. He is the first among painters 
 eminent for pomp and majesty ; the first among those who speak 
 to the eye ; and the power of the art is often by him carried 
 almost to enchantment. 
 
 Rubens (says Sir Joshua Reynolds) is a remarkable instance 
 of the same mind being seen in all the various parts of the art. 
 The whole is so much of a piece, that one can scarce be brought 
 to believe but that if any one of them had been more correct and 
 perfect, his works would not be so complete as they appear. If 
 we should allow a greater purity and correctness of drawing, his 
 want of simplicity in composition, colouring, and drapery, would 
 appear more gross. 
 
 The Flemish school, of which Rubens is the great master, is 
 remarkable for great brilliancy of colours, and the magic of the 
 chiaro-scuro. To these may be joined a profound design, which 
 is not yet founded on the most beautiful forms ; a composition 
 possessed of grandeur, a certain air of nobleness in the figures, 
 strong and natural expressions ; in short, a kind of national beauty, 
 which is neither copied from the ancients, nor from the Roman 
 or Lombard schools ; but which deserves to please, and is capable 
 of pleasing.
 
 INTRODUCTION. 
 
 THE DUTCH SCHOOL. 
 
 To speak in general terms, and without regarding a great 
 number of exceptions, the Dutch school carries none of the above 
 qualities to great perfection, except that of colouring. Far from 
 excelling in the beauty of heads and forms, they seem to delight 
 in the exact imitation of the lowest and most ignoble. Their 
 subjects are derived from the tavern, the smith's shop, and from 
 the vulgar amusement of the rudest peasants. The expressions 
 are sufficiently marked ; but it is the expression of passions which 
 debase instead of ennobling human nature. 
 
 It must be acknowledged, at the same time, that the Dutch 
 painters have succeeded in several branches of the art. If they 
 have chosen low subjects of imitation, they have represented them 
 with great exactness; and truth must always please. If they 
 have not succeeded in the most difficult parts of the chiaro-scuro, 
 they at least excel in the most striking, such as in light confined 
 in a narrow space, night illuminated by the moon, or by torches, 
 and the light of a smith's forge. The Dutch understand the gra- 
 dations of colours. They have no rivals in landscape-painting, 
 considered as the faithful representation of a particular scene ; 
 but they are far from equalling Titian, Poussin, Claude Lorrain, 
 &c., who have carried to the greatest perfection the ideal land- 
 scape; and whose pictures, instead of being the topographical 
 representation of certain places, are the combined result of every 
 thing beautiful in their imagination or in nature. The Dutch dis- 
 tinguish themselves by their perspective, by their clouds, sea scenes, 
 animals, fruits, flowers, and insects ; and they excel in miniature- 
 painting : in short, every thing which requires a faithful imitation, 
 colour, and a nice pencil, is well executed by the Dutch painters. 
 
 Holland has also produced historical painters, as Octavius Van 
 Been, and Vander Hilst, the rival of Vandyck ; but in the works 
 of these artists we do not find the character of the Dutch school.
 
 INTRODUCTION. xv 
 
 Neither is the origin of their style to be derived from the works 
 of Lucas of Leyden ; though from the time he flourished, viz. 
 about the end of the fifteenth century, he may be considered as 
 the patriarch of the Dutch school. Lucas painted in oil, in water- 
 colours, and on glass ; and the productions of his pencil were 
 history, landscape, and portrait. 
 
 If miniature painting be considered as a character of the Dutch 
 school, Cornelius Pollemburg may be regarded as the father of 
 it. He possessed the colour, delicacy of touch, and disposition 
 of the chiaro-scuro, which chiefly distinguish this school ; and if 
 any thing is to be added, it is want of correctness in his design. 
 
 But if the choice of low figures is its chief characteristic, this 
 is to be found in the greatest perfection in the works of the cele- 
 brated Rembrandt Van Ryn ; and it is the more offensive in this 
 artist, as his compositions frequently required an opposite choice 
 of figures. As his father was a miller, near Leyden, his education 
 must altogether have depended on the exertion of great talents, 
 and the study of nature. He copied the grotesque figure of a 
 Dutch peasant, or the servant of an inn, with as much application 
 as the greatest masters of Italy would have studied the Apollo of 
 Belvidere, or the Venus de Medicis. This was not the manner 
 of elevating himself to the noble conceptions of Raffaelle; but it 
 was acquiring the imitation of truth in vulgar painting. 
 
 Rembrandt (says Mr. Descamps) may be compared to the great 
 artists for colour, delicacy of touch, and chiaro-scuro. He 
 delighted in great oppositions of light and shade ; and he seems 
 to be particularly attentive to this branch of the art. His work- 
 shop was occasionally made dark, and he received the light by a 
 hole, which fell as he chose to direct to the place which he desired 
 to be enlightened. His painting is a kind of magic ; no artist 
 knew better the effects of different colours mingled together, nor 
 could better distinguish those which did not agree from those 
 which did. He placed every tone in its situation with so much 
 exactness and harmony, that he needed not to mix them, and so 
 destroy what may be called the flower and freshness of the 
 colours.
 
 INTRODUCTION. 
 
 Such is the power of genius, that Rembrandt, with all his 
 faults, (and they are numerous,) is placed among the greatest 
 artists by M. Descamps, who attentively examined his works, and 
 was himself an artist. 
 
 John de Laer, a miniature painter, and who made choice of his 
 subjects from common life, deserves a distinguished place in the 
 Dutch school. He painted hunting-scenes, the attacks of robbers, 
 public festivals, landscapes, and sea views. He had a correct 
 design, and employed vigorous and lively colouring. 
 
 Van Ostade, although born at Lubeck, Gerard Dow, Metzu, 
 Meris, Wowermans, Berghem, and the celebrated painter of 
 flowers, Van Huysum, belong to the Dutch school. 
 
 The greater part of the schools of which we have treated 
 have no longer any existence. Italy alone had four schools, and 
 there only remain at present a very few Italian artists known to 
 foreigners. The school of Rubens is in vain sought for in 
 Flanders. If the Dutch school still exists, it is not known beyond 
 the precincts of Holland. Mengs, a German artist, has rendered 
 himself famous in our days ; but it was in Italy that he chiefly 
 improved his talents, and exercised his art. M. Dietrich, another 
 German, has made himself known to strangers ; but two solitary 
 artists do not form a school. 
 
 THE ENGLISH SCHOOL. 
 
 THIS school has been formed in our time. It is connected with 
 the Royal Academy, in London, instituted in 1766 ; but although 
 as a school it did not exist before that time, yet ever since the 
 revival of the arts, and consequent encouragement given to them 
 by the sovereigns of Europe, England has possessed portrait- 
 painters of ability ; and perhaps it has been owing only to the 
 remarkable partiality of the nation for this branch of the art, that 
 the more noble one of historical painting has been neglected.
 
 INTRODUCTION. xlix 
 
 Hans Holbein is ranked by De Piles among the German pain- 
 ters, yet he painted his most celebrated works in England. He 
 was the first painter of eminence encouraged by Henry VIII., 
 who, excited by the fame which his contemporaries Francis I. 
 and Charles V. had gained as patrons of the arts, employed him, 
 and invited Titian to England ; but merely as a portrait painter 
 whether the reward offered was not thought adequate to his 
 merit, or for some other cause, perhaps the knowledge that his 
 talents for historical design would be depreciated, he firmly 
 rejected the overture. The public works of Holbein, in England, 
 are four only, as enumerated by Mr. Walpole, which are rather 
 groups of portraits than history. 
 
 Nothing could be more unfavourable to female beauty than 
 the dress of those times : Holbein's men are therefore much more 
 characteristic than his ladies ; even his Anna Bullen is defi- 
 cient in loveliness, as he pourtrayed her. In his likeness of 
 Anne of Cleves he is said to have sacrificed truth to flattery ; 
 yet the original, which is in the possession of Mr. Barrett, of Lee, 
 in Kent, is below mediocrity. There are in his late Majesty's col- 
 lection, a series of portraits of persons of quality in the reign of 
 Henry VIII., sketched upon paper, with crayons, probably taken 
 at a single sitting. They have lately been engraved by Bartolozzi, 
 with all the strength and spirit of the originals. 
 
 Holbein was as celebrated in miniature, as in oil colours. He 
 made a great number of designs, for engravers, sculptors, and 
 jewellers. He died at his residence at Whitehall, in those lodg- 
 ings which were afterwards the paper-offices. 
 
 The fame of Isaac Oliver, who flourished about the latter end 
 of the reign of Elizabeth, as a miniature painter, is well-known : 
 he received some instructions from Frederico Zucchero, who was 
 in England at that time, where, among other portraits, he painted 
 that of the unfortunate Mary, Queen of Scots. Oliver drew well, 
 and made some admirable copies from the Italian masters. Greatly 
 as Isaac was celebrated, he was afterwards exceeded by his son
 
 i 
 
 INTRODUCTION. 
 
 Peter, who drew portraits of King James I., Prince Henry, Prince 
 Charles, and most of the court. 
 
 About this period Cornelius Jansens, a skilful portrait painter 
 came to England from Amsterdam, and painted the king, and 
 many of the nobility ; but his merits being eclipsed by Vandyck, 
 of whom he was jealous, and the civil war breaking out, he fled 
 from England. Cornelius Jansens was remarkable for high finish- 
 ing in his draperies ; many of which are black, which seems to 
 add roundness, relief, and spirit, to his figures and carnations. He 
 is said to have used ultramarine in the black colours, as well as in 
 the carnations, to which may be attributed their lustre even at 
 this day. The duke of Beaufort has a capital portrait of Jansens 
 by himself; but one of his best performances is the Rushout 
 family, at Northwick, in Worcestershire. 
 
 Daniel Mytens was a popular painter in the reigns of James and 
 Charles I. He had studied under Rubens, and was for some 
 time principal painter to Charles, but was deprived of his place 
 when Vandyck arrived in England. Charles, howerer, continued 
 his pension during life. 
 
 Vandyck had his first instructions from Vanbalen, of Antwerp, 
 but he soon found in Rubens a master every way more suited to 
 direct his genius, and to mature that consummate taste, which he 
 very early showed marks of possessing. Under the instructions of 
 Rubens, he acquired such skill in his art, that the portrait of his 
 master's wife, which he painted while he was yet a disciple, is 
 esteemed one of the best pictures in the Low Countries. He 
 painted for his master two admirable pieces, one representing 
 Christ seized in the garden, and the other the crowning him 
 with thorns. When he left Rubens, he travelled into Italy ; and 
 on his return, having established his reputation as one of the first 
 painters of the age, he was invited to England, where he was 
 knighted by Charles I., and married one of the handsomest ladies 
 of the court, the daughter of lord Ruthven, earl of Gowry. To- 
 wards the latter end of his life he went to France, in hopes of
 
 INTIIODUCTION. Il 
 
 being employed in the great gallery of the Louvre ; but not suc- 
 ceeding, he returned to England, and proposed to the king to 
 make cartoons for the banquet-house at Whitehall ; but his de- 
 mand of 80,000/. being judged unreasonable, whilst the king was 
 treating with him for a less sum, the gout, and other distempers, 
 put an end to his life. 
 
 Dobson had merited from Charles I. the title of the English 
 Tintoret, before his premature death, in 1646, at the age of only 
 36 years. He was the father of the English school of portrait 
 painting ; and though sometimes unequal, had much the manner 
 of his master, Vandyck. He resided much at Oxford, and left 
 there the portraits of himself and wife, and of Sir Tradescant 
 and his friend Zythepsa, the quaker, in the staircase of the Ash- 
 molean Museum. Dobson sometimes painted history. His de- 
 collation of St. John, at Wilton, and the astronomer and his 
 family, at Blenheim, are amongst those which are most known and 
 admired. 
 
 Lely was, in the former part of his life, a landscape-painter, but 
 was induced to practise portrait-painting, perhaps from the repu- 
 tation and emolument which its professors obtained in England. 
 Lely was chiefly celebrated for painting females ; and it is some- 
 times objected to him that his fancies have too great a similarity 
 of expression. The languishing air, the drowsy sweetness pecu- 
 liar .o himself, 
 
 " The sleepy eye that spoke the melting soul." 
 is found in nearly all the pictures of females by this painter. 
 
 His crayon drawings are admirable. He drew the portrait of 
 Charles I. when a prisoner at Hampton-court. Charles II. 
 knighted him, and made him his principal painter. 
 
 Kneller was the fashionable artist in the reigns of James II. 
 and William : among an infinity of portraits, there are some 
 which bear the marks of excellence. Dr. Wallis, the mathemati- 
 cian, and lord Crew, both for colouring and expression, are in a
 
 Hi INTRODUCTION. 
 
 great style. The latter was admired by Sir Joshua Reynolds for 
 the air of nobility it possesses. Kneller is said to have drawn ten 
 crowned heads, viz. four kings of England, and three queens ; the 
 Czar of Muscovy, the Emperor Charles, and Louis XIV. Not- 
 withstanding the negligence which is manifest in most of his 
 works, which arose from the desire of gain, his genius is very 
 apparent. 
 
 ThornhilPs pencil has produced several great works ; those in 
 fresco in the dome of St. Paul's, and the painted hall at Green- 
 wich, are too well known to need describing. The works of his 
 son-in-law, Hogarth, are also known to every one conversant 
 with the art. As a painter of natural humour he stands unri- 
 valled, nor can it be expected that his more serious moral works 
 will ever be equalled, still less surpassed, by any future artist. 
 
 Richardson was a portrait painter of eminence : to his treatise 
 on painting we are indebted for the greatest ornament to the art, 
 Sir Joshua Reynolds, who fixed the destination of his mind on 
 the profession by the accidental reading of that work. Hudson 
 was the best pupil of Richardson. 
 
 The merit of Sir Joshua Reynolds, as a portrait painter, can- 
 not be attributed to Hudson's instructions, since his manner seems 
 entirely his own. Sir Joshua was born at Plimpton, in Devon- 
 shire, in the year 1 723 : his relations still preserve some frontis- 
 pieces to the lives of Plutarch, as specimens of his early 
 predilection for his art, and the promise he gave of becoming 
 eminent in it. He became pupil to Hudson about 1743 ; who, 
 amongst other advice, recommended him to copy Guerchino's 
 drawings, which he did with such skill, that many of them are 
 preserved in the cabinets of collectors as the originals of that 
 master. About the year 1750 he went to Rome to prosecute 
 his studies, where he remained nearly two years, and employed 
 himself in rather making studies from, than in copying the works 
 of the great painters : he amused himself with painting carica- 
 tures, particularly one of all the English then at Rome, in the 
 different attitudes of Raphael's celebrated school at Athens.
 
 INTRODUCTION. 
 
 An ingenious critic thus delineates Sir Joshua's professional 
 character : " Sir Joshua Reynolds was, most assuredly, the best 
 portrait painter that this age has produced : he possessed some- 
 thing original in his manner, which distinguished him from those 
 painters who preceded him. His colouring was excellent ; and 
 his distribution of light and shadow so generally judicious and 
 varied, that it most clearly showed that it was not a mere trick of 
 practice, but the result of principle. In history painting his abi- 
 lities were very respectable ; and his invention and judgment 
 were sufficient to have enabled him to have made a very distin- 
 guished figure in that very arduous branch of his profession, if 
 the exclusive taste of his country for portraits had not discou- 
 raged him from cultivating a talent so very unproductive and 
 neglected. His drawing, though incorrect, had always some- 
 thing of grandeur in it." 
 
 To his own pictures might well be applied what he used to say 
 respecting those of Rubens : " They resemble," said he, " a well- 
 chosen nosegay, in which, though the colours are splendid and 
 vivid, they are never glaring or oppressive to the eye." Sir 
 Joshua was a great experimentalist, with respect to the composi- 
 tion of his colours ; at first he used preparations from vegetables, 
 which he relinquished for minerals : he is known to have pur- 
 chased pictures by Titian, or his scholars, and to have scraped off 
 the several layers of colouring, in order to ascertain it, and dis- 
 cover his secret. 
 
 The English school of painting must acknowledge Sir Joshua 
 Reynolds as its great founder, under royal auspices, in the 
 establishment of the Academy. The pure precepts which he 
 laid down in his annual orations were exemplified in his own 
 works: his most favourite paintings are: 1. Garrick between 
 Tragedy and Comedy. 2. The Ugolino in prison, in which he 
 has imitated Michel Angelo in his " terribil via," as it is called 
 by Agostino Caracci, in his sonnet on painting. It is Sir 
 Joshua's triumph in the art. 3. The Nativity. 4. The Infant 
 Hercules. 5. The death of Cardinal Beaufort, in which are 
 united the local colouring of Titian, with the chiaro-scuro of
 
 llV INTRODUCTION. 
 
 Rembrandt. 6. Mrs. Siddons. 7. Mrs. Billington. 8. Robin 
 Goodfellow. 9. Cimon and Iphigene. 1 0. Holy Family, which 
 displays a novel and beautiful manner of treating that very fre- 
 quent subject. 
 
 To speak generally of the English school, their colouring is 
 less glaring than that of the Flemish or Venetian masters. Their 
 talents are more admirable in portrait than in history, particularly 
 in those of females. " Examine (says a French writer) a picture 
 of a French woman, painted by an artist of that nation, and you 
 will generally find, in place of expression, a forced grin, in which 
 the eyes and forehead do not partake, and which indicates no 
 affection of the soul. Examine the picture of an English woman 
 done by one of their painters, and you observe an elegant and 
 simple expression, which makes you at once acquainted with the 
 person represented." 
 
 Perhaps it might be difficult to assign to the English school, 
 as exhibited in the Royal Academy, any perfect discrimination; 
 as each painter either implicitly follows his own genius, or 
 attaches himself to that particular manner of the foreign schools 
 which approaches nearest to his own ideas of excellence : but 
 there are other exhibitions in which the best painters of the age 
 have exerted a successful competition. Alderman BoydelPs 
 Shakspeare Gallery ; Macklin's Gallery of Subjects taken from 
 the English poets ; Boyer's Gallery of those illustrative of En- 
 glish history ; and Fuseli's, from Milton, all by his own pencil, are 
 very honourable testimonies of the spirit of private individuals 
 in the cause of the arts. 
 
 Mr. Fuseli's boundless imagination has attempted, with sur- 
 prising effect, to embody several metaphysical ideas which occur 
 in the Paradise Lost. He has gained a free and uncontrolled 
 admission into the richest regions of fancy ; but appears not to be 
 solicitous about how few of his spectators can partially follow 
 him there, or how many are totally excluded. 
 
 The excellence of Mr. West in historical and scriptural sub-
 
 INTRODUCTION. 
 
 !v 
 
 jects is universally allowed. The Institution of the Order of the 
 Garter is his grand work, both for composition, correctness, and 
 finishing. His Death of the Stag ; the Battles of La Hogue 
 and the Boyne ; and his Death of General Wolfe, are all in an 
 excellent style of composition : the latter is esteemed by an 
 eminent critic a perfect model of historical composition ; as the 
 pictures by Barry, late professor of painting in the Royal Aca- 
 demy, (in the rooms of the Society for the Encouragement of the 
 Arts,) are of the poetic style. 
 
 In the course of the last twenty years some of the most able 
 artists this country ever produced have flourished and died. The 
 great landscape painters of Italy have scarcely exceeded the 
 Smiths of Chichester, Gainsborough, and Wilson, in truth and 
 nature, and the accuracy of their native scenery. It would be 
 injustice not to mention Wilson's pictures of Niobe, Phaeton, 
 and Cicero at his Villa; which last rivals even Claude himself. 
 
 Mortimer, who died prematurely, in the freedom of his pencil, 
 and the savage air of his banditti, his favourite subject, approached 
 nearly to the boldest efforts of Salvator Rosa. 
 
 Of living artists we decline speaking, with the exception of 
 those whose eminence, as men of genius, has placed them beyond 
 competition. In the works of Northcote and Lawrence, we hail 
 the continuance of an English school, and the happy application 
 of those classical precepts which its founder, Sir Joshua Reynolds, 
 delivered with so much dignity and effect ; and while the artists 
 of this country are influenced by such rules, their improvement 
 must be unrivalled, as by such a local advantage they will reach 
 a degree of perfection to which the other modern schools of 
 painting in Europe will in vain attempt to aspire.
 
 INTRODUCTION. 
 
 SCULPTURE 
 
 Is the art of carving wood, or hewing stone into images. It is 
 an art of the most remote antiquity, being practised, as there is 
 reason to suppose, before the general deluge. We are induced 
 to assign to it this early origin, by considering the expedients by 
 which, in the first stages of society, men have every where sup- 
 plied the place of alphabetic characters. These, it is universally 
 known, have been picture-writing ; such as that of the Mexicans, 
 which, in the progress of refinement and knowledge, were 
 gradually improved into the hieroglyphics of the Egyptians and 
 other ancient nations. 
 
 It is generally thought that sculpture had its origin from idola- 
 try, as it was found necessary to place before the people the 
 images of their gods, to enliven the fervour of their devotion : 
 but this is probably a mistake. The worship of the heavenly 
 bodies, as the only gods of the heathen nations, prevailed so long 
 before the deification of dead men was thought of, that we cannot 
 suppose mankind to have been, during all that time, ignorant of 
 the art of hieroglyphical writing. But the deification of departed 
 heroes undoubtedly gave rise to the almost universal practice of 
 representing the gods by images of a human form ; and, there- 
 fore, we must conclude, that the elements of sculpture were known 
 before that art was employed to enliven the devotion of idola- 
 trous worshippers. The pyramids and obelisks of Egypt, which 
 were probably temples, or rather altars, dedicated to the sun, 
 were covered from top to bottom with hieroglyphical emblems 
 of men, beasts, birds, fishes, and reptiles, at a former period, prior 
 to that in which there is any unexceptionable evidence, that mere 
 statue-worship prevailed even in that nursery of idolatry. 
 
 But though it appears thus evident, that picture-writing was 
 the first employment of the sculptor, we are far from imagining 
 that idolatrous worship did not contribute to carry this art to that 
 perfection which it attained in some of the nations of antiquity.
 
 INTRODUCTION. Ivli 
 
 Even in the dark ages of Europe, when the other fine arts were 
 almost extinguished, the mummery of the church of Rome, and 
 the veneration which she taught for her saints and martyrs, pre- 
 served among the Italians some vestiges of the sister-arts of 
 sculpture and painting ; and therefore, as human nature is every 
 where the same, it is reasonable to believe that a similar venera- 
 tion for heroes and demi-gods would, among the ancient nations, 
 have a similar effect. But if this be so, the presumption is, that 
 the Chaldeans were the first who invented the art of hewing blocks 
 of wood and stone into the figures of men and other animals ; for 
 the Chaldeans were unquestionably the first idolaters, and their 
 early progress in sculpture is confirmed by the united testimonies 
 of Berosus, Alexander Polyhistor, Apollodorus, and Pliny ; not 
 to mention the eastern tradation that the father of Abraham was 
 a statuary. 
 
 To proceed methodically on this subject, it becomes necessary 
 to make a distinction between carving and sculpture ; the former 
 belonging exclusively to wood, and the latter to stone. It is 
 extremely probable that every essay at imitating animated objects 
 was in each nation made in wood originally, and it is in vain to 
 suppose that the tools were any other at first than the sharp 
 edges of broken stones or flints : a visit to the British Museum 
 will afford the curious spectator a competent idea of what the 
 nearest descendants of Adam accomplished, in the art of carving 
 with instruments of the above description, in the figures of the 
 South-sea idols. The least enlightened nations possess indivi- 
 duals of superior observation, who see the defects of their neigh- 
 bours, and by instruction or ridicule produce an attempt at refor- 
 mation : this has evidently been the case amongst the Egyptians 
 and Greeks, who, of all the people of antiquity, made the earliest 
 and greatest progress in the art of sculpture. If the former com- 
 menced their imitation of nature in wood, it is probable they soon 
 discovered that it was incapable of a durability commensurate 
 with their wishes ; they therefore adopted a closer grained and 
 beautiful granite, which not only required tools of iron, but those 
 of the most perfectly tempered steel, to cut it ; and with such 
 they have left us at this very distant time vast numbers of exca-
 
 Iviii INTRODUCTION. 
 
 vated figures, as complete and as little injured as if executed 
 within our own memory. 
 
 In examining the various sculptures of the Egyptians, we find 
 that a general character prevails throughout their outlines, which 
 demonstrate that the sculptors were natives of Egypt, and that 
 they rigidly copied the expression and character of their country- 
 men. Had the persons employed in decorating the numerous 
 magnificent works, the ruins of which still surprise the spectator, 
 been invited from other countries, a variation of style in the 
 drawing would have been readily discovered. The circumstance 
 of their figures, both male and female, strongly resembling each 
 other in every instance, proves that this people were not deficient 
 in genius ; and their spirited imitations of animals add to our 
 conviction, that had nature been more kind to the Egyptians in 
 their forms and features, their sculptors were fully competent to 
 give an accurate representation of personal grace. Their limited 
 and absurd ideas of religion were a decided bar to improvement, 
 and led them to debase rather than improve the human form : 
 hence we sometimes find the heads of animals attached to the 
 bodies of men, and the ridiculous imputed acts of their idols are 
 represented in strange and unnatural positions, and those fre- 
 quently repeated ; hence the idea of grouping their figures was 
 decidedly banished, except in a few cases, when the same outline 
 occurs to the depth of four and five persons, each performing the 
 same act, with the uniformity of a set of recruits, under the care 
 of a drill-serjeant. 
 
 The errors of the Egyptians on this head cannot be more 
 forcibly illustrated than by mentioning their manner of expressing 
 a general punishment ; a gigantic figure wields a weapon with 
 one hand, and with the other grasps the hair of a group of 
 kneeling figures, placed in a circle, with three ranges of heads 
 appearing above each other, the hands, knees, bodies, and pro- 
 files exactly parallel. A second mistake in their sculpture was 
 the disproportion of their figures to the object decorated with 
 them, as it frequently happens that the same building contains 
 hieroglyphics not three inches in length, which in an another
 
 INTRODUCTION. , Hi 
 
 part of the structure are extended to several feet ; indeed, all 
 their productions in this art were a compound of littleness and 
 vastness. Thus the temple of Apollinopolis Magna at Etfu, has 
 its side covered with figures half the height of the building, and 
 the front with others not a sixth part of their size. 
 
 Very few of the detached figures of statues sculptured by the 
 Egyptians deserve notice, otherwise than as objects of curiosity ; 
 indeed, to examine them critically would be mere waste of time, 
 as they are too frequently wilfully distorted to suit mythological 
 conceptions: it is therefore impossible to select a subject 
 deserving of examination, by which to judge of their skill in 
 delineating the swells of the muscles in various positions. Denon 
 has given several valuable specimens of their remains, amongst 
 which are a species of caryatides, or naked figures, standing erect 
 with their arms crossed on their breasts : these, however, are 
 very little calculated to raise our opinion of the merit of the 
 artists who made them; and, indeed, the only instances we 
 recollect of correctness and propriety, are the sphynx, and the 
 enormous clenched hand, now in the British Museum. Of the 
 former, Denon speaks with enthusiasm : " I had only time to 
 view the sphynx, which deserves to be drawn with a more scru- 
 pulous attention than has ever yet been bestowed upon it 
 Though its proportions are colossal, the outline is pure and 
 graceful ; the expression of the head is mild, graceful, and tranquil ; 
 the character is African ; but the mouth, the lips of which are thick, 
 has a softness and delicacy of execution truly admirable ; its seem s 
 real life and flesh. Art must have been at a high pitch when 
 this monument was executed ; for, if the head wants what is called 
 style, that is to say, the straight and bold lines which give expres- 
 sion to the figures under which the Greeks have designated their 
 deities, yet sufficient justice has been rendered to the fine sim- 
 plicity and character of nature which is displayed in this figure." 
 
 These observations corroborate what we have already advanced 
 of the capability of the Egyptians to execute, had their concep- 
 tions been equally correct ; but as those were limited, their genius 
 for excellent sculpture can only be collected from detached
 
 x INTRODUCTION. 
 
 objects, where a ray has accidentally emanated, and meeting with 
 apathy from the public, perhaps another has never been excited 
 in the mind of the artist : hence it is that we must look for ele- 
 gance in their representations of animals, foliage, and flowers, 
 which being admired by all, and not subject to the changes and 
 varieties exhibited in the human frame and countenance, are 
 more readily copied. In this part of our pursuit we are again 
 assisted by Denon, who has presented us with many traces of 
 simplicity in the capitals of their pillars, some of which are of 
 about the same degree of excellence with the best specimens of 
 Saxon sculpture, and in some cases strongly remind us of the 
 works of that people ; and it may be worthy of observation, that 
 the shape of the Egyptian capital differs very little from those 
 invented by the Greeks : one in particular might be supposed to 
 be the work of the latter, as it is surrounded by a range of beau- 
 tiful full-grown leaves of the palm, disposed as the acanthus leaf 
 afterwards was ; another, formed of a collection of palm stalks, 
 before the branches and leaves are fully developed, shows that a 
 very little taste, added to the disposition, would have raised the 
 reputation of Egyptian sculpture to a level with that of their 
 more polished imitators, as there can be no doubt that they have 
 afforded hints to the Greeks. The frieze of the great temple at 
 Tentyra also shows that the ideas of the Egyptians, when con- 
 fined to objects intended merely for ornament, approached very 
 near perfection ; in this instance, the sculptures of the wings of 
 birds, variously and tastefully disposed, deserve the approbation 
 of the enlightened observer. 
 
 The great superiority of the Greeks in the art of sculpture 
 may be ascribed to a variety of causes. The influence of climate 
 over the human body is so striking, that it must have fixed the 
 attention of every thinking man who has reflected on the subject. 
 The violent heats of the torrid zone, and the excessive cold of 
 the polar regions, are unfavourable to beauty. It is only in the 
 mild climates of the temperate regions that it appears in its most 
 attractive charms. Perhaps no country in the world enjoys a 
 more serene air, less tainted with mists and vapours, or possesses, 
 in a higher degree, that mild and genial warmth which can unfold
 
 INTRODUCTION. Ill 
 
 and expand the human body into all the symmetry of muscular 
 strength, and all the delicacies of female beauty in greater per- 
 fection, than the happy climate of Greece ; and never was there 
 any people that had a greater taste for beauty, or were more 
 anxious to improve it. Of the four wishes of Simonides, the 
 second was to have a handsome figure. The love of beauty was 
 so great among the Lacedemonian women, that they kept in 
 their chambers the statues of Nereus, of Narcissus, of Hya- 
 cinthus, and of Castor and Pollux ; hoping that by often 
 contemplating them, they might have beautiful children. 
 
 There was a variety of circumstances in the noble and virtuous 
 freedom of the Grecian manners that rendered these models of 
 beauty peculiarly subservient to the cultivation of the fine arts. 
 There were no tyrannical laws, as among the Egyptians, to check 
 their progress. They had the best opportunities to study them 
 in the public places, where the youth, who needed no other veil 
 than chastity and purity of manners, performed their various 
 exercises quite naked. They had the strongest motives to cul- 
 tivate sculpture, for a statue was the highest honour which public 
 merit could attain. It was an honour ambitiously sought, and 
 granted only to those who had distinguished themselves in the 
 eyes of their fellow citizens. As the Greeks preferred natural 
 qualities to acquired accomplishments, they decreed the first 
 rewards to those who excelled in agility and strength of body. 
 Statues were often raised to wrestlers ; even the most eminent 
 men of Greece, in their youth, sought renown in their gymnastic 
 exercises. Chrysippus and Cleanthes distinguished themselves 
 in the public games before they were known as philosophers. 
 Plato appeared as a wrestler both at the Isthmian and Pythian 
 games; and Pythagoras carried off the prize at Elis. The 
 passion by which they were inspired was the ambition of having 
 their statues erected in the most sacred place of Greece, to be 
 seen and admired by the whole people. The number of statues 
 erected on different occasions was immense ; of course the 
 number of artists must have been great, their emulation ardent, 
 and their progress rapid.
 
 Ixi INTRODUCTION. 
 
 The high estimation in which sculptors were held was very 
 favourable to their art. Socrates declared the artists the only 
 wise men. An artist could be a legislator, a commander of armies, 
 and might hope to have his statue placed beside those of Milti- 
 ades and Themistocles, or those of the gods themselves. Besides, 
 the honour and success of an artist did not depend on the caprice 
 of pride or of ignorance. The productions of art were estimated 
 and rewarded by the greatest sages in the general assembly of 
 Greece, and the sculptor who had executed his work with ability 
 and taste was confident of obtaining immortality. 
 
 Clay was the first material which was employed in statuary. 
 An instance of this may be seen in a figure of Alcamenus, in 
 bas-relief, in Villa Albani. The ancients used their fingers, and 
 especially their nails, to render certain parts more delicate and 
 lively ; hence arose the phrase ad ungeum factus homo " an ac- 
 complished man." It was the opinion of Count Caylus that the 
 ancients did not use models in forming their statues. But to dis- 
 prove this, it is only necessary to mention an engraving on a 
 stone in the cabinet of Hosch, which represents Prometheus 
 engraving the figure of a man, with a plummet in his hand to 
 measure the proportions of his model. The ancients, as well as 
 the moderns, made works in plaster; but no specimens remain 
 except some figures in bas-relief, of which the most beautiful were 
 found at Baia. 
 
 The works made of ivory and silver were generally of a small 
 size. Sometimes, however, statues of a prodigious size were 
 formed of gold and ivory. The colossal Minerva of Phidias, 
 which was composed of these materials, was twenty-six cubits 
 high. It is indeed scarcely possible to believe that statues of 
 such a size could entirely consist of gold and ivory. The quan- 
 tity of ivory necessary to a colossal statute is beyond conception. 
 M. de Paw calculates that the statue of Jupiter Olympus, which 
 was fifty-four feet high, would consume the teeth of 300 elephants. 
 
 The Greeks generally hewed their marble statues out of one
 
 ' INTRODUCTION Ixiii 
 
 block, though they afterwards worked the heads separately, and 
 sometimes the arms. The heads of the famous group of Niobe 
 and her daughters have been adapted to their bodies, after being 
 separately finished. It is proved, by a large figure, representing 
 a river, which is preserved in Villa Albani, that the ancients 
 hewed their statues roughly before they attempted to finish any 
 part. When the statue had received its perfect figure, they next 
 proceeded to polish it with pumice-stone, and again retouched 
 every part with the chisel. 
 
 The ancients, when they employed porphyry, usually made 
 the head and extremities of marble. It is true, that at Venice 
 there are four figures entirely composed of porphyry ; but these 
 are the productions of the Greeks of the middle age. They also 
 made statues of basaltes and alabaster. 
 
 Without expression, gesture, and attitude, no figure can be 
 beautiful, because in these the graces always reside. It was for 
 this reason that the Graces are always represented as the com- 
 panions of Venus. The expression of tranquillity was frequently 
 in Grecian statues because, according to Plato, that was consi- 
 dered as the middle state of the soul between pleasure and pain. 
 Experience, too, shows that, in general, the most beautiful per. 
 sons are endowed with the sweetest and most engaging manner. 
 Without a sedate tranquillity, dignified beauty could not exist. 
 It is in this tranquillity, therefore, that we must look for the com- 
 plete display of genius. The most elevated species of tranquillity 
 and repose was studied in the figures of the gods. The father of 
 the gods, and even inferior divinities, are represented without 
 emotion or resentment. It is thus that Homer paints Jupiter 
 shaking Olympus by the motion of Lis hair and eyebrows. 
 
 Shakes his ambrosial 'curls, and gives the nod, 
 The stamp of Fate and sanction of the god. 
 
 Jupiter is not always exhibited in this tranquil state. In a bas- 
 relief, belonging to the Marquis Rondini, he appears seated on 
 an arm-chair with a melancholy aspect. The Apollo of the 
 Vatican represents the god in a fit of rage against the serpent
 
 Ix'lV INTRODUCTION. 
 
 Python, which he kills at a blow. The artist, adopting the 
 opinion of the poets, has made the nose the seat of anger, and 
 the lips the seat of disdain. 
 
 The Romans were fully sensible of the superior excellence of 
 the Greeks in sculpture, and although we cannot approve of their 
 motives in plundering them of their best works, yet we involun- 
 tarily feel satisfied that it is through their rapacity that we now 
 possess those fascinating models for imitation, which has formed 
 the taste of the Italian sculptors, and excited that emulation 
 which enabled artists to rouse the public mind to a state of en- 
 thusiasm sufficiently powerful to crowd churches and palaces with 
 mementos of the great and the good. Besides this superior 
 branch of the art, we are not less indebted to the ancient Gre- 
 cians for the invention and distribution of the most refined taste 
 in the inferior parts of sculpture ; under this head we need only 
 remind the reader of the grand conceptions distributed from the 
 base to the summit of Grecian buildings, in reliefs of various rich 
 ornaments. 
 
 It appears almost superfluous to mention the Laocoon, the 
 Venus di Medicis, the Apollo Belvidere, the Meleager, the 
 .Antindus, the Niobe, &c. &c. of the Grecian school, as efforts 
 never to be exceeded, or perhaps equalled. How does this fact 
 exalt the character of the people thus favoured, and how does it 
 humble the pride of the moderns ! And yet the knowledge of 
 infinite superiority attached to them should not depress the efforts 
 of the student, but rather rouse him to increased exertion ; at all 
 events recollecting, that Phidias, Praxiteles, Agesander, Polydore, 
 and Amenodorus studied models far beyond the reach of perfect 
 imitation, even the animated human form. 
 
 Our limits will not permit us to enlarge, or enter into an in- 
 quiry as to the comparative merits of the different modern schools 
 of Europe, of which Italy bears away the unrivalled palm through 
 several concurrent circumstances, and of those it is immediately 
 obvious, that piety and superstition are the principal. The legends 
 of their saints produce an incredible variety for illustrating the
 
 INTRODUCTION. 1 XV 
 
 violent emotions of the soul in ardent devotion and the pangs of 
 martyrdom, and it cannot be disputed, that they have in many 
 instances very nearly approached the expression and excellence 
 of their masters : of those Michel Angelo Buonarotti has been 
 honoured by his countrymen with the title of divine, nor was 
 Bernini much less deserving of this honour. 
 
 The French, although favoured with a climate little inferior to 
 that of Italy, and situated upon its borders, have less distinguished 
 themselves in sculpture than might have been expected, but the 
 national character is too volatile for the productions of tedious 
 and incessant exertion, absolutely necessary in the sculptor; 
 hence it is that very few French names are celebrated as statu- 
 aries. It would, however, be unjust not to mention Roubiliac, 
 who honoured England with his works, which deserve every 
 praise for just conception ; and perhaps there is no modern in- 
 stance of more beautiful contrast than in his monument to the 
 memory of Lady Nightingale in Westminster Abbey, on which 
 the lifeless figure of the dying lady, and the eager and terrified 
 husband, have and ever will be greatly admired. The skeleton, 
 wrapped in sepulchral drapery, aiming a dart at the breast of the 
 female, needs no other encomium than that of the celebrated 
 anatomist, John Hunter, who pronounced it a most perfect re- 
 presentation. Francois Girardon should also be mentioned as 
 doing honour to the French nation by his numerous works, and 
 by none more than his tomb of Cardinal Richelieu, originally 
 placed in the college of the Sorbonne at Paris. 
 
 The Germans and Dutch have distinguished themselves greatly 
 in painting ; but taking the subject in an enlarged point of view, 
 they have done next to nothing in sculpture ; neither has the 
 Spanish nation any very strong claim to distinction on this head. 
 The sculpture of Great Britain is almost entirely confined to the 
 interiors and exteriors of churches, and the statues which adorn 
 them, are all, without exception, ancient. When the religion of 
 our ancestors was the same as that of the greatest part of the 
 continent of Europe, they gave large sums for the production of 
 shrines and saints without number, but they seeui to have had no
 
 Uvi INTRODUCTION. 
 
 idea of encouraging the noblest part of the art, by selecting men 
 of superior genius, and employing them on groups or single 
 figures in white marble, the only substance calculated to give 
 due effect to the skill of the statuary. This parsimonious conduct, 
 and probably very indifferent rewards, was the cause that all our 
 old statues are made of coarse and perishable stone, and that 
 they are in truth little better than copies of each other; which 
 circumstance may be partly accounted for, besides, by the situa- 
 tions they occupied on the walls of the sacred edifices, and their 
 being invariably placed in niches, and those in the pointed style 
 of architecture, whence it became a matter of necessity to intro- 
 duce but one figure, and that in an upright position ; yet, under 
 all these disadvantages, a competent judge may discover in the 
 majority of the works of our ancient sculptors a freedom and 
 correctness that would, with due encouragement, have produced 
 works little, if at all, inferior to those of the Italian school. It 
 we examine the turns or lines of the faces of the kings and saints, 
 scattered over the surfaces of our cathedrals and some parish 
 churches, it will be found that the artists who made them were 
 capable of expressing dignity and piety, and their drapery is 
 generally correspondent to the position of the limbs, and in large 
 graceful folds. The admirer of this art cannot fail of being highly 
 gratified by tracing the progress of English sculpture in that vast 
 field for observation, Westminster Abbey ; where, in the clois- 
 ters, they will find the rude figures of abbots coeval with the time 
 of William of Normandy, from which period down to the present 
 moment there is almost an annual succession of figures, orna- 
 mental and monumental. 
 
 This Abbey having been partly rebuilt by Henry III., the 
 structure was continued as the abbots could obtain the means, 
 consequently there is an equal gradation in the excellence of the 
 sculpture down to the reign of Henry VII. The latter monarch 
 determined to excel all his predecessors, and his chapel, or burial- 
 place, is one blaze of rich decoration in every possible direction. 
 Having thus directed the attention of the reader to the place 
 where a perfect knowledge of this subject may be obtained, we 
 shall proceed to notice another branch of the art, which has been
 
 INTRODUCTION. 
 
 continued in Great Britain from the time of the Reformation, at 
 which period sculpture received its fiat as far as relates to the 
 use of it for pious purposes. We know but little of the statues 
 which were placed about the altars and shrines of old times in 
 this country, as they were destroyed without mercy, but vast 
 numbers of tombs remain uninjured in every county : in speak- 
 ing of those, we must premise that very little opportunity was 
 given the artist to expand and improve his ideas, as a slavish 
 custom prevailed of placing all the statues on them in a posture, 
 of all others, the most rigid and ungraceful, which was on their 
 backs, and with the hands joined in prayer : under this obvious 
 disadvantage our ancient sculptors contrived to make many ex- 
 cellent and interesting figures in beautiful transparent alabaster, 
 although almost all the males are represented in armour. As the 
 effigies of persons were frequently accompanied by that of their 
 consort, more scope for genius and variety prevailed in the latter, 
 and consequently we find females in the habits of their times, and 
 represented in the rich ornaments of the sex ; and making due 
 allowance for the stiffness of their cumbent position, the drapery 
 is frequently placed in true and well-conceived folds ; as to ex- 
 pression in the features beyond a mere state of quiet, as it would 
 not have been proper, it is not to be discovered in any instance. 
 Some of the tombs under consideration are divided into com- 
 partments, in each of which small bas-reliefs are introduced of 
 the children of the deceased, or monks or nuns telling their 
 beads ; these are frequently well executed, and so far so as to 
 make us wish the artist had been indulged to the full extent of 
 his abilities. 
 
 It appears, upon an attentive comparison, that the figures, 
 executed between the reigns of Henry III. and Henry VII., are 
 infinitely superior to those placed on tombs during and after the 
 time of Henry VIII. ; as in his, and the two preceding reigns, the 
 effigies were generally exhibited either kneeling at prayer, or 
 cumbent, in a most miserable taste indeed, which was made 
 still more disgusting by the custom of painting and gilding the 
 drapery. In the period of the Interregnum, nothing was done 
 in the art of sculpture, as, unfortunately, the era alluded to com-
 
 INTRODUCTION. 
 
 pleted the destruction begun at the Reformation, by the applica- 
 tion of a blind principle of dislike, which prevented the preserva- 
 tion of the statues of saints, not as objects to excite devotion, but 
 as the only mementos that existed that the art had ever been 
 encouraged in England. 
 
 As might have been anticipated, sculpture sunk into a state of 
 total neglect, if not of contempt ; but after the Restoration, the 
 ancient habits of the people recurring, statues of the dethroned 
 king, and of his son and successor, were erected in every direc- 
 tion, and in some instances they are tolerable figures ; but the 
 monumental of the same date are wretched indeed, as they are 
 clad in Roman armour, and their heads and shoulders sustain 
 enormous wigs. Encouragement increasing, the art began to 
 rouse from its torpid state, and at length Gibber flourished, to 
 whom we are indebted for many very excellent statues, and some 
 rich embellishments at St. Paul's cathedral. Without invidiously 
 mentioning names and making comparisons, it would be impos- 
 sible to enter more fully into the progress of sculpture since the 
 date just mentioned ; we shall therefore merely say, that nume- 
 rous proofs exist that the modern English possess a genius for 
 sculpture equal to the inhabitants of any nation, but unfortu- 
 nately it seems to be nearly confined to the execution of monu- 
 ments, on which a routine of genii, ancient gods and goddesses, 
 and virtues, are constantly introduced, to the total extinction of 
 taste, as they must each possess their attributes to point out 
 their names. 
 
 Little need be said of the mechanical part of this art, as 
 various chisels, a mallet, compasses, and materials for polishing 
 marble, are all that is required ; the essential is seated in the 
 mind, and as Roubiliac used to say, " the figure is in the sub- 
 stance of the marble, I only extricate it from the enclosure, or 
 pick it out."
 
 INTRODUCTION. Ixix 
 
 ENGRAVING. 
 
 THIS term is at present confined to the art of excavating cop- 
 per and wood in lines, in so judicious a manner as to produce 
 imitations of paintings and drawings when printed on paper. It is 
 certain that engraving, for the production of prints, was unknown 
 long after the practice of painting in oil had arrived to great per- 
 fection ; but good prints are common from plates engraved in the 
 fifteenth century, many of which are landscapes most laboriously, 
 and even excellently performed by the graver : although it is 
 well known that the instrument just mentioned cannot freely ex- 
 press those serrated and serpentine lines necessary for foliage 
 and short grass intermixed with plants, since so admirably deli- 
 neated in etchings. 
 
 The art of engraving and working off from plates of copper, 
 (says Mr. Evelyn,) did not appear till about about the year 1490; 
 that is, it was not brought to perfection from the hints gathered 
 from typography. Yet it is certain that, in 1460, Maso Fini- 
 guerra, a goldsmith of Florence, by an accident that might have 
 given birth to the rolling-press, without the antecedent discovery 
 of printing, did actually light upon the method of taking off 
 stamps from an engraved plate. Casting a piece of such plate 
 into melted brimstone, he observed that the exact impression of 
 the engraving was left upon the surface of the cold brimstone, 
 marked by lines of black. He repeated the experiment on 
 moistened paper, rolling it gently with a roller; it succeeded. 
 He communicated the discovery to Baccio Baldino, of his own 
 profession and city. The latter pursued the invention with 
 success, and engraved several plates from the drawings of Sandro 
 Boticello, which being seen by Andrea Mantegna, he not only 
 assisted Baldini with designs, but cultivated the new art himself. 
 It had not long been in vogue before Hugo da Carpi tried the 
 same experiment with wood, and even added a variety of tints by 
 using different stamps for the gradations of lights and shades ; a
 
 llX INTRODUCTION. 
 
 method revived here some years ago with much success by 
 Kirkall, and since at Venice by Jackson, though very im- 
 perfectly. 
 
 From Italy engraving soon travelled to Flanders, where it was 
 first practised by one Martin of Antwerp. He was followed by 
 Albert Durer, who carried the art to considerable perfection 
 considering the badness of the taste of the age and country in 
 which he lived. His fidelity to what he saw was at once his 
 fame and misfortune ; he was happy in copying nature, but it 
 was nature disguised and hid under disgraceful forms, with 
 neither choice of subjects nor beauty, his industry gave merit 
 even to ugliness and absurdity. Confining his labours almost 
 wholly to religious and legendary histories, he turned the Testa- 
 ment into the history of a Flemish village ; the habits of Herod, 
 Pilate, Joseph, &c., their dwellings, their utensils, and their 
 customs, were all Gothic and European ; his Virgin Mary was 
 the heroine of a kermis. Lucas of Leyden imitated him in all 
 his faults, and was still more burlesque in his representations. It 
 was not till Raff'aelle had formed Marc Antonio, that engraving 
 placed itself with dignity by the side of painting. 
 
 When the art reached England does not appear. But it is a 
 notorious blunder in Chambers to say that it was first brought 
 from Antwerp by Speed, in the reign of James I. In some degree 
 we had it almost as soon as printing; the printers themselves 
 using small plates for their devices and rebuses. Caxton's 
 Golden Legend (says Ames, p. 35) has in the beginning a group 
 of saints, and many other cuts dispersed through the body of the 
 work. It was printed in 1483. The second edition of his Game 
 at Chess had cuts likewise ; so has his Le Morte Arthur. 
 Wynkyn de Worde, Caxton's successor, prefixed to his edition 
 of the Statutes, in the sixth year of Henry VII., a plate with the 
 king's arms, crests, &c., a copy of which is given in the life of 
 Wynkyn, by Mr. Ames, in his Typographical Antiquities, p. 79. 
 
 The subsequent printers continued to ornament their books 
 with wooden cuts. One considerable work, published by John
 
 INTRODUCTION. Ixxi 
 
 Rastell, was distinguished by prints of uncommon merit for that 
 age. It was called The Pastyme of the People, and by Bishop 
 Nicholson, in his Historical Library, Rastelle's Chronicle. The 
 first book that appeared with cuts from copper-plates, was, " The 
 Birth of Mankind, otherwyse called, The Woman's Book," dedi- 
 cated to Queen Catherine, and published by Thomas Raynalde 
 in 1 540, with many small copper cuts, but to those no name was 
 affixed. The earliest engraver that occurs was Thomas Geminus, 
 or Geminie ; from which period Mr. Vertue commenced his 
 selection of Engravers, 
 
 ARCHITECTURE. 
 
 THE origin of this art, like that of most others, is totally un- 
 known. We are informed by Moses that Cain built a city, and 
 called it after the name of his son Enoch : but concerning the 
 mode of constructing the houses, or the quality of the materials, 
 he is quite silent. The same author also informs us that Jabal 
 was the father of such as dwell in tents. In the days of Noah 
 architecture must have arrived at great perfection : to construct 
 the ark of sufficient strength to withstand the tempests raging 
 over the surface of the watery element, would require consider- 
 able skill in the art of carpentry. Ashur built the cities of 
 Nineveh, Rehoboth Calah, and Resen. The city and tower of 
 Babel were built of well-burnt brick, and slime for mortar. 
 Brick-making must have been well understood then, and per- 
 haps at a period much anterior. Moses does not say what either 
 the dimensions or figure of the tower ;was, but that it was the 
 intention of the people to make its top reach unto heaven : this 
 vain design being frustrated by the intervention of the Almighty, 
 the building was left unfinished. Whether this city and tower 
 be the same Babylon and tower as described by Herodotus and 
 Strabo, is uncertain : the former says it is a square building 
 each side of which at the base was a furlong, consequently half a 
 mile in circumference ; from a winding stair, or rather an inclined
 
 INTRODUCTION. 
 
 plane, which went around the exterior, making eight revolution?, 
 the building appeared as if eight stories had been placed the one 
 upon the other ; each such story was 75 feet high, and conse- 
 quently the whole height 600 feet : the inclined plane was so 
 broad as to allow carriages to pass each other. 
 
 From very remote antiquity the Egyptians have been cele- 
 brated for their cultivation of architecture among other arts ; 
 the ruins of their ancient structures astonish the traveller of the 
 present day, as may be seen in their huge pyramids and proud 
 tombs, which have long outlived the memory of the mighty 
 kings whose ashes they contain ; granite temples as extensive as 
 towns, which inclose in their courts, or support upon their roofs, 
 villages of the modern inhabitants, long avenues of sphynxes, 
 colossal statues, and obelisks. Yet the art of building among 
 them consisted of but few principles, for they did not seem to 
 understand the use of the arch ; all the apertures and inter- 
 columns of their walls were linteled with solid stone ; the roofs 
 of the chambers of their temples were generally covered with 
 massy slabs, for lintels ; the ceiling or roof of the passage within 
 the great pyramids is formed of stones in horizontal course, pro- 
 jecting equally over each other from the two opposite walls to 
 the summit, like inverted flights of steps ; the roofs of some of 
 their tombs are indeed arch formed, but these are only excava- 
 tions cut out of the solid rock. Their walls were built of stones 
 of an enormous size, without cement. The removal and placing of 
 these huge materials would, even at this day, almost bid defiance 
 to the boldest and best constructed of our mechanical inventions, 
 though constructed with all the science of modern times. The 
 stones of their edifices are squared and jointed with the utmost 
 accuracy ; the hieroglyphic carvings, with which their walls and 
 ceilings are charged, are all recessed, but projecting in relief from 
 the bottoms or backs of the recesses. The forms of Egyptian 
 temples and gates are generally truncated rectangular pyramids, 
 crowned with a cove and fillet, or cavetto, as a cornice around 
 the four angles of the sides, and under the cornice project tori 
 from each face. The entrance front of the temples has generally 
 a large rectangular opening, in which are placed columns for 
 supporting the architrave and cornice ; over the middle of the
 
 INTRODUCTION. 
 
 door, and upon the linteling architrave, is carved a winged globe ; 
 the height of the columns, according to Denon's representation 
 is from five to six diameters. The columns have in general little 
 or no diminution, and are frequently placed upon a plinth, from 
 which they sometimes rise in a convexity, forming what is called 
 by workmen a quirk above the plinth. The shafts of the columns 
 are generally divided into two or more compartments, and some- 
 times charged with hieroglyphics, as well as the walls and ceilings; 
 the compartments are sometimes also ornamented with vertical 
 reeds, representing a bundle of rods, and separated from each 
 other by annular incisions and beads, which seem as bandages 
 for tying the rods together. The whole of the compartments 
 are not always reeded ; sometimes there are only one or two, 
 and the rest carved with hieroglyphics. The capitals sometimes 
 swell out at the bottom from the upper part of the shaft, and 
 diminish to the top, which is covered with a square projecting 
 abacus ; sometimes capitals have vases like the Corinthian order, 
 which rise with a small convexity from the shaft, and change into 
 a large concavity upwards, which as it approaches the top has 
 more and more curvature, until it terminates ; above the termi- 
 nation it recedes with a convexity to the abacus, which is also 
 recessed within the face of the linteling architrave. Sometimes 
 the capitals are formed by the head of Isis, with a temple in mi- 
 niature placed over it, and then crowned with the square abacus 
 recessed ; the lower parts of the intervals between the columns 
 are shut by a kind of parapet, reaching from two to three and a 
 half diameters from the ground. This parapet is sometimes flush 
 with the columns ; but is not extended so as to hide their con- 
 vexity on the front, which shows nearly a quarter of the cir- 
 cumference. 
 
 Architecture has also been carried to a wonderful extent 
 among the ancient inhabitants of India, who have not only 
 rivalled the Egyptians, but have been supposed to be even ante- 
 rior to them in the 4tow4dge of the art ; their exertions were, 
 however, directed almost exclusively to excavation. 
 
 The Assyrians have been much reputed for their knowledge iu 
 h
 
 1XX1V INTRODUCTION. 
 
 the art of building ; the walls of Nineveh and Babylon were of 
 wonderful magnitude. Those of the latter were double, and 
 surrounded with a ditch ; the outer wall was regularly fortified ; 
 it was fifteen miles square, or sixty in circumference, 200 royal 
 cubits high, and 50 thick ; in the circumference were placed 100 
 massy gates of brass ; and on the top watch-towers, corre- 
 sponding to each other. The materials used in the construction 
 of these works were square bricks, baked in a furnace, and 
 heated bitumen mixed with the tops of reeds ; this composition 
 was placed between every thirteen courses of bricks ; from this 
 circumstance it is probable, that the 'method of reducing cal- 
 careous stones into lime, for mortar, was unknown at this time. 
 The walls of Babylon are described to be one of the seven won- 
 ders of the world ; they were first built by queen Semiramis, in 
 the time of her regency, during the minority of her son Ninus ; 
 and it would seem that they were afterwards improved by the 
 great Nebuchadnezzar. Of these mighty works there are no 
 remains, nor hardly any trace of the ancient city. 
 
 In the ruins of Persepolis, though the columns are of a charac- 
 ter somewhat different from those of Egypt, yet the Egyptian 
 style of building may be traced in various parts of these ruins. 
 Diodorus Siculus says, that the famous palaces of Susa and Per- 
 sepolis were not built till after the conquest of Egypt by Cam- 
 byses, and that they were both conducted by Egyptian architects ; 
 it therefore seems probable that the Persians received the art of 
 building in the unwrought stone from the Egyptians. 
 
 The PhoBnicians were also very celebrated for their arts of 
 design, but few or none of their works have reached the present 
 time. 
 
 In the vast structures of Asia and Africa, greatness of design, 
 ponderosity of parts, and stones of immense magnitude, seem to 
 have been more regarded than elegance or utility : in all those 
 great works there is no trace of an arch, but what is excavated 
 out of the solid rock, or may be made of a single stone. The 
 Greeks profess to have derived the knowledge of architecture
 
 INTRODUCTION. IxXV 
 
 from the Egyptians, but the art of building has been so much im- 
 proved by transplanting, that scarcely any trace of the original 
 remains .- their edifices were at first constructed of wood and 
 clay, but they soon began to imitate the wooden posts and beams 
 of the original hut in stone and marble : from this imitation arose 
 the first order in architecture, which also gave birth to two others. 
 This ingenious people, favoured by nature with marble and other 
 building materials, and, like the Egyptians, being anxious to make 
 their works durable, employed very weighty stones in the con- 
 struction, which, although laid without cement, as was the prac- 
 tice of all ancient nations, yet they were jointed with the utmost 
 accuracy, which is the reason of the perfect state of their edifices 
 at this day. There is little doubt but that the Greeks were the 
 inventors of the arch, though they never considered it as an orna- 
 ment ; it is only to be found in the theatres and gymnasia ; the 
 aperture of walls and intercolumns being linteled. 
 
 Greece, though a mild climate, is sometimes liable to rain ; the 
 architects of this country, therefore, found it necessary to raise 
 the roofs of their edifices to a ridge in the middle, the section be- 
 ing that of a rectilineal isosceles triangle ; the base being the 
 span or distance between the opposite walls. This form of roof, 
 called a pediment roof, was frequently covered with marble tiles. 
 
 The Grecians surpassed all contemporary nations in the arts 
 of design ; the remains of their ancient structures are models of 
 imitation, and confessed standards of excellence. They were the 
 inventors of three orders of architecture, of which we have already 
 hinted, and which we shall detail in a subsequent part of this ar- 
 ticle. The remains of their sculptures far exceed that of any 
 other people, and are, even at this day, most perfect models. 
 Modern artists have no means so certain, in attaining a just know- 
 ledge of their profession, as in the study of those exquisite master- 
 pieces. 
 
 The progress of Grecian architecture appears to have occupied 
 a period of about three centuries, from the age of Solon to the 
 death of Alexander ; and in this period it advanced rapidly, par- 
 ticularly from the defeat of Xerxes to the death of Pericles, at
 
 IxXVl INTRODUCTION. 
 
 which time it attained its utmost degree of excellence, and con- 
 tinued to flourish till the time it became a Roman province. 
 
 Prior to the Macedonian conquest all the temples of Greece, 
 and its colonies in Sicily and Italy, appear to have been of the 
 Doric order, and of one general form, though slightly varied in 
 particular parts, as occasional circumstances might require : their 
 plan was an oblong, having one column more on the front than 
 the number of those in the back front 
 
 The ancient Etrurians have left many excellent monuments of 
 taste, and to them is generally ascribed the method of building 
 with small stone, and mortar made of calcareous stone ; and this 
 seems probable, as the most ancient vestiges of cementitious 
 buildings are to be found in the country which the present 
 Tuscans inhabit. 
 
 They were employed by the Romans in many public works ; 
 the walls of the city of Rome were made of hewn stone, the capi- 
 tol and the cloaca maxima are of their construction ; the last of 
 these is esteemed a very extraordinary piece of architecture, as 
 is sufficiently proved by its remains. To these people is attri- 
 buted the invention of one of the orders of architecture, called 
 after them the Tuscan. 
 
 We are told by Vitruvius, that the intercolumns of their tem- 
 ples were wide, and that they were linteled with wooden archi- 
 traves. 
 
 The Romans appear to have had their first knowledge of ar- 
 chitecture from the Etrurians ; but it was not till after the con- 
 quest of Greece that they acquired a just relish for its beauties. 
 
 It seema to have attained to its highest degree of excellence in 
 the reign of Augustus, and continued to flourish till the seat of 
 empire was removed to Byzantium. The works of the Romans 
 were much more numerous than those of any other people. The 
 remains of their palaces, theatres, amphitheatres, baths, muuso-
 
 INTRODUCTION. IxXVli 
 
 leums, and other works, excite at this day the admiration and 
 astonishment of every judicious beholder. Their first temples 
 were round and vaulted, and hence they are accounted the in- 
 ventors of the dome. The plans of their buildings were more 
 varied than those of the Greeks, who, excepting but in a few in- 
 instances of small, but beautiful specimens, such as the Tower of 
 the Winds, and the monument of Lysicrates, erected their prin- 
 cipal edifices upon rectangular plans. The Romans constructed 
 circular temples crowned with domes, amphitheatres upon elliptic 
 plans, and their theatres, and many other buildings, upon mixt- 
 lined plans. By this variety they formed a style that was both 
 elegant and magnificent. But let it be remembered, that not- 
 withstanding the grandeur, the magnitude, and number of their 
 works, their style was never so pure as in the flourishing ages of 
 Greece. Among the Romans, entablatures were frequently omit- 
 ted, columns were made to support arches and groined vaults ; 
 arcades were substituted for colonnades, and vaults for ceilings. 
 In several of their most magnificent public buildings we find 
 stories of arcades upon each other, or in the same front with the 
 solid parts of the masonry, decorated with the orders, which, 
 instead of forming an essential part in the construction, are 
 degraded into idle and ostentatious ornaments. This is very 
 conspicuous in the theatre of Marcellus, and in the Coliseum. 
 
 It is probable that the arch was invented in Greece, but was 
 almost constantly employed by the Romans, who not only con- 
 sidered it necessary in the construction, but as an ornament, 
 which they lavishly employed in the apertures of walls, and in 
 the ceilings over passages and apartments of their buildings. 
 Particularly in the decline of the empire, from the reign of Con- 
 stantine, and upon the establishment of Christianity, external 
 magnificence was every where sacrificed to internal decoration. 
 The purity of taste in the arts of design declined rapidly, and 
 finally perished with the extinction of the empire. The most 
 beautiful edifices, erected in the preceding reigns, were divested 
 of their ornaments, to decorate their churches. In this age of 
 spoliation, architects, deficient in the knowledge of their profes- 
 sion, adopted the most ready modes of construction : to accom- 
 h 2
 
 htxviii INTRODUCTION. 
 
 plish this many beautiful structures were deprived of their 
 columns, and placed at wide intervals in the new buildings ; and 
 over the capitals were thrown arches for the support of the super- 
 structure : most of the ornamental parts were taken from other 
 buildings, which were spoiled for the purpose. The edifices of 
 Italy now assumed the same general features as those which 
 characterised the middle ages. This disposition is the plan of 
 the Roman basilicas, but is more nearly allied, in the elevation, 
 to the opposite sides of the Egyptian oeci, which has also the 
 same plan as the basilica, and which was of similar construction 
 to the churches in after times, excepting in the want of arches : 
 both had a nave, with an aisle upon each flank, separated from 
 the nave by a range of columns, which supported a wall, pierced 
 with windows for lighting the nave : against this wall, and over 
 the columns, were placed other attached columns. This, when 
 roofed over with a groined ceiling, such as that of the Temple 
 of Peace, will form the interior of a building, similar to that of 
 the Saxon churches. 
 
 The Romans carried the method of cementitious buildings to 
 the utmost degree of perfection. Their most considerable edi- 
 fices had the facings of their walls, and the arches and angles of 
 brick, or small rubble stones squared ; the cores built with pebble 
 and rubble stones grouted, or run with liquid mortar ; and at 
 regular intervals were strengthened with courses of bond stones. 
 This construction of walls was frequently stuccoed, or incrusted 
 with marble. It is much more expeditious and economical than 
 that built of wrought stone, which occasions a greater waste of 
 materials and loss of time. The durability and solidity of the 
 Roman cementitious buildings is such, that mortar has acquired 
 a hardness superior to the stones which are connected by it. 
 This, when compared with the fragility and crumbling nature of 
 the mortar used by modern builders, had led some to suppose 
 that the ancients possessed processes in the making of cements, 
 which have, from the lapse of time, been lost to the present day. 
 But the information and experiments of ingenious men have 
 exploded this opinion ; and there is no doubt, that if proper 
 attention be paid to the choice of lime-stone and sand, to the
 
 INTRODUCTION. 
 
 burning of lime, and above all, that care be taken in the mixing 
 and tempering these materials, workmen will be enabled to rival 
 those of Rome. This has been tried in some instances, though 
 the lapse of ages may be necessary to make the comparison com- 
 plete ; however, it will appear, from the following account of Vi- 
 truvius, that the method of making lime by the Romans was not 
 very different from what it is at the present day. Lime (says he) 
 should be burnt from white stone, or flint, of which the thick and 
 hard sort are more proper for building of walls, as those which 
 are porous are for plastering. When the lime is burnt, the ingre- 
 dients are thus to be mixed : with three parts of pit sand, one 
 part of lime is to be mingled : but if river or sea sand is used, 
 two parts of sand, and one of lime must be united : for in these 
 proportions the mortar will have a proper consistence : if bricks, 
 or tiles, pounded and sifted, be joined with river or pit sand, to 
 the quantity of a third part, it will make the mortar stronger and 
 litter for use. 
 
 The works of wrought stone of the Romans, as well as those 
 of the Greeks, were constructed without cement ; but cramps 
 and ligatures of iron and bronze were used in great abundance. 
 The use of metal was not confined to cramps and bolts, for they 
 even constructed roofs of bronze, which was also used in mag- 
 nificent profusion in the decorations of buildings. It excites 
 regret to reflect, that the means employed by the ancients to 
 increase the beauty, and ensure the duration of their edifices* 
 have only, in many instances, served to accelerate their destruc- 
 tion. 
 
 These valuable materials have caused much dilapidation, and 
 more buildings have been ruined by rapine than by the injuries 
 of time. In the works of the Greeks and the Romans, of hewn 
 stone, they appear to have wrought only the beds of the stones 
 before they were placed in the building, leaving the faces to be 
 worked after the completion of the edifice. By this means, the 
 arisses and the mouldings were preserved from injury, and the 
 faces made exactly in the same plane, or surface, which is not 
 generally the case in the facings of our modem works. Our
 
 INTRODUCTION. 
 
 workmen pass them over in the most slovenly manner, with the 
 greatest indifference, by rounding the stones which happen to 
 project at the joints, which gives them a false and irregular 
 appearance in sunshine. By this means, also, the ancients dimi- 
 nished and fluted their columns, which could not be done with 
 the same accuracy any other way. 
 
 After the fall of the Roman empire, the Goths having now the 
 dominion over those places formerly the seat of the arts, and 
 having soon become converts to Christianity, but having no esta- 
 blished rules of their own, in the principles of architecture, either 
 built their churches in the form of the Roman basilica, or con- 
 verted the basilica into churches. Architecture continued during 
 their government with little alteration in the general forms, from 
 that which had been practised at the decline of the Roman 
 empire ; but ignorance in proportion, and a depraved taste in the 
 ornamental department, at last deprived their edifices of that 
 symmetry and beauty which were so conspicuous in the works of 
 the ancients. However, the knowledge of architectural elements 
 was still preserved among them, and of the various forms of 
 vaulting used by the Greeks and Romans, they adopted that of 
 groins or cross arching. 
 
 From what has been said, it will be easy to show, that the 
 Goths had no share in the invention of that style of building 
 which still bears their name. The architecture of Italy, at the 
 time they ceased to be a nation, was nothing but debased Roman, 
 which was the archetype for the first Saxon churches erected in 
 this country. The term Gothic seems to have originated in Italy, 
 with the restorers of the Grecian style, and was applied by the 
 followers of Palladio and Inigo Jones, to all the structures erected 
 in the interval between the beginning of the twelfth and end of 
 the fifteenth centuries, probably with a view to stigmatise those 
 beautiful edifices, and to recover the ancient manner. This term 
 is therefore of modern application : it was not used in Italy till 
 the pointed style had gained the summit of perfection, nor yet in 
 England, when this species of architecture ceased to be in use, 
 and the Grecian restored. This manner of building, like most
 
 INTRODUCTION. IxXXl 
 
 other arts, required a succession of ages to bring it to maturity, 
 and the principal cause which seems to have effected this, was 
 that desire of novelty so inherent in the mind of man to produce 
 something new, and a total disregard to the proportions of 
 ancient edifices. Having now traced the Grecian style from the 
 place of its invention to its decline in Italy, we shall follow the 
 steps by which this corrupted ill-proportioned Italian style at last 
 assumed a character so different from the original, as to become 
 in a few centuries a distinct species of architecture, which not 
 only exhibited beautiful proportions and elegant decorations, but 
 also majestic grandeur and sublimity in its fabrication. To do 
 this, it will not be necessary to seek abroad for those successive 
 changes, as the different gradations can be distinctly traced at 
 home. The first Saxon churches here were either constructed 
 with however rude imitation, after models of Roman temples, 
 w hich we may presume then remained in Britain, or by foreigners 
 brought from Rome and France. The manner of building at this 
 time was called Roman, the term of Gothic not being applied till 
 the end of several centuries. 
 
 It has been observed, that a quadrangular wall inclosure 
 divided in the breath into three parts by two colonnaded arcades, 
 supporting on the imposts of the arches two other opposite higher 
 walls, through which the light descended into the middle part 
 and upon which the roof rested, was known to the Romans before 
 the Goths appeared in Italy. Now this construction is the 
 general outline of the Saxon, Norman, and the pointed styles of 
 building churches, and is also that form of structure most advan- 
 tageous for lighting the interior, upon the same plan ; for though 
 the roof might have been equally well supported by columns, 
 instead of the interior walls, and extending those of the exterior 
 to the whole height, the intensity of light produced from the 
 same number of windows on the sides, thus far removed from the 
 middle of the edifice, would have been greatly diminished. It 
 may also be farther observed, that no other form of building was 
 so favourable for vaulting : for a vaulted roof could neither have 
 been thrown to the whole breadth, nor in the three compartments, 
 without walls of enormous thickness, which would not only have
 
 ]\xxii INTRODUCTION. 
 
 added to the breadth, but would have been attended with pro- 
 digious additional expenses. 
 
 The Saxon style is easily recognised by its massive columns and 
 semicircular arches, which usually spring from capitals without 
 the intervention of the entablature. In the first Saxon buildings 
 the mouldings were extremely simple, the greater part consisting 
 of fillets and plat-bands, at right angles to each other and to the 
 faade. The archivolts and imposts were similar to those found 
 in Roman edifices. The general plan and disposition of the 
 latter Saxon churches were as follow : the chief entrance was at 
 the west end into the nave, at the upper end of which was a cross, 
 with the arms of it extending north and south ; the east end, con- 
 taining the choir, terminated in a semicircular form. A tower was 
 erected over the centre of the cross, ""and to contain the bells 
 another was frequently added, and sometimes two. 
 
 The large churches contained a nave and two side aisles, one on 
 each side of the nave, and were divided into three tiers or stories, 
 the lower consisting of a range of arcades on each side, the 
 middle, a range of galleries between the roof and vaulting of the 
 aisles, and the uppermost, a range of windows. The pillars were 
 either square, polygonal, or circular. Such was the thickness of 
 the walls and pillars, that buttresses were not necessary, neither 
 were they in use. The apertures are splayed from the mullions 
 on'both sides. The dressings are generally placed on the sides 
 of the splayed jambs and heads of the arches, and but seldom 
 against the face of the walls ; and when this is the case, the pro- 
 jectures are not very prominent. The dressings of the jambs 
 frequently consist of one, or several engaged columns upon 
 each side. The imposts, particularly those of the windows, 
 have frequently the appearance of being a part of the wall itself. 
 The doors in general are formed in deep recession, and a 
 series of equidistant engaged columns placed upon each jamb, 
 and were such, that two horizontal straight lines would pass 
 through the axis of each series, and would, if produced, ter- 
 minate in a point. Each column is attached to a recess formed 
 by two planes, constituting an interior right angle. The angle
 
 INTRODUCTION. Ixxxiii 
 
 at the meeting of every two of these recesses formed an exte- 
 rior right angle, which was sometimes obtunded, and frequently 
 hollowed. The archivolts, resting on the capitals of the columns, 
 are formed on the soffit shelving, like the jambs below. The 
 ornaments of columns and mouldings are of very simple forms. 
 The rudely sculptured figures which often occur in door-cases, 
 when the head of the door itself is square, indicate a Roman 
 original, and are mostly referable to an sera immediately preceding 
 the conquest. 
 
 After the Norman conquest, the general forms of the parts 
 remained the same, though the extent and dimensions of the 
 churches were greatly enlarged ; the vaultings became much 
 more lofty, the pillars of greater diameter, the ornaments more 
 frequent and elaborately finished ; towers of very large dimen- 
 sions and great height were placed either in the centre, or at the 
 west end of the cathedral and conventual churches. These were 
 often ornamented with arcades in tiers of small intersecting 
 arches on the outside. About the end of the reign of Henry I., 
 circular arches, thick walls without prominent buttresses, and 
 massive pillars with a kind of regular base and capital, generally 
 prevailed ; the capitals of the pillars were often left plain, though 
 there were a few instances of sculptured capitals, foliage and 
 animals. The shafts of the pillars were usually plain cylinders, or 
 had semicolumns attached to them. The first transition of the 
 arch appears to have taken place towards the close of the reign of 
 Stephen ; its figure, which had hitherto been circular, becoming: 
 slightly pointed, and the heavy single pillar made into a pilastered 
 cluster, which was at first ill formed, but gradually assumed a more 
 elegant figure and graceful proportion, the archivolts still retain- 
 ing many of the Saxon ornaments. It may here be observed, 
 that antecedent to this period, neither tabernacles nor niches with 
 canopies, statues in whole relief, pinnacles, pediments, or spires, nor 
 any tracery in the vaultings were used ; but at this time, or soon 
 after, these began to obtain. Towards the close of the 13th 
 century, the pillars, then supporting sharply pointed arches, were 
 much more slender ; the ceilings were seemingly sustained by 
 groined ribs resting on the capitals of the pillars, and the windows 
 were lighted by several openings in place of one.
 
 IXXXIV INTRODUCTION. 
 
 After the reign of Stephen, the circular and pointed arches 
 were frequently employed in the same building ; but the pointed 
 style gaining more and more upon the circular, prevailed ulti- 
 mately at the close of the reign of Henry III., and prevented all 
 farther confusion of mixture. The architecture of this age now 
 exhibited uniformity of parts, justness of proportions, and elegance 
 of decorations ; the arcades and pillars became numerous, the 
 single shafts were divided into a multiplicity of equal, slender, 
 distinct shafts, constructed of Purbeck marble, and collected 
 under one capital, luxuriantly decorated with leaves of the palm 
 tree. The east and west windows began to be widely expanded; 
 these required a number of mullions, which, as well as the ribs 
 and transoms of the vaulting, began to ramify from the springing 
 of the arches into a variety of tracery, which was uniformly 
 ornamented with rosettes or polyfoil, cuspidated figures forming 
 trefoils, quatrefoils, &c. Canopies were introduced over the 
 arches, and in rich work were decorated with crockets and creep- 
 ing foliage, and terminated in a flower. The buttresses were 
 made in several diminished stages towards the top, and mostly 
 terminated with purfled pinnacles. 
 
 In the reign of Edward II. detached columns were laid aside, 
 and pillars nearly of the same proportion as formerly, with vertical 
 or columnar mouldings wrought out of the solid, were adopted. 
 The east and west windows were so enlarged as to take up nearly 
 the whole breadth of the nave, and carried up almost as high as the 
 vaulting, and were beautifully ornamented with lively colours on 
 stained glass. 
 
 In the early part of the reign of Edward III. arcades with low 
 arches and sharp points prevailed ; over the arcades was generally 
 placed a row of open galleries, originally introduced in Saxon 
 churches. 
 
 About the end of the reign of Richard II., A. D. 1399, the 
 pillars became more tall and slender, forming still more lofty and 
 open arcades, the columns which formed the cluster were of
 
 INTRODUCTION. IxXXV 
 
 different diameters, the capitals more complicated, the vaults at 
 the intersection of the ribs were studded with knots of foliage, 
 the canopies of the arches were universally purfled, and termi- 
 nated with a rich knot of flowers : the pilastered buttresses 
 flanking the sides were crowned with elaborate finials, the flying 
 buttresses were formed on segments of circles in order to give 
 them lightness, and strength at the same time. 
 
 From the close of the fourteenth century no remarkable change 
 appears to have taken place ; the grander members continued 
 their original dimensions and form, and the ornamental parts 
 became distinguished by greater richness and exuberance. 
 
 Another change took place in the reign of Edward IV. ; its 
 leading features are principally to be seen in the vaultings, 
 the horizontal sections of which had been generally projecting 
 right angles, but were now arches of circles the surface of the 
 vaults being such as might be generated by a concave curve 
 revolving round a vertical line, as an axis which was immediately 
 over the pillars. This species of groining, unknown in preceding 
 ages, was favourable for a beautiful display of tracery. Equi- 
 distant concave ribs, in vertical planes, were intersected by hori- 
 zontal convex circular ribs, and the included pannels were beau- 
 tifully ornamented with cusps, forming an infinite variety of the 
 most elegant tracery, which from its appearance has been deno- 
 minated fan-work. 
 
 From the commencement of the reign of King Henry VIII. 
 a mixed or debased style began to take place, from our inter- 
 course with the Italians. The ingenious Mr. Britton, in his 
 valuable Architectural Antiquities of Great Britain, has classed the 
 various styles in the following order, which we shall adopt, and 
 shall be happy to find the same appropriate terms adopted also 
 in future publications, wherever ideas of the objects represented 
 by them are the subjects of inquiry. We are sensible this is the 
 only means of facilitating a knowledge of this study, by removing 
 equivocal words, and thereby making architectural language 
 intelligible.
 
 INTRODUCTION. 
 
 First Style. Anglo-Saxon: this will embrace all buildings 
 that were erected between the times of the conversion of the 
 Saxons and the Norman conquest, from A. D. 599, to A. D. 1066. 
 
 Second Style." Anglo- Norman, by which will be meant that 
 style which prevailed from 1066 to 1189, including the reigns of 
 William I. and II., Henry I., Stephen, and Henry II. 
 
 Tliird Style. English, from 1189 to 1272, embracing the 
 reigns of Richard I., John, and Henry III. 
 
 Fourth Style. Decorated English, from 1272 to 1461, in- 
 cluding the reigns of Edwards I., II., III., Richard II., 
 Henry IV., V., and VI. 
 
 Fifth Style. Highly decorated florid English, from 1461 to 
 15Q9, including the reigns of Edwards IV. and V., Richard III., 
 and Henry VII. 
 
 From this sera we lose all sight of congruity ; and the public 
 buildings erected during the reigns of Henry VIII., Elizabeth, 
 and James I., may be characterised by the terms of debased 
 English, or Anglo-Italian. Mr. Britton observes that, " during 
 the intermediate time when one style was growing into repute 
 and the other sinking in favour, there will be found a mixture of 
 both in one building, which is not referable to either, and which 
 has constituted the greatest problem in antiquarian science." 
 
 After having thus discussed the several styles of building 
 which have been generally and unmeaningly classed under the 
 appellation of Gothic, we must now make a retrogression to 
 Italy, where the Grecian style had been revived for a consider- 
 able time, and was flourishing in great purity. Let us, therefore, 
 retrace the steps by which it again arose to its ancient splendour 
 and magnificence. 
 
 Fillipo Brunelleschi, born 1377, may be looked upon as the 
 restorer of ancient architecture, and the founder of the modern 
 style.
 
 INTRODUCTION. IxXXVli 
 
 After having prepared his mind by the study of the writings of 
 the ancient authors, and the ruins of Roman edifices which he 
 carefully measured, he discovered the orders, and recognised the 
 simple forms and constructions of the ancients ; and having thus 
 formed a system upon unshaken principles, he was enabled to 
 construct works with beauty, solidity, and durability. 
 
 Leo Battista Alberta, born A. D. 1398, was the first modern 
 author who published a learned treatise on architecture, from 
 which he has acquired great reputation, and is justly styled the 
 modern Vitruvius. Following the steps of Brunelleschi, he 
 reformed by his precepts and designs many of the abuses and 
 barbarous practices which then prevailed among his countrymen. 
 
 Bramante had a considerable share in the restoration of ancient 
 art, and built many magnificent edifices. Pope Julius II. having 
 projected the rebuilding of St. Peter's upon a scale of unequalled 
 magnificence, intrusted the execution of the design, 1513, to 
 Bramante, who conceived the idea of erecting the lofty cupola 
 upon that immense structure. This vast undertaking was 
 carried on successively by Raffaelle, San Gallo, and Michel 
 Angelo, to whom the final design and completion of the work is 
 principally due. 
 
 Architecture continued to flourish in the sixteenth century, 
 under the great architects Vignola, Serlio, Palladio, and Sca- 
 mozzi. To the unremitted assiduity of these distinguished artists 
 in the study of the Roman edifices, and to their invaluable publi- 
 cations, the world has been much indebted for the elucidation of 
 the principles of ancient art. 
 
 The list of the celebrated Italian artists closes with Bernini, 
 who flourished in the seventeenth century. 
 
 The Grecian style of building was revived in France in the 
 beginning of the sixteenth century, and afterwards flourished 
 under several architects of distinguished merit. Their principal 
 works are the palace of Versailles, St. Cyr, the church of
 
 IxXXviii INTRODUCTION. 
 
 the Invalids, the fa9ade of the Louvre, a most beautiful modern 
 structure, the Porte St. Denis, and the church of Genevieve, 
 the present Pantheon. 
 
 Grecian architecture was restored in England under the cele- 
 brated Inigo Jones, born 1572. His distinguished works at 
 Greenwich, Whitehall, and Covent Garden, will ever secure him 
 a name among the architects of the highest reputation. 
 
 Sir Christopher Wren, an eminent mathematician and philo- 
 sopher, as well as an architect of the first rank, has executed 
 many of the finest buildings in London and other parts of 
 England, and in the modern style. St. Paul's cathedral, inferior 
 to none but St. Peter's in point of magnitude, but perhaps 
 superior both in skilful construction and figuration, will perpe- 
 tuate his name to the latest posterity. The exterior dome of 
 St. Paul's is constructed of wood, and sustained by a cone of 
 18-inch brick-work, which also supports the lantern above. 
 
 The interior dome is also constructed of 18-inch brick-work, 
 which had a course the whole thickness for every five feet, and 
 the intermediate parts had two bricks in length in the thickness. 
 This dome was turned upon a centre which supported itself 
 without any standards from below. From the inclined position of 
 its supporting walls, it had little or no transverse pressure ; yet, 
 for the greater security, it was hooped with iron at the bottom.
 
 AN 
 
 EXPLANATION 
 
 TECHNICAL TERMS 
 
 USED EITHER BY ARTISTS OR AUTHORS, ON THE 
 SUBJECT OF PAINTING. 
 
 AERIAL PERSPECTIVE, is a degradation of the tones of 
 colours, which throws off the distances of grounds and objects; 
 and which judicious artists practise, by diffusing a kind of thin 
 vapour over them, that deceives the eye agreeably. It shows 
 the diminution of the colours of objects, in proportion as they 
 recede from the eye, by the interposition of the air between the 
 eye and the object, as if the object was seen through a column 
 of air. 
 
 ANTIQUE. By this term are implied and understood, such 
 paintings and sculptures as were made at that period of time, 
 when those arts were in their greatest perfection among the 
 ancient Greeks and Romans, from the age of Pericles to that 
 of Caracalla. The term Antique is more particularly applied 
 to the sculptures of the period before mentioned ; such as statues, 
 basso-relievos, medals, intaglios, or engraved stones. However, 
 all those remains of antiquity are not equally excellent or good ; 
 but even in those that are indifferent, there is a certain degree 
 of beauty, which distinguishes them from the works of the mo- 
 derns. But it is the most perfect of the works of the ancient 
 great masters which are to be the objects of our taste and imita-
 
 XC EXPLANATION OF TECHNICAL TERMS. 
 
 tion, as they continue still to be the objects of our wonder and 
 astonishment. 
 
 ATTITUDE, in painting, is the posture or disposition of the 
 limbs and members of a figure, by which we discover the action 
 in which it is engaged, and the very sentiment supposed to be 
 in the mind of the person represented. It comprehends all 
 the motions of the body, and requires a perfect knowledge of 
 ponderation, and whatever refers to the centre of gravity; but 
 whatsoever attitude be given to any figure, that attitude must 
 show the beautiful parts, as much as the subject will permit, 
 let the subject be what it will. It must, besides, have such a 
 turn as, without departing from probability, or from the cha- 
 racter of the figure, may diffuse a beauty over the action. It is 
 allowed that the choice of fine attitudes constitutes the greatest 
 part of the beauties of grouping. 
 
 BENTVOGEL SOCIETY. The Flemish painters who resided 
 at Rome formed themselves into a society, into which they 
 received all those of their own nation who, after their arrival at 
 Rome, desired to be admitted as members. The introduction 
 was appointed to be at a tavern in the city, at the expense of the 
 person introduced; and after some whimsical and droll cere- 
 monies, a name was given to the new brother, which expressed 
 either the perfections or the defects in the form or countenance 
 of his pei-son ; any remarkable peculiarity in the style of his 
 colouring or composition ; or any thing very singular in his 
 character, conduct, or manner of living. That ceremony was 
 continued for one entire night ; and the next morning they 
 walked in procession to a place some distance from Rome, called 
 the Tomb of Bacchus, where the whole ceremony concluded. 
 By this society, Peter Van Laer was named Bamboccio ; Philip 
 Roos, Rosa daTivoli ; Herman Swanefeld,the Hermit of Italy ; 
 Francis Van Bloemen, Orizonti ; Peter Van Lint, Studio, &c. 
 
 CASTING OF DRAPERIES. By this term is implied, the 
 distribution of the folds; and draperies are said to be well cast, 
 when the folds are distributed in such a manner as to appear
 
 EXPLANATION OF TECHNICAL TERMS. XC1 
 
 rather the result of mere chance, than of art, study, or labour. 
 In that manner or style of painting, which is called the Grand, 
 the folds of the draperies should be great, and as few as pos- 
 sible, because their rich simplicity is more susceptible of great 
 lights. But it is an error to design draperies that are too heavy 
 and cumbersome ; for they ought to be suitable to the figures, 
 with a combination of ease and grandeur. Order, contrast, and 
 a variety of stuffs and folds, constitute the elegance of dra- 
 peries ; and diversity of colours in those stuffs, contributes 
 extremely to the harmony of the whole in historic pieces. 
 
 CHARGE, or CHARGED, is a term used by artists to signify 
 any thing that exceeds ; such as exaggerating the outlines, in 
 order to show a superior degree of skill, and by that means 
 exceeding the bounds of a regular simplicity. Yet, De Piles 
 observes, there are charged outlines that please, because they 
 are above the lowliness of ordinary nature, and carry with them 
 an air of freedom, with an idea of a great taste, which deceives 
 most painters, who call such excesses the grand manner. And 
 although to such persons, who have a true idea of correctness 
 simplicity, and elegance of nature, these excesses may seem super- 
 fluous as they only adulterate the truth, yet one cannot forbear 
 to commend some things that are overcharged in great works, 
 when the distance from whence they are to be viewed softens 
 them to the eye ; or when they are used with such discretion, as 
 makes the character of truth more apparent. It is worthy of 
 being remarked, that in the antique statues, which are allowed 
 to be the rule of beauty, nothing appeared charged, nothing 
 affected ; nor is there any thing of that kind in the works of 
 those who have al ways imitated them ; as Raff'aelle, Dome- 
 nichino, Nicolo Poussin, and some others. 
 
 CHIARO-SCURO, is the art of advantageously distributing the 
 lights and shadows which ought to appear in a picture, as well 
 for the repose and satisfaction of the eye, as for the effect of the 
 whole together. As to the meaning of the word chiaro (translated 
 clear or transparent), it implies not only any thing exposed to a 
 direct light, but also all such colours as are in their nature
 
 XCll EXPLANATION OF TECHNICAL TERMS. 
 
 luminous. Scuro (translated dark or darkness), not only im- 
 plies all the shadows directly caused by the privation of light, 
 but likewise all the colours which are naturally brown ; such as, 
 even when they are exposed to the light, maintain an obscurity, 
 and are capable of grouping with the shades of other objects; 
 of which kind, for instance, are deep velvets, brown stuffs, 
 polished armour, and the like, which preserve their natural or 
 apparent obscurity in any light whatever. By the chiaro-scuro, 
 objects receive more relief, truth, and roundness; and it par- 
 ticularly signifies the great lights, and great shades, which are 
 collected with such industry and judgment as conceals the 
 artifice. The distribution of the objects forms the masses of 
 the chiaro-scuro, when, by an artful management, they are so 
 disposed, that all their lights are together on one side, and their 
 darkness on the other. 
 
 CONTOUR, or OUTLINE, is that which terminates and defines 
 a figure ; and the great part of the skill of a painter consists in 
 managing the contours judiciously. 
 
 CONTRAST, is an opposition or difference in the position of 
 two or more figures, contrived to make a variety in painting. 
 Thus, in a group of three figures, when one appears in front, 
 another shows his back, and a third is placed sideways, there is 
 said to be a contrast. A well-conducted contrast is one of the 
 greatest beauties of a painting. It is not only to be observed in 
 the position of the several figures, but also in that of the several 
 members of the same figure. If nature requires the painters 
 and sculptors to proportion the parts of their figures, it requires 
 also that they contrast their limbs and their different attitudes. 
 One foot placed like another, or one member extended or 
 depressed like another, excites our disgust ; because symmetry 
 deprives us of the pleasures arising from variety, and makes the 
 attitudes appear too frequently the same, as we may observe in 
 Gothic figures, which, by want of that judicious contrast, always 
 resemble each other. 
 
 CORRECTNESS, is a term which implies a design that is with- 
 out a defect in its measures and proportions.
 
 EXPLANATION OF TECHNICAL TERMS. XClll 
 
 COSTUME, is an Italian word, which signifies custom or usage ; 
 and the term implies, that a painter, in representing some 
 historical passages, action, or event, must not only be exact in 
 describing the particular fact, but he must also represent the 
 scene of action, the country where the action has passed) 
 whether it was at Rome or Athens, whether at a river or on 
 the sea-shore, in a palace or a field, in a fruitful or desert 
 country; observing to distinguish, by the dresses, customs, and 
 manners, peculiar to each people, whether they are of one country 
 or the other ; whether Greeks, Romans, Jews, or Barbarians. 
 
 DESIGN, implies the representation of one or more human 
 figures or animals ; or some parts or members of either ; or a 
 scene taken from nature ; a plant, fruit, flower, insect, or piece 
 of drapery, all taken from the life, in order to be inserted in 
 some part of a picture ; and in this sense it is called a study. 
 It is also taken for the outline of objects ; for the measures and 
 proportions of exterior forms. Design consists of several parts, 
 of which the principal are, correctness, style, character, variety, 
 and perspective. 
 
 DISTEMPER, is a preparation of colours without oil, only mixed 
 with size, whites of eggs, or any such proper, glutinous, or 
 unctuous substance; with which kind of colour all the ancient 
 pictures, before the year 1410, were painted, as also are the 
 celebrated cartoons of Raffaelle. 
 
 DRYNESS, is a term by which artists express the common 
 defect of the early painters in oil, who had but little knowledge 
 of the flowing contours, which so elegantly show the delicate 
 forms of the limbs, and the insertion of the muscles ; the flesh 
 in their colouring appearing hard and stiff, instead of expressing 
 softness and pliancy. The draperies of those early painters, and 
 particularly the Germans, concealed the limbs of the figures, 
 without truth or elegance of choice; and even in their best 
 masters, the draperies very frequently either demeaned or en- 
 cumbered the figures.
 
 XC1V EXPLANATION OF TECHNICAL TERMS. 
 
 ELEGANCE in a design, is a manner which embellishes and 
 heightens objects, either as to their form or colour, or both, 
 without destroying or perverting truth. It appears most emi- 
 nently in the antiques, and next in those painters who have 
 imitated them best, the principal of which is Rafiaelle. De 
 Piles observes, that elegance is not always founded on correct- 
 ness, as may be evident from the works of Raffuelle and Cor- 
 reggio ; in the latter of whom, notwithstanding his incorrectness 
 of design, his elegance in the taste of it, and in the turn which 
 he has given to his actions, must needs be admired, for he rarely 
 departs from elegance. 
 
 EXPRESSION, principally consists in representing the human 
 body, and all its parts, in the action suitable to it ; in exhibiting 
 in the face the several passions proper to the figures, and marking 
 the motions they impress on the other external parts. Frequently, 
 the term Expression is confounded with that of Passion ; but the 
 former implies a representation of an object agreeably to its 
 nature and character, and the use or office it is intended to 
 have in the work; and passion, in painting, denotes a motion of 
 the body, accompanied with certain airs of the face, which 
 mark an agitation of soul. So that every passion is an expres- 
 sion, but not every expression a passion. 
 
 FRESCO, is a kind of painting performed on fresh plaster, or 
 oil a wall covered with mortar not quite dry, and with water 
 colours. The plaster is only to be laid on as the painting pro- 
 ceeds, no more being done at once than the painter can despatch 
 in a day. The colours, being prepared with water, and applied 
 over plaster quite fresh, become incorporated with the plaster, 
 and retain their beauty for a great length of time. 
 
 GRACE, principally consists in the turn that a painter gives to 
 his objects, to render them agreeable, even those that are inani- 
 mate. It is more seldom found in the face than in the manner ; 
 for our manner is produced every moment, and can create 
 surprise. In a word, a woman can be beautiful but one way
 
 EXPLANATION OF TECHNICAL TERMS. XCV 
 
 yet she can be graceful a thousand. Grace is neither found in 
 constrained, nor in affected manners, but in a certain freedom 
 and ease between the two extremes. 
 
 GROTESQUE. This term, which is now familiar among all 
 the lovers of the art of painting, was by the Italians appropriated 
 to that peculiar manner of composition and invention, observed 
 among the antique monumental paintings which were discovered 
 in the subterraneous chambers, that had been decorated in the 
 times of the ancient Romans. And as the Italians apply the 
 word Grotto to express every kind of cave or grot, all paintings 
 which were in imitation of the antique designs, discovered in 
 those subterraneous chambers, which for ages had been covered 
 with ruins, are now called grottesca or grotesque; implying a 
 style, in which the imagination, and the wildness of inventive 
 fancy, are principally exerted, without any strict adherence to 
 nature, truth, or probability. 
 
 GROUP, is the combination or joining of objects in a picture 
 for the satisfaction of the eye, and also for its repose. And 
 although a picture may consist of different groups, yet those 
 groups of objects, managed by the chiaro-scuro, should all tend 
 to unity, and one only ought to predominate. That subordi- 
 nation of groups creates that union and harmony, which is called 
 the tout-ensemble, or the whole together. By a predominant 
 group the eye is agreeably fixed ; and, by means of the reposes 
 caused by breadth of lights and shades, neither the effect of 
 the other groups, nor of the subordinate objects, is hindered. 
 
 LOCAL COLOURS, are such as faithfully imitate those of a 
 particular object, or such as are natural and proper for each 
 particular object in a picture. And colour is distinguished by 
 the term Local, because the place it fills requires that particular 
 colour, in order to give a greater character of truth to the several 
 colours around it. 
 
 LINEAR PERSPECT1 VE, is that which describes, or represents 
 the position, magnitude, form, &c., of the several lines or con-
 
 XCV1 EXPLANATION OF TECHNICAL TERMS. 
 
 tours of objects, and expresses their diminution, in proportion to 
 their distance from the eye. 
 
 MANNER, is that habitude which painters have acquired, not 
 only in the management of the pencil, but also in the principal 
 parts of painting, invention, design, and colouring. It is by 
 the manner in painting that a picture is judged to be by the 
 hand of Titian, Tintoret, Guido, the Caracci, and others. Some 
 masters have had a variety in their manners at different periods 
 of life ; and others have so constantly adhered to one manner, 
 that those who have seen even a few of them will immediately 
 know them, and judge of them without any risk of a mistake. 
 The variety observable among artists, in their manner and taste, 
 arises from the manners of the different schools in which they 
 have received their instruction, or of the artists under whom 
 they have studied. Yet there are many instances of great artists, 
 who have divested themselves of that early partiality to a parti- 
 cular manner, and have altered it so effectually, as to fix on one 
 abundantly more refined, and better adapted to their particular 
 genius, by which means they have arrived at excellence. 
 Thus, for instance, Raffaelle proceeded, and acquired a much 
 more elevated manner, after he had quitted the school of 
 Perugino. 
 
 ORDONNANCE, is the arrangement of the figures, in respect 
 of the whole composition ; or particular disposition of figures 
 as to the different groups, masses, contrasts, decorum, and 
 situation. 
 
 OUTLINE, is that which traces the circumferences of objects in 
 a picture. The outline is to be drawn as thin and fine as 
 possible, so as scarcely to be discerned by the eye ; and it ought 
 to be observed, that a correct outline may excite pleasure, but 
 no colouring can afford equal satisfaction to a judicious eye, if 
 the outline be incorrect ; for no composition, no colouring, can 
 merit praise, where the outline is defective. 
 
 PASSION, in painting, implies an emotion of the body, attended
 
 EXPLANATION OF TECHNICAL TERMS. XCVH 
 
 with certain expressive lines in the face, denoting an agitation 
 of soul. 
 
 PASTICCI, is a term by which the Italians distinguish those pic- 
 tures which cannot be called either originals or copies; being 
 the works of some artists, who have had the skill to imitate the 
 manner of design and colouring of other eminent masters ; 
 sometimes borrowing part of their pictures, sometimes imitating 
 their touch, their style of invention, their colouring, or expres- 
 sion. Several painters, of considerable reputation for their own 
 original performances, have made themselves remarkable in 
 this way ; but none of them more than David Teniers, who so 
 successfully counterfeited Giacopo Bassan, as to deceive the 
 most judicious, in many instances, at the first sight; though 
 upon a closer inspection, his light and easy pencil, and a pre- 
 dominant grey tint, which is observable in the colouring of that 
 master, will show a perceptible difference between his pencil 
 and colouring, when they are carefully examined, and com- 
 pared with Bassan's ; for, although Teniers understood the 
 union of colours extremely well, yet Bassan was superior to 
 him in the sweetness and vigour of his tints. De Piles 
 recommends it to all persons who would not wish to be 
 deceived by pasticci, to compare the taste of design, the colour- 
 ing, and the character of the pencil, with the originals. Teniers, 
 Luca Giordano, and Bon Boullogne, are those who have 
 appeared with the greatest reputation for imitating other great 
 masters ; and beside these, many other artists have employed 
 themselves in painting pasticci. 
 
 SITE, in landscape, signifies the view, prospect, or opening of a 
 country, derived from the Italian word Sito, situation ; and it 
 is in use among painters, as being more expressive.
 
 BIOGRAPHICAL SKETCHES 
 
 PAINTERS, SCULPTORS, ENGRAVERS, 
 AND ARCHITECTS. 
 
 A. 
 
 A ALAST, or AELAST (Evd. 
 ** Van), a celebrated painter of the 
 Dutch school, born at Delft in 1602, 
 and died in 1658, aged 56. He 
 principally excelled in fruit pieces 
 and other subjects of still life ; par- 
 ticularly dead game, helmets with 
 plumes of feathers, vases of gold 
 and silver, disposed with elegance 
 and transparency of colour, giving 
 an extraordinary lustre to the gold, 
 silver and steel. There are some 
 fine specimens of this master's works 
 in the possession of the Elector, now 
 
 King, of Bavaria, at Munich 
 
 Hnubraken^ Pilkington. 
 
 A ALAST or AELAST (William 
 Van), born at Delft in 1620, and 
 died in 167.0, aged 59. He was a 
 painter of the same school, and 
 nephew to the above, but more 
 celebrated, and better known in 
 Italy by the name of Guliclmo. 
 He practised some years in France 
 and Italy with great success, and 
 after visiting his native city, Delft, 
 settled at Amsterdam, where he 
 received considerable encouragement, 
 and his works sold for a very high 
 price. During his stay at Florence 
 
 he was employed by the Grand 
 Duke, who publicly presented him 
 with a gold chain and medal, as a 
 testimony of his approbation and 
 an acknowledgment of his talents. 
 Pilk. 
 
 A ARSENS, AERTSEN, or Aer- 
 sens (Peter), a celebrated historical 
 and portrait painter of the Flemish 
 school, born at Amsterdam in 1519, 
 and died in 1585, aged 66. He 
 was the disciple of Alaert Glaessen, 
 a portrait painter of eminence. 
 Aarsens principally excelled in scrip- 
 ture subjects, but his principal and 
 most celebrated work was a very fine 
 altar-piece which he painted at Ant- 
 werp, representing the Crucifixion, 
 which was unfortunately destroyed 
 in an insurrection in 1566. Another 
 of his works is an altar-piece repre- 
 senting the Death of the Virgin, 
 which is in a good style and wanii 
 tone of colouring. At Delft he 
 painted a Nativity, and the offering 
 of the Wise Men ; which are 
 accounted excellent performances. 
 He was well skilled in perspective 
 and architecture, and drew the figure 
 correctly. He possessed great vcr-
 
 satility of power, and painted low 
 subjects in an exquisite style of 
 humour, yet in his great works 
 nothing of the boorish painter is 
 perceptible. Hoiib. Pilk. 
 
 AARTGEN (or Aertgen), an 
 eminent painter, born at Lcyden in 
 1498, and drowned in a drunken 
 frolic in 1564. He was at first 
 a woolcomber, but turning his mind 
 to painting he at length became so ! 
 distinguished an artist, that Francis 
 Floris, an eminent painter and 
 critic, who had studied the works of , 
 Michael Angelo with much success 
 in Italy, was attracted by his fame, 
 and went to Leyden on purpose to 
 sec him, and finding him in a mean 
 habitation offered him a handsome ' 
 maintenance if he would settle at 
 Antwerp, which he refused, not ! 
 liking to leave his pot companions. 
 Pilk. 
 
 ABARCA (Maria de), a Spanish 
 lady, who distinguished herself in 
 the middle of the seventeenth cen- 
 tury, by the portraits which she 
 painted, in a style of peculiar excel- 
 lence. She was cotemporary with 
 Rubens and Velasquez, by whom 
 she was much respected ; the time 
 of her death is not recorded. 
 Pilk. 
 
 ABBATE (Andrea), a painter of 
 fruit and still life, born at Naples. 
 He was much employed by the 
 King of Spain at the Escurial, along 
 with Luca Giordano ; his grouping 
 was excellent, and his colouring 
 bold, with a peculiarly fine relief. 
 Pilk. 
 
 ABBATE ( ), was of Italian 
 
 extraction, though but little known ; 
 a fine picture of a Carita by this 
 artist is in the palace Zainbccari at 
 
 Bologna Fuseli. 
 
 AbBATI (Nicolo del), an histo- 
 rical painter of considerable eminence, 
 born at Modena in 1.512. He was 
 a pupil of Antonio Bagari'lli, v/ho 
 
 was a Modenesc sculptor. His 
 style, colouring, and composition 
 were grand and expressive, and the 
 drawing and character of his figures 
 much in the manner of Parmegiano, 
 whom he appears to have taken as 
 his model. His works are but little 
 known in England, but one of the 
 best specimens of his skill is in the 
 Cleveland house Gallery, belonging 
 to the Duke of Sutherland, formerly 
 in the collection of the Duke of 
 Orleans. The subject is the Rape 
 of Proserpine, in which he has 
 manifested great taste and judgment. 
 De Piles, Britton. 
 
 ABBATI (Filippo), an historical 
 painter of the Italian school, horn at 
 Milan in 1640, and died in 1715, 
 aged 75. He was ready and fertile 
 in invention, and tolerably correct 
 in his design ; he had an uncommon 
 freedom of hand and delicacy of 
 touch ; was expeditious in his exe- 
 cution, and painted with equal 
 facility both in oil and in fresco. 
 Pilk. 
 
 ABBOTT (L. F.) an eminent 
 portrait painter of the English school, 
 born about 1762, and died in 1803. 
 The heroic Nelson sat to this artist 
 several times, and the picture of 
 this noble admiral, as well as his 
 portraits in general, are much es- 
 teemed as faithful likenesses, and in 
 a good style. Edwards. 
 
 ACII,'VAN,or ACHEN (John), 
 an eminent historical and portrait 
 painter, born at Cologne in 1566, 
 and died in 1621, aged .55. He 
 was first a pupil of Jerrigh, with 
 whom he continued six years. 
 After much practice he travelled to 
 Venice, and adopted the Venetian 
 style of colouring ; from whence he 
 went to Rome, M'here he improved 
 in design. He painted a Nativity 
 i for the Jesuits' church, and a por- 
 1 trait of a celebrated lute player of 
 I the name of Vcnusta, which is
 
 ADA 
 
 reckoned one of his best perform- : 
 UNITS. His talents and polite ac- | 
 complishments recommended him ' 
 to the notice of the emj>eror 
 Rodolpho ; and he was employed 
 by the court of Bavaria to paint the 
 portraits of the electoral family as j 
 large as life, and a grand picture of 
 the discovery of the cross by Helena, 
 the mother of Constantino, for 
 which the emperor presented him 
 with a chain and medal of gold. 
 At Prague he executed several much- 
 esteemed pictures, particularly a 
 Venus and Adonis, which so much 
 pleased the emperor, that he em- 
 ployed Van Ach as long as he lived. 
 His style was a mixture of the 
 principles of the Venetian and 
 Florentine schools. Pilk. 
 
 ADAM (Lambert Sigisbcrt), a 
 French sculptor, born at Nancy, in 
 1705, and died in 1759. His prin- 
 cipal works are scattered over 
 France, and are greatly admired. 
 D'Aryenv&e. 
 
 ADAM (Nicholas), brother of the 
 above, and a sculptor of considerable 
 eminence ; he was also born at Nancy 
 in 170.5, and died at an advanced 
 age in 1778, having lost his eye- 
 sight some years before. He exe- 
 cuted the mausoleum of the Queen 
 of Poland at Bousecours, and there 
 are several other fine specimens of 
 his skill. Ibid. 
 
 ADAM (Francis Gaspard), young- 
 er brother of the foregoing, bom at 
 the same place in 1710, and died at 
 Palis in 1759, aged 49, much re- 
 spected and valued as a sculptor. 
 He was principally employed in 
 Prussia, where he obtained a con- 
 siderable reputation. Ibid. 
 
 ADAM (Robert), a British archi- 
 tect of considerable eminence, born 
 at Kirkaldy in Fifeshire, Scotland, 
 died in 1792, and was buried in 
 Westminster abbey. He received 
 his education at the university of 
 
 Edinburgh, and afterwards went to 
 Italy, and on his return was made 
 architect to the king, which office he 
 resigned in 1708, on being chosen 
 member of parliament for the county 
 of Kinross. He gave a new cha- 
 racter to the architecture of his 
 country, and was one of the first 
 who reformed the abuses that were 
 creeping in from the blunders of 
 Ripley and Benson, and brought 
 considerable stores of science from 
 the learned schools of Italy ; but 
 his style was too diffuse and orna- 
 mental for exterior grandeur ; yet ho 
 was an architect of great taste and 
 science, and procured much fame by 
 the number and elegance of his 
 designs. The new University of 
 Edinburgh, and other public works, 
 were erected according to his 
 plans. 
 
 ADAM (James), brother of the 
 former, who was also architect to 
 his Majesty. The Adelphi buildings, 
 and Portland Place, in London, are 
 specimens of his taste and abilities. 
 He died 1794. 
 
 ADAMS (Robert), an English 
 architect, who died about 1595. He 
 was appointed surveyor of the board 
 of works and architect to Queen 
 Elizabeth. It will not be found 
 easy to specify his works in archi- 
 tecture, but there are two plans extant 
 that he published; the one is a 
 large print of Middleburgh, dated 
 1588, the other, of the same date, 
 is a small roll, drawn with the pen, 
 and intituled " Tamesis Descriptio," 
 showing by lines across the river 
 how far and from whence cannon- 
 balls may obstruct the passage of 
 any ship upon an invasion, from 
 Tilbury to London, with proper dis- 
 tances marked for placing the guns. 
 Adams was buried in the north 
 aisle of the church of Greenwich, 
 with this inscription ; " Egregio viro, 
 Roberto Adams, opcrum regionim
 
 ruin supervisor!, architectures peri- 
 ii&simo, ob. 1595." 
 
 ADAMS (Robert), an English 
 engraver who died about 1605. He 
 drew and engraved representations 
 of the sevenil actions while the 
 Spanish Armada was on the British 
 coasts. These prints were published 
 by Augustine Ryther in 1589. 
 
 ADRIANO "( ), a Spanish 
 
 monk, of the order of the Bare- 
 footed Carmelites, was born at Cor- 
 dova, in which city he resided all 
 his life, and died there in 1650. 
 He amused himself in his convent 
 by painting religious subjects. His 
 chief composition is a Crucifixion, 
 
 AGAR (Jaques d'), a portrait 
 painter, born at Paris in 1640, and 
 died at Copenhagen in 1716, aged 
 76. His first master was S. Vouet. 
 He was principally employed by the 
 court of Denmark, but was some 
 time in England. He was esteemed 
 a good painter, and some of his 
 works were in the Florentine Gal- 
 lery. Fuseli. 
 
 AGGAS (Ralph), an English 
 engraver, who died about 1617. 
 Ralph published, in 1578, a map of 
 Oxford, under the title of " Cele- 
 berriuiae Oxouiensis Academic, &c. 
 elegans simul & accurata descriptio." 
 Ames say sit was three feet by four; 
 
 in which he has introduced the and he adds that Cambridge was 
 
 Virgin, St. John, and Magdalen, done about the same time. Aggas 
 
 with other figures, in half length, executed a map of Dun wich in 1 589, 
 
 after the manner of Raffaelle Sadeler, I and a large plan and view of London, 
 
 to whom he was greatly attached, which was re-engraved by Vertue, 
 This picture is in the convent of and of which in one of his MSS. 
 
 Carmelites, to which Adriano be- be gives the following account ; 
 
 longed. This artist was so diffident 
 of himself, that he used to deface or 
 
 " A plan and view of London, 
 with the River Thames and adjacent 
 
 destroy his pictures as soon as he ! parts, being the most ancient pros- 
 had executed them ; in consequence i pect in print." 
 of this practice his best compositions AGGAS, or AUGUS (Robert), 
 
 are extremely scarce and valuable. 
 Fuseli. 
 
 ADRIANSON (Alexander), a 
 painter of fruit, flowers, fish, &c. 
 born at Antwerp about the year 
 16-5, but of whom few particulars 
 are known. He is said to have been 
 a good painter in the line he fol- 
 lowed; particularly marble vases, 
 and ornamental basso relievos ; his 
 subjects are well coloured, the 
 chiaro-oscuro well managed, and 
 with remarkable transparence Pilh. 
 
 /ET1ON, a Grecian painter, who 
 having shown his picture of the 
 nuptials of Alexander and Roxana, 
 at the Olympic games, unknown as 
 he was, according to Pliny, the 
 president gave the painter his 
 daughter in marriage. Plin. Nat. 
 
 a landscape painter, much employed 
 in England by Charles II., and died 
 in London in 1679. Walpole. 
 
 AGRESTI (Livio), an eminent 
 historical painter of the Roman 
 school, birth unknown, died in 1580. 
 He painted both in fresco and oil, 
 and his works are much esteemed. 
 Pope Gregory XIII. employed him 
 in the Vatican, where there are 
 several of his pieces ; as well as 
 many altar-pieces at Rome. He 
 was a pupil of Pierino del Vaga ; 
 his colouring was good, his invention 
 fertile, and his drawing particularly 
 correct. Pilk. 
 
 AIRMAN (William), a Scotch 
 painter, born in 168'2, and died in 
 1731, aged 49. This painter was the 
 only son of William Aikman,Esq. of 
 Cairnie, in Aberdeenshire. Young
 
 Aikinan was designed for the bar, but 
 being a youth of brilliant intellect 
 he abandoned that profession, and 
 applied himself to painting, which 
 was more congenial to his inclina- 
 tions. After studying three years 
 iu Italy, he went to Turkey, and 
 taking Rome in his way, came to 
 England, where he was patronised 
 by the Duke of Argyle. He ex- 
 celled chiefly in portraits. Gen. 
 Bioy. Diet. 
 
 ALBANO, or ALBINI (Frances- 
 co), an Italian painter, born at Bo- 
 logna iu 1578, and died at the same 
 place in 1660, aged 82. Although 
 this painter's chief excellence lay in 
 history, yet he occasionally exercised 
 his pencil in landscape, in which he 
 attained considerable eminence. His 
 first master was Denys Calvart, who 
 left him to the care and instructions 
 of his disciple Guido Reni, whom 
 he accompanied to the school of the 
 Caracci. Having finished his studies 
 at Bologna, Albano went to Rome, 
 where he married. His second wife 
 was a very beautiful woman, who 
 brought him several fine boys, and 
 Albano painted several pictures, in 
 which his wife and children served 
 as models for Venus and Cupids. 
 He was fond of representing the fail- 
 sex ; and his compositions on love 
 subjects are held in high esteem, as 
 are all his genuine and perfect pic- 
 tures, which are distinguished by a 
 peculiar delicacy of touch, and soft- 
 ness of colouring, with a laboured and 
 minute style of finishing. The late 
 Duke of Sutherland had two very 
 fine pictures of this master, in his 
 magnificent gallery at Cleveland- 
 house, one of which is Salmacis and 
 Hermaphrodite, taken from Ovid's 
 Metamorphoses, and formerly in the 
 Orleans Gallery ; it is a very good 
 specimen of this master ; the other 
 is a Virgin and Child with angels, 
 and an upright landscape, which 
 
 probably (from the afore-mentioned 
 anecdote on the authority of De 
 Piles), are portraits of his wife and 
 children. There is also a picture of 
 this master in the Corsham-house 
 collection (the seat of Paul Cobb 
 Methuen, Esq.) of the Deity, with 
 several angels in the clouds, which 
 formerly belonged to Pope Innocent 
 X., whose arms are on the back ; 
 and the frame, which is of silver, 
 was made by the celebrated sculptor 
 Alessandro Algarde. The works of 
 this celebrated master are now al- 
 most exclusively collected in the 
 
 Napoleon Museum at Paris De 
 
 Piles. 
 
 ALBANO (Giovanni Battista), 
 brother and disciple of the foregoing. 
 He painted much in the style of 
 his brother, and was an admirable 
 painter, but not so eminent or so 
 well known. Ibid. 
 
 ALBERTI (Andra), an artist, but 
 in what line is not certainly known, 
 who wrote a treatise on perspective 
 iu Latin, printed at Nuremberg in 
 1678. Gen. Biog. Diet. 
 
 ALBERTI (Aristotile), an archi- 
 tect and mechanist, born at Bologna, 
 and flourished in the sixteenth cen- 
 tury. He is said to have removed a 
 steeple to the distance of thirty-five 
 paces. He went to Hungary, where 
 he built several works, and obtained 
 the title of Chevalier Ibid. 
 
 ALBERTI (Giovanni), an histori- 
 cal painter of the Italian school, was 
 bom near Florence in 1558, and 
 died in 1601, aged 43. His parti- 
 cular excellence lay in perspective 
 and historical subjects, a demonstra- 
 tive proof of which is in one of the 
 Pope's palaces, where he painted de- 
 signs in perspective, which procured 
 him much applause. Pilk. 
 
 ALBERTI (Cherubino), an emi- 
 nent historical painter and engraver 
 of the same school, and brother of 
 the above, born in 1552, and died 
 B -'
 
 e 
 
 in 1(115, aged 63. He painted in 
 fresco and in oil, and engraved many 
 subjects after Michael Angelo, Zuc- 
 chcro, Polidoro, &c. with considerable 
 ability Pilk. 
 
 ALBERTI (Leoni Battista), an 
 cmincntarchitect,and writer on archi- 
 tecture, painting, sculpture, morality, 
 and arithmetic ; born at Florence in 
 1398, and died in 1485, aged 87. 
 He was principally employed by 
 pope Nicholas V'., and was consi- 
 dered an able architect and learned 
 man; he was one of the celebrated 
 party of refined wits, who were chosen 
 by Lorenzo di Medici with Marsilia 
 Ficino, C'hristofero Landino, and 
 others, to entertain his academic 
 retirement and solitude, at Camal- 
 doli. His best works are still ex- 
 tant in Florence, Mantua, Rimini, 
 and other cities of Italy ; of which 
 there is an ample catalogue, as well 
 as of his writings, at the end of his 
 life by Raffaelle du Frcsne Du 
 fresne. 
 
 ALDERGRAFF (Albert), an 
 eminent historical painter and en- 
 graver ; he was a native of Zoust, in 
 Westphalia, where he died poor about 
 the middle of the sixteenth century. 
 He is now chiefly known by his en- 
 gravings, which have procured him 
 an eminent rank among the masters 
 of that school, and much resemble 
 Albert Durer. I)e Piles says he 
 was no inconsiderable painter ; the 
 princi]ul part of his works, which 
 are numerous, are in the churches 
 and convents of Germany, .and he 
 mentions a nativity by him with 
 much approbation De Pilfn. 
 
 ALDRICH (Reverend Henry), 
 an eminent architect, lie was born at 
 "Westminster in 1647, and died at 
 Oxford in 1710, aged 63. From 
 Westminster school he went to 
 Christ Church, where he was elected 
 student in 1681 ; he was installed 
 canon of Christ Chuich, and in the 
 
 same year took the degree of D.D. 
 He wrote in the reign of James II. 
 two able tracts " On the Adoration 
 of our Saviour in the Eucharist." 
 At the revolution he wa made 
 Dean of Christ Church, in which 
 station he behaved in the most ex- 
 emplary manner, and every year 
 gave a Greek classic, or part of one, 
 by way of present to the students of 
 I the college. Dean Aldrich was one 
 | of the persons intrusted with the 
 | publication of Lord Clarendon's his- 
 tory. Besides these various acquire- 
 ments, the dean had a great know- 
 ledge of architecture and music, as 
 will appear by the magnificent qua- 
 : drangle called Peckwater-square, in 
 | Oxford ; the chapel of Trinity col- 
 i lege, and the church of All Saints, 
 I in the same university, designed by 
 ! him ; and the numerous church ser- 
 vices and anthems which he com- 
 , posed, all bearing marks of an inde- 
 fatigable mind, guided by real taste 
 and judgment. The Dean was also 
 composer of two favourite catches, 
 " Hark, the bonny Christ Church 
 Bells," and the other called " A 
 Smoking eutch." He held the rec- 
 tory of Wem in Shropshire, and sat 
 as prolocutor in the convocation of 
 1 70-. Besides the above works, ho 
 published " Artis Logiczc Coni]>en- 
 dinm," and a series of lectures called 
 the Elements of Architecture, in 
 Latin, which evince rather a com- 
 prehensive and indefatigable indus- 
 try of compilation from the best 
 authorities of the Roman school, 
 than that novelty of invention, cor- 
 rected by a pure taste and great 
 practice, that indicates a master in 
 the science JBiog. Brit. 
 
 ALDROVANDINI (TommasoX 
 a Bolognese artist; boru in 1653, 
 and died in 1736. He studied under 
 his uncle, who was an architect ; 
 but a man well skilled in the prin- 
 ciples and practice of painting. Tom-
 
 uiaso excelled in representing ar- 
 chitectural subjects, and landscape 
 scenery enriched \vith buildings ; but 
 the figures -were inserted by Fran- 
 ceschini and Cignani. His principal 
 performance is in the grand council 
 chamber at Genoa Barry's Edit, 
 of Pilk. 
 
 ALEX, or OOLEN (John Van), 
 an eminent Dutch painter, born at 
 Amsterdam in 1651, and died in 
 1693, aged 47. He painted land- 
 scapes, birds, and still life, in a mas- 
 terly manner, but had no great powers 
 of invention. Being a good pictorial 
 mimic in any style, he engaged him- 
 self much in the nefarious practice of 
 manufacturing counterfeits of those 
 masters which were most in request, 
 for which he procured more money 
 from injudicious connoisseurs than 
 if he had called them, as they really 
 were, his own performances Houb. 
 Pilk. 
 
 ALEOTTI (Jean Baptiste), an 
 eminent architect, who died about 
 1630. lie was at first a common, 
 labourer, but applying himself with 
 great diligence to the study of geo- 
 metry and architecture, he became 
 one of the greatest architects of his 
 time ; he wrote several books on ar- 
 chitecture and geometry Moreri. 
 
 ALESSI (Galeas), an architect of 
 great celebrity, born at Perugia, in 
 1500, and died in 1572, aged 72. 
 Various places are adorned with 
 buildings of his construction, but he 
 acquired his greatest reputation by 
 the plan of the monastery and church 
 of the Escurial. JVouv. Diet. Hist. 
 
 ALESSO ( Matt. Perez d 1 ), a cele- 
 brated painter and engraver, born at 
 Koine about 15.50. His most cele- 
 brated performance is the colossal 
 figure of St. Christopher, painted in 
 the great church of Seville. The 
 calf of each leg measures an ell in 
 width, and all the other parts arc in 
 prop.irtion Ibid. 
 
 ALEXANDER (John), a Scotch 
 historical painter, who died about 
 1733. He visited Italy, and in 1718 
 etched some plates after Raphael. 
 His principal work is the Rape of 
 Proserpine, which he painted at the 
 castle of Gordon, in Scotland. 
 
 ALFARO Y GAMON (Don 
 Juan de), a Spanish painter, born at 
 Cordova, in 1 640, and died in 1680, 
 aged 40. His first master was Cas- 
 tillo ; on leaving whom he studied 
 under Velasquez, to whose style ho 
 adhered, but in his portraits he 
 adopted the manner of Vandyck. 
 Two of his finest pieces are a picture 
 of the Xativity, and another of the 
 Guardian Angel IfArgenviGe. 
 
 ALGARDI (Alessandro), a 
 painter and sculptor of Bologna, 
 of considerable talents, born at Bo- 
 logna, 1602, and died at Rome in 
 16.54, aged 52. He studied at first 
 under Lndovico Caracci, and then, 
 applied himself to the study of sculp- 
 ture. There is in the church of 
 St. Peter's pf the Vatican, at Rome, 
 a fine bass relievo by him, repre- 
 senting St. Leo appearing before 
 Attila ; and at Bologna there is a 
 fine group from his chisel of the 
 beheading of St. Paul. His works 
 on painting are not very generally 
 known. Moreri, D 1 Argenville. 
 
 ALLAN (David), a Scotch por- 
 trait and historical painter, born in 
 1744, and died in 1796, aged 62. 
 He received the rudiments of his art 
 in the Academy of Painting, insti- 
 tuted, and carried on for a conside- 
 rable time, by Messrs. Foulis, in 
 Glasgow. Thence he went to Italy, 
 where he spent many years in unre- 
 mitting application to the study of 
 the great models of antiquity, at 
 Rome. In 1773, he gained the prize 
 medal, given by the Academy of 
 St. Luke, for the best specimen of 
 historical composition; and it is be- 
 lieved he was the onlv Scotchman
 
 (Gavin Hamilton exccpted) who had 
 then attained that honour. After 
 his return, in 1777, he resided a few 
 years in London. In 1780, he went 
 to Edinburgh, and was appointed 
 director and master of the academy 
 established in that metropolis. He 
 was much admired for his talents in 
 composition, the truth with which he 
 delineated nature, and the characteris- 
 tic humour that distinguished his pic- 
 tures, drawings, and etchings. There 
 are several engravings from his pic- 
 tures, one, " The Corinthian Maid, 
 drawing the shadow of her Lover ;" 
 and fourin aqua tinta,by Paul Sandby, 
 from drawings made by Allen when 
 at Rome, representing the sports 
 during the carnival. Several of the 
 figures introduced in them are por- 
 traits of persons well known to the 
 English who visited Rome between 
 1770 and 1780. Gen. Biog. Diet. 
 
 ALLEGRAIN (Christopher Ga- 
 briel), an eminent sculptor. His 
 best works are the figure of a young 
 man, for which he was admitted into 
 the French academy, and a Venus 
 and a Diana. His father and grand- 
 father were both members of the 
 Academy of Painting, but enough is 
 not known of them to make sepa- 
 rate articles. Christopher was a 
 man much esteemed ; his manners 
 were simple, and his temper exceed- 
 ingly modest. D'Argenville. 
 
 ALLO1SI (Baldassare, called 
 GALANIO), an eminent historical 
 and portrait painter, of the cele- 
 brated school of the Caracci, born at 
 Bologna in 1.578, and died in 16'38, 
 aged 60. He was the most cele- 
 brated portrait painter of his day, 
 and the Italian writers place him in 
 the same rank of merit with Vandyck. 
 Pilk. 
 
 ALLORI (Allessandro, called 
 BRONZING), a painter of history 
 and portraits, born at Florence in 
 1535, and died in 1607, aged 72. 
 
 Having been deprived of his father 
 in early infancy, he was taken under 
 the care of Agnolo Bron/ino, a dis- 
 tinguished painter, who educated him 
 with all the tenderness of a jwi-eut. 
 His most celebrated works are a cru- 
 cifixion, intended for an altar-piece ; 
 a picture of the last judgment, after 
 the manner of Michael Angelo Buo- 
 narotti, whose works he studied, and 
 which is still preserved at Rome ; 
 and several very fine portraits of the 
 nobility and great men of his time. 
 Moreri. 
 
 ALLORI (Christophano, called 
 also BRONZING), the son and dis- 
 ciple of the above master, born at 
 Florence in 1577, and died in 1621, 
 aged 44. He followed the style of 
 his father for some time, but after- 
 wards studied design from the works 
 of Santi di Titi, and colouring from 
 the fresh and glowing tints of Cigoli; 
 he formed a style of his own, very 
 different from that of his father. 
 His principal works were of the same 
 description as those of Alessandro, 
 and were several large designs for 
 altars, of delicate touch and correct 
 drawing, and portraits of his cotem- 
 porarics, executed with nature and 
 truth, and with proper and becoming 
 attitudes Ibid. 
 
 ALTORFER (Albrecht), a pain- 
 ter, designer, and engraver, born at 
 Ratisbon in Germany, about 1480. 
 He acquired some fame in his day, 
 and was a senator of his native city. 
 His principal works are of a diminu- 
 tive size, and are mostly engravings 
 on wood and copper, from his own 
 designs, and show a boldness of con- 
 ception and energy of mind that few 
 of his cotcmporaries equalled; the 
 best of them arc from scripture sub- 
 jects, and are to be found in many 
 German Bibles Fuseli. 
 
 AMALTEO (Pomponio), a pain- 
 ter of some skill, of St. Veto in 
 Friuli, born about 1505, and died
 
 in 1576. This painter is prin- principles of his art, and afterwards 
 cipally known by some pictures at completed himself at Rome. Ami- 
 Friuli and its neighbourhood, which coni came to England in 1729, and 
 Fus-eli says are decent, lie was the painted many fine pictures for the 
 son-in-law of Pordenone, and his principal nobility ; his excellent qua- 
 successor in the Friulese school. He lilies, both as a man and as a painter, 
 is mentioned by Visari and Kidolfi, soon recommended him to public 
 though they omit many of his works, esteem, and he found encouragement 
 and, among others, the five subjects in most of the courts of Europe ; 
 from the Roman history at Belluno, and when at that of Madrid, he was 
 in the Notary's hall Fuseti. appointed principal portrait painter 
 
 AMALTEO ^Geronimo), brother to the King of Spain, in whose ser- 
 of the foregoing. It is probable, says s - ice lie ended his days Pilk. 
 Lanzi, that lie would have surpassed I AMIGONI (Octavio), an Italian 
 him in fame as much as he surpassed painter of much celebrity, born at 
 him in talent, had he not been di- Brescia, in 1605, and died in 1661, 
 verted from the pursuit of the arts \ aged 56. His pictures are mostly 
 and turned to commerce at an early of a large size, noble in their corn- 
 age, by the jealous advice, it is said, position, and much admired for just- 
 of Pomponio himself. His works ! ness of expression and elegance of 
 are few, and confined to his native design. They are executed with a 
 place. Fuseli. ' free, firm, and masterly touch. 
 
 AMBERGER (Christopher), an : Pilk. 
 
 historical and portrait painter of con- ; AMMAN (John), a German en- 
 siderable eminence, born at Nurem- graver, who lived at Hanau, about 
 berg in 1498, and died in 1550, aged the year 1640. He engraved a set 
 52. He is supposed to have been of small wooden cuts, representing 
 a disciple of Hans Holbein, whose the Passion of our Saviour. They 
 style his much resembles. His prin- are executed in a neat and spirited 
 cipal works arc twelve pictures of . style, and possess considerable merit, 
 the history of Joseph, a portrait of the They were published at Amster- 
 Emperor Charles V. which Sandraart dam, in 1623, with Latin verses 
 says was equal to any of Titian's; to Pilk. 
 
 express his great approbation of which, | AM M AN ( Justus Jobot), an artist 
 the emperor, with a truly royal of great versatility of powers, bom 
 liberality, not only paid Amberger at Zurich in 1539, and died in 1591, 
 three times the sum he expected aged 52. His public career began 
 for his portrait, but honoured him about 1560, at Nuremberg, whence, 
 
 with a chain and medal of gold ; with incessant and persevering ex- 
 
 Sundraurt. ertion, he overspread all Germany 
 
 AMICONI (Giacomo,or Jacopo), with his designs on wood, paper, and 
 an historical, grotesque, and portrait j copper. History, allegory, emblem, 
 painter, who died in Spain about | science, trade, arts, professions, rural 
 1752. The compositions of this j sports, heraldry, portraits, fashions, 
 master are well known in England, &c., equally served in their turns, 
 few noble collections being without | and possess great variety and inge- 
 
 one or more; yet few particulars of 
 his life are known. He is supposed 
 to have been born in the Venetian 
 territories, where he studied the 
 
 unity of invention. He also painted 
 with great brilliancy on glass, and 
 his drawings etched with a pen and 
 tinted, have characteristics of style
 
 A MM 
 
 10 
 
 and execution, that would not dis- 
 grace the Italian school Fuseli. 
 
 AMMANATI (Bartolomco), a 
 Florentine sculptor and architect of 
 considerable eminence, bom 1511, 
 and died in 1,592, aged 81. He 
 decorated his native country with 
 many elegant palaces and villas, and 
 exercised his skill in both professions 
 to much advantage at Rome. He 
 married the daughter of John An- 
 tonio Baltiferi, of Urbino. She was 
 an elegant and accomplished woman ; 
 her poems, which were published at 
 Florence in 1560, and at Naples in 
 1 659, are held in great esteem. She 
 was elected a member of the academy 
 of Itronati at Sienna, and died at 
 Florence in 1 589 Nouv. Diet. 
 
 ANDERTON (Henry), an En- 
 glish painter of history and portraits. 
 He studied under Streater, and im- 
 proved himself by a residence in Italy. 
 On his return, he obtained the pa- 
 tronage of Charles II., but died 
 young, about the year 1665 Wai- 
 pole's Ann. of Painting. 
 
 ANDREW (of Pisa), a sculptor 
 and architect, born in 1270, and died 
 in 1345, aged 75. He was also a 
 painter, poet, and musician, of con- 
 siderable skill. He designed and 
 erected several fine structures at 
 Florence ; the arsenal at Venice is 
 said to have been designed by him. 
 Nouv. Diet. 
 
 ANDRONICUS (Cyrestes), an 
 Athenian architect, and the first who : 
 applied himself to the study of the 
 winds. According to Aulus Gcllius : 
 he built the famous octagonal temple 
 of the winds at Athens, and wag the 
 inventor of weathercocks. For an 
 interesting detail of this temple, witli 
 excellent graphic illustrations, sec 
 Stewart's Antiquities of Athens. 
 
 ANDROUET DU CIRCEAU 
 (Jaques), a celebrated French archi- 
 tect of the 16th century, who flou- 
 rished about 1 585. He designed the 
 
 grand gallery of the Louvre, the 
 Pont-Neuf, and many other noble 
 edifices. He was a good practical 
 architect, but did not possess a just 
 ; taste and discrimination in ornamen- 
 tal architecture; lie was too frivo- 
 lous and florid for the noble aim of 
 grand composition. He wrote several 
 treatises on architecture and per- 
 spective that have been much ad- 
 mired D' 'Argenville. 
 
 ANGELI (Filippo d'), an excel- 
 lent painter of battles and land- 
 scapes, bom at Rome in 1600, and 
 died in 1 640, aged 40. This painter 
 was called Napoletano, because he 
 was taken to Naples when very 
 young. At his return to Rome he 
 studied the antique with much dili- 
 gence, but forsook that noble school 
 of instruction before he had made 
 a sufficient progress, and .adopted in 
 its stead the manner of a Flemish 
 painter, called Mozzo (or Stump), 
 because, having lost his right hand, 
 he used his pencil with his left. 
 His best pictures are battles, which 
 are always crowded with figures, 
 grouped and disposed with judgment. 
 He also painted landscapes, views 
 of public buildings, porticos, &c., 
 crowded with people at different 
 sports or entertainments Pilk. 
 
 ANGELICO (Fra. Giovanni, call- 
 ed DA FIESOLE), an historical and 
 miniature painter of great versatility 
 of talent, born at Ficsolc in 1387, 
 and died in 1445, aged 58. He was 
 at first placed as a disciple with the 
 painter Giottino, and afterwards be- 
 came a Dominican friar, and was as 
 much respected for his humility and 
 piety as for his painting, as it pro- 
 cured him the appellative of An- 
 gelico, " the angelic painter." He 
 was much employed by Pope Ni- 
 cholas V. to paint historical subjects 
 in large, he also decorated several 
 books with paintings in miniature, 
 extremely well designed, and neatly
 
 II 
 
 handled. lie was a painter of con- 
 siderable talents, and produced many 
 disciples. His subjects are always 
 religious ; and he was so remarkably 
 humble, that he refused to accept 
 the archbishopric of Florence. 
 PiUt. 
 
 AXGELIS (Peter), a Flemish 
 painter of landscapes and conversa- 
 tions, born 168,5, and died in 1734, 
 aged 49. He visited England about 
 1712, and soon became a favourite 
 painter. Before his departure for 
 Italy in 1728, he made an auction of 
 his pictures, amongst which were 
 copies of the Four Markets, then at 
 Houghton, painted by Rubens and 
 Snyder. 
 
 ANGIOLO (Michael di Campi- 
 doglio), a painter of fruit, flowers, 
 and still life, born at Rome in 1610, 
 and died in 1670, aged 60. He de- 
 rived his appellative of Campidoglio 
 from a situation he held in the cupitol 
 at Rome ; and was a disciple of Fio- 
 ravante. He had an admirable style 
 for the subjects he chose, which he 
 designed and finished superior to any 
 artist of his time. The pictures by 
 this master now remaining have much 
 force and relief. Pilk. 
 
 A NGUIER (Francis), a celebrated 
 French sculptor, born at Eu in Nor- 
 mandy, about 160.5. He was made 
 keeper of the royal cabinet of anti- 
 quities, and executed several great 
 works, particularly the tomb of James 
 Sonvre, in the church of St. Giovanni 
 Latcrano, and the mausoleum of the 
 Duke de Monttnorency. ly Aram- 
 viUc. 
 
 ANGUIER (Michael), brother of 
 the above, and of the same profes- 
 sion. He is reckoned a sculptor of 
 great abilities, and executed greater 
 works than Francis. His last piece 
 was a crucifix over the altar of the 
 
 church of the Sorbonne at Paris 
 
 Ibid. 
 
 ANGUSCTOLA (Sophonisba), 
 
 better known by the name of Sopho- 
 nisba, an Italian paintress of great 
 eminence, both in portrait and in 
 history, born at Cremona in 1533, 
 and died in 1626, aged .03. Sopho- 
 nisba was of a very distinguished 
 family, and was first under the tuition 
 of Bernardini Campo of Cremona, 
 and afterwards learned perspective 
 and colouring from Bernardo Gatti, 
 called Soiaro. Her principal works 
 are portraits, which engrossed the 
 greatest part of her time, yet she 
 executed several historical subjects 
 with great spirit ; the attitudes of 
 her figures are easy, natural, and 
 graceful. She became blind through 
 over application to her profession, 
 but she enjoyed the friendship of 
 the greatest characters of the day. 
 Vandyck, it is said, acknowledged 
 himself to have been more benefited 
 by her than by all his other studies. 
 Among some of the principal works 
 by this artist are the marriage of 
 St. Catherine, now in the Pembroke 
 collection at Wilton ; a portrait of 
 herself playing on the harpsichord, 
 and an old female attendant in wait- 
 ing. Pilk. 
 
 ANGUSCIOLA (Lucia), sister of 
 the foregoing, and a paintress of con- 
 siderable skill ; she obtained by her 
 portraits a reputation not inferior to 
 Sophonisba, as well for truth and 
 delicacy of colouring, as correctness 
 of resemblance, and easiness of atti- 
 tude. Pilk. 
 
 ANICHINI (Lewis), a gem sculp- 
 tor and medalist. His most cele- 
 brated work is a medal which he 
 designed for Pope Paul III., on which 
 was represented the interview be- 
 tween Alexander the Great and the 
 High Priest, at Jerusalem, so exqui- 
 sitely finished, that Michael Angelo, 
 on viewing it, exclaimed, " Anichini 
 had carried the art to the height of 
 perfection." Moreri. 
 
 ANRAAT (Peter Van), an his-
 
 12 
 
 APR 
 
 torical painter, born about 1635. 
 The native city of tins master is not 
 known, which is more to be won- 
 dered at, considering his deserved 
 celebrity; for Houbraken mentions 
 a very grand picture by Van Anraat, 
 of the Last Judgment, containing 
 a multitude of figures, well designed, 
 correctly outlined, and pencilled in 
 a free and bold manner Hoitb. 
 
 ANTHEMTUS, a celebrated ar- 
 chitect. His principal work is the 
 famous church of St. Sophia, at Con- 
 stantinople, which he was employed 
 to build by the Emperor Justinian, 
 for whom he also erected several 
 other structures. He was a good 
 mathematician, and well skilled in 
 experimental philosophy : from a 
 knowledge of which he succeeded 
 so well in imitating an earthquake, 
 that he alarmed many people in its 
 vicinity, and particularly frightened 
 a man of the name of Zeno out of 
 his house. He also made many ex- 
 periments in optics, and constructed 
 a lens. Moreri. 
 
 ANTIPHILUS, an ancient pain- 
 ter, who flourished in the time of 
 Apelles, to whom he was a rival ; 
 he was celebrated for several fine 
 pictures, the principal of which was 
 the representation of a youth blow- 
 ing a spark of fire ; from which it 
 should appear that the ancients were 
 not unacquainted with the magical 
 effects of chiaro-oscuro. Plin. Nat. 
 Hist. 
 
 ANTIQUTS (John), an histo- 
 rical painter in oil and on glass, born 
 at Groeningen, in 1702, and died in 
 1750, aged 48. He was at first 
 instructed in the art of painting on 
 glass, which he practised till he was 
 about twenty years of age. But 
 wishing to learn the art of painting 
 in oil, he placed himself under the 
 direction of John Wassenburgh, with 
 whom he continued two years, and 
 then went to Italy through France, 
 
 and remained at Florence in the 
 employ of the Grand Duke, for six 
 years, during which period he painted 
 a large picture of the Fall of the 
 Giants, his sketch for which is still 
 preserved in the Florentine Aca- 
 demy. He made several visits to 
 Rome, and became intimate with 
 Trevisani, Bianchi, and Sebastian 
 Conca. His style of drawing is 
 good, and his manner of painting 
 easy ; he acquired an elegance of 
 taste and science in composition 
 through his intimacy with the 
 Roman school. 
 
 ANTONELLO, a painter of his- 
 tory and portraits, commonly called 
 Antonio du Messina, from Messina, 
 where he was born, in 1426, and 
 died in 1475, aged 49. He was 
 one of the first masters of the Ita- 
 lian school who practised the art 
 of painting in oil, which he acquired 
 from John Van Eyck, of Bruges. 
 He communicated the secret to two 
 painters of the names of Bellini and 
 Domenico, from which last Andrea 
 del Castagno obtained the know- 
 i ledge of it, and from the desire of 
 1 being sole possessors of the secret, 
 j basely assassinated him ; by which 
 | incident the art of painting in oil 
 j became progressively known, and 
 ! generally practised through all Italy. 
 Pilk. De Piles. 
 
 APELLES, an ancient Greek 
 painter, born in the Isle of Cos, and 
 lived in the time of Alexander the 
 Great. He is called the prince of 
 painters, and was so highly esteemed 
 by Alexander that lie would not 
 permit any other person to paint his 
 portrait, and gave him Campaspe, 
 one of his mistresses, with whom 
 Apelles fell in love while taking 
 her likeness, for a wife. The fol- 
 lowing reply of the painter to Alex- 
 ander, or according to some authors, 
 to a Persian nobleman who often 
 visited his study, contains a scnti-
 
 13 
 
 ment so apposite as to deserve tran- 
 scribing. The great man endea- 
 vouring to display his taste on the 
 subject of Apelles' art, and talking 
 very absurdly on the subject, the 
 indignant painter replied, " Whilst 
 you were silent, the boys in my 
 study were lost in admiration of 
 your magnificence, but the moment 
 you began to talk of what you did 
 not understand they laughed." 
 Plln. Nat. Hist. 
 
 APOLLODORUS, a celebrated 
 architect, born at Damascus, who 
 flourished under Trajan and Ha- 
 drian, and built the great stone 
 bridge over the Danube, about the 
 year 101, which is reckoned the 
 most magnificent of all the sump- 
 tuous works of that emperor ; the 
 celebrated pillar called Trajan's 
 column at Rome, and several other 
 edifices for the former; and would 
 have been much employed by the 
 latter, (for whom, however, he built 
 some structures,) but for his blunt- 
 ness, which proved his ruin, and 
 cost him his life ; for when Hadrian 
 sent him a copy of the design of a 
 temple of Venus he had just built, 
 the architect found that it was too 
 small for the size of the statues, and 
 said, " That if the goddesses should 
 have a mind to rise and go out, they 
 could not." Plin. Nat. Hist. 
 
 APOLLODORUS, a famous 
 painter of Athens, who flourished 
 about 400 years before the Christian 
 sera. He was a poet of some cele- 
 brity, as appears by a poem which 
 has bcc7i well spoken of, although 
 not now extant, which he wrote as 
 lamenting his being out-shone in 
 art by his successful rival Zeuxis. 
 
 APPEL (Jacob), a painter of 
 landscape, portrait, and history, born 
 at Amsterdam in 1(580, and died 
 in 1751, aged 71. This painter 
 was at first a pupil of Timothy de 
 tiniaf, and afterwards of Vander 
 
 Plaas, by whose instruction he be- 
 came a good landscape painter. He 
 formed his style after the works of 
 Tempesta, whose manrier he much 
 admired; he seemed fond of intro- 
 ducing statues in his works, which 
 he designed well, and coloured much 
 like marble. His portraits are much 
 
 celebrated Pilk. 
 
 APPELLMAN (Barent), a por- 
 trait and landscape painter, born at 
 the Hague in 1640, and died in 
 1686, aged 46. His landscapes, 
 which are much prized, are princi- 
 pally the charming scenes about 
 Rome, Frescati, and other parts of 
 Italy. In the large hall of the 
 palace of Soesdyk, formerly a resi- 
 j dence of the Prince of Orange, are 
 some fine landscapes, which he 
 1 painted for that prince, and several 
 1 portraits. He often assisted John 
 J de Baan in his portraits, and always 
 | painted the back grounds when they 
 were landscapes. Pilk. 
 
 AQUILA (Francesco Faraone). 
 This eminent designer and engraver 
 was born at Palermo, in 1676. He 
 established himself at Rome about 
 the year 1700. His engravings are 
 numerous, and some of them highly 
 esteemed. He sometimes worked 
 with the graver only, but his plates 
 in that way are cold, and wanting 
 in effect ; by no means equal to 
 those in which he called in the 
 assistance of the point. Some of 
 his prints are after designs of his 
 own composition. His works are 
 a set of twenty-two large plates, 
 j entitled, Pictura Raphaelis Urbi- 
 \ natis ex Auld et Conclavibus Pa- 
 latii Vatican!, Sfc. 1722. Bryan's 
 Diet, of Painters, ifc. 
 
 ARCHER ( ), an English 
 
 architect, who died about 1728. 
 He built St. Philip's church at 
 Birmingham, Clifden-house, and a 
 house at Roehampton ; but the chef- 
 d'ueuvre of his absurdity, was the
 
 14 
 
 church of St. John, with four bcl 
 fries, at Westminster. 
 
 ARETUSI (C<esarc), an histo- 
 rical and portrait painter, who flou- 
 rished about the year 1590. He i 
 was boru at Bologna, where he 
 learned and studied the art of paint- 
 ing, and distinguished himself much 
 as an able copyist. He painted 
 portraits in an excellent style, at 
 most of the Italian courts, particu- 
 larly those of the Dukes of Parma 
 and Ferrara, where he obtained 
 many considerable honours and ; 
 emoluments. His style was good, i 
 and nearly approaching Correggio's, 
 which lie admired and imitated with ! 
 so much success, that copies of Cor- 
 rcggio by A retusi, have been taken for 
 originals of that celebrated master, 
 by critics of discernment Pilk. 
 
 AR1STIDES, apaintevof Thebes, | 
 who flourished about 340 years be- 
 fore Christ, was the pupil of Eux- : 
 eridas, cotcmporary of Pampilus, ', 
 and lived long enough to witness 
 the great success of Apclles. He 
 was the first, according to Pliny, 
 who painted the affections and emo- 
 tions of the soul. His most cele- 
 brated pictures which have been , 
 recorded by ancient writers, are the j 
 Sacking of a City taken by Stonn, : 
 in which he represented a child 
 creeping to the mangled breast of ( 
 its dying mother, who appears to 
 feel the most expressive anxiety lest 
 the child should suck her blood 
 instead of her milk. Alexander the 
 Great was the possessor of this cele- 
 brated picture. He painted also a 
 Battle with the Persians, which con- 
 tained a hundred figures ; he sold 
 it to the tyrant Mnason, of Eleatea, 
 for the price of a thousand drachms 
 for each figure. Among the rest of 
 his works were Quadriga; in the 
 Course ; a Suppliant, of which, says 
 an ancient writer, you may fancy 
 you hear the voice; Hunters with 
 
 their Game; a portrait of the painter 
 Lcontion ; Biblis dying with love 
 for her brother Caunus ; Bacchus 
 and Ariadne, which was removed 
 to the temple of Ceres at Rome ; a 
 Tragerian accompanying a youth, 
 which was in the Temple of Apollo, 
 but was spoiled by the ignorance of a 
 painter, to whom Marcus Junius, the 
 priest had given it to clean, about the 
 epoch of the Apollinarian games. 
 Rome was also in possession of an 
 Old Man instructing a Youth to 
 play the Lyre, which was in the 
 Temple of Fidelity, near the capi- 
 tol ; and his Sick Man, which is the 
 panegyric of many of the ancient 
 writers. Pliny. 
 
 ARLAUD (James Antony), a 
 portrait and miniature painter, born 
 at Geneva in 1608, and died in 
 1743, aged 75. He went early to 
 Paris, where he obtained the patro- 
 nage of the Duke of Orleans, who 
 received instructions in the art from 
 him ; gave him apartments at St. 
 Cloud, that he might visit him more 
 frequently ; and procured for him 
 the encouragement of the king. Ho 
 was also much encouraged by the 
 Princess Palatine, the Duke's mo- 
 ther, who presented him with her 
 own picture set with diamonds, and 
 gave him recommendatory letters to 
 the court of Great Britain, parti- 
 cularly to the Princess of Wales, 
 afterwards Queen Caroline. Her 
 portrait, which he painted, was uni- 
 versally admired, and celebrated by 
 several of the poets. When in Eng- 
 land he painted his master-piece, 
 the celebrated Leda, a copy of which, 
 according to Morcri, he sold in Lon- 
 don for GOO/. ; but he would never 
 part with the original, which, in a 
 fit of enthusiasm, he destroyed by 
 cutting it to pieces ; whereas Pil- 
 kington says, he sold it to the Duke 
 dc la Force for twelve thousand 
 livres, though it was afterwards sold
 
 15 
 
 for a less sum. He returned to 
 Paris loaded with honours, presents, 
 and medals of gold. Moreri, Pilk. 
 ARPINO (Guiseppe d', or GIO- 
 SEPPINO Cav.), a celebrated his- 
 torical painter, born at the castle of 
 Arpiuo, in Naples, in 1560, and 
 died at Rome in 1640, aged 80. 
 This artist, when a hoy, was placed 
 under some jminters employed in 
 the Vatican, at the time of Gregory 
 XIII., who, observing his genius, 
 allowed him a crown of gold a day. 
 Gniseppe was a pupil of Raffaelle 
 di Reggio, and became very earnest 
 in his profession, and was knighted. 
 The principal works of this master 
 are as follows : a Sampson, in 
 chiaro-oscuro, in the Vatican ; the 
 ornaments in the loggia of the new 
 palace of the Vatican, painted by 
 d'Arpino ; Tempesta and Antonia 
 Varese ; the great Altar-piece of j 
 St. Francesco ; a Virgin and Child, ' 
 in the church of St. Chrisogono, i 
 where there was also a fine portrait ' 
 of the Saint, by Guercino ; a Series 
 from the Life of the Virgin Mary, 
 in the first right-hand chapel in the 
 church of San Giovanni Calibrita ; 
 an Assumption of the Virgin, in St. 
 Valentino and Sebastino ; four pic- 
 tures on different subjects, in the 
 church of San Carloalli Catinari ; 
 a St. Francis, in the noble church 
 of St. Finita do Percgrini Conva- 
 lescent! ; a Glory of the Angels, 
 over the organ in the Collegiata di I 
 San Lorenzo, in Damaxa; a Coro- j 
 nation of the Virgin, in the church 
 of St. Maria and St. Vallicella; a 
 St. John the Evangelist, in the 
 church of St. Maria dclla Pace ; a 
 dead Christ with Virgin and St. 
 Andrew, in St. Maria della Vittoria; 
 some figures and other ornaments, 
 in the Palazzo Pontifice di Monte 
 Cavallo ; an Annunciation, in the 
 Aldobrandini chapel ; the Canoni- 
 sation of St. Francisco, in San 
 
 Trinita de Monti ; several subjects 
 from the Roman History, in the 
 Campidoglio; a Romulus and Re- 
 mus found by Faustulus ; Romulus 
 founding the city ; the Rape of the 
 Sabines; the Battle of the Horatii 
 and the Curiatii ; the Victory of 
 Tullus Hostilius, &c., which are 
 highly spoken of : some of the pic- 
 tures in St. Giovanni Evangelists in 
 Fonte, and in the Basilica of San 
 Giovanni Lateranense ; a Bambino 
 and St. Agostino ; and the Eter- 
 nal Father, in the monastery of St. 
 Lucia, in Selci ; the pictures in 
 the dome of St. Prassede ; the pic- 
 ture over the grand altar; four An- 
 gels, in fresco, in the cupola of the 
 Basilico di Santa Maria Maggiore ; 
 part of the paintings in St. Silvestro, 
 in Monte Cavallo, where he assisted 
 Raffaelle di Reggio, and Caravaggio ; 
 many of the paintings and ornaments 
 in the Villa Aldobrandini, at Frescati ; 
 and, in short, assisted in almost every 
 grand work that was executed in his 
 time, that a ready pencil and a long 
 life could afford him. The late Duke 
 of Sutherland had a very highly finish- 
 ed picture of the Cavalier d'Arpino's, 
 from the circumstances of the Fall of 
 the Angels, which is thus described in 
 St. Jude's Epistle, " And the angels 
 which kept not their first estate, but 
 left their own habitations, he hath 
 reserved in everlasting chains, under 
 darkness, unto the judgment of the 
 great day." It represents several 
 naked figures falling in all the terror 
 of complete discomfiture, and one 
 above them, clad in armour and 
 drapery, as if in the act of driving 
 them before him. All the faces and 
 bodies are highly finished, and finely 
 
 fore-shortened Moreri, BrittoiCs 
 
 Catahf/ue Raisonnte. 
 
 ARTEMISIA, the Quc^n of Caria, 
 wife of Mausolus, who built the cele- 
 brated and stately tomb for her hus- 
 band, that was accounted one of the
 
 16 
 
 seven wonders of the world, and his merit, yet he was unaccountably 
 which has given a name to all struc- suffered to live and die in indigence, 
 tures of that description. I Fuseli. 
 
 ARTOIS (Jaques d'), an admired 
 Flemish landscape painter, born at 
 Brussels in 1613, and died in 1665, 
 aged 52. He received bis instruc- 
 tion from Wildens, but perfected 
 himself by a studious observation of 
 
 ASTLEY (John), a portrait paint- 
 er, born at Weuim, in Shropshire, 
 and died at his father's house, Duck- 
 enfield Lodge, Cheshire, in 1787. 
 This artist received his first instruc- 
 tion in art from Mr. Hudson, with 
 
 nature. His landscapes have an ! whom he was placed as a pupil ; he 
 
 agreeable solemnity by the disposi- 
 tion of the trees, and the touching of 
 the grounds ; the distances are well 
 observed, and die away into a blueish 
 range of remote hills ; and the figures 
 are judiciously placed. The pencil 
 of this artist is soft, his touch light 
 and free, particularly in the leafing 
 
 afterwards went to Rome, and was 
 there about the time of Sir Joshua 
 Reynolds. His talents were of a su- 
 perior order, but estimating his pro- 
 fession by his gains, he was no sooner 
 removed from want, than he relin- 
 quished it ; practising in Dublin for 
 about three years, in which time ho 
 
 of his trees, and there is generally a j acquired three thousand pounds by 
 pleasing harmony in the whole. He his pencil. He acquired a great 
 ornamented the trunks of his trees j fortune by his marriage with Lady 
 
 with moss, ivy, or other plants, the 
 extremities of which are often loosely 
 hanging down. Pilk. 
 
 ASHFIELD (Edmund), an En- 
 glish portrait painter, who flourished 
 about lb'80. He was a pupil of 
 "Wright, and painted both in oil 
 and crayons. Vertue mentions a 
 small portrait of a Lady Herbert, 
 painted by Ashficld, which was highly 
 finished. 
 
 ASPER (Hans), a painter of por- 
 tr.iits and still life, born at Zurich, in 
 
 Daniel, a widow lady, whom he 
 captivated at the Nutsford assembly, 
 and who sent for him to paint her 
 portrait, and shortly after offered 
 him her hand, which he prudently 
 accepted Edwards's Anecdotes of 
 Painting. 
 
 ATHEN1S, of Chio, a sculptor 
 mentioned by Vitruvius with appro- 
 bation, who flourished about 300 
 years before Christ. 
 
 ATHENODORUS, a celebr.ited 
 sculptor, whose work, conjointly 
 
 Switzerland, in 1499, and died in | with Agesander and Polydorus, was 
 1571, aged 7-. He was a painter of the celebrated group of Laocoou at 
 much reputation, and his portraits are i Rome. 
 
 reckoned scarcely inferior in truth j AUBIN (Augustus de St.), a 
 and diameter to Holbein's. His French engraver, born in Paris in 
 drawings of flowers, fish, birds, &c., : 1720. He was a member of the 
 are executed with great freedom and ' Academy of Painting, and a very 
 truth of representation. The designs ingenious artist. He was taught the 
 for the Historia Animaliurn of Con- j art of engraving by Laurent Cars, 
 rod Gessner, are said to have been I and his style is similar to that of his 
 designed by this artist, and many of i instructor. He engraved a consider- 
 
 Rodolph Meyer's etchings for Murer's 
 Helvetia Sancta, were from his origi- 
 nals. Yet though this artist wan held 
 in such great esteem before his death, 
 as to have a medal struck to record 
 
 able number of plates, of historical 
 subjects, portraits, frontispieces, vig- 
 nettes, and other ornaments for 
 books, as well as the collection of 
 geins for the Duko of Orleans, and
 
 J7 
 
 the collection of medals, amounting 
 to near three thousand, belonging to 
 M. Pellerin Pillt. 
 
 AUDEBERT (Jean Baptiste), a 
 French engraver and naturalist, born 
 at Rochcfort, in 1759, and died in 
 1800, aged 41. This artist is reck- 
 oned one of the most able engravers 
 of natural history, particularly of 
 animals, which are reckoned the 
 most valuable of their kind. His 
 first work was L'Histoire Naturel 
 dcs Singes, dcs Makis, et des Galeo- 
 pitheques, one vol. fol. and published 
 in 1 800. He was engaged upon other 
 works of equal splendour and interest, 
 when death finally stopped his earthly 
 career Nouv. Diet. Hist. 
 
 AUDENAERD or OUDENA- 
 ERD (Robert Van), an eminent 
 Flemish painter and engraver, born 
 at Ghent, in 1663, and died in 1743, 
 aged 80. He studied painting under 
 Francis Van Mierhop, and afterwards 
 under Hans Van Cleef ; but on visit- 
 ing koine he took instructions from 
 Carlo Maratti. By this means he 
 became a good painter of history ; but 
 having etched some prints, which he 
 showed to Maratti, that great artist 
 advised him to adhere to the burin 
 rather than the pencil, and employed 
 him to engrave a number of his pic- 
 tures. After his return to Ghent, 
 he continued to engrave, but occa- 
 sionally produced some pictures for 
 the churches, one of the best of which 
 is an altar-piece, in the Carthusian 
 Monastery at Ghent, St. Peter at- 
 tended by the monks of that order. 
 Pilk. ' 
 
 AUDRAN (Claude), a painter of 
 the French school, born at Lyons in 
 1639, and died at Paris in 1684. 
 aged 45. He was nephew of the 
 .above mentioned engraver, and at first 
 studied under his uncle, but prefer- 
 ring painting, he left the other art, 
 and after acquiring some skill, was 
 employed by Le Brun in painting 
 
 part of the pictures of Alexander the 
 Great's battles. He afterwards ac- 
 quired considerable eminence, and 
 was appointed professor of painting 
 in the Royal Academy at Paris, 
 which situation he held with much 
 credit till his death Nouv. Diet. 
 Hist. 
 
 AUDRAN (Girard), an engraver, 
 born at Lyons in 1640, and died at 
 Paris in 1703, aged 63. He is con- 
 sidered one of the ablest engravers 
 that ever existed, and one of those 
 artists who, in his department, con- 
 tributed the most to embellish the 
 age of Louis XIV. by spreading over 
 Europe the principal productions of 
 the art, executed in France during 
 that memorable age. He received 
 the elements of his art from Claude 
 Audran, his father, who is noticed 
 in the preceding article ; but con- 
 vinced that without a profound study 
 of drawing, no engraver can hope to 
 attain eminence, he went to Rome ; 
 where, during three years, he was 
 engaged in copying after the antique, 
 the works of Raphael and other great 
 masters, who have rendered the Ita- 
 lian school so celebrated. The cha- 
 racteristics of this great engraver's 
 works, are spirited and correct draw- 
 ing, a free and bold style of etching, 
 an easy and vigorous burin, a mas- 
 terly touch or stroke, always that of 
 the master he copies, which rank him 
 above all that have preceded him, 
 and render him the best model for 
 all young artists who enter the pro- 
 fession of engraving. Audran has 
 treated historical subjects with a 
 nobleness and dignity peculiarly his 
 own ; his works, without having the 
 precise finish, so much the boast of 
 mediocrity, are far, however, from 
 the looseness which those who, un- 
 able to do better, are desirous of 
 explaining, as the result of taste and 
 genius. Under him the needle and 
 I the burin have acquired the suavity 
 
 I r 1
 
 18 
 
 and breadth of the pencil. In his 
 masterly career, the artist is always 
 seen inspired by a natural sentiment, 
 that shows him to be one who knows 
 profoundly the secrets and resources 
 of his profession. Girard Audran 
 was employed by Louis XIV. to 
 engrave the series of the battles of 
 Alexander ; this work spread his 
 reputation, and at the same time 
 that of Le Brun, over all Europe. 
 Among other celebrated works of 
 this master are, the Martyrdom of 
 St. Lawrence, after Le Sueur ; Time 
 raising Truth ; the Adulterous Wo- 
 man; Pyrrhus; Coriolanus; and the 
 Baptism of the Pharisees, from Potis- 
 sin ; the ceiling of the Val-de-gracc, 
 after Mignard ; the Martyrdom of 
 St. Agnes, after Domenichiuo ; which, 
 with many other well-known produc- 
 tions, are proofs of the sublimity of 
 
 his genius. Nouv. Diet. Hist., Ga~ 
 lerie des ffommes Illustres. 
 
 AUDRAN (Claude), a painter, 
 and nephew of Girard, born at Lyons 
 in 1G'85, and died in 1734, aged 4.9. 
 The particular branch of art for which 
 this master was celebrated, was de- 
 signing and painting ornaments. He 
 held the appointment of king's painter. 
 Moreri. Ibid. 
 
 AUDRAN (Jean), an engraver of 
 the same family, brother of the pre- 
 ceding, born in 1667, died at Paris 
 in 1756, aged 89. He studied en- 
 graving under his uncle Girard, but 
 never acquired his 'abilities Ibid. 
 
 AUTHEAU (Jaques d'), a French 
 painter. He possessed but little 
 merit as an artist, but wrote several 
 dramatic pieces, which were collected 
 and published together in 1749, iu 
 4 vols. 12mo. Moreri. 
 
 B. 
 
 13 A AN (John de), a Dutch por- 
 -^ trait painter, born at Haarlem 
 in 1633, died in 1702, aged 69. This 
 artist received his first instmctions j 
 from his uncle Picmans, who was an j 
 able painter in the style of Velvet 
 Breughel. After leaving his uncle, 
 he went to Amsterdam, and studied 
 with undeviating perseverance under 
 Bakker. Vandyck and Rembrandt 
 were, at this time, in the zenith of 
 their fame, and after duly examining 
 and practising both them, he gave | 
 the preference to the former His 
 works soon became generally known 
 and admired ; and, according to Hou- , 
 brakcn, he received the personal ' 
 invitation of Charles II. to visit ; 
 England, and was fetched in one of 
 the king's ships. He met with much ] 
 encouragement in this country, and 
 painted the portraits of Charles II., 
 the queen, and the nobility of the first 
 
 rank in his court, which were much 
 admired for the elegance of their at- 
 titudes, and for a brilliant and natu- 
 ral tone of colour. After practising 
 in England for some time, he returned 
 to the Hague, where he painted a fine 
 portrait for the Duke of Zcll, who 
 paid him a thousand Hungarian du- 
 cats, which is nearly 500/. sterling. 
 The Grand Duke of Tuscany es- 
 teemed his abilities so highly, as to 
 have his portrait placed in the gallery 
 of celebrated painters of Florence, 
 and he received valuable presents 
 from that prince in return for the 
 picture. De Baan's best and highly 
 finished performance is a portrait of 
 the Prince Maurice of Nassau, who 
 had sufficient patience to sit to him 
 as long as he required; which, from 
 the artist's slow manner of finishing, 
 was tolerably often floub. PiUt. 
 Moreri.
 
 19 
 
 BAAN (James or Jacob tie), son 
 of the foregoing, and a young artist 
 of considerable promise, born in 1673, 
 and died in 1700, aged '27. He came 
 over to England with William, Prince 
 of Orange, where the reputation of 
 his father procured him a favourable 
 reception and great encouragement 
 from the nobility and gentry of the 
 first rank ; particularly the Duke of 
 Gloucester, whose portrait he painted; 
 which was so much admired, that he 
 was earnestly requested to stop in 
 Kngland; but no inducement could 
 prevail on him to delay his intended 
 journey to Rome. On his way to 
 that emporium of the arts, he visited 
 Florence, to examine the grand works 
 of art in that city, where he was fa- 
 vourably received by the duke. On 
 his arrival at Rome, he attended with 
 great assiduity to his studies, painted 
 many portraits and conversation 
 pieces, and acquired a considerable 
 sum of money, which he squandered 
 in excesses, which probably termina- 
 ted his life and prospects (which were 
 of a higher rank than his father's) at 
 such an early period of his life 
 Moreri, Pilk. 
 
 BABEUR, or BABUREN (The- 
 odore Dirk), a Dutch painter of 
 history, conversations, and musical 
 performers. This artist generally 
 painted his pictures as large as life, 
 but mostly only of half length. His 
 pictures are characteristic of the 
 school he belonged to, low vulgar 
 nature, representing card-players, 
 musicians, philosophers, &c Pilk. 
 
 BACCARIM (Jaeobo), an Italian 
 artist, born at Reggio in 1(530, died 
 in 1(>8'2, aged 5'2. He received his 
 first instructions from Orazio Talaini, 
 to whose style he constantly adhered 
 through life. Among his best works 
 are two pictures at his native place, 
 o;ie representing the Flight into 
 Egypt, and the other the death of 
 St. Alessio. Pilk. 
 
 BACCIO (Fran. Bartolomeo), an 
 historical and portrait painter, born 
 near Florence in 1 649, and died in 
 1717, aged 68. He was an artist of 
 considerable talent, his figures pos- 
 sessing much grace and nature, and 
 his colouring excellent. Watkins. 
 
 BATCHELIER (Nicholas), a 
 French sculptor and architect, born 
 at Toulouse in 1496, and died in 
 1554, aged 58. Early in life Bat- 
 chelier was placed under the guidance 
 of Michael Angelo, whose instruc- 
 tions he does not disgrace, although 
 he does not equal his master. 
 Moreri. 
 
 BACKER, or BARKER (Jaq ues), 
 a Dutch painter of history, horn at 
 Antwerp in 1530, and died in 1560, 
 aged 30. This artist was instructed 
 in the principles of the art by his 
 father, who was by no means emi- 
 nent as a painter. After the death 
 of his father, Backer got into the 
 clutches of one of those vipers in 
 art, a picture dealer, of the name of 
 Jacopo Palermo, who took care to 
 keep him incessantly employed, 
 sending his pictures to Paris, where 
 they were much admired, and 
 eagerly purchased at a great price ; 
 yet the poor artist was defrauded of 
 his talents, and kept in the same 
 depressed and obscure situation. His 
 merit was well known and acknow- 
 ledged, but his name and circum- 
 stances as universally unknown. 
 Pilk. 
 
 BACKER (Jacob), a Dutch por- 
 trait and historical painter, born at 
 Harlingen in 1609, and died in 16C1 , 
 aged 5'2. The abilities of this mas- 
 ter, in the different branches of his 
 art, were of a high rank. His draw- 
 ing of academy figures, both in out- 
 line and effect, were so excellent, 
 that he obtained the prize from his 
 competitors. His facility of execu- 
 tion was so surprising, that he painted 
 a half-length portrait of a lady from
 
 BAC 
 
 20 
 
 BAC 
 
 Jl:i:i ilrin, although adorned with 
 rich drapery and jewels, in one day. 
 His historical pictures were of as 
 high rank as his other works, all of 
 which arc still in high request among 
 the connoisseurs. In the collection 
 of the late Elector Palatine was an 
 excellent head of Broumer, and in 
 the church of the Carmelites, at 
 Antwerp, is a capital picture of the 
 Last Judgment, well designed, and 
 excellently coloured, by this master. 
 PiUt. Decamps. 
 
 BACKARELL (William), some- 
 times called Bacquerclli, an historical 
 painter. He was a pupil of Rubens 
 at the same time with Vandyck. In 
 the commencement of his career he 
 was reckoned equal to Vandyck, but 
 turning his attention to poetry, he 
 was banished his country by the per- 
 secuting spirit of the Jesuits, whom 
 he had freely satirised. He had a 
 brother Giles, whom Decamps men- 
 tions as a good landscape painter ; 
 and Sandraart says, there were seven 
 or eight painters of eminence of his 
 name at this time Pilk. 
 
 BACKHUYSEN (Ludolph), a 
 very celebrated marine painter, born 
 at Emdt-D in 1631, and died in 1709. 
 aged 78. lie received his first in- 
 structions in the art from Albert Van 
 Evcrdingen, and benefited much by 
 visiting different painters, and ana- 
 lysing their style and processes, but 
 received most information and benefit 
 from the instructions of Henry Dub- 
 bles, whose knowledge was extensive, 
 and temper communicative. He 
 studied Nature (the artist's surest 
 guide) in all her guises, with that 
 attention that has raised his name as 
 a painter of gales, storms, clouds, 
 rocks, skies, and other remarkable 
 phenomena of nature, with such 
 fidelity and effect as places him 
 above all the artists of his time in 
 that style, except the younger Van- 
 dcvclde. To btorc his miud with 
 
 images fitting for his pencil, he often 
 went to sea in storms that would 
 have dismayed a less ardent pursuer 
 i of the art, and immediately on his 
 : return impatiently flew to his palette, 
 I to note down in various sketches the 
 impressions the grand and solemn 
 scenes had impressed on his mind. 
 His chiaro-oscuro is perfectly natu- 
 ral, his perspective, both lineal and 
 aerial, truly correct ; his touch pos- 
 | sesses freedom and neatness, and all 
 | his accessories, whether ships, build- 
 j ings, or figures, consonant and ex- 
 actly proportioned. One of his largest 
 and best figures was painted for the 
 , burgomasters of Amsterdam, of a 
 ] number of large vessels, and a view 
 of the city in the distance, for which 
 they gave him thirteen hundred 
 guilders, and a considerable present. 
 This picture they afterwards presented 
 i to the King of France, who placed it 
 ' in the Louvre. Backhuysen was 
 visited by more kings and princes 
 than any artist of his time ; of which 
 number was the King of Prussia, and 
 I Peter the Great of Russia, who was 
 particularly delighted to see him 
 
 paint Pilk. 
 
 BACON (Nathaniel), an amateur 
 painter of landscape and still life. 
 This gentleman was half-brother to 
 the celebrated Lord Chancellor 
 Bacon ; his talents for painting 
 were considerable ; some fine pro- 
 ductions of his pencil are at Culford, 
 where he lived, and at Gorhambury, 
 his father's seat. Granger. 
 
 BACON (Sir Nathaniel). It is 
 to be regretted that no particulars 
 are mentioned of the birth and death 
 of this accomplished gentleman and 
 artist. Peachem on Limning (p. 
 126) says, " But none, in my 
 opinion, dcserveth more respect and 
 admiration for his skill and practice 
 in painting, than Master Nathaniel 
 Bacon, of Broomc, in Suffolk, 
 youngcbt son of the most honourable
 
 21 
 
 and bountiful-minded Sir Nicholas 
 Bacon, not inferior in my judgment, 
 to our skilfullest masters." At 
 Gorhambury, his father's seat, is a 
 large picture in oil, by him, of a 
 Cook-maid, with Dead Fowls, admi- 
 rably painted, with great nature, 
 neatness, and lustre of colouring. 
 In the same house is a whole length 
 of him, painted by himself, in which 
 he is represented painting on a 
 paper ; his sword and pallet hung 
 
 which he afterwards perfected, and 
 which is still carried on at Lambeth. 
 About the year 1768 he began to 
 work in marble, and invented an in- 
 strument now in general use. for 
 transferring the form of the model 
 (with a correctness till then un- 
 known), to the marble, thereby ren- 
 dering the executive part more of a 
 mechanical operation, and leaving his 
 mind more at leisure to design and 
 modelling. In the year 1 766', the 
 
 up ; and a half length of his mother i year after the foundation of the Royal 
 
 by him. At Redgrave-hall, in Suf- 
 folk, were two more pieces ; 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. 
 BACON (John), an eminent 
 
 Academy, he received the first gold 
 medal ever given by that body ; and 
 in 1770 he was elected an associate. 
 The celebrity that he acquired by his 
 admirable statue of Mars, before- 
 mentioned, induced Dr. Markham, 
 since archbishop of York, to com- 
 mission him to execute a bust of his 
 
 English sculptor, born at Southwark Majesty, for the hall of Christ Col- 
 in 1740, and died in 1799, aged 59. j lege, Oxford, where it is now placed. 
 The history of this able artist is a i While modelling this bust, his ma- 
 singular illustration of the triumph jesty asked him if he had ever been 
 of native talent over uncultivated j out of the kingdom ? and on being 
 youth. In the year 1755 he was answered in the negative, the king 
 bound an apprentice to a china ma- said, he was glad of it, as he would 
 nufacturer in Lambeth, where he j be the greater ornament to it. The 
 was first employed in painting on the j admirable execution of this bust 
 ware, and afterwards in modelling i gained him the royal patronage, and 
 shepherds, shepherdesses, &c., so | shortly after a commission to exc- 
 inuch to his own improvement, that I cute another for the University of 
 in less than two years he modelled j Gottingen. In 1777 he was engaged 
 all the principal figures forthemanu- j to prepare a monument to the ine- 
 factory. Many sculptors were in the mory of Guy, the founder of Guy's 
 habit of sending their models to this Hospital; which led to his engage- 
 
 pottery to be burnt, and from the 
 sight of them his ardent mind deter- 
 mined on its future occupation. His 
 progress after this was so rapid, that 
 he received nine premiums from the 
 Society for the Encouragement of 
 Arts, &c. ; the first in 1758, fora 
 figure of Peace. Several of his early 
 productions, a Mars, a Venus, a Nar- 
 
 ment with the city of London, for 
 the execution of the monument to 
 the memory of the Earl of Chatham. 
 In 1778 he was elected a Royal 
 Academician, and completed the 
 beautiful monument to the memory 
 of Mrs. Draper, in the cathedral 
 church of Bristol. Among the prin- 
 cipal of his other works are two 
 
 cissus, &c., are now in the great groups on the top of the front of 
 room of that useful society. During ' Somerset-place ; a statue of Judge 
 
 his apprenticeship he formed the idea 
 
 Blackstone, for All Souls' College, 
 
 of making statues in artificial stoue, Oxford ; a statue of Henry VI., for
 
 BAD 
 
 22 
 
 Eton College ; the monument of | one of the most noble artists of his 
 Lord Chatham, in Westminster I co-disciples. His imagination was 
 Abbey ; the statues of Dr. Johnson, ' lively, and his execution rapid. He 
 Mr. Howard, and Sir William Jones, I etched, in conjunction with Lan- 
 in St. Paul's Cathedral, &c., &c j franchi, the series of pieces from the 
 Cecil's Life of Bacon, 1801. | Bible, in the loggia of the Vatican, 
 
 BADENS (Francis) an historical by Raphael, and dedicated his work 
 and]>ortrait painter, born at Antwerp to his former master. Pilk. 
 in 1751, and died in 1603, aged 32. BAERSTRAT. Although the 
 
 This artist was the son of a painter 
 of ordinary talents, from whom he 
 received the elements of the art, 
 and afterwards visited Rome, and 
 
 works of this master, consisting of 
 views of sea-ports, fish, &e. &c. are 
 much admired, yet his birth and 
 place of nativity are unknown. He 
 
 several parts of Italy, where lie j died in 1687. His drawing was 
 much improved his taste in design i correct, perspective true, and his 
 and style of colouring. He received j colouring transparent, bright, and 
 
 from his countrymen every public 
 testimony of applause, and is reck- 
 oned the first who introduced a true 
 
 stvle of colouring among them 
 
 Pilk. 
 
 BADENS (John), a younger 
 brother of the preceding, bom at 
 Antwerp, in 1576, and died in 
 1613, aged 37. He received in- 
 structions from his father, after 
 which he went to Italy, where he 
 resided several years. From whence 
 he passed into Germany, and was 
 honourably entertained in the courts 
 of several princes ; hut on his return 
 towards his native place, he was 
 
 natural ; and the disposition of his 
 subjects judicious and effective 
 Houb. Pilk. 
 
 BAGOTTI ( ), is mentioned 
 
 by Vertue, but not with much jus- 
 tice, for the admirable execution of 
 a ceiling in stucco, at Cashiobury, 
 Lord Essex's seat. It represents 
 Flora, and other Figures, and Boys, 
 in alto-relievo, supporting festoons. 
 
 BAILLIE (Captain William). 
 This ingenious amateur acquired a 
 distinguished reputation, as an en- 
 graver. He was a native of Ireland, 
 born about the year 1750, and 
 passed the early part of his life in 
 
 robbed and wounded by banditti, of j the army, from which he retired 
 
 which ill treatment he died 
 
 Vaftari. 
 
 BADILE (Antonio), an histo- 
 rical and portrait painter, bora at 
 Verona in 1480, and died in 1560, 
 aged 80. His knowledge of the 
 principles of painting were more ex- 
 tensive, and his study and applica- 
 tion greater than any of his prede- 
 cessors. He had the two celebrated 
 painters, Paolo Veronese and Bap- 
 tista /clotti, among the number of 
 his disciples Pilk. 
 
 with the rank of captain of cavalry. 
 On leaving the army, Captain Baillie 
 devoted his life entirely to the arts, 
 and was for many years considered 
 as one of the most enlightened con- 
 noisseurs of his time. This gentle- 
 man engraved several plates in 
 various manners; but his most ad- 
 mired productions are those he exe- 
 cuted in the style of Rembrandt, 
 and his chaming copies after the 
 prints of that master Pilk. 
 
 BAILII (David), a painter of 
 
 BADOLOG'CHI (Sisto), an emi- i portraits and perspective views of 
 
 ncnt historical painter and engraver. 
 He was educated in the celebrated 
 school of Annibalc Caracci, and was 
 
 buildings, &c., born at Leyden in 
 1584, and died in 1638, aged 54. 
 He learned drawing from his father,
 
 23 
 
 who afterwards placed him under 
 De Geycn, an engraver. He after- 
 wards studied under Adrian Vcrburg, 
 and afterwards with Cornelius Van- 
 dervoot, with whom he studied with 
 much advantage for more than six 
 years. He visited several parts of 
 Italy, and resided a few years at 
 Rome, and in 1613 he settled at 
 Leyden, where he resided till his 
 death. His perspectives are reckoned 
 scarcely inferior to Stencoycks, and 
 his portraits are much esteemed for 
 correct likenesses and excellent 
 finishing. He also distinguished 
 himself as a writer, and in the latter 
 part of his life discontinued painting, 
 and drew portraits on vellum with a 
 pen, which he heightened with black- 
 lead Houb. Pilk. 
 
 BAKER (John, R. A.), a flower 
 painter. This artist was one of the 
 earliest members of the Royal Aca- 
 demy of London, and was a pupil of 
 the same master as Catton. He 
 was much employed in painting the 
 decorations to the arms, &c. of car- 
 riages, before that branch of business 
 was taken into the hands of journey- 
 men herald painters. A good speci- 
 men of his abilities is in the council 
 chamber of the Koyal Academy. 
 Edwards. 
 
 BALASSI (Mario), an historical 
 and portrait painter, born at Florence 
 in KJ04, and died in 1667, aged 63 ; 
 or, according to the chronological 
 tables, in 1670. He was succes- 
 sively the disciple of Jacopo, Ligozzi, 
 Rosclli, and Possignano, whom he 
 accompanied to Home, to assist in the 
 works the latter had undertaken by 
 command of Urban VIII., where he 
 much improved his taste, by the 
 grand works of art which were then 
 in that city. During his residence 
 there, lie pleased Don Taddeo Bar- 
 berini so much by his precision in 
 imitating the touch and expression 
 of his master and other painters, 
 
 that he employed Balassi's wonder- 
 fully imitative powers in copying 
 the transfiguration of Raphael, which 
 he executed with such h'delity as 
 astonished the most skilful judges. 
 He afterwards painted the portrait of 
 the Emperor Ferdinand, to whom 
 he was recommended by Piccolomini, 
 and by whom he was honourably 
 received, and nobly rewarded. His 
 inventive powers were by no means 
 despicable, but not on an equal 
 scale with his imitative talents. 
 Pilk. 
 
 BALDI (Lazaro), an historical 
 painter, pupil of Pietro da Cortona, 
 born at Pistoia in Tuscany, in 1 623, 
 and died in 1703, aged 80. He was 
 employed by Pope Alexander VII. to 
 paint the Gallery of Monte Cavallo, 
 and a chapel in the church of San 
 Giovanni Lateranense. Among other 
 celebrated works of this master at 
 Rome, are the new altar in the 
 church of St. Luke, a fine fresco of 
 St. John the Evangelist, and another 
 figure in the church of St. Giovanni 
 
 Lateranense Pilk. Descrizione 
 
 di Roma Moderna, gfc. 
 
 BALDINUCCI (Filippo), an Ita- 
 lian artist, born at Florence in 1C34, 
 and died in 1 696. He is more known 
 by his writings on art than by his 
 works : among the former are Notizie 
 dei Professori del Disegno, &c. ; 
 a Vocabulary of Designs ; and an 
 Account of the Progress of Engraving 
 on Copper. Tiraboschi. 
 
 BALECHOU (Nicholas), a French 
 engrave 1 !-, born at Aries in 1710, and 
 died in 1765, aged .5.5. His engrav- 
 ings were held in much estimation. 
 He was expelled the Academy of 
 Painters, of which he was a mem- 
 ber, for disobeying the orders of the 
 dauphiness, in taking impressions 
 from a plate he was engraving of 
 Frederic Augustus, Elector of Sax- 
 ony, and King of Poland. D'Ar- 
 ycnviUe.
 
 24 
 
 BALECHOU (John James), a well designed, their attitudes and 
 celebrated French engraver, born at j draperies well chosen, and the num- 
 Arles in 1715, and died in 1764, ber of them considerable. Of this 
 aged 49. This artist carried the master's hand, also, the Judgment of 
 handling of the graver, as far as con- ', Paris is accounted a master-piece, in 
 cerns the clearness of the strokes ' which the figure of Venus is so ele- 
 and brilliancy of colour, to a higher gantly designed, so full of life, and 
 perfection than any engraver of his so rounded, that it seems to stand 
 country that had practised the art forth from the surface. The land- 
 before him ; and if neatness of exe- ' scapes and back-grounds of the pic- 
 cution was the greatest merit of a tiircs of Van Balen were generally 
 print, few artists would have an equal painted by Velvet Brueghel Hou- 
 claira to distinction. Notwithstand- broken. 
 
 ing the fascination of his execution, i BALESTRA (Antonio), an his- 
 it will be admitted by every judicious i torical painter, born at Verona in 
 observer, that his flesh appeal's like 1666, and died in 17'20, aged 54. 
 marble, and that the deficiency of his ; This artist went to Venice to im- 
 dra wing incapacitates him from giving prove himself in the art, at the age 
 the free effect of the style and cha- , of "21, and entered himself in the 
 racter of the painter. Bryan. i school of Antonio Belucci, with whom 
 
 BALEN (Hendrick Van), a Fie- ' he continued for three years. From 
 rnish historical painter, born at An- ; thence he went to Bologna and Rome, 
 twerp in 1560, and died in 1632, j where he became the pupil of Carlo 
 aged 7 '2. lie was a disciple of Adam ! Maratti, under whose tuition he 
 Van Oort, but quitted that master i made great proficiency. By which, 
 to acquire a better taste of design ' and an industrious application in 
 and composition at Rome. On his ' studying and copying after the an- 
 return home, a visible improvement i tique, Raphael, Correggio, Anni- 
 of taste recommended him to the bale Caracci, and other celebrated 
 
 favour and esteem of the best judges. 
 
 He distinguished himself by a good freedom of execution, that, in 16.04, 
 
 manner of designing, and his works 
 were admitted into the cabinets of 
 the principal painters. He particu- 
 larly excelled in the naked figures, 
 and gave them so much truth, round- 
 ness, and correctness of outline, that 
 few of his cotemjHjraries could enter 
 into competition with him. All the 
 historical subjects painted by Van 
 Balen have great merit. His designs 
 of the Deluge, of Moses striking the 
 Rock, and the Drowning of Pharaoh, 
 are noble compositions. Houbraken 
 observes, that Van Balen, with great 
 judgment, has introduced the Israel- 
 ites in a clear light in the back 
 ground, but the Egyptians in a strong 
 
 painters, he obtained that taste and 
 
 when only '28 years of age, he obtained 
 the prize of merit in the Academy 
 of St. Luke. Among his best works 
 are a Nativity, in the church of Santa 
 Maria Mater Domini, at Venice ; 
 a Dead Christ in the arms of the 
 Virgin, in a chapel belonging to the 
 church of Santa Germiano, in the 
 same city. Pilk. 
 
 BALTEN (Peter), a Dutch land- 
 scape and historical painter, born 
 about the year 1540, and died in 
 1611, aged 71. His most usual 
 subjects were fairs, wakes, conversa- 
 tions, &c. of a small size, but finished 
 with spirit and correctness. One of 
 his most celebrated pictures was a 
 
 shadow in the fore-ground, which j St. John preaching in the Desert, in 
 has a fine effect ; the figures iK-ing which he introduced a multitude of
 
 25 
 
 BAN 
 
 auditors, all with one expression, 
 that of looking attentively at the 
 preacher, instead of that variety of 
 
 the intimate of Andrea del Sarto. 
 His first great work, a group in mar- 
 ble, of Hercules vanquishing Cacus, 
 
 feeling and expression a convicted j established his reputation as a sculptor 
 and converting auditory would ex- ! of the first rank in Italy ; but his 
 press. On seeing which the emperor, j jealous and envious temper rendered 
 for whom it was painted, ordered the ' him the enemy of all his rivals, as 
 saint to be expunged, and an elephant j he was perpetually decrying their 
 to be painted in his place, which gave | works. He is distinguished for his 
 the effect of astonishment at the i implacable hatred of Michael Angelo, 
 novelty and bulk of the animal, in j whom, however, he esteemed his 
 the spectators. The ecclesiastics of inferior, and showed his ill temper 
 the day converted this piece of hu- in every possible instance, particu- 
 mour in the emperor to a contempt larly in that circumstance which 
 for religion, when, perhaps, if con- ; covers his name with infamy, when 
 tempt was intended, it was only for by means of a false key he entered 
 
 the artist Descamps, Pilk. 
 
 BANDINELLI (Bartolomeo), an 
 eminent sculptor and painter, born 
 
 the apartments where the cartoons 
 were deposited which that great 
 painter had designed, by order of 
 
 at Florence in 1487, and died in i Pietro Soderrini, for the Grand 
 1.55.9, aged 72. This artist, who j Council room, and cut them all to 
 aimed at being painter, sculptor, and j pieces. His life was a tissue of in- 
 arrhitect, because Michael Angelo j trigue and new projects, abandoned 
 excelled in each, was, after that | with inconstancy : alike avaricious 
 extraordinary genius, the greatest | and presumptuous, he undertook, 
 sculptor of liis time; but his works in I for the illustrious families of Italy, 
 painting and architecture are of that i particularly the Medici, such mul- 
 inferior class, that, in spite of his re- i titudes of work, that they were 
 iterated endeavours to rival Michael \ mostly left unfinished, or sent home 
 Angelo' s versatility of talent, only ] imperfect. Among those works which 
 serve to record his miscarriage in j he did finish, and which embellished 
 those arts. Bartolomeo, or, as he j the first cities of Italy, and deserve 
 is better known by the abbreviation j the highest encomiums, are a Mer- 
 Buccio Bandinelli, was the son of cury playing upon a Flute ; which 
 
 Michael Angelo di Viviano da Ga- 
 niole, a celebrated goldsmith of Flo- 
 rence, who taught him drawing, and 
 afterwards placed him in the school 
 of Gio. Francesco Rustic!, one of the 
 first sculptors of his time. The 
 
 was purchased, in 1 539, by Giovanni 
 Battista della Palla, and sent as a 
 present to the King of France ; a 
 colossal Hercules, for his native city ; 
 a St. Jerome ; an Orpheus ; Christ 
 taken from the Cross ; a St. Peter ; 
 
 preference of Baccio for sculpture was | a Flagellation of Christ ; a fine statue 
 soon apparent, and his biographers of Cosmo di Medici ; some fine 
 
 relate, as a phenomenon, a colossal 
 statue, which, when a boy, he formed 
 in snow, and which for some days 
 attracted the attention of the cognos- 
 centi. He afterwards became ac- 
 quainted with Leonardo da Vinci, 
 and profited much by the friendly 
 advice of that painter; he was also 
 
 works in the church of Santa Maria 
 sopra Minerva, at Rome ; and other 
 works in marble or bronze, and the 
 finest copy ever made of the cele- 
 brated Laocoon. His last finished 
 work was a Dead Christ. Many that 
 he had begun were finished by dif- 
 ferent artists. Bandinelli died in a
 
 BAN 
 
 26 
 
 very advanced period of life, leaving 
 :in immense fortune to his children. 
 He was buried in a splendid tomb 
 of his own workmanship and design, 
 which he intended for the remains 
 of his father, but a depression of 
 spirits, occasioned by this circum- 
 stance, terminated his life, so valu- 
 able as an artist, but so deplorable as 
 a man. There is a fine picture of 
 Bandinclli in the Napoleon Museum 
 at Paris, by Sebastian del Piombo, 
 where he is represented holding a 
 small bronze statue in his hand, and 
 dressed in black. IfArqenville, 
 Cours Hitstorique, Sfc. Galerie des 
 Hommes Ittustres. 
 
 BANKS (Thomas, R. A.), an 
 English sculptor, born at Lambeth 
 in Surrey, December 22, 1738, and 
 died February 2, 1805, aged 67. 
 Mr. Banks was originally appren- 
 ticed to a wood carver, with whom 
 he served seven years, but on the 
 Society for the Encouragement of 
 Arts offering premiums for models 
 in sculpture, he turned his miiid to 
 the study of that art, and having 
 honourably obtained several pre- 
 miums from the Society, he was 
 afterwards admitted a student of the 
 Royal Academy, received their gold 
 medal in 1770, and went to Rome 
 as their travelling student for three 
 years; and was, on his return, elected 
 an associate, and afterwards an aca- 
 demician. The several admirable 
 works which he executed are well 
 known, and much admired, parti- 
 cularly some fine specimens in 
 Russia ; a monument to Sir Eyre 
 Coote, in Westminster Abbey ; the 
 monuments of Captain Wcstcott and 
 Falconer, in St. Paul's Cathedral ; 
 the alto-relievo in the front of the 
 house that was formerly Alderman 
 Boydell's Shakspeare Gallery ; the 
 Death of a Giant, in the Council- 
 room of the Royal Academy ; 
 which is reckoned one of the finest 
 
 works of modern sculpture, and of 
 which the original model is in the 
 possession of Mr. Bubb, the sculp- 
 tor. 
 
 BAPTIST (John Monnoyer). 
 This artist was born at Lisle in 1 635, 
 died 1(599, aged 64. He received 
 his education at Antwerp, and was 
 intended for a painter of history ; 
 but observing that his genius more 
 strongly inclined him to the repre- 
 sentation of flowers, he applied his 
 talents to those subjects, and in that 
 style became one of the greatest 
 masters. His flowers have a re- 
 markable freedom and looseness, as 
 well in the disposition as in pen- 
 cilling; with a tone of colouring 
 almost as lively as nature itself. 
 The disposition of his objects is sur- 
 prisingly elegant and beautiful ; and 
 in that respect his compositions arc 
 easily known and distinguished from 
 the works of others. The Duke of 
 Montague invited him to England, 
 and employed him in conjunction 
 with La Fosse and Rousseau to em- 
 hellish his house, which is now tho 
 British Museum ; and where are 
 some of the finest performances of 
 Baptist. A celebrated work of this 
 artist is a looking-glass in the royal 
 palace at Kensington, which he de- 
 corated with a garland of flowers for 
 Queen Mary II. For the Duke 
 of Orniond he painted six pictures 
 of East Indian birds, after nature, 
 which were in that nobleman's 
 collection at Kilkenny, in Ireland. 
 They are painted in water-colours, 
 on vellum ; and nothing can be 
 more delicate in the colouring, ]>en- 
 cilling, or spirited expression of 
 every species. Pilk. 
 
 BARBARELLI (Giorgio), called 
 Giorgione di Castel Franco, a very 
 eminent historical and portrait pain- 
 ter, Irnrn at Castel Franco, in Frioul, 
 in 1477, and died in 151 1, aged 34. 
 Giorgione, the name he is best
 
 27 
 
 known by. became at first the scho- 
 lar of Giovanni Bellini, but soon 
 dismissed the minutia; of style of 
 his master, and substituted that free- 
 dom of execution which distinguished 
 the works of his master. His style 
 is forcibly marked with vigour, and 
 consists of ample outlines, bold 
 foreshortening, dignity, breadth, and 
 richness of tint, colour and chiaro- 
 oscuro. Giorgione has been ac- 
 cused by Vasari of being indebted 
 to Leonardo da Vinci for his chiaro- 
 oseuro, from which Fuseli has ably 
 defended him. His greatest works 
 were in fresco, of which little but 
 the ruins now remain; his nume- 
 rous oil pictures still retain their 
 beauty. The most considerable of 
 his compositions were the Tempest 
 allayed, that was in the school of 
 St. Marco, at Venice ; Moses taken 
 from the Nile, and presented to 
 Pharaoh's Daughter, in the archi- 
 episcopal palace at Milan, which is 
 considered by critics as his master- 
 piece ; and two pictures, each re- 
 presenting a Concert, now in the 
 Napoleon Museum ; a Holy Family, 
 and St. John, formerly in the Or- 
 leans gallery, but now in the Duke 
 of Sutherland's collection ; a por- 
 trait of the satirist Berni, who was 
 called the Scarron of Italy; Fortune 
 Tellers; a half length portrait of 
 Scandcrbcg, in armour, in the collec- 
 tion of Mr. Methuen. Pilk. Fus. 
 Brit. 
 
 BAKBARO (Daniel), an archi- 
 tectural critic and writer, born in 
 1513, and died in 1,570. His works 
 relative to art are, the Practice of 
 Perspective, folio, 1588; and a 
 translation of Vitruvius, with a 
 learned commentary. Tiraboschi. 
 
 BA RBATELLI (Bernardino), 
 called POCETTJ, a painter of ani- 
 mals, fruit, aud flowers, born at 
 Florence in 1542, and died in 1612, 
 aged 70. He was the disciple of 
 
 | Rhidolfo Ghirlandaio, of Florence, 
 from whom he went to Rome, where 
 he studied with such attention, that 
 ' he was seized with such fits of ab- 
 straction as to forget the refresh- 
 ments of food and sleep. He was 
 an artist of great talent, and painted 
 in fresco as well as in oil ; his ex- 
 ecution was free, light, and delicate, 
 and colour highly natural : and his 
 works on every subject were much 
 
 esteemed and admired Pilk. 
 
 BARBIERI (Giovanni Fran- 
 cesco), a celebrated historical painter, 
 bom at Cento, in Ferrara, in 1590, 
 and died in 1GG6, aged 76. Bar- 
 | bieii Guercino da Cento, or Guer- 
 i cino, as he is mostly called, learned 
 the elements of his art from Cre- 
 I mi mini and Benedetti Genari. Some 
 I assert him, among whom is D'Ar- 
 genville, to have been a pupil of 
 the Caracci ; but Fuseli asserts, that 
 neither his age, his habits, nor his 
 style make it probable that he ever 
 belonged to that school. His styles 
 are divided into three manners; the 
 first, which he soon abandoned, is 
 an imitation of Caravaggio, flesh of 
 a yellow cast, and but little amenity 
 of colour ; his second, and most 
 valued manner, is defined by the 
 same able critic as a style whose 
 basis was still Caravaggio's, as sweetly 
 united and magically relieved, with 
 bold contrast of light and shade ; 
 like Caravaggio, he obliterates the 
 outline, but leaves him far behind 
 in elegance and dignity of nature; 
 his last style was in a gayer or more 
 open manner, which is inferior to 
 that style which is so much admired. 
 The finest specimens of Guercino's 
 works are, of his first style, at Bo- 
 logna and Cento ; the second are 
 in general all that he painted at 
 Rome, cither in fresco or in oil ; 
 the Aurora, a fine fresco in the villa 
 Loudivisia ; the St. Pctronilla, for- 
 merly in the Vatican ; Mars and
 
 28 
 
 Venus ; Circe, in the Napoleon 
 Museum, at Paris ; the Dido, in 
 the Spado collection; the Cupola 
 at Piacenza ; the Circumcision of 
 Christ, formerly at Bologua ; St. 
 Chrisogouo, in the church of that 
 name at Rome ; the altar-piece in 
 the church of St. Augustin ; a si- 
 milar work in the church of Santa 
 Maria della Yittoria, in the same 
 city ; a Madalcna Penitcnte, in the 
 church of Santa Maria Madi-lina del 
 Carso ; a St. Margarita, in one of 
 the chapels of St. Pictro in Vincoli, 
 at Rome ; and a St. Agostino, in 
 another chapel of the same church ; 
 Christ and Nicodemus; Christ and 
 the Woman of Samaria ; the Mar- 
 riage of St. Catherine ; and a St. 
 James, in Mr. Methuen's collection. 
 The late Alderman Boydell pub- 
 lished a collection of engravings 
 from the works of Gucrcino. 
 If Argenville, Fuseli, c. 
 
 BARBIERI (Paulo Antonio), a 
 painter of animals and still life, 
 born at Cento in 15i)6, and died in 
 1640, aged 44. He was the brother 
 of the foregoing, and painted fruit, 
 flowers, insects, 6.C., after nature, 
 with a strong character of life and 
 truth Ibid. 
 
 BARDWELL (Thomas), an 
 English portrait painter, who died 
 ubout 1773. Ik-sides several por- 
 traits of the leading characters of the 
 day, he wrote, " The Practice of 
 Painting and Perspective made 
 easy." Edwards. 
 
 BARENT, or BARENTZEN 
 (Dicterick), a Dutch historical and 
 portrait painter, born at Amsterdam 
 in 1534, and died in 1582, aged 48. 
 He received his first instructions in 
 the art from his father, and after- 
 wards went to Vienna, where he was 
 admitted into the school of Titian, 
 and became his favourite disciple. 
 He stayed with this inimitable < <>- 
 louriat for some years, whose por- 
 
 trait he painted, and imitated his 
 style and execution with that suc- 
 cess which procured him honour, 
 riches and reputation, on his return 
 to his native country. His greatest 
 work was a Fall of Lucifer, which 
 possessed great merit in anatomical 
 expression, design, execution, and 
 colouring 7Je Piles, P'dk. 
 
 BARETTI, an architect of Turin, 
 and father of the celebrated Joseph 
 Baretti, the friend and companion 
 of Dr. Johnson. He was the author 
 of several celebrated works. 
 
 BARKER (Robert), an artist of 
 considerable ingenuity, who was the 
 inventor of the well-known species 
 of exhibition called a Panorama, by 
 which bird's-eye views of large cities 
 and other interesting scenery, taken 
 from some elevated situation, and 
 painted in distemper round the wall 
 of a circular building, produce a 
 striking effect, and a greater re- 
 semblance to reality than was ever 
 before discovered ; a strong light 
 being thrown on the painting, whilst 
 the place from whence it proceeds 
 is concealed. The first picture of 
 this kind was a View of Edinburgh, 
 exhibited in that city by Mr. Barker 
 in 1788, and in London the follow- 
 ing year, where, at first, it did not 
 attract much attention. The next 
 performance was a View of London, 
 from the top of the Albion Mills, 
 which was exhibited at a house in 
 Castle Street, Leicester Square. 
 This picture was much praised by 
 Sir Joshua Reynolds, and other emi- 
 nent artists. Soon after he was en- 
 abled to build a commodious house 
 in Leicester Square, calculated to 
 give his exhibitions every advantage. 
 i Success now crowned his efforts, 
 \ and many views have been since 
 exhibited of Dublin, Constantinople, 
 I and other cities, with representations 
 of battles, &c. Mr. Barker died in 
 1 806. The same description of ex-
 
 29 
 
 hibitkm is continued by his son. I 
 PM. 
 
 BARKER (Samuel), an English 
 painter of fruit and flowers, who died 
 at an early age in 1 727. He was 
 instructed in the art by John Van- 
 debank ; but he imitated the style 
 and manner of Baptist, and would 
 probably have arrived at great ex- 
 cellence, had he not been cut off in 
 the vigour of his youth. 
 
 BARLOW (Francis), an English 
 painter born in Lincolnshire, and 
 died in 170'2. He studied under 
 Shepherd, a portrait-painter. His 
 principal forte was birds, beasts, fish, 
 &c., which he drew correctly, but 
 was indifferent in his colouring. 
 
 POk. 
 
 BAROCCIO,orBAROCCI(Fre- 
 
 dcrico), an historical and portrait 
 painter, born at L'rbino, in 1528, 
 and died in KJ12, aged 84. He was 
 a dibciple of Battista V enetia.no, of 
 whom he learned the elements of 
 painting, but he derived his know- 
 ledge of pers]>ective from his uncle 
 Bartolomeo (Jenga. After practis- 
 ing with these able masters till his 
 twentieth year, he visited Rome, 
 and proved an able painter. After 
 some time he returned to his native 
 city, and painted several pictures, 
 which much increased his reputation, 
 particularly a St. Margaret, which 
 induced Pope Pius IV. to invite him 
 to Rome, where he employed him, 
 in conjunction with Federico Zuc- 
 chero, to paint the decorations of his 
 palace of Belvidere. His style of 
 colouring resembles Correggio's, but 
 inferior ; except in his outline, and 
 his manner of design, he imitated 
 the grandeur of Raphael. Among 
 the greatest works of this master are, 
 The Magicians' Rods turned into 
 Serpents, painted for Pope Pius IV., 
 as a companion to Moses before 
 Pharaoh by Federico Zncclirro ; 
 the representation of the Virgin in 
 
 the church of St. Maria et St. Gre- 
 gorio, in Vallicella ; a Last Supper, 
 in the church of St. Maria Sophia, 
 Minerva, at Rome De Piles, PiUc. 
 Descrizione di Roma Moderna. 
 
 BARON (B.), a French engraver, 
 who died in England in 1 7o'2. This 
 artist was brought to England by 
 Dubosc, with whom he broke, and a 
 lawsuit commenced respecting the 
 plates for the history of Ulysses, en- 
 graved from the designs of Rubens, 
 in the collection of Dr. Meade ; but 
 they were afterwards reconciled and 
 went to Paris together in 1729, 
 where Baron engraved a plate from 
 Watteau, and engaged to do another 
 from Titian in the king's collection, 
 for Monsieur Crozat, for which he 
 was to receive 601. sterling. Baron 
 has executed a great number of 
 works, a few portraits, and some 
 considerable pictures after the best 
 masters ; as the family of Cornaro 
 at Northumberland-house; Van- 
 dyck's family of the Earl of Pem- 
 broke at Wilton ; Henry VIII. 
 giving the charter to the Company 
 of Surgeons ; the equestrian figure 
 of Charles I. by Vandyck, at Ken- 
 sington; its companion, the king, 
 queen, and two children ; and king 
 William on horseback, at Hampton- 
 court. His last considerable work 
 was the family of Nassau, by Van- 
 dyck, at the earl of Cowper's. 
 
 BARRETT (Ranelagh) an Eng- 
 lish copyist, who died in 1768. He 
 was patronised by Sir Robert Wal- 
 polc, and copied several of his col- 
 lection, and others of the Duke of 
 Devonshire and Dr. Mcade. He 
 succeeded greatlv in copying Rubens. 
 
 BARRETT (George, R. A.), a 
 celebrated landscape painter, born at 
 or near Dublin, Ireland, in 1732, 
 and died at Westbourne-grecu, Piul- 
 dington, in 1784, aged 52. At a 
 very early period in life this artist 
 nianifebtcd a love for liis art, and
 
 30 
 
 begun in the humble line of print 
 colouring in Dublin. Nature was 
 liis favourite study, although his 
 friend and patron, Edmund Burke, 
 advised him to study pictures. 
 The sublime and beautiful scenery 
 of the Dargles, Powerscourt Park, 
 the seat of another of his friends 
 and patrons, Earl Powerscourt, at- 
 tracted his attention, and which he 
 studied with the most xmremitting 
 attention. Shortly after this, he 
 obtained the fifty pound premium 
 for the best landscape, from the 
 Dublin Society. In 176'2 he visited 
 London, and in the second year after 
 his arrival he gained the fifty pound 
 premium for the best landscape in 
 oil, from the Society for the En. 
 couragemcnt of Arts. The esta- 
 blishment of the Royal Society was 
 much assisted by Mr. Barrett, who 
 formed the plan, and he was elected 
 one of its first members. His land- 
 scapes were in a bold and natural 
 style, and have no manner but that 
 of English scenery. His best pic- 
 tures (in England) are in the houses 
 of the Dukes of Portland and Buc- 
 cleugh, Mr. Lock, Norbury Park, 
 Surrey, &c. He painted much in 
 water colours, drew well in chalks, 
 Indian ink, and black-lead, and 
 etched with some spirit. Of the 
 latter, the following are the best 
 A View of the Dargles, near Dublin ; 
 six Views of Cottages, near London ; 
 a large landscape with Cottages ; a 
 View of Hawardeu Castle, published 
 by Boydell, 1773. The plates of 
 all but the latter were in the pos- 
 session of the late Paul Sandby, Esq. 
 R. A.Pilk., Edwards. 
 
 BAKltON (Hugh) an English 
 psiinter, born in London about 1746', 
 and died in 1791, aged 4.5. This 
 artist was the son of a respectable 
 medical practitioner in London, and 
 when a youth gave considerable pro- 
 mise of future excellence in the art. 
 
 He received the first rudiments of 
 
 art in the school of Fournicr, who 
 
 j kept a drawing academy, and taught 
 
 perspective ; and was afterwards a 
 
 i disciple of Sir Joshua Reynolds. On 
 
 leaving Sir Joshua, Barren practised 
 
 in London for some time as a por- 
 
 ' trait painter, after which, about 
 
 | 1773, he went to Lisbon, where he 
 
 painted a few portraits, and in 1776 
 
 was in Rome ; but in about two 
 
 years afterwards he settled in Lei- 
 
 , cester-fields. His portraits were but 
 
 feeble imitations of his master's, but 
 
 being a man of considerable talents, 
 
 I (he was reckoned the best amateur 
 
 ' performer on the violin of his time,) 
 
 1 he was more encouraged for them 
 
 than for his merits as a painter. 
 
 I Edwards. 
 
 BARRON (William Augustin), 
 I an English landscape painter, and 
 ! younger brother of the preceding. 
 j His principal works are a set of 
 views of castles, &c. in Essex ; and 
 a set of six compositions in land- 
 scape ; also a view of Wanstcad 
 House, Essex, engraved by Picot, 
 and dedicated to Sir Joshua Rey- 
 nolds, dated 1775. He taught draw- 
 ing, &c. and, as well as his brother, 
 was a good musical performer. 
 
 BARRY (James R. A.), a cele- 
 brated historical painter of the British 
 school, born at Cork, in Ireland, Oct. 
 11, 1741, and died in London 1806, 
 aged 65. This artist was the son of 
 John Barry, a descendant of tho 
 same family as the Earls of Barry- 
 more, and a coasting trader between 
 England and Ireland. For this 
 business his father intended him, 
 but after making two or three 
 voyages with disgust, and exhibiting 
 considerable talents in drawing, he 
 was permitted to follow his inclina- 
 tions, and to receive such education 
 as the schools of Cork afforded. He 
 afterwards received instructions in 
 the school of West, of Dublin, an
 
 31 
 
 artist, who had studied under Bou- 
 cher and Van loo, and was reckoned 
 a very able draftsman of the human 
 figure. As early as the age of 17, 
 it is supposed he had attempted 
 paintings in oil ; at least it was be- 
 tween that age and 22, that he 
 painted that extraordinary picture, 
 founded on that tradition of the first 
 arrival of St. Patrick on the shore 
 of Cashel ; who in baptizing the 
 sovereign of that district had planted 
 the sharp end of his crozier through 
 the foot of the monarch, unperceived 
 by himself, and unnoticed by his j 
 convert, who will not suffer the I 
 pain to interrupt the ceremony. One I 
 of the guards is elevating his battle- j 
 axe to revenge the injury, while he j 
 is restrained by another, who points i 
 to the unchanged aspect and demea- 
 nor of the sovereign, whose blood is : 
 flowing copiously from the wound. 
 This picture procured him the ac- 
 quaintance, patronage, and friend- : 
 ship of the patriotic Edmund Burke, 
 with whom he came to England, - 
 and was introduced to Mr. Barrett, 
 his countryman, who was then ac- ; 
 quiring fame and honour in London. 
 Under the protection, and with the 
 assistance of Mr. Burke, Barry went 
 to Italy in the autumn of 17b'b', first 
 stopping at Paris, viewing and criti- , 
 cising with great ability, the works 
 of Le Sueur, Poussin, Raphael, and 
 others, in the Luxemburg and other 
 collections ; which patronage lie 
 handsomely acknowledges in his ac- ! 
 count of a series of pictures in the 
 great room of the Society of Arts, ! 
 Manufactures, and Commerce, at i 
 the Adelphi, published in 1773. ' 
 During his stay in Paris, he made i 
 an excellent copy of Le Sueur's ad- 
 miratile picture of Alexander drink- 
 ing the Potion, and looking on his 
 physician reading the letter wherein j 
 he is accused of an intention of poison- i 
 ing his master, which he sent over j 
 
 to Mr. Burke, and which Sir Joshua 
 Reynolds, on seeing, said he did not 
 wish it other than it was, its excel- 
 lence being so great. In the latter 
 part of the year 1770 he returned to 
 London, visiting Elorence, Turin, 
 Bologna, &c. On his way to the 
 latter city he was made a member of 
 their academy, and describes with a 
 painter's pen the works of art he 
 saw, in a letter to his friends ; and iu 
 1771 exhibited in the Royal Acade- 
 my, for the first time, a picture of 
 Adam and Eve, which he began at 
 Rome shortly after his arrival, the 
 figures rather smaller than life ; and 
 the next year produced his much 
 admired whole length picture of 
 Venus rising from the Sea. At the 
 suggestion of Mr. Burke, to show 
 his skill and talents in the beautiful, 
 his next work was an attempt at the 
 grand style, in a picture of Jupiter 
 and Juno, in which he fally suc- 
 ceeded. About this time the Death 
 of General Wolfe becoming a popu- 
 lar subject, it was represented by 
 Messrs. West, Penny, Romney, Mor- 
 timer, and others; and in 177C he 
 also exhibited a picture from this 
 melancholy though glorious national 
 subject. This picture was not fa- 
 vourably received, for, probably to 
 demonstrate his knowledge of the 
 human form, he represented the 
 human figures as nudities, and never 
 afterwards exhibited with the Aca- 
 demy. Fresh, ardent, and undis- 
 mayed in the cause of the art, he 
 projected that patriotic and memo- 
 rable scheme, in which he wag warmly 
 and cordially seconded by Sir Joshua 
 Reynolds, Angelica Kaiitfnian, Na- 
 thaniel Dance (now Sir Nathaniel 
 Dance Holland), and Mr. West, of 
 painting a set of pictures gratui- 
 tously, for the decoration of St. 
 Paul's Cathedral, and thereby place 
 the arts on a higher footing than 
 they had ever been before in Eng-
 
 land. But strange to relate, Dr. 
 Terrick (a name that will be iin- 
 niortal as that of Erostratus, and for 
 a. similar reason), rejected this offer, 
 and thus rendered one of the most 
 liberal and patriotic schemes ever 
 made in any country abortive. The 
 subjects chosen were, Barry, the 
 Jews rejecting Christ ; Reynolds, 
 the Virgin and Child ; Daucc, the 
 liaising of Lazarus ; West, Christ 
 raising the Young Man from the 
 Dead. The two others are not 
 known. This led, in 1774, the 
 Society of Art*, &c. to make a pro- 
 posal to the Academy, that a certain 
 number of them (Sir Joshua Rey- 
 nolds, Angelica KaufTman, Messrs. 
 Barry, West, Cipriani, N. Dance, 
 Alortimer, Wright, Romney, and 
 Penny), should paint a suite of pic- 
 tures to decorate their new room, in 
 John-street, Adelphi ; proposing, 
 that when the pictures were finished 
 a public exhibition should be made, 
 the profits of which should remune- 
 rate the artists who painted the pic- 
 tures ; but this not being approved 
 of (probably because they felt the 
 difference between presenting a series 
 of works to the country, in a public 
 building, being the property of the 
 public, and giving away, for a begging 
 and uncertain remuneration, a simi- 
 lar suite to a private society,) they 
 declined the proposal ; which much 
 mortified the mind of Barry, who 
 burned to exhibit himself before that 
 public whose taste and genius he 
 had defended by his pen, in a large 
 and grand work of his pencil. Barry 
 possessed an ardent, an inquiring, a 
 philosophical, and a patriotic mind, 
 und was disgusted at the false philo- 
 sophy and partial criticism of the 
 Abbe Wincleman's endeavours to 
 prove that the English arc incapable 
 of attaining any great excellence in 
 nrt, both from their natural defi- 
 ciency in geuius, as also from the 
 
 unfavourable temperature of their 
 native climate ; he therefore took up 
 the pen in defence of his country, 
 and in his " Enquiry into the real 
 and imaginary Obstruction to the 
 Acquisition of Arts in England, by 
 James Barry, Royal Academician, 
 and Member of the Clementine 
 Academy at Bologna. London, T. 
 Becket, 17 75,"' as well by the 
 exertion of his pencil, he combated 
 with vigour und success the abbe's 
 futile remarks. In about three 
 years after this unsuccessful proposal, 
 Barry offered the society, through 
 the means of Mr. Valentine Green, 
 the celebrated mezzotiuto scrajer, 
 and Keeper of the British Institu- 
 tion, to paint a series of picture* 
 for their great room on condition 
 the society provided him with can- 
 vasj colours, and models, proper to 
 carry it into execution. Thisliber.il 
 and disinterested offer (for it should 
 be considered that Barry was too 
 poor to buy even those trivial aj>- 
 peiulages to the work, although his 
 Creator had blessed him with the 
 mind, the hand, and the enthusiasm 
 of a painter), the society accepted. 
 He therefore began the work, and, 
 unassisted, he alone finished the 
 whole nearly as they now stand, in 
 about three years. At the comple- 
 tion of this noble work, an extraor- 
 dinary meeting of the society was 
 held, to view the pictures ; and they 
 published in the newspapers their 
 resolutions, " That the series of pic- 
 tures illustrating in their design the 
 Progress of Human Knowledge, and 
 the Advancement of useful and cle- 
 g-ant Arts, from a very early period 
 to the present, is a work of great 
 execution and classical information, 
 and must be deemed a national ornn- 
 ment, as well as a monument of the 
 talents and ingenuity of the artist." 
 The society therefore desirous of 
 giving the rnobt ample testimony of
 
 his abilities, unanimously voted him 
 their thanks, and j>ennitted the pic- 
 tures to be publicly exhibited for his 
 benefit, by which he obtained the 
 sum of 503/. '2s. Vide, A Letter 
 to the Honourable the President, 
 Vice Presidents, and the rest of the 
 Noblemen and Gentlemen of the 
 Society for the Encouragement of. 
 Arts, Manufactures, and Commerce, i 
 John-street, Adelphi, by James 
 Barry, R.A. Professor of Painting 
 to the Royal Academy. London, \ 
 printed for "the Author," 1693. Dr. j 
 Johnson also observes, " there is a 
 grasp of mind there you will find no 
 where else." During the time of I 
 this exhibition, he published an ac- 
 count of the pictures, in an octavo j 
 pamphlet, which was sold in the I 
 room, and of which a number of | 
 them bound now lie for reference on 
 the tables ; the title is, " An Ac- 
 count of a Series of Pictures in the 
 Great Room of the Society of Arts, 
 Manufactures, and Commerce, at the 
 Adelphi ; by James Barry, R.A., 
 Professor of Painting to the Royal 
 Academy, London, Cadell, I. Wal- 
 ter, 1783." At the same time he 
 offered proposals for engraving and 
 publishing by subscription, a set of 
 prints from these pictures ; and in 
 his usual independent method, he 
 boldly undertook and completed the 
 work without any assistance, even to 
 the writing and printing on copper, 
 and finished them about the year 
 1793. The print of Elysium some- 
 what differs from the picture, which 
 he explained in his letter to the 
 Society of Arts, &c. in the Adelphi. 
 During the period in which he was 
 engaged in this great work, Mr. 
 Penny, then Professor of Painting 
 in the Royal Academy, resigned his 
 chair, and Barry, who was made 
 Academician in 1777, was elected 
 to the situation in 1782, and in the 
 intermediate time painted two pic- 
 
 tures for Boydell's Shakspeare Gal- 
 lery ; but the length of time he took 
 in preparing his lectures, the first 
 being given in 1784, occasioned a 
 dispute between him and Sir Joshua 
 Reynolds, which afterwards, with 
 other causes, as disputes with the 
 members, a natural turbulent dispo- 
 sition, and intemperance in his lan- 
 guage, particularly in his lectures, 
 led to his removal from the office ef 
 Professor of Painting, and his expul- 
 sion from the Academy, which was 
 communicated to him in a letter 
 dated April 24, 1799. A short 
 time before this event he published 
 a letter to the Dilletante Society, 
 on improvement of taste, and for 
 accomplishing the original views of 
 the Royal Academy of Great Bri- 
 tain ; and a little while after produced 
 a second edition, with an appendix 
 relative to that unpleasant event. 
 His next and last literary work was 
 a letter and petition, addressed to 
 his Majesty, and published in the 
 Morning Herald, Dec. 3, 1799. In 
 1805 some friends of Barry, par- 
 ticularly the generous earl of Buchau, 
 supposing his circumstances uneasy, 
 procured a subscription in the Society 
 of Arts, for an annuity for his life, 
 which was quickly raised ; but he 
 ilid not live to receive even the first 
 payment of it. The last illness of 
 this great artist was short, he was 
 taken ill at a tavern where he 
 usually dined, and was taken to the 
 house of the late Mr. Bonomi, the 
 architect, where he languished fifteen 
 days, and expired on the 22nd of Feb. 
 1806. After his death the body 
 was laid in state in the great room 
 at the Adelphi, which is surrounded 
 by his grand series of pictures ; it 
 may be truly applied to him as to 
 another great and neglected man, 
 (Sir Christopher Wren), " Si Monu- 
 mcntnm rcquiris, circumspice." His 
 remains were interred in a vault in
 
 the substructure of St. Paul's Cathe- 
 dral, near those of Sir Christopher 
 Wren and Sir Joshua Reynolds, ! 
 covered with a flat stone, with the | 
 following inscription : 
 
 The 
 Great Historical Painter, 
 
 JAMES BARRY, 
 
 Died 2-2 February, 180G, 
 
 Aged Co. 
 
 The funeral was attended from 
 the Society's rooms to the Cathedral 
 by the following gentlemen : Dr. 
 Fryer and Dr. Coom be, chief mourn- 
 ers; Sir Robert Peel, Bart., Richard 
 Clark, Esq. Chamberlain of London, 
 and one of the Vice-Presidents of the 
 Society ; General Watson, Caleb 
 Whiteford, Esq., Dr. Powel ; also 
 a Vice-President, and Dr. Taylor, 
 Secretary to the Society, as pall- 
 bearers. 
 
 The principal works of this great 
 artist, in addition to the before-men- 
 tioned literary productions, are an 
 edition of Pilkington's Dictionary Of 
 Painters. His great pictures arc in 
 the great room at the A del phi, which 
 lie terms a series of pictures on the 
 Human Culture, the first of which is 
 the Story of Orpheus ; the second, a 
 Harvest Home, or Thanksgiving to 
 Ceres and Bacchus ; the third, The 
 Victors at Olympia ; the fourth, 
 Navigation, or the Triumph of the 
 Thames; the fifth, The Distribution 
 of Premium! in the Society of Arts; 
 and the sixth, The Elysium, or the 
 State of final Retribution; making 
 three of the subjects poetical, the 
 other historical. The Elysium, and 
 Victors atOlympia are forty-two feet 
 in length ; the other four, fifteen feet 
 six inches long, and their heights 
 equal, eleven feet six inches. These 
 pictures are best illustrated in the 
 author's own words, in a descriptive 
 pamphlet published by him, to which 
 
 the reader is referred, and to a view 
 of them without which it is impos- 
 sible to conceive their grandeur of 
 conception. His other best works 
 are, Job reproved by his Friends,, 
 engraved by himself, and dedicated 
 to Mr. Burke ; The Conversion of 
 Palemon, dedicated to Mr. Fox ; an 
 engraving from the Jonah of Michael 
 Angelo, dedicated to the late Duke 
 of Bridgewater ; King Lear, for the 
 Shakspeare Gallery ; George III. 
 delivering the patent to the judges 
 of their office for life ; and the queen 
 and princesses patronising education 
 at Windsor ; both intended as addi- 
 tional paintings in the great room of 
 the Society of Arts, &c. Philoc- 
 tetes in the Isle of Lcmnos, engraved 
 by himself; and another plate by 
 Kasaspina, from his picture, executed 
 at Bologna in 1770, and presented to 
 the Clementine Academy, in that 
 city, for the honour of electing him 
 a member ; The Birtli of Venus ; 
 The head of the late Earl of Chat- 
 ham ; Jupiter and Juno, from his 
 own paintings ; Rise of America, and 
 ; Decline of Europe, etched by him- 
 j self; The Archangel triumphing over 
 i Satan ; Satan rising from the fiery 
 i Gulf, and hurling defiance at the 
 vault of Heaven ; Battle of Satan 
 and Death, Sin interfering ; Tempt- 
 ation of Adam ; Adam and Eve after 
 their fall ; Milton dictating to Al- 
 wood the qnaker; and many small 
 prints from the old masters ; heads, 
 j &c. besides his scries of characteris- 
 ! tie engravings from his great work* 
 | at the Society of Arts, before-men- 
 tioned. His Jupiter ami Juno have 
 been engraved by R. Smith, and his 
 ; Venus by Valentine Green. 
 
 We cannot close our account of 
 I this most excellent artist, without 
 I presenting our readers with the fol- 
 lowing extract from one of his letters 
 ! to his admirable friends the Burkes ; 
 ! it is so strongly characteristic of his
 
 lofty mind, that it should be read 
 and remembered by all who would 
 reach a high degree of perfection in 
 art. 
 
 " From Rome, in 1 769 or 70. 
 
 " Oh ! I could be happy on my 
 going home, to find some corner 
 where I could sit down in the middle 
 of my studies, books, and casts after 
 the antique, to paint this work, (the 
 Pandora) and others, where I might 
 have models of nature when neces- 
 sary, bread and soup, and a coat to 
 cover me, I should not care what 
 became of my work when it was 
 done ; but I reflect with horror upon 
 such a fellow as I am, and with such 
 a kind of art in London, with house- 
 rent to pay, duns to follow me, and 
 employers to look for. Had I studied 
 art in another manner, (meaning 
 more accommodated to the low state 
 of taste then in England,) there 
 would be no dread of this, but Hus- 
 sey's fate is before me." Life of 
 Barry, London, Cadell and f)ai-ia, 
 180.9. Edwards, British Public 
 Characters, vol. 4, and European 
 Magazine. 
 
 BARTOLOZZI (Francesco). 
 This ingenious and celebrated de- 
 siirner and engraver was born at 
 Florence in 1730. He was in- 
 structed in drawing by Hugfort Fer- 
 retti, at Florence, and learned the 
 art of engraving from Joseph Wag- 
 ner at Venice. His first produc- 
 tions were some plates after Marco 
 Ricci, F. Zuccarelli, and others, en- 
 graved whilst lie was in the employ- 
 ment of Wagner. But the theatre 
 destined for the display of his talents 
 was England, where he arrived in 
 17<>4. Few artists have arrived at 
 such distinguished a rank in their 
 profession as M. Bartolozzi, and that 
 in every species of engraving. His 
 etchings in imitation of the drawings 
 of the most eminent painters, repre- 
 sent admirably the fire and spirit of 
 
 the originals, and he was not less 
 successful in the exquisitely finished 
 plates he has produced in the various 
 styles he practised. Indefatigable in 
 the exercise of his art, M. Bartolozzi 
 has left a prodigious number of 
 plates, and the only embarrassment 
 we experience is in selecting as co- 
 pious a list of his works as our limits 
 will permit, without omitting many 
 objects truly worthy of notice. 
 Strutfs History of Engravers. 
 
 PLATES WITHOUT THE NAME OF THF 
 PAINTER. 
 
 Abraham and the Angels. 
 The Miracle of the Manna. 
 Job abandoned by his Friends: 
 Charity, an oval, inscribed ipse fecit. 
 The Origin of Painting, 1787. 
 The Virgin and Infant ; circular. 
 
 PLATES AFTER. VARIOUS MASTERS. 
 
 St. Francis of Sales triumphing over 
 Heresy. 
 
 Rebecca hiding the Idols of her Fa- 
 ther. 
 
 Laocoon attacked by the Serpents. 
 
 St. Luke painting the portrait of the 
 Virgin. 
 
 The Bust of Michael Angelo. 
 
 Portrait of Annibalc C'aracci. 
 
 Roland and Olympia. 
 
 Clytic ; circular. 
 
 The Adultress before Christ. 
 
 Prometheus devoured by the Vul- 
 ture. 
 
 The parting of Achilles and Briseis. 
 
 Hector taking leave of Andromache. 
 
 Briseis restored to her Father. 
 
 The Death of Dido. 
 
 Jupiter and Juno on Mount Ida. 
 
 Venus presenting the Cestus to Juno. 
 
 Venus attired by the Graces. 
 
 Tancred and Herminia. 
 
 Tancrcd and Clorinde. 
 
 Shakspeare crowned by Immortality. 
 
 The Virgin and Infant. 
 
 Socrates in Prison. 
 
 Penelope lamenting Ulysses.
 
 36 
 
 Tclemachns and Mentor in the Isle son of the preceding, who was origi- 
 
 of Calypso nally educated a physician, but left 
 
 Paulus jEmilius educating his chil- ' it for the profession of a painter, in 
 
 dren. 
 
 Coriolanus appeased by his family. 
 
 The Interview of Edgar and Elfrida. 
 
 King John ratifying Magna Charta. 
 
 The Portrait of Carlo Cignani. 
 
 The Portrait of Pietro de Cortona. 
 
 Cornelia, the Mother of the Gracchi. 
 
 Man 7 , Queen of Scots, and her Son. 
 
 A collection of Gems, designed by 
 various artists, engraved by 
 Bartolozzi. 
 
 A set of eight subjects. 
 
 A set of thirteen plates. 
 
 Twenty-three plates, making a part 
 of eighty-one, in the King's col- 
 lection. 
 
 A set of Portraits of illustrious Per- 
 sons of the time of Henry VIII. 
 
 Two Portraits of Henry and Chailes 
 Brandon, sons of the Duke of 
 Suffolk, after two miniatures, 
 by Holbein, executed in colours, 
 very fine. 
 
 A set of six plates, in the King's col- 
 lection, in imitation of the 
 drawings. 
 
 A large Plate of the Death of 
 Lord Chatham. 
 
 Strutfs Engravers. 
 
 BAS (Le), an eminent French 
 cngmver, who died about 1765. His 
 principal forte was engraving land- 
 scapes and sea pieces, in which he 
 
 was very eminent Nouv. Diet. 
 
 Hist. 
 
 BASSANO (Giacomo), an Italian 
 landscape painter, born at Venice in 
 1510, and died in 15.02, aged 82. 
 He was esteemed an artist of great 
 talents, and his pictures are held in 
 much estimation. De Piles. 
 
 BASSANO (Francesco), son of 
 the above, and also an eminent artist ; 
 but who unfortunately died" by his 
 own hands. De Piles. 
 
 BASSANO (Jerome), another 
 
 which he distinguished himself. 
 De Piles. 
 
 BASSANO (Giovanni Battista), 
 also a son of the preceding, who imi- 
 tated the manner of his father 
 
 De Piles. 
 
 BASSANO (Leandro Cavalier), 
 another son of Giacomo, who became 
 eminent in art, and received the 
 honour of knighthood De Piles. 
 
 BATTON1 (Pompeo), an histo- 
 rical and portrait painter, of the Flo- 
 rentine school, born in 1702, and 
 died in 1787, aged 85. His works 
 are in much estimation, and are well 
 known throughout Europe ; he pro- 
 cured bv them both fame and riches ; 
 the emperor Joseph presented him 
 with a patent of nobility. One of 
 his most admired pictures is that of 
 Simon, the Magician, con tending with 
 Saint Peter. Pilk. 
 
 BAUR (John William), a painter 
 and engraver, born at Strasburg in 
 1610, and died in 1640, aged 30. 
 This artist was at first a disciple of 
 Frederick Brendel, he afterwards 
 went to Rome, and other cities of 
 Italy, where applying himself to ar- 
 chitecture, he decorated his land- 
 scapes with buildings, and painted 
 much after the rich views of Fres- 
 cati and Tivoli. His best work in 
 engraving is a series of designs from 
 the Metamorphoses of Ovid, which 
 he etched from his own designs. 
 De Pilrs, Pilk. 
 
 BEALE (Mary), an English por- 
 trait painter, born in Suffolk, 1632, 
 and died in 1697, aged 65. This 
 lady was the daughter of the Rev. 
 Mr. Cradock, minister of Walton- 
 upon-Thames, and received instruc- 
 tion in the art of painting from Sir 
 Peter Lely, whose works, and those 
 of Vandyck, she studied with much 
 precision and care. Her style was
 
 37 
 
 formed on the best models of the 
 Italian school, and her colouring was 
 clear, strong, and natural. She was 
 amiable in her manners, assiduous 
 in her profession, and had a poetical 
 mind, which evinced itself in a para- 
 phrase of some of the Psalms of Da- 
 vid ; her husband was also an artist, 
 as well as two of her sons, but of 
 whom not sufficient is known to 
 make separate articles. Biog. Brit., 
 Walpole, Pilk. 
 
 BEAU LIEU (Sebastian Pontaulet 
 De), a celebrated French military 
 architect and engineer, who died j 
 about 1674. This gentleman was ! 
 also a field marshal under Louis j 
 XIV. He published plans, views, 
 and details of all the sieges, battles, ! 
 &c., of that monarch, to which he ! 
 
 annexed lectures on the art Nouv. 
 
 Diet. Hist. 
 
 BECCAFUMI (Dominico), an 
 historical painter, born at Sienna in 
 1484, and died in 1549, aged 65.; 
 After perceiving that sufficient im- | 
 provement in the art was not to be 
 obtained at his native place, he went 
 to Rome, and eagerly studied the ' 
 works of Raphael and Michel Angelo 
 Buonarotti ; from which he received 
 such benefit as made him much ad- 
 mired, and procured him a great 
 name. His principal works are in j 
 oil, distemper, and fresco ; his inven- | 
 tion was ready, his drawing correct, j 
 his expression good, and colouring 
 beautiful, but rather too red. Vasari 
 gives a detailed catalogue of his prin- 
 cipal works. Vasari, De Piles, 
 Pilk. 
 
 BECERRA (Caspar), a Spanish 
 sculptor and painter, born at Baiza, 
 in Andalusia, (time unknown,) and 
 died at Madrid in 1570. This artist 
 was a pupil of Raphael, whose works, 
 as well as "Michel Angelo's, he atten- 
 tively studied, and whose forms he 
 introduced to the Spanish school with 
 a suitable tone of colour. He also 
 
 painted well in fresco, and was reck- 
 oned eminent as a sculptor. His 
 chief work is a Statue of the Virgin, 
 made by order of his patroness, Isa- 
 bella de Valois Nouv. Diet. Hist., 
 Fuseli. 
 
 BECKET (Isaac), an English 
 engraver, born in Kent in 1653, and 
 died in 1719, aged 66. He was first 
 an apprentice to a calico printer ; but 
 getting acquainted with Vansomer, 
 he learned the process of executing 
 mezzotinto. Becket, having married 
 a woman of fortune, set up for him- 
 self, and Lutterel executed several 
 heads for him, being more expeditious 
 and drawing better than Becket, but 
 they were after finished by the latter. 
 One of Becket's best prints is a Lady 
 Williams, a whole length. 
 
 BEEK (David), aportrait painter, 
 born at Anihcim, in Guelderland, in 
 1621, and died in 1656, aged 35. 
 This artist was a pupil of Vandyck, 
 from whom he acquired that excel- 
 lent manner of pencilling and sweet- 
 ness of colouring, that distinguish 
 the works of Vandyck, and those of 
 his school. He possessed, besides, 
 that freedom of hand and readiness, 
 or rather rapidity, of execution, for 
 which Vandyck was so remarkably 
 famous ; and King Charles I. of 
 England, when he observed the ex- 
 peditious manner of Beck's painting, 
 was so exceedingly surprised, that he 
 told him it was his opinion he could 
 paint if he were riding post. He was 
 appointed portrait painter and cham- 
 berlain to Queen Chris tinaof Sweden, 
 and by her recommendation most of 
 the illustrious persons of Europe sat 
 to him for their pictures. He was 
 agreeable, handsome, and polite, and 
 lived in the highest favour with his 
 royal mistress ; but having an earnest 
 desire to visit his friends in Holland, 
 and leaving the court of Sweden 
 much against the queen's inclination, 
 she apprehended he intended nevjer
 
 38 
 
 to return ; and as he died shortly 
 after at the Hague, it was strongly 
 suspected he was poisoned. A very 
 singular adventure happened to this 
 painter as he travelled, which seems 
 not unworthy of being recited. He 
 was suddenly taken ill at the inn 
 where he lodged, and was laid out as 
 a corpse, seeming to all appearance 
 quite dead ; his valets expressed the 
 strongest marks of grief for the loss 
 of their master, and while they sat 
 beside his bed, they drank very freely 
 by way of consolation. At last one 
 of them grew quite intoxicated, and j 
 said to his companions " Our mas- : 
 tor was very fond of his glass while , 
 he was alive ; and out of gratitude, 
 let us give him a glass now he is 
 dead." As the rest of the servants ' 
 assented to the proposal, he raised 
 up the head of his master, and endea- | 
 voured to pour some of the liquor j 
 down his throat. By the fragrance j 
 of the wine, or probably by a small j 
 quantity of it, that imperceptibly got j 
 down his throat, Beek opened his 
 eyes; and the servant being exces- 
 sively drunk, and forgetting his 
 master was considered dead, com- 
 pelled him to swallow what wine 
 remained in the glass. The painter 
 gradually revived, and by proper 
 management and care recovered j>er- 
 fectly, arid escaped interment. How 
 highly the works of this master were 
 esteemed, may appear from the many 
 marks of distinction and honour 
 which were shown him ; for he re- 
 ceived from different princes, as an 
 acknowledgment of his singular 
 mcrit, nine gold chains, and several 
 medals of pold, of a large site. 
 Pilk., Hoiib., Moreri. 
 
 BEGA (Cornelius), a Dutch 
 painter of landscapes, cattle, conver- 
 sations, &c., born at Haerlem in 
 1620, and died of the plague in 
 1604, aged 44. He was a disciple 
 of Adrian Ostade, whose manner he 
 
 adopted with success, although he 
 never equalled him. He had a fine 
 pencil, a transparent colour, and his 
 works are held in high esteem. 
 Houb., Pilk. 
 
 BEGEGYN (Abraham), a land- 
 scape painter, bom in Holland about 
 the year 1650. He was a painter of 
 considerable reputation in his day : 
 his instructor is not mentioned either 
 by Houbraken or Sandraart. His 
 abilities procured him an invitation 
 to the court of Prussia, where he 
 received the appointment of principal 
 painter to the king, and painted 
 many large pictures of architecture, 
 perspective, and landscapes, for the 
 grand saloon and galleries at Berlin. 
 Houb., Pilk. 
 
 BEHAM (Hans, or John), a dis- 
 tinguished German engraver, born at 
 Nuremburg in 1500. He received 
 his instructions from his brother, 
 Bartel Bcham. He possessed con- 
 siderable genius, and a ready inven- 
 tion. His drawing of the figure is 
 generally correct ; and the airs of his 
 heads and turns of his fingers, though 
 rather Gothic, have great merit. His 
 copperplates are executed entirely 
 with the graver, in an uncommonly 
 neat and delicate manner ; and his 
 wooden cuts are remarkably free and 
 spirited. His works on copper are 
 very numerous. Sandraart. 
 
 BEICII, or BELSCH (Joachim), 
 a painter of landscapes and battle 
 pieces, born at Ravensburgh, in 
 Swabia, in 1665, and died in 1748, 
 aged 83. He was the son of an 
 eminent amateur painter, who taught 
 him the first rudiments of his art ; 
 by assiduity and attention lie became 
 a good artist, and was employed at 
 the court of Munich, to paint the 
 battles which the Elector Maximilian 
 Km:, nut 1 had fought in Hungary. 
 During the absence of the elector, 
 Beich took the opportunity of visiting 
 Italy. His first manner, before visit-
 
 39 
 
 ing Italy, was natural, but sombrous ; 
 bis second or best style, after his 
 return, clear and more natural ; and 
 his last still clearer, but weak. His 
 scenes are agreeable and picturesque, 
 his touch light and spirited, and his 
 style of composition partaking of 
 those of Caspar Poussin, and Sal- 
 vator Rosa Nouv. Diet. Hist., 
 Pilk. 
 
 BELCAMP (John Van), a Dutch 
 painter (birth unknown), who died in 
 1653. His principal employ was, 
 after he came to England and had 
 acquired the elements of his art, in 
 copying paintings in the royal collec- 
 tion, which he executed with great 
 care and exactness. Houb. 
 
 BELIDOR (Bernard Forest De), 
 a celebrated architect, mathematician, 
 and engineer, born in Catalonia in 
 1695, and died in 1765, aged 70. 
 He was an engineer in the service of 
 France, Member of the Academies 
 of Sciences at Paris and Berlin, and 
 of the Royal Society of London. 
 Besides his several erections and 
 designs, he is well known, and best 
 in this country, by his excellent 
 Dictionnaire portatif de 1' Ingenieur; 
 his works on mathematics, hydraulics, 
 
 architecture, &c Nouv. Diet. 
 
 Hist. 
 
 BELL (William), an English por- 
 trait and historical painter, born in 
 the north of England about the year 
 1740, and died in or about the year 
 1800. He came to London about 
 the time of the first establishment of 
 the Royal Academy, and was one of 
 its earliest students: in 1771, he 
 obtained the gold medal of that aca- 
 demy, for a picture of Venus solicit- 
 ing Vulcan to forge Anns for her 
 Son. He was much patronised by 
 the late Lord Delaval, and exhibited, 
 at the Royal Academy's annual ex- 
 hibition, two views of his patron's 
 seat near Tynemouth, a mansion 
 built by Sir John Vanbrugh, where 
 
 there are several of his works. In 
 the latter part of his life he resided 
 at Newcastle-upon-Tyne, where he 
 died Edwards. 
 
 BELLE (Stephen De la), an Ita- 
 lian engraver, born at Florence iu 
 1610, and died in 1664, aged 54. 
 His works, which are numerous, and 
 after the best masters, are held in 
 much estimation. Nouv. Diet. 
 Hist. 
 
 BELLE (Alexis Simon), a French 
 portrait painter, born in 1674, and 
 died in 1734, aged 60. He was a 
 disciple of Francis de Troy ; and was 
 held in much estimation in his day. 
 He was employed by the king of 
 France, and several other sovereigns. 
 Ibid. 
 
 BELLEVOIS, a painter of sea- 
 pieces, whose works are well known 
 and much admired, although no par- 
 ticulars relative to his birth, edu- 
 cation, or country, are known. 
 Pilk. 
 
 BELLINI (Gentile), an historical 
 and portrait painter, born at Venice 
 in 1421, and died in 1501, aged 80. 
 He was the eldest son of Giacopo 
 Bellini, from whom he received in- 
 structions in the art of painting in 
 distemper, as well as in oil. He was 
 employed by the republic of Venice 
 to paint the principal pictures which 
 adorned the council-hall, and he also 
 executed many other fine works for 
 the principal people of Venice, which 
 procured him so high and general a 
 reputation, that Mahomet II., em- 
 peror of the Turks, wrote to the 
 republic, to request that they would 
 send him to Constantinople, that he 
 might employ his pencil for the gra- 
 tification of that court. Bellini 
 accordingly went, and painted many 
 excellent pieces ; among the rest 
 was the Decollation of St. John the 
 Baptist, who is revered as a pi eat 
 prophet by the Turks. Mahomet 
 admired the proportion and shadow-
 
 40 
 
 ing of the work ; but he remarkec 
 one defect in the execution of the 
 skin of the neck, from which the 
 head was separated. In order to 
 prove the truth of this observation 
 the royal monster sent for one of his 
 slaves, and ordered his head to be 
 struck off in the painter's presence, 
 This sight so shocked the less critica 
 feelings of the artist, that he coult 
 not be easy till he obtained his dis- 
 mission from such a den of despotism 
 and barbarity. This request was at 
 length granted, and Mahomet con- 
 ferred on him a gold chain, and 
 wrote to the senate in his favour, 
 which procured him a pension for 
 life, and the honourable distinction 
 of the order of St. Mark. On his 
 return to the more humane confines 
 of his native country, he lived upon 
 the pension liberally bestowed upon 
 him by the republic, till he attained 
 his eightieth year Pilk, fyc. 
 
 BELLINI (Giovanni), a portrait 
 and historical painter, and brother of 
 the preceding, born at Venice in 
 1422, and died in 1512, aged 90. 
 This artist assisted his brother in 
 painting the pictures in the council- 
 chamber at Venice, but much sur- 
 passed him in every branch of the 
 art, and is accounted the founder of 
 the Venetian school, by introducing 
 the practice of painting in oil, and 
 teaching his disciples to paint after 
 nature. Among the disciples of his 
 school are numbered the two cele- 
 brated painters Titian and Giorgione, 
 who brought the art of colouring to 
 its highest perfection, and from whom 
 Giovanni himself much improved his 
 latter style of colouring, by observing 
 the works of these eminent artists. 
 Ibid. 
 
 BELLOTTI (Pietro), a portrait 
 painter, born at Venice in 1 625, and 
 died in 1700, aged 75. He was a 
 pupil of Michel Forabosco, of that 
 city, from whom he learned the art 
 
 of colouring. He sometimes painted 
 historical subjects, but inferior to his 
 portraits, which were painted with 
 nature and precision. Pilk., Fus. 
 
 BELLI) CCI (Antonio), a portrait 
 and historical painter, born at Venice 
 in 1654. He was a pupil of Dome- 
 nico Difinico, and was afterwards 
 appointed principal painter to the 
 emperor Joseph, whose service he 
 left for that of the emperor Palatine. 
 Among his principal works is a Na- 
 tivity, in the church Delia Ascen- 
 cione, at Venice ; and the figures in 
 the works of Tempesta are fre- 
 quently by his hand. He died in 
 1721. Aid. 
 
 BENEFIALI (Marco Cav.), an 
 historical painter, born at Rome in 
 1684, and died in 1764. His prin- 
 cipal works are a Flagellation of 
 Christ, painted in competition with 
 Muratori, which Fuseli says coin- 
 bines Caracciesque forms and colours; 
 a St. Lorenzo, and St. Stephano, 
 which the same learned critic says 
 resembles the style of Domcnichino. 
 He was an artist of great talents, but 
 perversely unequal in his perform- 
 ances. Fus. 
 
 BENWELL (Mary), an English 
 portrait paintress. Her principal 
 works, which were in crayons, oil, 
 and miniature, were known to the 
 public in the Artist's and Royal Aca- 
 demy's Exhibitions from 1762 till 
 1783 Edwards. 
 
 BENWELL (J. H.), an English 
 painter in crayons and water-colours, 
 born in 1761, and died of a consumj>- 
 tion in 1785, aged 24. He received 
 liis first instructions in art from Mr. 
 Saunders, a portrait painter. Among 
 liis best productions are the Children 
 in the Wood, engraved by Sharp, 
 and a Venus and Cupid, in the pos- 
 session of Benjamin West, Esq. 
 P. R. A. Ibid. 
 
 BERCHET (Peter), a French 
 listorical painter, born in 1659, and
 
 41 
 
 died in 1720, aged 61. This artist 
 was a disciple of La Fosse, and was 
 afterwards employed in one of the 
 royal palaces in France. In 1681 
 he visited England, and painted 
 under Rambour, an architectural 
 painter. Among his best known 
 works are his Ascension, on the ceil- 
 ing of Trinity College chapel, Oxford, 
 which is in a good style ; the staircase 
 of the Duke of Schomberg, in Lon- 
 don ; the summer-house at Ranelagh ; 
 and several other works for the Eng- 
 lish nobility Oxford Guide, Pilk. 
 
 BERG (Nicholas Vander), a Fle- 
 mish engraver, supposed to be a na- 
 tive of Antwerp. He etched some 
 plates after Rubens, which ho marked 
 P. V. D. Berg ; among others, 
 The Portrait of Justus Lipsius ; and 
 the Portrait of a Devout Person, 
 with a Crucifix. Strutt. 
 
 BERGE (P. Vander), a Dutch 
 engraver, of no considerable cele- 
 brity. His principal work was a set 
 of plates for a folio volume of prints, 
 published at Amsterdam, entitled, 
 Thcatrum Hispanize, or views of the 
 towns, palaces, &c. of Spain. He 
 also engraved some portraits, one of 
 which is a Jew Rabbi, with a Hebrew 
 inscription. Sandraart. 
 
 BERGHEM (Nicholas), a cele- 
 brated Dutch landscape painter, born 
 at Haerlem in 1624, and died in 
 1683, aged 59. He was taught the 
 first principles of painting by his 
 father, Peter Van Haerlem, an artist 
 of mean abilities, whose subjects 
 were fish, confectionary, vases of 
 silver, and other objects of still life ; 
 but he afterwards had the good for- 
 tune to have some of the best masters 
 of that time for his instructors, and 
 successively was the disciple of 
 Grebber, Van Goyen, Majaart, Jan 
 Wils, and AVeeninx. He had an 
 easy expeditious manner of painting, 
 nd an inexpressible variety and 
 beauty in the choice of his laud- 
 
 | scapes, executing them with a sur- 
 prising degree of neatness and truth. 
 He possessed a clearness and strength 
 
 1 of judgment, with a wondcrful'power 
 and ease in expressing his ideas ; and 
 although his subjects were of the 
 
 i lower kind, yet his choice of nature 
 
 was judicious, and he gave to every 
 subject as much beauty and ele- 
 gance as it would admit ; the foliage 
 of his trees is exquisitely and freely 
 touched, his skies are clear, and his 
 clouds float lightly. The distin- 
 guishing characters of the pictures of 
 Bergheui are, the breadth and just 
 distribution of the lights ; the gran- 
 deur of his masses of light and sha- 
 dow ; the natural ease and simplicity 
 of the attitudes of his figures ; the 
 just proportion of his distances ; the 
 brilliancy and harmony of his colour- 
 ings ; the elegance of his composition, 
 and correctness of his drawing and 
 perspective. His works are numer- 
 ous and excellent ; they are eagerly 
 sought after by the best judges, and 
 fetch high prices. There are five fine 
 pictures of Berghem's in the collec- 
 tion of the late Duke of Sutherland, 
 mostly landscapes, and figures of 
 great merit ; and three of a large 
 size, one a brilliant view in the envi- 
 rons of Nice, in the Napoleon Mu- 
 seum. Pilk., Brittoris Catalogue 
 Raisonnee of the Cleveland-house 
 Gallery. 
 
 BERKHEYDEN (Job), a Dutch 
 landscape and portrait painter, born 
 at Haerlem in 1637, and died in 
 1698, aged 61. His works are 
 mostly beautiful picturesque scenes 
 on the banks of the Rhine, con- 
 versations, dances, &c., after the 
 manner of Teniers. Haul., Pilk. 
 
 BERKHEYDEN (Gerard), a 
 Dutch painter of landscapes, pic- 
 turesque views of churches, &c., 
 brother of the foregoing ; he was 
 born at Haerlem in 1645, and acci- 
 dentally drowned in a canal in 1693, 
 
 E2
 
 42 
 
 aged 48. His principal works, which 
 were much esteemed, were views of 
 palaces, churches, and other mag- 
 nificent structures Houb., Pilk. 
 
 BERNAERT (Nicasius), a pain- 
 ter of animals, born in 1593, and 
 died in 1663, aged 70. He was a 
 pupil of Snyders, whose style he 
 imitated with success, and was not 
 much inferior to that eminent pain- 
 ter. Pilk. 
 
 BERNARD (of Brussels), a 
 painter of animals, hunting pieces, 
 and portraits (birth unknown), and 
 died 1540. He was patronised and 
 much employed by Margaret, Go- 
 verness of the Netherlands, and 
 afterwards by Charles V., for whom 
 he painted several hunting pieces, 
 containing portraits of that emperor 
 and his court. Sandraart, Pilk., 
 Nouv. Diet. Hist. 
 
 BERNARD (Samuel), a French 
 painter and engraver (birth un- 
 known), and died in 1687. He 
 was a professor in the Royal Aca- 
 demy of Painting at Paris. He 
 painted miniatures in a fine style, 
 and some historical pieces, and en- 
 graved a fine print after the painting 
 of Attila, by Raphael, in the Va- 
 tican Nouv. Diet. Hist. 
 
 BERN ARD (Theodore), a Dutch 
 painter, born at Amsterdam. He 
 afterwards came to England, where 
 he painted the two large historical 
 pictures in Chichester cathedral, 
 representing Henry VIII. granting 
 some immunities toSherburn, bishop 
 of that diocese, and the ceremony 
 of removing these from Sclsea to 
 Chichester by Edward ; the series 
 of Kings of England, down to 
 Henry VIII., which are continued 
 to George II. by other hands; and 
 the series of Bishops of Chichester 
 in that cathedral. 
 
 BERNARD (Solomon, or Little 
 Bernard), a French engraver, born 
 at Lyons in 1512. He acquired the 
 
 name of Little Bernard, according to 
 Sandraart, from his diminutive size, 
 but with more probability, it was 
 ^iven him on account of the small 
 size of his prints. He executed 
 a number of wooden cuts for the 
 booksellers, which are well designed, 
 and cut with great spirit and neat- 
 ness. His best prints are those he 
 executed for the Bible, which was 
 published at Lyons, at different 
 times, from 1550 to 1580 San- 
 draart. 
 
 BERNARDI (Giovanni), an en- 
 graver and architect, died in 1555. 
 Moreri. 
 
 BERN ASCHI (Giovanni Battista, 
 Cav.), an Italian historical painter, 
 born at Piedmont in 1634, and died 
 in 1688, aged 54. He studied at 
 Rome under Pietro del Po, or Lan- 
 franc. He was an excellent artist, 
 and excelled in foreshortening ; his 
 design was correct, and his inven- 
 tion fruitful and lively. His works 
 are numerous in the cupola ceilings 
 of Naples. Mr. Methuen has a fino 
 example of Bernaschi's " Flight into 
 Egypt." Pilk., Brittoris Cors- 
 iiiini house Guide. 
 
 BERNAZZANO, an Italian pain- 
 ter of landscapes, animals, and fruit. 
 He was born at Milan, and flourished 
 about the year 1536. He was es- 
 teemed an elegant colourist, but as 
 he did not excel in figures, he was 
 generally associated with Cesare da 
 Scsto, who had been a disciple of 
 Leonardo da Vinci. Nouv. Diet. 
 Hist., Pilk. 
 
 BERNINI (Giovanni Lorenzo), 
 a sculptor and architect, born at 
 Naples in 1598, and died in 1680, 
 aged 82. He received the rudi- 
 ments of his art from his father, a 
 Florentine painter and sculptor, and 
 went with him to Rome to prose- 
 cute his studies. He appears to 
 have been designed by nature for a 
 sculptor, for when he was only ten
 
 43 
 
 years of age, he executed a head in 
 marble, of considerable merit ; and 
 when seventeen, he had ornamented 
 Rome with several of his works, of 
 which the most distinguished is a 
 group of Apollo and Daphne. Gre- 
 gory XV. created him a Knight of 
 the Order of Christ; and Urban 
 VIII. employed him in considerable 
 works, which have immortalised 
 both their names. The versatility 
 of his powers embraced the arts of 
 painting, sculpture, and architecture. 
 He executed the baldachin, or great 
 altar of St. Peter's, in bronze and 
 gilt, which is placed under the centre 
 of the dome ; and the four large 
 r niches under the pendatives, which 
 he ornamented with colossal statues. 
 lie built several palaces and public 
 buildings in Rome, and ornamented 
 some of its palaces with fountains, 
 without neglecting the general di- 
 rection of the works at St. Peter's, 
 which were intrusted to him. This 
 artist refused appointments of 60,000 
 livres, which were offered to him by 
 Cardinal Mazarine, to settle in 
 France. The great Colbert made 
 many pressing solicitations to him 
 on the part of Louis XIV. to direct 
 the works of the Louvre ; and ex- 
 traordinary honours were paid him 
 when lie at last consented, having 
 obtained, with much difficulty, per- 
 mission from the Pope. He was 
 received at every stage of his jour- 
 ney with all the honours that could 
 have been paid a prince. He re- 
 mained eight months in France, and 
 executed a bust of Louis XIV., but 
 his plans for the Louvre were not 
 executed. He returned to Rome 
 loaded with considerable pensions 
 and presents for himself and his 
 son, where he died, full of years, 
 riches, and honours. Among the 
 principal of his other works, was an 
 equestrian statue in marble of Cur- 
 tius, which he sent to Louis XIV. 
 
 as an acknowledgment of gratitude* 
 and which was placed by that mo- 
 narch at Versailles. Clement IX. 
 was a no less zealous patron of Ber- 
 nini than his predecessors, and em- 
 ployed him in decorating the bridge 
 of St. Angelo, at Rome. In the 
 earlier part of his life he built, 
 by order of Innocent X., the 
 foundation of the Piazza Navona, 
 which has a very fine Neptune, 
 several Triton?, &c. By Alexander 
 VII. the celebrated colonnade of St. 
 Peter ; the magnificent tribunal at 
 the bottom of the church ; the grand 
 staircase of the Vatican ; and a great 
 number of mausoleums, figures, and 
 busts, for foreign courts as well as 
 Rome. His last work was a colossal 
 half-length of Christ, which he be- 
 queathed to Christina, Queen of 
 Sweden. He also executed a bust 
 of Charles I. of England, from, 
 sketches in profile and portraits, by 
 Vandyck; and he is said to have 
 observed, on viewing it, that it was 
 the most unfortunate face he had 
 ever beheld. Bernini had also some 
 skill in painting, and some of his 
 pictures were formerly in the Flo- 
 rentine collection. The principal 
 theatre of Bernini's genius was 
 Rome, where, among others, some 
 of which are before mentioned, he 
 executed the following works : A 
 fine basso-relievo in the portico of 
 the church of St. Peter, representing 
 Christ saying to Peter, " Feed my 
 Sheep ;" the great altar at the 
 end of St. Peter's, containing four 
 immense statues in bronze of St. 
 Chrysostom, St. Athanasius, St. 
 Augustin, and St. Ambrose, which 
 were cast in bronze by Giovanni 
 Piscina, from Bernini's designs ; 
 some fine statues in the church of 
 St. Francesco ; the sumptuous cha- 
 pel in the church of S. Maria della 
 Vittoria, dedicated to S. Teresa, 
 with a fine statue in marble of the
 
 44 
 
 HER 
 
 Saint ; sonic statues in the chapel 
 of the B. V. M. di Loretto ; the 
 church and grand altar of St. Bi- 
 biano. Ho built great part of the 
 church of Anastatia ; a beautiful 
 canopy over the statue of the Vir- 
 gin Mary, in the church of S. Au- 
 jjostino ; the principal front of the 
 Barberini palace ; some additions to 
 the Pontifical palace of Monte Ca- 
 vallo ; the celebrated Chigi palace, 
 built for the Cardinal Flavio Chigi, 
 the nephew of Pope Alexander VII. ; 
 the Collegio Urban o di propaganda 
 Fide ; a noble fountain near the 
 Piazza di Spagna ; part of the church 
 of St. Andrea del Noviziato ; and 
 many other architectural and sculp- 
 tural ornaments of Rome. D'Ar- 
 genville, Galtrie Historique, L)c- 
 scrizione di Roma Moderna. 
 
 BERRETINI (Pietro), better 
 known by the name of PIETRO 
 DA CORTONA, from the place of 
 his nativity), a celebrated historical 
 and landscape painter, bom at Cor- 
 tona in 1596, and died in 1669, 
 aged 73. He was, according to 
 some authors, successively the dis- 
 ciple of Andrea Commodi, and Bac- 
 cio Ciarpi. He went to Rome when 
 young, and attentively studied the 
 antique, the works of Raffaelle, 
 Buonarotti, and other eminent artists. 
 He worked with considerable ease, 
 grouped and distributed his figures 
 with effect and elegance ; his chiaro- 
 oscuro is judicious and well managed, 
 and where he introduced landscape 
 it was in a very superior style. 
 Among the best works of this artist 
 are, The Rape of the Sabines, and 
 the Battles of Alexander the Great, 
 which he painted in the Palazzo 
 Sacchetti, when very young; yet 
 for invention, disposition, elevation 
 of thought, and tone of colour, they 
 are thought, by many judicious 
 critics, to be equal to the perform- 
 ances of the best masters. He also 
 
 painted the altar-piece of Ananias 
 restoring the Sight of St. Paul, in 
 the church of the Concezione, at 
 Rome ; a Holy Trinity, in the third 
 chapel of the Vatican, and the design 
 for the mosaic paintings in the 
 cupola, which were executed by 
 Guido Urbalde Abbatini ; a picture 
 of a Pieta in the chapel of Urban 
 VIII. in the Vatican ; a St. Michael 
 Airhangelo in the same palace; a 
 St. Stephen, the protomartyr, in the 
 first chapel of the monastery of St. 
 Ambrozio della Massima, at Rome; 
 a picture on the altar of St. Carlo 
 alii Catinari, in the same city ; the 
 Miraculous Conception ; several 
 paintings in the cupola, ceilings, &c., 
 of the churches of St. Maria and St. 
 Grcgorio, in Vallicella ; the cele- 
 brated gallery, which he painted in 
 fresco, in the Palazzo Panih'lio ; 
 some cartoons and frescoes, which he 
 painted in competition with Andrea 
 Sacchi ; a Martyrdom of St. Lo- 
 renzo, in Miranda; a Martyrdom of 
 a Saint, in the church of St. Bibiana, 
 at Rome ; and many other cele- 
 brated pieces both in oil and fresco. 
 Among the best works of this artist 
 in England are, a Female Saint, 
 with Two Children, in the collection 
 of Corsham-house ; Tancred and 
 Ermiuia, from Tasso ; the Conti- 
 nence of Scipio, in the same collec- 
 tion ; and the Wise Men's Offering 
 to the Infant Christ, in the Cleve- 
 land Gallery Pilh.,Descrizionedi 
 
 Roma, Corsham-house Guide, Cle- 
 veland Griller?/ Catalogue. 
 
 BERRETONI (Nicolo), an emi- 
 nent historical painter, bom at Ma- 
 cerata in 1617, and died in 1682, 
 aged 65. He was a disciple of Carlo 
 Maratti, whom he nearly approached 
 in excellence. After leaving this 
 master, he adopted the style and 
 manner of Guido Reni Pilk. 
 
 BERTAUD (Maria Rosalie), a 
 French female engraver, born at
 
 45 
 
 Paris about 1760. She was in- 
 structed in the art by St. Aubin and 
 Choffard, and has engraved several 
 plates, the best of which are those 
 after the pictures of Vernet. 
 
 BERTIN (Nicolas), an histo- 
 rical painter, born at Paris, in 16G7, 
 and died in 1736, aged 69. He 
 was from his infancy strongly at- 
 tached to the art of painting, and 
 was so indefatigable in his studies, 
 that at the age of eighteen he ob- 
 tained the prize of merit from the 
 Academy, of which he afterwards 
 became a member. He was succes- 
 sively the disciple of Vernausel, 
 Jouvenet, and Boullogne, and after- 
 wards studied composition at Rome, 
 and colouring in Lombardy. One 
 of his best works was a Baptism of 
 the Eunuch of Queen Candace by 
 St. Pliilip. D'Argenville, Pilk., 
 Now. Diet. Hist. 
 
 BETTES (John), an English en- 
 graver, who flourished in the reign 
 of queen Elizabeth. He executed 
 some vineats (vignettes) for Hall's 
 Chronicle, about the year 1576. 
 
 BETTES (John and Thomas). 
 All that is mentioned of those two 
 brothers is, that they were excellent 
 painters in miniature. They were 
 patronised by queen Elizabeth, 
 whose portrait was executed in mi- 
 niature by John. 
 
 BETTINIf Dominico), an Italian 
 painter of still life, animals, and 
 fruit, born at Florence in 1664, and 
 died in 1705, aged 61. He was in- 
 structed in the art by Jacopo Vig- 
 nali, and afterwards studied at Rome 
 the works of Mario da Fiori, and 
 thereby arrived at great excellence ; 
 his works being skilfully arranged, 
 well grouped, and coloured with 
 truth. LFArgenoille, Pilk., Nouv. 
 Diet. Hint. 
 
 BEURS (William), a Dutch 
 painter of portraits, landscapes, and 
 llowcrs, born at Dort in 1656, 
 
 (death unknown.) He gave early 
 signs of proficiency in the art, and 
 was placed at the age of eighteen, 
 under Drillenburgh, whom he soon 
 surpassed. His works are deservedly 
 
 held in much estimation Houb., 
 
 Pilk. 
 
 BEZZI (Giovanni Francesco, 
 called MOSADELLA), an histo- 
 rical painter (birth unknown). He 
 was a pupil of Pellegrino Tibaldi, 
 whose traces he followed, but neg- 
 lected his principles ; exaggerated 
 Tibaldi's, and reduced his style to 
 practice and manner. He was a 
 prolific artist, but did not equal his 
 master in diligence of study. fus. 
 
 BIANCHI (Francisco), an his- 
 torical painter, born at Modena 
 (time unknown), and died, according 
 to Fuseli, in 1510, or, according to 
 De Piles, in 1520. Whatever de- 
 gree of merit he may have possessed 
 in his art, his having been the 
 master and instructor of Correggio is 
 sufficient to rescue his name from 
 oblivion De Piles, Fus. 
 
 BIANCHI (Pietro), an Italian 
 painter of history, landscapes, por- 
 traits, sea-pieces, and animals, born 
 at Rome in 1694, and died in 1739, 
 aged 45 Nouv. Diet. Hist. 
 
 BIARD (Pierre), a French sculp- 
 tor, born at Paris in 1559, and died 
 in 1C09, aged 50. Among other 
 excellent works of this artist, is the 
 
 equestrian statue of Henry IV 
 
 Nouv. Did. Hist. 
 
 BIBIENA (FerdinandoGalli),an 
 eminent painter and architect, bom 
 at Bologna, in 1657, and died in 
 1743, aged 86. He was employed 
 by the emperor of Germany and 
 the duke of Parma, to both of 
 whom he was appointed first painter ; 
 he also designed and executed 
 several magnificent structures, which 
 exhibit much taste. D'Argenville. 
 
 BICKAM (George), an English 
 engraver, who died about 1769. He
 
 46 
 
 executed two excellent heuds, one 
 of bishop Newton, and the other of 
 bishop Blackall. He likewise pub- 
 lished a folio sheet of six eminent 
 writing-masters, one of whom, George 
 Shelly, he engraved from the life, in 
 1 709, and many other works. 
 
 BIRAGUE (Clement), a gem 
 sculptor, born at Milan, and flourish- 
 ed about the year 1580. He is said 
 to have been the discoverer of the 
 art of cutting and engraving on dia- 
 monds ; and the first work he exe- 
 cuted of this kind was a portrait of 
 Don Carlos, Prince of Spain ; Bira- 
 gue was patronised by Philip II., in 
 whose court he mostly resided 
 Aforeri, Nouv. Diet. Hist. 
 
 BIRD (Edward), R. A. This 
 artist was born at Wolverhampton 
 in Warwickshire, in 1772, and died 
 in 1819, aged 47. His father put 
 him apprentice, at an early age, to a 
 maker of tea-trays, and it became 
 Bird's business to ornament and em- 
 bellish them ; which required not 
 only skill, but good taste, to finish. 
 He was soon distinguished above his 
 fellow workmen for the neatness 
 and beauty of his embellishments. 
 When Bird's indentures expired, 
 advantageous offers were made to 
 induce him to continue, but he re- 
 fused them all. Upon Bird's remo- 
 val to Bristol, he commenced a 
 drawing school. During the inter- 
 vals of instruction, he sketched, de- 
 signed, and painted, with all his 
 early ardour. He by and by 
 thought so well of his works that he 
 
 was induce 
 to his fine 
 Mr. Murpl 
 feeling, wl 
 that lie adv 
 
 1 to show some of them 
 ids, amongst others, to 
 y, an artist of taste and 
 o liked them so much 
 sed them to be exhibited. 
 
 To this B rd was averse for some 
 time, but he at last consented to 
 send two to the Bath exhibition. It 
 was necessary that a price should be 
 named ; the painter wrote down ten 
 
 guineas each ; his friend, with a 
 better sense of their merit, wrote 
 down thirty; and they found ready 
 purchasers. His sketch book, says 
 Mr. Murphy, was filled with sub- 
 jects fit to expand into paintings, 
 and contained scenes of all kinds, 
 serious and comic. They were 
 marked by an original spirit, and 
 showed a natural skill in grouping. 
 The Interior of a Volunteer's Cottage 
 was the subject of one of his works ; 
 and Clowns dancing in an Alehouse 
 another. Bird's first successful 
 work was called Good News. 
 This was followed by The Choris- 
 ters Rehearsing, and The Will ; 
 they received equal praise, and 
 found purchasers of high distinction. 
 His late Majesty bought the first ; 
 another was purchased by the 
 late Marquis of Hastings. The 
 Royal Academy soon afterwards en- 
 rolled Bird among their number. 
 His next work, says his biogra- 
 pher, was his most poetical, and de- 
 cidedly his best one. This is a 
 representation of the Field of Chevy 
 Chase on the day after the battle. 
 It is painted in the mournful spirit 
 with which the glorious old battle 
 concludes, and cannot well be looked 
 on without tears. Lady Percy is, 
 with perfect propriety, made a visiter 
 of the fatal field ; she appears in 
 deep agony beside the body of her 
 lord. This exquisite piece, which 
 should have been purchased by some 
 wealthy Douglas or Percy, was 
 bought for three hundred guineas, 
 by the Duke of Sutherland ; and the 
 late Sir Walter Scott acquired the 
 original sketch. On his return to 
 Bristol, after paying a visit to his 
 native place, he recommenced his 
 studies. He produced, in rapid suc- 
 cession, Good News ; The Black- 
 smith's Shop; The Country Auc- 
 tion ; the colouring of the whole 
 is mellow and harmonious. " He
 
 47 
 
 could," says one of his admirers, 
 " extract delight and joy out of any- 
 thing ; I mean personally, as well 
 as with his pencil. The Gipsey 
 Boy, The Young Recruit, 
 Meg Merrilies, Game at Put, 
 and various other paintings, are all 
 instances of his skill in adapting 
 living life to the purposes of art. 
 One of Bird's latest productions, 
 The Surrender of Calais, he pre- 
 sented to the princess Charlotte of 
 Wales, who had lately appointed 
 him her painter. 
 
 BIRD (Francis), an English 
 sculptor, born in 1697, and died in 
 1761, aged 64. He was sent to 
 Brussels at eleven years of age, 
 where he learned the rudiments of 
 his art from Cozins, who had been 
 in England. From Flanders he 
 went to Rome, and studied under 
 Le Gros. At nineteen years of age 
 lie returned, and first worked for 
 Gibbons, and then for C'ibber. He 
 took another short journey to Italy, 
 and at his return set up for himself. 
 The performance that raised his re- 
 putation, was the monument of Dr. 
 Busby. The latter had never per- 
 mitted his picture to be drawn : the 
 moment he was dead, his friends had 
 a cast in plaster taken of his face, 
 and thence a drawing in crayons, 
 from which White engraved his 
 print, and Bird carved his image. 
 The following are his principal 
 works : The Conversion of St. 
 Paul, in the ]>ediment of that cathe- 
 dral ; the bas-reliefs under the por- 
 tico ; the statue of Queen Anne, 
 and the four figures round the pe- 
 destal, before the same cathedral ; 
 the statue of Cardinal Wolsey, at 
 Christ-church ; the brazen figure of 
 Henry VI. at Eton-college ; a 
 magnificent monument in Fulham- 
 church, for the lord viscount Mor- 
 daunt ; and the sumptuous monu- 
 ment for the late duke of Newcastle, 
 
 in Westminster-abbey, which was 
 erected by the countess of Oxford, 
 his daughter. 
 
 BISCAINO (Bartolomeo), an 
 historical painter, born at Genoa in 
 1632, and died in 1657, aged 25. 
 He was instructed by his father, 
 from whom he learned the principles 
 of design ; and from Valerio Castelli 
 he acquired the knowledge of colour- 
 ing. His designs were of such ex- 
 cellence as to afford a promise of his 
 becoming one of the greatest pain- 
 ters of his country, but he died in 
 the flower of his age PiUt. 
 
 BISCHOP (John de), a Dutch 
 designer and engraver, born at the 
 Hague, in 1646. He was brought 
 up to the law ; and, according to 
 Houbraken, practised in the courts 
 of Holland. His favourite amuse- 
 ment was drawing, and his perform- 
 ance excited the admiration of 
 artists themselves. He excelled in 
 copying the pictures of the most 
 esteemed masters in small coloured 
 drawings, very well drawn, and 
 highly finished. As an engraver, he 
 is more deserving notice, and he has 
 left a great number of plates, princi- 
 pally etched, and harmonised with 
 the graver, in a free and pleasing 
 manner. There is great relief and 
 richness of effect in his prints. His 
 most important work was a set of 
 prints for a book, entitled Paradirj- 
 mata graphices variorum Artiphi- 
 cum, tabulis aeneis. The first 
 edition, published by the artist, con- 
 tains one hundred and two plates. 
 The second, published by Nic. Viss- 
 cher, the same year, contains one 
 hundred and thirteen plates. This 
 engraver, with a whimsical affecta- 
 tion, latinised his name, and assumed 
 that of Episcopus for Bischop, on 
 which account he marked his plates 
 with a cipher composed of the 
 letters I. B. Iloubruken. 
 
 BliSET (Charles Emanuel), an
 
 BIS 
 
 48 
 
 historical and conversation painter, 
 born at Mechlin in 1633, (death 
 unknown). His suhjects in general 
 were conversations, balls, concerts, 
 and assemblies of persons, which he 
 introduced in great numbers and 
 varieties Pilk. 
 
 BISI (Bona ventura), an histori- 
 cal and miniature painter, who 
 flourished about 1662. He was a 
 disciple of Lucio Massarra. His 
 principal works are miniature copies 
 of Guido, Correggio, Titian, and 
 other great masters, which he exe- 
 cuted with fidelity, neatness, and 
 beauty. A considerable number of 
 them are in the Grand Duke's 
 Gallery at Modena Ibid. 
 
 BIZELLI (Giovanni), an histo- 
 rical and portrait painter, born in 
 1556, and died in 1612, aged 56. 
 He was instructed by Bronzino, and 
 afterwards studied at Rome, but 
 never reached above mediocrity. 
 Ibid. 
 
 BLACK ( ), an English por- 
 trait paintress, who flourished about 
 the year 1760, and was a member 
 of the Academy in St. Martin's 
 Lane Edwards. 
 
 BLACK ( ), an English por- 
 trait paintress, in oils and crayons, 
 daughter of the preceding. She ac- 
 quired much reputation in teaching 
 painting in both the ways she prac- 
 tised, particularly among her sex. 
 Her name is not mentioned in the 
 exhibition catalogues after the year 
 1768. Ibitl. 
 
 BLACKBOURN (William), an 
 English architect, born in South- 
 wark in 1750. After serving a 
 clerkship with a surveyor, he was 
 admitted a student of the Royal 
 Academy ; in 1773, he obtained the 
 silver prize medal, for a drawing of 
 the inside of St. Stephen's Church, 
 Walbrook. In 1782, he obtained 
 the premium of one hundred gui- 
 neas for the best plan of peniten- 
 
 tiary houses, which occasioned him 
 to be employed in various parts of 
 the kingdom to erect prisons. He 
 died on a journey to Scotland, on 
 the same business, 1790. Gen. 
 Biog. Diet. 
 
 BLAKE (William), an English 
 painter, engraver, and poet, born in 
 1759, and died in 1827, aged 68. 
 This excellent but eccentric artist 
 was a pupil of Basire, and among 
 his earliest productions, were eight 
 beautiful plates in the Novelist 
 Magazine. In 1793, he published 
 in 12mo., The Gates of Paradise, 
 a small book for children, contain- 
 ing fifteen emblems ; also, Songs 
 of Experience, with plates; Ame- 
 rica, a Prophecy, folio ; and Eu- 
 rope, a Prophecy, 1794, folio. In 
 1797, he commenced, in large folio, 
 an edition of Young's Night 
 Thoughts, of which every page was 
 a design ; but only one number was 
 published. In 1805, were pro- 
 duced in 8vo. numbers, containing 
 five engravings by Blake, some 
 Ballads by Mr. Hayley, but which 
 also were abruptly discontinued. 
 Few persons of taste are unac- 
 quainted with the designs by Blake, 
 engraved by Schiavonetti, as illus- 
 trations to a 4to. edition of Blair's 
 Grave. They are twelve in num- 
 ber, and an excellent portrait of 
 Blake, engraved from a picture by 
 T. Philips, R. A., is prefixed : it 
 was bome forth into the world on 
 the warmest praises of all our pro- 
 minent artists ; and doubly assured 
 with a preface by the learned and 
 severe Fnseli. In 1809 was pub- 
 lished in 12mo., A Descriptive 
 Catalogue of (Sixteen) Pictures, 
 Poetical and Historical Inventions, 
 by Wm. Blake, in water colours, 
 being the ancient Method of Fresco 
 Painting restored, and Drawing for 
 Public Inspection, and for Sale by 
 Private Contract. Among these
 
 49 
 
 was a design of Chaucer's Pilgri- 
 anage to Canterbury, from which an 
 etching had been published. Blake's 
 last work was a set of engravings to 
 illustrate the Book of Job. To 
 Fuseli's testimonial of his merit, it 
 is sufficient to add, that he has been 
 employed by that truly admirable 
 judge of art, sir Thomas Lawrence ; 
 and that the pure minded Flaxman 
 pointed him out as a melancholy 
 instance of English apathy towards 
 the grand, the philosophic, or the 
 enthusiastically devotional painter. 
 Gen. Biog. Diet. 
 
 BLAKEY ( ), an English | 
 
 artist of some celebrity, who flou- | 
 rished about 1750. He resided ' 
 much in Paris, and is supposed to ! 
 have received his education as an 
 artist in th:it city ; he designed some 
 of the decorations to Pope^s Works, j 
 and to Jonas Hanway's Travels. 
 He also painted, in conjunction 
 with Hayman, some designs from ! 
 English history. Blakey did the 
 Landing of Julius Caesar, Vortigern 
 and Ilowena, and Alfred receiving 
 News of a Victory over the Danes ; 
 the rest were Hayman's. They 
 were published by subscription, by 
 J. and P. Knapton. Edwards. 
 
 BLANCHARD (Jaques), an his- 
 torical, portrait, and perspective pain- 
 ter, born at Paris, in 1 GOO, and died 
 in 1638, aged 38. He received the 
 first elements of painting from his 
 uncle, Nicholas Bolleri, and spend- 
 ing some time with Horace le Blanc, 
 at Lyons, he travelled to Italy, and 
 spent two years at Rome and Venice. 
 He studied the works of Titian and 
 Tintoretto, whose style of colouring 
 he entirely followed. The force 
 and clearness of his colouring, which 
 were then new to the French ar- 
 tists, procured him the flattering 
 appellation of the Modern Titian. 
 .One of his best works is a picture 
 of the Descent of the Holy Spirit 
 
 on the Apostles, in the church of 
 Notre Dame, at Paris. Du Fres- 
 not/, Pilk. 
 
 BLANCHET (Thomas), an his- 
 torical and portrait painter, born at 
 Paris in 1617, and died in 1689, 
 aged 7'2. He at first intended to 
 follow sculpture, but was dissuaded 
 from it on account of the weakness 
 of his constitution ; he therefore 
 applied himself to painting, and af- 
 ter studying some time at Paris, he 
 travelled to Italy, and studied at 
 Rome, under Nicolo Poussin and 
 Andrea Sacchi, and returned to 
 France an able artist. His manner 
 was good, his design correct, his 
 composition rich, and his colouring 
 excellent. He held the honourable 
 situation of Professor of Painting 
 in the Academy at Paris. Nouv. 
 Diet. Hist., Pilk. 
 
 BLANKHOF (John Teunisz), a 
 Dutch painter of landscapes and 
 sea-pieces, born at Alkmar, in 16'28, 
 and died in 1670, aged 42. He 
 was successively the disciple of Ar- 
 rent Tierling, Peter Scheyenburg, 
 and Caesar Van Everdingen. After 
 which he went to Rome, and studi- 
 ously copied and analysed the works 
 of the best masters ; he was admit- 
 ted into the Bentivoglio Society, and 
 received the name of John Maat, 
 by which name he is generally 
 known. His best works are views 
 of Italian sea-ports, with vessels ly- 
 ing before them, although he painted 
 landscapes with a light and free 
 pencil. Houbraken speaks highly 
 of a capital picture of BlankhoFs re- 
 presenting the waves retiring from 
 
 the shore at ebb tide Houb., 
 
 Pilk. 
 
 BLECK (Peter Van), a Flemish 
 engraver, who came to England 
 about the year 1730. He is sup- 
 posed to have been the son of 
 Richard Block, a painter of portraits. 
 He engraved several plates in mez-
 
 zotinto, which, without any superior 
 excellence, are clearly scraped, and 
 have considerable merit. 
 
 BLEKERS ( ), an historical 
 
 and portrait painter, born at Haer- 
 lem, about the year 1635, (death 
 unknown). He was held in high 
 estimation throughout the Nether- 
 lands, and was patronised by the 
 Prince of Orange, in whose employ- 
 ment he continued some years. 
 Among the principal paintings which 
 he executed for his patron, is a 
 Triumph of Beauty, in which the 
 figure of Venas was well coloured. 
 PUk. 
 
 BLESS (Henry), an historical 
 and landscape painter, born at Bo- 
 vines, near Dinant, in 1480, and died 
 in 1550, aged 70. He was a self- 
 taught painter, having no instructor 
 but the strength of his genius, as- 
 sisted by a study of the works of 
 Patenier. He acquired considerable 
 eminence ; painted in a delicate and 
 finished style, but was sometimes 
 guilty of the absurdity of repre- 
 senting two or three actions of the 
 same person in one picture. His 
 landscapes are much esteemed and 
 in high request ; and may be known, 
 as well as all his works, by the 
 mark of an owl being upon them. 
 His best works are in Vienna, being 
 purchased by the emperor Rodolph. 
 Ibid. 
 
 BLOCK (Daniel), a portrait pain- 
 ter, born at Stettin, in Pomcrania, 
 in 1580, and died in 1GG1, aged 81. 
 He was a disciple of Jacob Sclicrer, 
 under whose instructions he became 
 eminent in his profession. His prin- 
 cipal works arc portraits, which he 
 executed with fidelity of likeness, 
 agreeable colouring, and easy atti- 
 tudes. He was in the service of 
 the prince of Mecklenburg for forty 
 years, during which time he painted 
 the portraits of his whole family at 
 full length, as large as life. Chris- 
 
 tian IV., King of Denmark, and 
 Gustavus Adolphus, King of Swe- 
 den, also sat to him Pilk. 
 
 BLOCK (Benjamin), an histo- 
 rical and portrait painter, son of the 
 preceding, born at Lubcck, in 1631. 
 He received instructions from his 
 father, and the first specimen of his 
 abilities was a pen and ink drawing 
 of the Duke of Mecklenburgh, 
 which was equal to a fine engraving. 
 To improve his talents he for some 
 time resided at Rome, Venice, and 
 Florence ; where he became so ac- 
 complished an artist that he was 
 invited to the court of Saxony, and 
 employed to paint the portraits of 
 the Elector and his family, and all 
 the principal nobility in that part 
 of Germany. He likewise painted 
 several altar-pieces for the churches 
 and convents of the kingdom of 
 Hungary. His most admired por- 
 trait is that of Kircher the jesnit, 
 which was much celebrated even at 
 Rome Ibid. 
 
 BLOCK (Jacob Roger), an ar- 
 chitectural and perspective painter, 
 born at Gonda, where he learned 
 the art of painting. He passed 
 many years in Italy, where he im- 
 bibed that taste and elegance which 
 raised him above all his contempo- 
 raries. On his return to his native 
 country he was appointed principal 
 painter to the archduke Leopold, 
 and being skilful in military archi- 
 tecture, he attended that prince in 
 all his campaigns ; but was unfor- 
 tunately drowned in a rivulet 
 by falling from his horse, in 
 passing over a temporary wooden 
 bridge, on a reconnoitring party. 
 It was the opinion of Rubens, who 
 visited Block at Gonda, that he had 
 not seen any painter in the Nether- 
 lands equal to him Ibid. 
 
 BLOCKLAND (Antonio dc 
 Montford), an historical and por- 
 trait painter, born at Montford in
 
 51 
 
 1.53-2, and died in 1583, aged 51. 
 He was of a noble family, and ac- 
 quired his art in the school of Fran- 
 cis Floris, whose manner he always 
 followed. He understood perspec- 
 tive thoroughly, as is evident from 
 his works ; the disposition of his 
 figures are judicious, his colouring 
 agreeable, and his style grand and 
 imposing. His principal works were 
 at Delft and Utrecht. His manner 
 resembled Parmegiano's, and his 
 style that of the Florentine school. 
 Houb., Pilk. 
 
 BLOCKLAND (Peter), a pain- 
 ter of battles, markets, &c. and 
 brother to the foregoing Houb. 
 
 BLOCKLAND (Herbert), a por- 
 trait and conversation painter, and 
 brother of the preceding Houb. 
 
 BLOEMAERT (Abraham), a 
 Dutch painter of history, portrait, 
 landscape, and cattle, born at Gor- 
 cum, in 1567, and died in 1647, 
 aged 80. He received a few in- 
 structions in his youth from some 
 artists of no great repute, and stu- 
 died the works of Francis Floris. 
 His manner was peculiarly his own, 
 and nature was bis model ; his in- 
 vention was ready, his compositions 
 good, and his touch free and spi- 
 rited. His principal work was a 
 Death of Niobe and her Children, 
 which gained him much credit. It 
 was purchased by the Emperor Ro- 
 
 dolph Vies des Peintres, De 
 
 Piles, Pilk. 
 
 BLOEMAERT(Henry),a painter, 
 aud a son of Abraham Bloemaert. 
 He was instructed by his father, but 
 never equalled him ; his conceptions 
 were dull, his colouring disagreeable, 
 and altogether unworthy of the son 
 and disciple of such an artist as his 
 
 father Ibid. 
 
 BLOEMAERT (Adrian), an his- 
 torical painter, and second son of 
 the before-mentioned Abraham. He 
 also was a disciple of his father ; 
 
 upon finishing his studies under that 
 able instructor, he went to Italy, 
 and considerably improved himself. 
 On his return from Rome he settled 
 at Saltzburgh ; several of his per- 
 formances are at the Convent of 
 Benedictines in that city, by which 
 his reputation as a painter is firmly 
 established. Ibid. 
 
 BLOEMAERT (Cornelius). This 
 very eminent engraver was the 
 youngest son of Abraham Bloemaert, 
 born at Utrecht in 1603. He was 
 instructed by his father in the first 
 principles of design, and from a 
 natural inclination for engraving, he 
 devoted himself entirely to that art. 
 His first master was Crispin de 
 Passe, and it was not long before he 
 surpassed his instructor. In 1630, 
 he went to Paris, where he distin- 
 guished himself by some plates he 
 engraved for the Temple of the Muses. 
 From Paris he went to Rome, where 
 he fixed his residence, and where ho 
 lived the greatest part of his life. 
 This esteemed artist signalised him- 
 self not only by the beauty of his 
 graver, but by a talent, unknown 
 before him, of effecting an insensible 
 gradation from his lights to his 
 shadows, and introducing a delicate 
 variety of tints, in the different dis- 
 tances in his subject. Previous to 
 his time there was a great inattention 
 to harmony, by leaving the lights 
 indiscriminately clear, by which the 
 effect was rendered spotty and in- 
 congruous. By this essential im- 
 provement he has established his 
 claim to originality, and may be said 
 to have given birth to that admira- 
 ble style which was afterwards so 
 successfully followed by the great 
 engravers of the French school, 
 Audran, Baudet, Picart, and Poilly. 
 His works are universally admired : 
 they are numerous, and several of 
 them are become very scarce. De 
 Piles.
 
 52 
 
 BLOEMEN (Peter Van, called 
 Standard,) a Flemish painter, 
 born at Antwerp, about 1659. 
 The name of Standard was 
 given him by his countrymen at 
 Rome, from his painting sometimes 
 attacks of cavalry. After passing 
 some years in Italy, he returned to 
 Flanders with the studies he had 
 made from the objects worthy of 
 notice in the neighbourhood of Rome. 
 The pictures of this master repre- 
 sent battles, the march of caravans, 
 horses, fairs, &c., ingeniously com- 
 posed, with a number of figures, 
 horses and animals, extremely well 
 drawn, and painted with uncommon 
 freedom and spirit. He decorated 
 his landscapes with ruins of archi- 
 tecture and statues, from the studies 
 lie had made in Italy ; and his figures 
 are designed in a superior style to 
 the usual taste of his country. His 
 best works are universally admired. 
 Houbraken. 
 
 BLOEMEN (Norbert Van), a 
 Flemish painter, born at Antwerp in 
 1665. This painter was a younger 
 brother of the preceding. He painted 
 conversation and portraits ; but 
 dying young, did not arrive at any 
 considerable eminence in the art 
 Ibid. 
 
 BLONDEL ( Fran cjois), a French 
 architect and mathematician, born in 
 1618, and died, according to I)u 
 Fresnoy, in 1686, aged 68 ; or, .ac- 
 cording to d'Argenville, in 1680. 
 He obtained several distinguished 
 situations in the army and navy, 
 and instructed the dauphin in the 
 mathematics. He was a director in 
 the Academy of Architecture, and 
 member of the Academy of Sciences. 
 Besides some works on architecture, 
 he wrote the Art of Throwing Bombs; 
 History of the Roman Calendar; 
 and a New Method of Fortifying 
 Places. D'ArgenviMe, Du Fres- 
 noy. 
 
 BLONDEL (Jean Francois), a 
 French architect, and of the same 
 family with the preceding, born at 
 Rouen in 1705, and died in 1774, 
 aged 69. He became eminent in 
 his profession, and was elected pro- 
 fessor of architecture at Paris. His 
 works are, Cours d' Architecture, 6 
 vols. 8vo ; on the Decoration of 
 Edifices, 2 vols. 4to ; Discourse on 
 Architecture, in the Encyclopaedia. 
 Nouv. Hist. Diet. 
 
 BLOOT (Peter), a Flemish pain- 
 ter of conversations, who died about 
 1667. His favourite subjects were 
 taken from low life, such as boors 
 drinking, feasting, quarrelling, &c. 
 His defects are owing to the taste of 
 his time, and his merits for lightness 
 of touch, neatness of execution, and 
 transparency of colour, equal to the 
 best of his time. His works arc 
 highly esteemed Pilk. 
 
 BLOOTELING (Abraham), a 
 very eminent Dutch designer and 
 engraver, born at Amsterdam, in 
 1634. From the style of his etch- 
 ings it is not unlikely that he was 
 brought up under the Disschers. On 
 the inroad of the French into HoL. 
 land in J672, he came to England, 
 but did not reside here longer than 
 two or three years. This laborious 
 artist produced a great number of 
 etchings, some plates executed with 
 the graver, and several in mezzotinto. 
 In 1685 he published the collection 
 of gems of Leonardo Agostini, 
 etched by himself. Houbraken. 
 
 BLON (James Christopher le), a 
 French engraver, who died about 
 1 740. This artist was little known 
 in England as an engraver; but ho 
 discovered a method of giving colour 
 to mezzotinto, and perfected some 
 large pictures, which may be allowed 
 tolerable copies of the best masters. 
 He distributed them by a kind of 
 lottery, but the subscribers did not 
 find their prizes much valued. In
 
 53 
 
 1732 he published a treatise on 
 Ideal Beauty, or Le Beau Ideal, 
 dedicated to Lady \Valpole. It was 
 translated from the original French 
 of Lambert Hermansou. He after- 
 wards set up a project for copying the 
 Cartoons of Raphael in tapestry, and 
 made some' fine drawings for that 
 purpose. Houses were built, and 
 looms erected in the Mulberry- 
 gardens at Chelsea, but either the 
 expense was too great, or contribu- 
 tions did not arrive fast enough ; the 
 bubble burst, several suffered, and 
 Le Blon disappeared. 
 
 BOCCACI, or BOCCACCINO 
 (Camillo), an historical painter, 
 born at Cremona, in 1511, and died 
 in 1546, aged 35. He was a disci- 
 ple of his father, who was an indif- 
 ferent painter. He afterwards aban- 
 doned the hard manner of his in- 
 structor, and adopted a style of 
 colour of great suavity and strength. 
 His best works are the Four Evange- 
 lists, in the dome of St.Sigismondo, at 
 Cremona ; the figure of St. John is 
 bent upwards in contrast with the 
 arched vaults, with a boldness and j 
 truth of foreshortening, that emu- 
 lates the style of Correggio 
 Vasari, Pilk. 
 
 BOCCIAKDO, orBOCCIARDI 
 (Clemente), an historical and por- 
 trait painter, born in Genoa, in 16'20, 
 and died in 1658, aged 38; called 
 from his great size Clementone ; the 
 best of liis works is in the Cestosa 
 at Pisa /)' Aryenvitte. 
 
 BODEKKER ( ), a portrait 
 
 painter, born in 1669, and died in 
 1727, aged 58. He was born in the 
 county of C'levc 1 , and was bred a 
 musician by his father, but quitting 
 that profession for painting, he be- 
 came a disciple of John de Baau, at 
 the Hague. He practised his pro- 
 fession with great success, first at 
 Bois le Due and Breda ; he then 
 vibitcd the Hague, and afterwards 
 
 returned to Amsterdam, where he 
 
 spent the remainder of his life 
 
 Pilk. 
 
 BOEL (Peter), a painter of still 
 life and animals, born at Antwerp 
 in 1625, and died in 1680, aged 55. 
 He studied first under his uncle, 
 Cornelius de Waal, and afterwards 
 at Rome. He finished his subjects 
 with great spirit, and with a natural 
 and beautiful colour, always copying 
 his subjects from nature. Pilk. 
 
 BOEL (Cornelius), a Flemish 
 engraver, born at Antwerp, about 
 the year 1580. He worked chiefly 
 with the graver, in the style of 
 Sadelers, in whose school it is pro- 
 bable he was instructed. His plates 
 are executed in a clear neat style, 
 and possess considerable merit. He 
 engraved a set of oval plates for the 
 Fables of Othovocnius, published at 
 Antwerp in 1608. His most consi- 
 derable works were eight largo 
 plates of the battles of Charles V. 
 and Francis II. He was probably 
 in England, as appears from one of 
 his plates, the frontispiece to a Bible, 
 published by the royal authority in 
 1611, very neatly engraved, which 
 is signed C. Boel fecit, in Rich- 
 mond, 1611. We have also by 
 him a portrait of Henry, prince of 
 Wales ; an oval plate, with an orna- 
 mented border ; and another plate 
 of the Last Judgment, Cornelius 
 Boel, fecit, without the name of the 
 
 painter Iloubraken. 
 
 BOFFRAND (Germain), an 
 architect, born at Nantes in 1667, 
 and died at Paris in 1750, aged 83. 
 He built several grand edifices, and 
 executed a number of bridges, canals, 
 &c. He also wrote on the princi- 
 ples of architecture D'Argenville, 
 Du Fresnoy. 
 
 BOGDANE (James), a painter 
 
 of birds, fruit, and flowers. The 
 
 progress of this artist in painting 
 
 must be attributed only to the force 
 
 r2
 
 54 
 
 BOL 
 
 of his abilities, as he was never 
 regularly bred to the profession. He 
 was employed by Queen Anne, and 
 some of his paintings are still to be 
 seen in the royal palaces. He 
 coloured naturally, but often erred 
 in drawing his birds, which were his 
 favourite subjects, by making them 
 too large. He died of a violent dis- 
 order, and in great distress, having 
 lost all his property Pilk. 
 
 BOIT ( ), a celebrated pain- 
 ter of portraits in enamel, who died 
 in 17-6. He was the son of a 
 Frenchman, who placed him with a 
 jeweller, which profession he intend- 
 ed to follow upon his arrival in Eng- 
 land ; but turning his attention to 
 painting, he at length became so 
 eminent, as to be employed by Queen 
 Anne, and the principal nobility of 
 her court. 
 
 BOITARD (L.), a French en- 
 graver, who died in England about 
 1718. He engraved chiefly for 
 books, and was employed by Dr. 
 Woodward and Dr. Douglas, on 
 anatomic figures ; as likewise by Dr. 
 Meade. He engraved a large print 
 of the Rotunda, after Paolo Panini, 
 and the plates for Spence's Poly- 
 metis. He married an English- 
 woman, and had a son and a daugh- 
 ter. 
 
 BOL (Ferdinand), an historical 
 and portrait painter, born at Dort in 
 Kill, and died in 1681, aged 70. 
 This artist was educated at Amster- 
 dam, and placed as a disciple under 
 Rembrandt, whose manner he always 
 adhered to. His principal style 
 was portrait, which he painted in a 
 free bold style. As a painter of his- 
 tory, he showed a good style of com- 
 position, but often wanted delicacy 
 and grace. In the council-chamber 
 at Dort, there are two of his pic- 
 tures, which are extremely well de- 
 signed and executed ; the subjects 
 are, The Appointment of the Seventy 
 
 Elders, in the Camp of the Israelites ; 
 and Moses Breaking the Tables of 
 Stone. And there is another in the 
 chamber of the Burgomasters, which 
 is much admired. Houb. 
 
 BOL (John), a painter of land- 
 scapes, history, and animals, born at 
 Mechlin in 1534, and dfed in 15.93, 
 aged 59. He studied for two years 
 under a master of no great note, and 
 afterwards at Heidelberg, copying 
 the works of some eminent masters, 
 by which, without the assistance of 
 any other master, he became a good 
 painter. His subjects were generally 
 views of several cities and towns in 
 the Low Countries, particularly dif- 
 ferent views of the city of Amster- 
 dam, in which pictures the vessels 
 and their reflection in the water 
 were admirably executed. Vies des 
 Peintres. 
 
 BOLANGER (John), an histo- 
 rical painter, born in 1 606, and died 
 in 1660, aged 54. This artist was 
 a disciple of Guido, and became emi- 
 nent by imitating the style of com- 
 position and colouring of his master, 
 He was appointed principal painter 
 to the Duke of Modcna. D Argen- 
 ville, Pilk. 
 
 BOLSWERT, or BOLSUEE 
 (Scheltius A.) This very distin- 
 guished engraver was born at Bols- 
 wert, in Friesland, in 1586. He 
 settled at Antwerp, where he be- 
 came one of the most celebrated en- 
 gravers of his country. The plates 
 of this excellent artist are worked 
 with the graver, and it does not ap- 
 pear that he made any use of the 
 point. He engraved many plates 
 after the most eminent of the 
 Flemish masters ; but he has parti- 
 cularly distinguished himself by the 
 admirable performances he has left 
 us, after some of the finest pictures 
 of Rubens and Vandyck, which he 
 represented with a judgment and 
 ability that give them more effect
 
 BOH 
 
 56 
 
 BOV 
 
 than can well be expected in a print, 
 and appear to exhibit the very cha- 
 racter and colour of the paintings. He 
 engraved with equal success historical 
 subjects, hunting, landscapes, and 
 portraits ; and the number of his 
 prints is very considerable Houb., 
 Vasari. 
 
 BOMBELLI (Sebastian), an his- 
 torical and portrait painter, born at 
 Bologna in 1635, and died in 1685, 
 aged 50. He was a pupil of Guer- 
 cino,and perfected himself in the man- 
 ner of his master ; but quitting this 
 school he went to Venice, to observe 
 the style of the Venetian artists, but 
 was so affected by the beauties and 
 compositions of Paolo Veronese, and 
 Tintoretto, that he preferred them 
 to all others. He was allured from 
 painting historical subjects, by the 
 universal approbation of his por- 
 traits. He was invited to Vienna, 
 by the emperor, where he painted 
 the portraits of the imperial family, 
 and was honoured and employed by 
 several princes in every part of Eu- 
 rope Pilk. 
 
 BOEBERG (Daniel), a painter, 
 who died about the year 1549. He 
 gained great reputation by his He- 
 brew Bibles ; his Bible, 4 vols. Ve- 
 nice, 1725, and Talmud, 11 vols. 
 are much esteemed. He resided at 
 Venice Moreri. 
 
 BONANNO, an architect, who 
 flourished about 1174. He built 
 the famous tower of Pisa, in conjunc- 
 tion with Guillaume, a German. 
 Felebien. 
 
 BONASOXE (Giulio), a painter 
 and engraver. He is more known as 
 an engraver than a painter, and is 
 reported to have been a scholar of 
 Sabatini. There is a purgatory of 
 his in the church of St. Stefano, at 
 Bologna, which has great beauties ; 
 but it is suspected that Sabbatini 
 assisted him. He engraved from the 
 antique, the best masters, and his 
 
 own designs. The date of his prints 
 is as early as 1544. He died about 
 1570. Fuseli. 
 
 BOND (Daniel), an English 
 landscape painter, (birth unknown,) 
 and died in 1804. He obtained 
 premiums given by the Society for 
 the Encouragement of Arts, for the 
 best painting in landscape, in the 
 years 1764 and 1765. He resided 
 chiefly at Birmingham, where he 
 conducted the ornamental depart- 
 ment of a manufactory. Edwards. 
 BONIFAZIO, called VENEZI- 
 ANO, an historical painter, born in 
 1491, and died in 1553, aged 62. 
 Ridolfi believes him to have been a 
 scholar of Palma ; Boschini num- 
 bers him among the disciples of 
 Titian, whose manner he often imi- 
 tated. There are several of his pic- 
 tures in the public offices at Venice, 
 and in the Ducal Palace is an Ex- 
 pulsion of the Publicans from the 
 Temple, which alone would ensure 
 
 him a lasting reputation Fuseli. 
 
 BONINGTON (Richard Parkes), 
 an English painter of marine subjects, 
 born in 1801, and died in 1829, aged 
 j 28. At the early age of three years, 
 j young Bonington discovered a very 
 ! extraordinary attachment to the fine 
 ] arts, which was principally evinced 
 by his sketching almost every object 
 that presented itself to his observa- 
 tion. But he went even farther, and 
 not unfrequently ventured upon de- 
 signs, some specimens of which pre- 
 cocious efforts are still in the posses- 
 sion of his parents. We ought also- 
 to notice, that his sketches of marine 
 subjects (in which he afterwards 
 shone so conspicuously) were, be- 
 yond description, wonderful both for 
 correctness and neatness. These 
 productions completely confirmed his 
 father's desire to take every oppor- 
 tunity of leading him to the arts as 
 a profession ; and he accordingly- 
 directed his attention to the works
 
 CON 
 
 of the best masters, but, above all, | attention to costume. The first 
 
 to Nature the mother, nurse, and 
 guide of true genius. Thus cherished, 
 when Richard was not above eight 
 years of age, he made some drawings 
 from old buildings situated at Not- 
 tingham, which surpassed every thing 
 
 time Bonington exhibited in Paris, 
 his drawing was sold the moment 
 the exhibition opened ; and for the 
 next (a marine subject) he received 
 the gold medal. He subsequently 
 visited Italy, from which country he 
 
 he had before done ; and, about the ' brought back some splendid s]>eci- 
 same time, he took a more decided mens of his abilities his studies 
 turn for marine subjects, which bent from nature literally breathing the 
 of mind appears never afterwards to ! atmosphere of the scenes so faith- 
 have forsaken him. At the age of fully and beautifully represented, 
 fifteen, his parents journeyed to Paris, \ It was his intention, had his life been 
 feeling assured that the facilities spared, to have painted a series of 
 afforded by that capital were much pictures similar to the Ducal Palace 
 more important than any which exhibited a few years since at the 
 could elsewhere be attained. Upon { British Gallery, Pall Mall. It is 
 his arrival there, application was unnecessary to particularise his 
 made for permission to draw in the works, which have been from time 
 Louvre ; and the gentleman who to time seen in the London exhibi- 
 conducted that department, asto- ' tions, and which are now in the pos- 
 nislicd beyond measure at the young session of the Duke of Bedford, the 
 English painter's skill, instantly, and j Marquis of Lansdowne, Countess do 
 in the most flattering manner, granted ; Grey, Mr. Vernon, and Mr. Carpen- 
 the boon required. And, while thus ter, the latter of whom has two of 
 engaged, he met with many encourag- his greatest works of the Canaletti 
 ing circumstances to cheer him in School Gen. Biog. Diet. 
 his labours : strangers, for instance, BONNE ( ). Very few par- 
 
 who, on visiting the Louvre, and 
 
 ticulars are known of this artist. He 
 
 being struck with his performances, executed (in conjunction with La- 
 purchased them at the prices de- tham) the monument of archbishop 
 manded. It was about this period, Sheldon, in the reign of Charles II. 
 
 when not occupied at the Institute, 
 that he made many extraordinary 
 drawings of coast scenery, particularly 
 some representing fish markets, with 
 groups of figures, and for which he 
 at all times found a ready sale. We 
 should not omit to mention, that his 
 study from the figure was exceed- 
 ingly good; though, were it requisite 
 to define his forte, we should cer- 
 tainly say, that, amid all the diversity 
 of his unbounded talents, marine 
 jticces were at once his favourites 
 and cliefs-d'truvre ; with one excep- 
 tion, we allude to his Henry the 
 Third of France, in which he admi- 
 rably displayed his knowledge of 
 colour and composition, and his great 
 
 See Life of Barry. 
 
 BONOMI (Joseph), an archi- 
 tect, born in Italy, and died in 1 80??. 
 He was an associate of the Royal 
 Academy of London ; he built seve- 
 ral mansions and villas, and was 
 esteemed an artist of superior abi- 
 lities. * 
 
 BONONE (Carlo), an historical 
 painter, born at Ferrara in ].5(>9, 
 and died in 163*2. He wan the 
 scholar of Bastarnolo, and rival of 
 Scarsellino. He studied the works 
 of different masters, and in his com- 
 position of a few figures, resembles 
 Ltidovico Caracci, but in works of 
 numerous grouping lie rivals, in 
 abundance and arrangement, the
 
 57 
 
 ornamental style of Paolo Veronese. 
 FiueK. 
 
 BONVICINO, called IL MO- 
 RETTO (Alessandro), an historical 
 and portrait painter, born at Brescia 
 in 1514, and died in 1564, aged 50. 
 He was a disciple of Titian, and 
 studied under him for some years, 
 but afterwards gave himself up en- 
 tirely to the study of Raphael's 
 works, and became an exceeding good 
 painter ; his works were highly 
 valued. He also excelled in por- 
 traits, and was considered by many 
 equal to Titian. Pilk. 
 
 BONZI, called IL GOBBO, 
 (Pietro Paolo), a painter of fruit, 
 history, and landscape, born at Cor- 
 tona in 1588, and died in 1648, 
 aged 60. This artist is called by 
 Baglioni, II Gobbo di Cortona, be- 
 cause he was a native of that place ; 
 by others, 11 Gobbo de' Caracci, 
 because a disciple of that school ; 
 and by the vulgar, II Gobbo da 
 Fretti, from his excellence in fruit 
 painting, in which he certainly is 
 unrivalled, though weak in his his- 
 toricul designs, and hardly superior 
 in landscape ; but whenever he in- 
 troduces fruit he is sure to charm 
 with the graces of nature, and the 
 glow and freshness of his colouring. 
 Such are his festoons in the frescoes 
 of the Palace Mattel, and various 
 pieces in oil of fruit disposed in 
 di sliest and baskets Fuseli. 
 
 BOON (Daniel), a Dutch painter 
 of conversations, &c. who died in 
 England in 1698. His subjects 
 were always taken from the lowest 
 and meanest situations of life ; and 
 it appears to have been his only am- 
 bition to excite laughter by defor- 
 mity and grimace ; however, there 
 is in many of his characters much 
 droll humour and low pleasantry. 
 Pilk. 
 
 BOONEN (Arnold), a portrait 
 painter, born at Dort in 1669, and 
 
 died in 17"29, aged 60. He was 
 first a disciple of Arnold Verbuis, 
 but afterwards placed himself with 
 Godfrey Schalcken, with whom he 
 remained six years, when Schalcken 
 recommended him to study nature 
 only, by following which advice he 
 acquired the reputation of being a 
 great master at the age of 25. His 
 portraits were much admired, and 
 he had the honour of painting tho 
 Czar of Muscovy, Frederick I. King 
 of Prussia, the Duke of Marlborough, 
 and many princes of Germany. He 
 painted much in the style of his 
 master, particularly subjects by can- 
 dle-light; and from the style of 
 colouring, dispositions of his figures, 
 and handling, was justly ranked 
 among the ablest artists of his time. 
 Pilk. 
 
 BORCHT (Henry Vander), a 
 painter of fruit and flowers, born at 
 Brussels in 1583, and died at Ant- 
 werp in 1660, aged 77. He was a 
 disciple of Giles Valkenburgh, but 
 completed his studies in Italy. He 
 had a thorough knowledge, and was 
 remarkably fond, of antique orna- 
 ments, and received a commission to 
 collect them in Italy, for the Earl of 
 Arundel. He resided several years 
 in England, and was employed by 
 Charles II. His paintings were 
 much esteemed. 
 
 BORDIER (P.), this artist is 
 only known as having worked in 
 conjunction with Petitot ; he execut- 
 ed some fine portraits in enamel. 
 
 BORDONE (Paris), an historical, 
 architectural, and portrait painter, 
 born at Trevigna, in 1613, and died 
 in 1588, aged 75; but, according to 
 Felibien and others, 65. He was a 
 disciple of Titian, but did not conti- 
 nue with him many years, and parti- 
 cularly studied the works of Gior- 
 gione, and soon rose to such reputa- 
 tion, that he was appointed at tho 
 age of eighteen to paint a picture in.
 
 58 
 
 BOH 
 
 the church of St. Nicholas. Ho en- 
 gaged, some time afterwards, in 
 painting part of a gallery, which had 
 already been enriched by Titian, nor 
 were his works less esteemed than 
 those of his master. In the year 
 1538, he entered into the service of 
 Francis I., and added continually to 
 his reputation by every subject he 
 painted. On quitting France he 
 visited the principal cities of Italy, 
 where he executed a number of me- 
 morable works; several of his por- 
 traits are still preserved in the Pa- 
 lazzo Pitti, at Florence, which are 
 greatly admired De Piles, Vies 
 des Peintres, Pilk. 
 
 BOREKENS (Matthew),a Flem- 
 ish engraver, born at Antwerp about 
 the year 1655. He was chiefly em- 
 ployed in copying the plates of the 
 eminent engravers, particularly Bols- 
 wert, and others, for Martin Van 
 Enden, and other printsellers. He 
 worked entirely with the graver, 
 and appears to have imitated the 
 style of Pontius. There are also 
 some original plates executed by 
 him of portraits, and other subjects. 
 Houb. 
 
 BORGHESE (Paul Guidotto), 
 an Italian painter, born at Lucca, 
 and died through want in 1G26, 
 aged 60 Tirnboschi. 
 
 BORGIANNI (Orazio), an histo- 
 rical and portrait painter, born at 
 Rome in 1580, and died in 163(5, 
 aged 56. He first learned design 
 from his brother Giulio Borgianni, 
 but improved himself by studying 
 the works of the ancient and modern 
 masters ; but travelling with a no- 
 bleman in a tour through Europe, 
 he was induced to settle in Spain, 
 and was accounted one of the best 
 painters in that country. He after- 
 wards, on the death of his wife, re- 
 turned to Rome, where ho was 
 engaged in painting portraits and 
 oinc great works of the chapels and 
 
 convents, and historical subjects 
 larger than life, which in some parts 
 showed a want of correctness. He 
 died through grief and melancholy, 
 from the villainy and envy of one 
 Celio, a painter, a most malicious 
 competitor, to whom Borgianni had 
 often been preferred by the best 
 judges of painting in Rome Pilk. 
 
 BORROMINI (Francis), an ar- 
 chitect, born in 1599, and stabbed 
 himself in a fit of madness in 1667, 
 aged 68. He built a number of 
 edifices at Rome, which deviate in 
 style from the rigid simplicity of the 
 antique, but are grand and imposing 
 in their appearance. Among the 
 principal of them are an Oratory in 
 the church of Santa Maria and Santa 
 Gregoria, in Valicella, which was 
 designed by Martino Lunghi ; the 
 cupola, fafade, and sacristy of the 
 Church of Sta. Agncse, in the Piazza 
 Navona ; some additions to theLibrary 
 and College of the A wocati, the Ba- 
 silica of St. Giovanni Lateranense ; 
 the Church of St. Carlo alle dette 
 Fontane. The reputation and fame 
 of Borromini caused a derangement 
 of his intellects, and was eventually 
 the cause of his death. Nouv. Diet. 
 Hist. 
 
 BORZONE (Luciano), an histo, 
 rical and portrait painter, born at 
 Geneva in 1590, and died in 1645, 
 aged 55. The early style of this 
 master was faulty and incorrect ; but 
 he afterwards acquired good expres- 
 sion, with strong and natural colour- 
 ing D'Argenv ille, Pilk. 
 
 BORZONE (John Baptist), a 
 painter of perspective and history, 
 who died about 1654, son of the 
 preceding, and was instructed by his 
 father ; he painted historical sub- 
 jects in the same style, with figures 
 as large as life ; he also painted per- 
 spective views of palaces, public 
 buildings, &c., which were much 
 esteemed. Ibid.
 
 BORZONE (Carlo), a portrait . 
 painter, another son of Luciano, who j 
 died in 1657. He painted portraits in j 
 the manner of his father, and gained 
 great reputation D' Argenville. j 
 
 BORZONE (Francisco Maria), a 
 landscape painter, born at Geneva in 
 1625, and died in 1679, aged 54. 
 He was the youngest son of Luciano, 
 and received instructions from him ; 
 but his genius particularly led him 
 to landscape, in which he became 
 eminent. He generally introduced 
 views of the sea and shipwrecks, and 
 imitated the styles of Claude Lor- 
 raine and Caspar Poussin with suc- 
 cess ; his pictures possess great merit, 
 and have a truly fine effect. He was , 
 for several years employed by the 
 French court D'Argenville. 
 
 BOS ( Jerom), a painter of devils, 
 witches, temptations of St. Anthony, 
 &c., who died in 1 500. He appears 
 to have had a peculiar pleasure in ; 
 the subjects in which he excelled ; 
 but though there is much merit in 
 their execution, they are calculated 
 rather to excite horror than delight. 
 His manner was superior to that of 
 most painters of his time ; and though 
 his subjects are disagreeable, his pic- 
 tures are always much esteemed, 
 and are sold at considerable prices. 
 Among the singular subjects which 
 he chose, there is one which repre- 
 sentsChrist delivering the Patriarchs 
 from Hell ; Judas, who attempts 
 slily to escape with the saints, is 
 seized in the neck by the devils, who 
 are goini* to suspend him in the air ; 
 and there is in the Kscurial, an Alle- 
 gory of the Pleasures of the Flesh, 
 in which the principal figure is repre- 
 sented in a carriage drawn by mon- 
 strous imaginary forms, preceded by 
 demons, and followed by death. 
 D'Argenville, Pilk. 
 
 BOS (Edward Jansen), a flower 
 and portrait painter, who died about 
 1507. He was first instructed by 
 
 the artists of his native city, Bois le 
 Due, but applied himself afterwards 
 to the study of nature. His favourite 
 subjects were flowers and curious 
 plants, generally represented as 
 grouped in glasses, or crystal vases 
 half filled with water ; he often 
 painted drops of dew on the leaves of 
 his objects with great transparency 
 of colour, and embellished them with 
 butterflies, bees, and other insects ; 
 he also painted portraits with great 
 success, in which style he shows 
 equal merit with his compositions of 
 still life. Pilk. 
 
 BOSS (Caspar Vander), a painter 
 of ships, sea views, calms, and storms, 
 born at Hoorn in 1634, and died in 
 1666, aged 32. This artist showed 
 an early inclination to painting, and 
 at length distinguished himself by the 
 goodness of his composition and ex- 
 cellent execution. He probably im- 
 paired his health by his application, 
 for he died in the prime of life. Ibid. 
 
 BOSC (Claude du), a French 
 engraver, who came to England 
 about the year 1712, by the invita- 
 tion of N. Dorigny, to assist him in 
 engraving the cartoons of Raffaelle ; 
 but on account of some dispute, he 
 left Dorigny, and engaged to engrave 
 the cartoons for the printsellers. He 
 also undertook the Duke of Marl- 
 borough's Battles, and sent to Paris 
 for Baron and Beauvais, to assist 
 him in that undertaking, which occu- 
 pied him two years. He published 
 an English translation of Picarfs 
 Religious Ceremonies, in which 
 part of the plates were engraved 
 by himself, and the others by Scotin 
 
 and Gravelot Horace Walpole's 
 
 Ann. of Painting in England. 
 
 BOSCH (Balthasar Vander), a 
 painter of conversations and portraits, 
 born at Antwerp in 1675, and died 
 in 1715, aged 40. He at first studied 
 under one Thomas, but his friends 
 advised him to apply his pencil to
 
 60 
 
 BOT 
 
 more elevated subjects than those of 
 his master : Bosch followed their ad- 
 vice, and acquired a different style of 
 design and elegance in his composi- 
 tions. His paintings rose to a most 
 extravagant price, and were at that 
 time more esteemed than those of 
 Tcniers or Ostade ; but though they 
 cannot enter into competition with 
 the works of those masters, many of 
 them have great merit, both with 
 regard to composition and colouring. 
 His subjects, for the most part, were 
 sculptors or painters surrounded with 
 pictures or busts, to which he gave 
 abundance of variety and great truth. 
 He also painted portraits with great 
 reputation, particularly one of the 
 Duke of Marlborough on Horseback, 
 of which the horse was painted by 
 Van Bloemen. Pilk. floub. 
 
 BOSCH ( Jacob Vander), a painter 
 of still life, born at Amsterdam in 
 1636, and died in 1676, aged 40. 
 His subjects were generally summer 
 fruits of various kinds, which he 
 painted with extraordinary neatness. 
 He painted all his objects from nature, 
 imitating them with great truth and 
 delicacy. Pilk. 
 
 BOSSCHART (Thomas Wille- 
 borts), an historical and portrait 
 painter, born at Bergen-op-Zoom in 
 1613, and died in 1667, aged 54. 
 This artist was at first instructed by 
 an ordinary artist of his native city, 
 but he quitted him and went to 
 Rome, where he became the disciple 
 of Gerard Segcra, with whom he 
 studied four years, till his works were 
 generally approved. He was very 
 correct, and showed a fine taste of 
 design, and his colouring %vas so 
 good that he was thought equal to 
 Vandyck in portraits and history. 
 His merit recommended him to the 
 Prince of Orange, who engaged him 
 in his service several years, and 
 bought up all his paintings that he 
 could procure* His picture at the 
 
 great church at the Hague, of the 
 Martyrdom of St. George, and another 
 large one, emblematically represent- 
 ing War and Peace, are highly 
 commended. De Piles, Vies des 
 Piintres, Pilk. 
 
 BOSCOLI (Andrea), an historical 
 painter, born at Florence in 1553, 
 and died in 1606, aged 53. He was 
 a disciple of Santi Titi, and rendered 
 himself famous by a clear under- 
 standing and successful use of the 
 chiaro-oscuro, which before his time 
 had not been well understood. He 
 had great freedom, and a surprising 
 force of colour, and the grandeur of 
 his design resembled that of the mas- 
 ter ; he constantly carried a sketch 
 book with him, for the purpose of 
 preserving the ideas of any objects 
 
 that gave him pleasure Pilk. 
 
 BOSSE (Abraham), a French 
 engraver, who died about 1660. He 
 gave the first lessons of perspective 
 in the Academy of Painting at Paris. 
 He wrote Traits of Drawing ; The 
 Orders of Architecture, fol. ; on the 
 Art of Engraving, 8vo ; on Perspec- 
 tive, 8vo, and representations of di- 
 vers Human Figures, taken from the 
 Antiques of Rome, 1656. Mttreri. 
 BOTH (John), a landscape painter, 
 born at Utrecht in 1610, and died 
 in 1650, aged 40. He was a disciple 
 of Abraham Bloemart, who also in- 
 structed his brother Andrew, but to 
 perfect themselves in design they 
 went together to Rome, where they 
 resided for several years. The genius 
 of John led him to the study of land- 
 scape, in which he so much excelled, 
 th.it his works are mentioned by 
 some in competition with those of 
 Claude Lorraine, whose style he made 
 his model. These brothers had dif- 
 ferent talents, but each admirable in 
 his way. Andrew designed figures 
 in the manner of Bamboccio, which 
 he used to insert in his brother's 
 landscapes, and they are always so
 
 61 
 
 well adapted, that every picture ap- 
 
 I"' 
 
 are only the work of one master. 
 
 The works of these associate brothers 
 arc justly admired, and universally 
 sought for through all Europe, and 
 are purchased at very high prices. 
 Most of his pictures are between two 
 
 He painted both at Florence and 
 Rome ; at the former, a Venus rising 
 from the Sea, and a Venus adorning 
 the Graces ; and at Rome, some 
 sacred subjects from the New Testa- 
 ment, which were much commended. 
 He obtained great honour by his 
 
 and five feet long, but in the smaller j performances in the chapel of Sextus 
 ones there is exquisite neatness. In j IV., for which he was amply re- 
 his landscapes the different times of ! warded; and he painted several 
 
 the day are perceptible from the pro- 
 priety of the tints which he uses 
 Houbraken mentions a picture of 
 this master in the possession of M. 
 
 historical compositions and portraits 
 for the family of the Medici. He 
 was accustomed to introduce a num- 
 ber of figures in his compositions 
 
 I)e Jade, at the Hague, which is six I De Piles, Pilk. 
 feet high, and esteemed his master- | BOTT (Jean de), a French archi- 
 piece ; the subject is the story of tect, who died at Dresden about 1745. 
 Mercury and Argos, the figures large, He was a Protestant, and accompa- 
 and the whole admirably handled, nied William, Prince of Orange, to 
 The beauty of his colouring obtained England : after whose death he went 
 for him the distinction which he still to Brandenburgh, where he was made 
 possesses, of being called " Both of captain of the guards, and built 
 Italy." It is said he was drowned several structures, particularly the 
 in a canal at Venice. D'Argenville, celebrated arsenals at Berlin. He 
 Iluubrahen, De Piles, Descamps, was afterwards made major-general, 
 Pilk. frc. and showed his military skill in the 
 
 BOTH (Andrew), a figure, land- fortifications of Wessel. In 1728, 
 scape, and portrait painter ; his birth he entered into the service of the 
 is not accurately known, but he died King of Poland, as lieutenant-general 
 in 1556. He was brother of the and chief of the engineers. .ZVbuv. 
 preceding, with whom he painted Diet. Hist. 
 
 conjointly until the death of John, BOUCHARDON (Edmond), a 
 after which he retired from Italy and French architect and sculptor, born 
 settled at Utrecht, where he conti- in 16,08, and died in 1762, aged 64. 
 nued to paint, sometimes landscapes, He erected several fine buildings in 
 and sometimes portraits, in the man- Paris, a list of which is given in his 
 ner of his brother ; and conversations, life, by Count Cay Ins Ibid. 
 and players at cards, in the style of | BOUCHER (Francis), a French 
 Bamboccio. Andrew, during the painter, who died in 1 770. His 
 remainder of his life, had as much landscapes are rich and natural, and 
 employment as he could possibly his figures graceful and elegant. He 
 execute, but was so affected by the was called, in his own country, the 
 death of his brother that he survived , Anacreon of Painting. Gent. Mag. 
 
 him only a few years Ibid. BOUJAS (Don Juan Antonio), a 
 
 BOTICELLO (Sandro or Ales- Spanish painter, born at Santiago, 
 
 sandro), an historical and portrait 
 1437, 
 
 about the year 1672. He was a 
 scholar of Luca Giordano, at Madrid, 
 
 painter, born at Florence 
 and died in 1515, aged 78. He was ! and proved a very promising artist, 
 a disciple of Filippo Lippi, whom he j The troubles occasioned by the war 
 imitated in his design and colouring. I of the succession obliged him to with- 
 
 c
 
 draw himself from Madrid, and he 
 returned to his native city. His 
 principal works are in the churches 
 of Santiago. In the cathedral is a 
 picture of St. Paul and St. Andrew, 
 and in the convent of the Domini- 
 cans are two altar-pieces by him. 
 Cumberland. 
 
 BOULANGER (Nicholas An- 
 thony), an architect, born at Paris 
 in 1722, and died in 1759, aged 37. 
 He became so eminent in architec- 
 ture and the mathematics, though 
 entirely by his own study, that he 
 was made engineer to the baron of 
 Thiers, and afterwards appointed 
 Buperintcndant of the highways and 
 bridges. He was author of Traite 
 du Despotisme Orientale, 2 vols. 
 12mo; L'Antiquite devoite par ses 
 Usages, 3 vols. 12mo; A Disserta- 
 tion on Elislia and Enoch, and some 
 articles in the Encyclopaedia Nouv, 
 Diet. Hist. 
 
 BOULLOGNE (Louis, the elder), 
 an historical painter, born at Paris in 
 160.9, and died in 1674, aged 65. 
 The principal accomplishment of this 
 master consisted in his ability in copy- 
 ing the works of the most celebrated 
 ancient painters. The similitude 
 between his pictures and the originals 
 almost exceeded belief, and has 
 puzzled the best judges. He also 
 painted historical subjects of his own 
 design. In the church of Notre 
 Dame are three of his compositions, 
 St. Paul at Ephcsns, the Martyr- 
 dom of St. Paul, and the Presentation 
 of Christ in the Temple. D'Argett- 
 ville, Noiif. Diet. Hist., Pilk. 
 
 BOULLOGNE (Bon), an histo- 
 rical, portrait, and landscape painter, 
 born at Paris in 1649, and died in 
 1717, aged 68. He was a disciple 
 of Louis, and painted history and 
 landscape with much effect; but, 
 like his father, he wag eminent for 
 his success in imitating the works of 
 the greatest masters, and succeeded 
 
 in it so far as to give his own pictures 
 the appearance of ancient paintings. 
 He copied a picture of Guido's, which 
 even Mignr.rd peremptorily asserted 
 to be Guido's; and another from 
 Perino del Vaga, which it is impos- 
 sible to distinguish from the original. 
 D'Argenville, Nouv. Diet. Hist., 
 Pilk. 
 
 BOULLOGNE (Louis Chevalier), 
 an historical painter, born at Paris in 
 1654, and died in 1734, aged 80. 
 He was the younger brother of Bon, 
 and received instructions from his 
 father in painting. He gave early 
 proofs of his abilities, and at the early 
 age of eighteen obtained the first 
 prize of the academy, on which ac- 
 count he was sent to Rome, where 
 he studied five years, copying the 
 works of the greatest masters, par- 
 ticularly Raphael ; several of these 
 copies, after his return to France, 
 were executed in tapestry. He was 
 employed by Louis XIV. at Fon- 
 tainbleau and Trianon, who allowed 
 him a considerable pension ; con- 
 ferred on him the order of St. 
 Michael ; and, after the death of 
 Anthony Coypel, appointed him 
 principal painter, and ennobled him 
 and all his descendants. Two of his 
 historical paintings are particularly 
 distinguished, which are both in the 
 church of Notre Dame, at Paris. 
 The subject of one is Christ and the 
 Centurion, and the other The Good 
 Samaritan. In all his works it may 
 easily be discovered that he studied 
 the greatest mailers with case and 
 success. 7 bid. 
 
 BOUNIEU (Nicholas), a modem 
 French painter and engraver, born at 
 Marseilles in 1744. He was a pupil 
 of M. Pierre, and wab made a mem- 
 ber of the Academy at Paris in 1775. 
 As an engraver, he scraped the fol- 
 lowing mczzotintos : Adam and 
 Eve, driven from Paradise ; Magda- 
 len, penitent; Love led by Folly;
 
 63 
 
 the Punishment of a Vestal ; an 
 Allegory on the Birth of the Dau- 
 phin ; the Green-house of the Tuil- 
 leiies; the Amusement of the Sultan. 
 Pilk. 
 
 BOURDON (Sebastian), an histo- 
 rical, portrait, and landscape painter, 
 born at Montpelier in 1616, and 
 died in 1671, aged 55. His father, 
 a calvinist, and painter on glass, sent 
 him at seven years of age to study 
 at Paris, under an artist of mediocrity. 
 Bourdon may be said to have formed 
 himself in his studies ; at eighteen, 
 wanting employment, he enlisted 
 himself as a private soldier; his cap- 
 tain seeing some of his drawings, and 
 ]>ereeiving his merit, gave him his 
 discharge and pecuniary assistance. 
 
 enriching him, and made him a pre- 
 sent of a collection of pictures by the 
 most excellent masters, obtained by 
 the victories of Gustavus Adolphus; 
 but Bourdon, with an uncommon 
 delicacy and disinterestedness, in- 
 formed the queen of the value of 
 what she would give him, and which 
 would have been an immense for- 
 tune to him. More respected, but 
 less employed in Sweden, he returned 
 to his own country, and found en- 
 couragement to exercise his abilities 
 in Paris and other principal towns. 
 After being shut up for several weeks 
 in a garret, which served him for a 
 workshop, he could hardly be pre- 
 vailed upon to leave it ; making the 
 practice of his art his most pleasant 
 
 He then set out for Koine, where j occupation, he forgot the cares of a 
 he painted several pictures; among life already too much agitated, and 
 others, one of the three chef-d'a'iivres the embarrassments always caused by 
 of the French school, in the church a want of fortune. He died rector 
 of St. Peter. Here he quarrelled of the academy, as much regretted 
 with a painter, who threatened to on account of his virtues as his talents, 
 report him to the Inquisition. Bour- Bourdon had neither the knowledge 
 don, frightened at this, took flight, of Poussin, nor the grace of Sueur ; 
 without having time to complete but the originality and fecundity of 
 those studies which were necessary hisgenius, the vivacity of his thoughts, 
 to acquire correctness of drawing, his easy and spirited execution, jus- 
 wliich he always wanted. Upon his tify the reputation he has gained as 
 return to Paris, he painted, for the an historical painter. As a landscape 
 church of Notre Dame, the Martyr- painter, he ranks next to Claude 
 doni of St. Peter, which is considered Lorraine and Poussin. He succeeded 
 as his master-piece. Several consi- in every kind of painting, and could 
 del-able works were intrusted to him imitate every style with perfect ease, 
 for St. Gervais and St. Protais; but, particularly those of Claude Lorraine, 
 admitting some drolleries in the sub- | Andrea Sacchi, Correggio, and even 
 jects, the principal governors of the the delicate finishing of Bamboccio ; 
 church, fearing a calvinist would fill he also etched several esteemed 
 their church with impieties, took ' pieces in a free and masterly man- 
 away the principal part of the work ! ner De Piles, Pilk., Galerie des 
 from him. Seeing the arts neglected j Hommes Celebres, D'ArgenvUle. 
 during the civil wars of the minority j BOUTATS (Frederick), a Fle- 
 of Louis XIV'., and fearing persecu- i mish engraver, born at Antwerp 
 tion on account of his religion, he set about the year 1620. He engraved 
 out for Sweden, where the famous several plates after his own designs, 
 Christina gave him a gracious recep- principally portraits, and some after 
 tion. Bourdon, not l>eing in easy j other masters. They arc worked 
 circumstances, she was desirous of, with the graver, in a neat style,
 
 64 
 
 and are not without merit. Ifou- 
 braken. 
 
 TJOYDELL (John), an English 
 engraver, born 19th of January, 
 1719, at Dorrington, and died in 
 1 804, aged 85. His grandfather was 
 vicar of that place, and afterwards 
 of Ash bourne in Derbyshire. His 
 father, who was a. land-surveyor, in- 
 tended his son John for his own 
 profession ; and had it not been for 
 one of those little accidents which 
 determine " the path that men are 
 destined to walk," he had wasted 
 that life, which has been so honour- 
 able to himself and beneficial to his 
 country, in measuring and valuing the 
 acres of Shropshire squires, and the 
 manors of Welsh baronets. For- 
 tunately for himself and the arts, a 
 trifling incident gave a different di- 
 rection to his mind. While he was 
 yet very young, chance threw in his 
 way Baddeley's Views of different 
 Country Seats, amongst which was 
 one of Hawardcn Castle, Flintshire, 
 which being the seat of Sir John 
 Glynn, by whom he was then em- 
 ployed in his professional capacity, 
 and in the parish of which his father 
 was an inhabitant, naturally attracted 
 his attention. An exact delineation 
 of a building he had so often con- 
 templated afforded him pleasure, 
 and excited an astonishment easier 
 to be conceived than described. Con- 
 sidering it as an engraving, and na- 
 turally reflecting that from the same 
 copper might be taken an almost in- 
 definite number of impressions, he 
 determined to quit the pen, and 
 take up the graver, as an instrument 
 which would enable him to dissemi- 
 nate whatever work he could pro- 
 duce in so much wider a circle. This 
 resolution was no sooner made than 
 it was put in execution ; for with 
 that spirit and perseverance which 
 he manifested in every succeeding 
 scene of life, he at twenty-one years 
 
 of age, walked np to the metropolis, 
 and hound himself apprentice to Mr. 
 Thorns, the engraver of the print 
 which had so forcibly attracted Iris 
 attention. These, and accidents 
 equally trifling, sometimes attract 
 men of strong minds into the path 
 that leads directly to fame, and 
 have been generally considered as 
 proving that they were born with 
 some peculiar genius for some par- 
 ticular study ; though, after all, 
 genius is perhaps little more than a 
 great moralist has defined it " A 
 mind with strong powers accidentally 
 directed to some particular object." 
 For it is not easy to conceive that a 
 man who can run a given distance in 
 a short space of time, with his face 
 to the east, could not do the same 
 thing if he turned his face to the 
 west. His conduct during his ap- 
 prenticeship was eminently assidu- 
 ous ; eager to attain all possible 
 knowledge of an art on which his 
 mind was bent, and of every thing 
 that could be useful to him, and im- 
 pelled by industry that seemed inhe- 
 rent in his nature, he, whenever he 
 could, attended the academy in St. 
 Martin's-lane, to perfect himself in 
 drawing. His leisure hours in the 
 evening were devoted to the study 
 of persjwctive, and learning French 
 without the aid of a master. To 
 improve himself in the pronunciation 
 of the language he had thus acquired, 
 he regularly attended the French 
 chapel. After steadily pursuing his 
 business for six years, finding him- 
 self a better artist than his teacher, 
 he bought from Mr. Thorns the 
 last year of his apprenticeship, and 
 became his own master ; and the 
 first use he made of his freedom was 
 I to return into his own country, 
 where he manned a deserving young 
 woman of a respectable family, to 
 whom he had an early attachment. 
 In the year 1 745, he became his own
 
 master, and immediately after he was 
 out of his time published six small 
 prints, designed and engraved by 
 himself. These, from his having in 
 most of his views chosen a situation 
 in which a bridge formed part of the 
 scenery, were entitled the Bridge- 
 hook, and sold at a shilling. Small 
 as this sum was, he sometimes 
 spoke with apparent pleasure of a 
 silversmith in DukeVcourt, St. 
 Martin' s-lane, having sold so many, 
 that when he settled his annual ac- 
 count, he thought it would he 
 civil to take a silver pint mug in 
 part of payment ; and this cup he 
 retained until his death. He after- 
 wards designed and engraved many 
 other views, generally of places in 
 and about London, and published 
 the greatest part of them at the low 
 price of one shilling each. But even 
 at this early period of his life, he was 
 so much alive to fame, that after 
 having passed several months in copy- 
 ing an historical picture of Coriola- 
 nus, by Si- bastian Concha, he so much 
 disliked his own engraving that he 
 destroyed the plate. Besides these, 
 he engraved many prints from Brook- 
 ing, Berghem, Salvator Rosa, &c. 
 The manner in which many of them 
 are executed is highly respectable, 
 and being executed at a time when 
 the artist had an overflow of business 
 to attend to, display an industry 
 rarely to be paralleled, and proves 
 that, had lie devoted all his time to 
 engraving, he would have ranked still 
 higher in the profession. His facility 
 of execution, and unconquerable per- 
 severance, having thus enabled him 
 to complete a great number of prints, 
 lie collected the whole in one port- 
 folio, and published it at five guineas. 
 He modestly remarks, that it was by 
 the profit of these prints that the 
 engraver of them was first enabled 
 to hold out encouragement to young 
 artists iu this line ; and thereby he 
 
 latters himself he- has somewhat 
 contributed to improve the art in 
 :his country ; and adds, it is the first 
 book that ever made a lord mayor 
 of London ; and that when the small- 
 ness of his work is compared with 
 what has followed, he hopes it will 
 impress all young men with the truth 
 of what he has often held out to 
 them, that industry, patience, and 
 perseverance, if united to moderate 
 talents, are certain to surmount all 
 difficulties. The arts were, at the 
 time he began, at a very low ebb in 
 this country. Wotton's portraits of 
 lounds and horses, grooms, squires, 
 with the distant view of the dog- 
 kennel and stable ; and Judson's 
 portraits of gentlemen in great coats 
 and jockey-caps, were in high repute. 
 Inferior prints from poor originals 
 were almost the only works our 
 English artists were thought capable 
 of peiforming ; and, mortifying as it 
 must be to acknowledge it, yet it 
 must be admitted, that, with the 
 exception of the inimitable Hogarth, 
 and two or three others, the gene- 
 rality of them were not qualified for 
 much better things. The powers of 
 the artists were, however, equal to 
 the taste of the majority of their 
 customers; and the few people of 
 the higher order, who had taste for 
 better productions, indulged it in the 
 purchase of Italian and Flemish pic- 
 tures and French prints, for which, 
 even at that time, the empire was 
 drained of immense sums of money. 
 To check this destructive fashion, 
 Boydell sought for an English engra- 
 ver, who could equal, if not excel 
 them, and in Wollet he found one. 
 The Temple of Apollo, from Claude, 
 and two premium pictures from the 
 Smiths of Chichester, were amongst 
 the first large works which this ex- 
 cellent artist engraved; but the Niobe 
 and Phaeton, from. Wilson, estab- 
 lished his fame. For the first of 
 G'2
 
 G6 
 
 them, lie agreed to give the engraver 
 fifty guineas, and when it was com- 
 pleted gave him a hundred ; the se- 
 cond, the artist agreed to engrave for 
 fifty guineas, and he paid him one 
 hundred and twenty. The two prints 
 were published hy subscription, at 
 five shillings each. Proof prints were 
 not at this period considered as hav- 
 ing any particular value ; the few 
 that were taken off to examine the 
 progress of the plate, were delivered 
 to such subscribers as chose to have 
 them at the subscription price. Se- 
 veral of these have since that time 
 been sold at public auctions, at ten 
 and eleven guineas each. By these 
 and similar publications, he had the 
 satisfaction to see, in his own time, 
 the beneficial effects of his exertions. 
 In the year 1774, he was elected 
 alderman of his ward ; and served 
 the important office of lord mayor, 
 in 1791, with great ability. It has 
 been before observed, that previous 
 to his establishing a continental cor- 
 respondence for the exportation of 
 prints, immense sums were annually 
 sent out of the country for the pur- 
 chase of those prints that were en- 
 graved abroad ; but he changed the 
 course of the current, and for many 
 of the latter years of his life the 
 balance of the print trade with the 
 Continent was very much in favour 
 of Great Britain. But not content 
 with having formed a school for en- 
 graving in this country, so far supe- 
 rior to that of any other, he resolved 
 to direct his efforts to the encourage- 
 ment of painting in this country. 
 To effect this, he projected the 
 splendid establishment of the Shak- 
 spcare Gallery, Pall Mall a plan 
 which, considered in all its bearings, 
 is of a much greater magnitude than 
 any ever attempted in any age by a 
 private individual ; and, mentally 
 considered, he was a painter, and a 
 painter of the first order. To expect 
 
 that those who delineated his cha- 
 racters should exhibit the full force 
 of their great original, is demanding 
 more than is the lot of any man to 
 perform : but considered on tho 
 whole, the Shakspeare Gallery in a 
 degree proves that the former low 
 state of the arts did not wholly arise 
 from the want of power in the paint- 
 ers, but from the want of proper 
 encouragement from the public. 
 During the progress of the work, 
 the alderman sometimes received 
 prosaic and poetic compliments from 
 anonymous correspondents. The fol- 
 lowing little jeu iCesprit, allusive to 
 the manner in which he secured im- 
 mortality to his own name, has some 
 point: 
 
 On Alderman BoydelFs Shakspeare. 
 
 Old Father Time, as Ovid sings, 
 Is a great eater-up of things ; 
 
 And, without salt or mustard, 
 Will gulp you down a castle-wall, 
 As clean as ever at Guildhall 
 
 An alderman ate custard. 
 
 But Boydell, careful of his fame, 
 By grafting it on Shakspeare's name, 
 
 Shall beat his neighbours hollow : 
 For, to the Bard of Avon's stream, 
 Old Time has said (like Polypheme), 
 
 " You'll be the last I swallow." 
 
 It will naturally be asked, how 
 any one man, however industrious, 
 attentive, and persevering, could 
 attend to this and so many other 
 great objects ; for however active 
 and enterprising the spirit, human 
 powers have certain limits, beyond 
 which nature peremptorily declares 
 they shall not go. Added to this, 
 the alderman had long before his 
 death arrived at that period of life 
 which demands additional repose ; 
 and certain it is, he could not have 
 carried on his business in the man- 
 ner it was carried on, without the 
 active and unremitting exertions of 
 his nephew and partner, Mr. Josiah 
 Boydell, whose professional qualities
 
 67 
 
 enabled him to appreciate the value 
 and merits of the different works 
 submitted to his inspection, and to 
 point out the errors which ought to 
 be corrected, and whose own produc- 
 tions (even at the very early period 
 when he made a great number of 
 drawings from the Oxford collection) 
 proved, to those who could judge, 
 the value of his remarks, and gave 
 weight to his remonstrances. On 
 his uncle's death, this gentleman 
 was unanimously chosen to be his 
 successor in his city honours, and had, 
 during many years, the principal di- 
 rection of that great concern. The 
 necessity of this assistance will appear 
 still more absolute, if we consider the 
 public situations in which he stood, 
 to the city, where he has filled the 
 offices of an alderman, sheriff, 
 and Lord Mayor, with the highest 
 respectability, and very sedulously 
 and conscientiously fulfilled the 
 duties of both ; and frequently, 
 when it was not in his rotation, sup- 
 plied the place of a brother alder- 
 man. In his magisterial capacity, 
 though inflexibly just, he was con- 
 stitutionally merciful ; and whatever 
 complaints were brought before him, 
 he always attempted, and very often 
 successfully, to accommodate their 
 differences ; and, when he could with 
 propriety, usually recommended the 
 complaining party to amend their 
 own conduct, as examples to those 
 whom they accused. He resided 
 formerly at the west corner of Queen- 
 street, Cheupsidc ; but for several 
 years past, where he transacted the 
 chief of his business, at the corner of 
 Ironmonger-lane, Chcapside, nearly 
 opposite the City Coffee-house, to 
 which place he went every morning 
 by seven or eight o'clock, to look 
 over the newspapers, till within a few 
 days of his death. Wishing to dis- 
 seminate a taste for the fine arts, he 
 had, within these few years, liberally 
 
 presented to the corporation of the 
 City of London several valuable pic- 
 tures, which now ornament the 
 Council-Chamber at Guildhall. Some 
 of them commemorate the actions of 
 our military and naval commanders, 
 and others are calculated to impress 
 upon the minds of the rising gene- 
 ration the sentiments of industry, 
 prudence, and virtue. Several of 
 these well-imagined allegorical deli- 
 neations by Rigaud, Smirke, Westall, 
 &c. he has had engraved ; and in the 
 dissemination of either prints or 
 books which had a moral tendency, 
 he always appeared to take great 
 pleasure. When he published an 
 Illustration of the Works of Hogarth, 
 by John Ireland, he frequently said 
 that if the public knew the incite- 
 ments to industry, prudence, and 
 humanity, in the works here explain- 
 ed, few families would be without 
 the volumes. Few that are conver- 
 sant with the arts are unacquainted 
 with the lottery by which the Shak- 
 speare Gallery, &c. were disposed of. 
 The reasons he gave for asking a 
 parliamentary sanction to it, are re- 
 lated with a plainness and simplicity 
 that must interest every reader, in a 
 letter to Sir William Anderson. 
 He there acknowledges, that in 
 pursuing his favourite object, the 
 extension and improvement of the fine 
 arts, he met with every encourage- 
 ment; but the growing produce was 
 expended in the advancement of that 
 object, to the amount of 3.50,000/. 
 He farther states, that he had 
 hopes of being able to bequeath the 
 Shakspeare Gallery to the public, 
 who had so generously supported 
 him in all his undertakings; but the 
 French revolution, and its conse- 
 quences, occasioned his soliciting par- 
 liamentary permission to dispose of 
 it by lottery. He had the gratifica- 
 tion of living to see every ticket dis- 
 posed of, but did not live to sec the
 
 68 
 
 pri'/.cs dnuvn, and the whole termin- 
 ated. His death was occasioned by 
 a too eager attention to his official 
 duties. The week before his death, 
 he went to attend in his cajKicity as 
 a magistrate, at the Sessions-house 
 in the Old Bailey ; and as he was 
 always early in his attention to busi- 
 ness, he arrived there before any of 
 the other magistrates, and before the 
 fires were lighted. Standing before 
 one of the grates while this was done, 
 the damps were diawn out, and he 
 took a cold, which produced an in- 
 flammation of the lungs, by which 
 the life of this excellent and useful 
 man, and upright magistrate, was 
 terminated, on the llth of Decem- 
 ber, 1804, in the 86th year of his 
 age. He was interred on the 19th 
 of December, in a most respectable 
 manner; his remains being attended 
 by the lord mayor, many of the 
 aldermen, the city-marshals, and a 
 numerous train of relatives and 
 friends Gleanings (if a J3ee. 
 
 BOYEll (John Baptist, Marquis 
 d' Aiguilles), a French nobleman, 
 who was procureur-gcneral of the par- 
 liament of Aix, in Provence. His 
 love of the arts led him into an inti- 
 macy with the principal artists of his 
 time, particularly with Puget, the 
 celebrated sculptor ; with whom he 
 went to Italy, and formed a large 
 collection of pictures, sculpture, &c. 
 of which he published the prints in 
 two volumes; six of the plates were 
 engraved by himself. He also 
 amused himself with painting, for 
 which he is said to have had an ex- 
 cellent taste. Some of his plates 
 are executed with the graver, the 
 others scraped in mezzotinto. 
 Pilk. 
 
 BOYLE (Richard), Earl of Bur- 
 lington. Never were protection and 
 great wealth more generously, and 
 more judiciously diffused than by 
 this great person, who had every 
 
 quality of a genius and artist, except 
 envy. He spent great sums in con- 
 tributing to public works, and was 
 known to choose that the expense 
 should fall on himself, rather than 
 that his country should be deprived 
 of some beautiful edifices. His en- 
 thusiasm for the works of Inigo Jones 
 was so active, that he repaired the 
 church of Covcnt-garden, because it 
 was the production of that great mas- 
 ter. With the same zeal for pure 
 architecture, he assisted Kent in pub- 
 lishing the designs for Whitehall, 
 and gave a beautiful edition of the 
 public baths from the drawings of 
 Palladio, whose papers he procured 
 with great cost. Besides his works 
 on his own estate at Lonsborough, in 
 Yorkshire, he new-fronted his house 
 in Piccadilly, built by his father, and 
 added the grand colonnade within the 
 court. The other works designed 
 by Lord Burlington were, the Dor- 
 mitory at Westminster-school ; the 
 Assembly-room, atYork ; Lord Har- 
 rington's, at Petersham ; the Duke 
 of Richmond's House, at Whitehall ; 
 and General Wade's, in Cork-street. 
 BBAKENBURO (Roger Rainier), 
 a painter of landscapes and conversa- 
 tions, born at Haerlem in 1G49, and 
 became a disciple of Mommers, but 
 afterwards studied under Bernard 
 Schcndel. His subjects were like 
 those of Brouwer, whom he resem- 
 bled, not only in style of composi- 
 tion, but in manners of life ; yet in 
 some of his pictures, it seems as if 
 he had been desirous of imitating 
 Ostade. His subjects were the feasts 
 of boors, the amusements of villagers, 
 dancing, and conversations. His 
 compositions are ingenious and full 
 of variety, though the forms of his 
 men and women are always the same, 
 and generally copied from low nature, 
 without elegance of choice ; his co- 
 louring is strong and natural, though 
 the pictures of his later time arc not
 
 69 
 
 so carefully executed, particularly in 
 the extremities. Houb., Pilk. 
 BRAMMANTE DI URBINO 
 
 (Lazaris), an architect, born in 1 444, 
 and died in 1.51 4, aged 70. He began 
 the church of St. Peter's, at Rome, 
 and at his death left the finishing 
 of it to Michel Angelo Buonarotti. 
 He also executed several consider- 
 able works for the Popes, particularly 
 that of joining the Belvidere to the 
 Vatican. Bramniante was also a musi- 
 cian and man of letters ; among his 
 other works are the Infermeira de 
 poveri Sacerdoti, by order of Cardi- 
 nal Alessandro Campeggio ; the Os- 
 pizio degl' Eretici convertiti ; the 
 Palazzo Salviati ; one of the chapels 
 in St. Pietro Montoris ; the Church 
 of St. Eligio de 1'Orefici, &c. : the 
 Palazzo Farnese, the Palazzo Can- 
 cellaria, at Rome, and many other 
 fine edifices in the same city. 
 Tiraboschi, Felibien, frc. fyc. 
 
 BRAMER (Leonard), a painter 
 of ornaments and history, born at 
 Delft, in 1.596. He was a disciple 
 of Rumbrandt, whom he imitated in 
 a small degree, and went at the age 
 of eighteen to study at Rome. His 
 designing is well executed, his ex- 
 pression in general good, and some- 
 times elevated ; his colouring is pecu- 
 liar, being so very thin in some parts 
 as barely to rover the pannel, yet, 
 by great skill in the chiaro-oscuro, his 
 pictures have a bright, bold, and 
 transparent effect. One of his most 
 admired paintings is the Raising of 
 Lazarus, and another, the Denial of 
 St. Peter, both in his best manner. 
 There are several valuable paintings 
 of his in the palace of Ryswick ; 
 but the most admired is a small 
 picture on copper, representing the 
 
 story of Pvramus and Thisbe 
 
 Ibid. 
 
 BRANDEL (Peter), a portrait 
 and historical painter, born at Prague 
 in 1660, and died in 1739, aged 79. 
 
 When fifteen years old, he became a 
 disciple of John Schrater, with 
 whom he remained four years, and 
 then separated. He designed with 
 great ease, but avoided loading his 
 compositions. His pencil was broad, 
 easy, and very free, and his colouring 
 natural, except that sometimes his 
 shadows are too black. Most of the 
 churches of Prague and Breslaw are 
 embellished with his works, and the 
 Prince of Harfcldt gave him a hun- 
 dred ducats for one half-length pic- 
 ture of St. Jerome. He resided 
 during the greatest part of his life at 
 Prague, but owing to his irregular 
 manner of living he died very poor. 
 Pilk. 
 
 BRANDENBERG (John), an 
 historical painter, born at Zug, in 
 1660, and died in 1729, aged 69. 
 He was the son of Thomas Branden- 
 berg, a painter of Zug. His talents 
 disclosed themselves at an early pe- 
 riod, for we find him in 1680 copy- 
 ing the works of Giulio Romano, at 
 Mantua. There is a ceiling by him 
 in the concert hall at Zurich, which 
 gives a favourable idea of his style of 
 composition and powers in fresco. 
 He painted much for the churches 
 and convents of Switzerland ; and it 
 was to answer the multiplicity of his 
 commissions, that he sacrificed the 
 accuracy which distinguished his 
 early works. Fuseli. 
 
 BRANDI (Giacinto), an histori- 
 cal painter, born at Poli in 1 623, and 
 died in 1691, aged 68. He was a 
 pupil of Lanfranco, and the best of 
 his Roman scholars. He at first 
 adopted the manner of his master ; 
 but from a desire of acquiring wealth, 
 he dismissed those principles, and 
 the pictures which he afterwards 
 painted have little correctness, and 
 less grandeur than what distinguishes 
 the style of Lanfranco. His power 
 is however proved by the picture of 
 St. Rocco, in the church of the Ripctta
 
 70 
 
 and by that of the Holy Martyrs, 
 in the Stigmata D'Aryenvitte. 
 
 BRANDMULLER (Gregory), 
 an historical and portrait painter, 
 born at Basle iu 16G1, and died in 
 16.01, aged 30. He was first a dis- 
 ciple of Caspar Meyer ; but quitting 
 Basle, he went to Paris, where he 
 was received into the school of Le 
 Brun, whom he pleased exceedingly 
 by the progress he made ; but the 
 respect and preference he received 
 from him exciting the jealousy and 
 envy of others, he retired to his own 
 country, but not before he had ob- 
 tained the prize given by the Royal 
 Academy of Paris. He excelled in 
 history, and was fond of painting his 
 portraits in an historical style ; his 
 genius resembled that of Le Brun. 
 His design is correct, and his ex- 
 pression animated and just, and he 
 practised a good method of colour- 
 ing. Pi'tt. 
 
 BRAY (Sir Reginald), an English 
 architect, who died about 1501. He 
 was also an eminent statesman, and 
 assisted in placing Henry VII. upon 
 the throne. He built Henry Vll.'s 
 Chapel, Westminster, and one at 
 Windsor, called by his name, in 
 which he was buried. Gen. Biog. 
 Diet 
 
 BRAY (Solomon de), a portrait 
 painter, born at Haerlem, in 1597, 
 died in 1664, aged 67. He was 
 reckoned amongst the first artists of 
 his time. He painted a great many 
 portraits, in a small and large size, 
 for persons of the greatest distinc- 
 tion in the Netherlands Pi/A. 
 
 BRAY (Jacob de), an historical 
 painter, who flourished in 1640. He 
 was son and disciple of the preced- 
 ing, and was also born at Haerlem. 
 He showed uncommon skill in de- 
 signing and drawing naked figures, 
 but his drawings on vellum and 
 paper are extremely fine and highly 
 valued. There is a picture of his 
 
 at Amsterdam, representing David 
 Playing before the Ark, which has 
 received the highest commendations. 
 Pilh. 
 
 BREBIETTE (Peter), a French 
 painter and engraver, born at Mante, 
 on the Seine, in 1596. He is said to 
 have been a painter of some celebrity, 
 but his works in painting are but little 
 known in this country. As an engrav- 
 er he is entitled to a more particular 
 notice. He was possessed of an in- 
 ventive genius, and has engraved 
 several plates from his own designs, 
 which are composed in a very agree- 
 able style, and etched in a spirited 
 and masterly mamier ; he also en- 
 graved several plates after other 
 masters Ibid. 
 
 BREENBURG, called BARTOLO- 
 MEO ( Bartholomew ), a landscape, 
 historical, and conversation jttinter, 
 born at Utrecht in 1620, and died 
 in 1660, aged 40. He went at an 
 early age to Rome, where he studied 
 nature in the environs of that city, 
 which afford so many fine subjects 
 for the landscape painter. He mostly 
 painted in a small size, and the 
 figures and animals which he intro- 
 duced into such pictures were always 
 well executed ; but whenever he at- 
 tempted a larger size, the incorrect- 
 ness of his drawings is more palpable. 
 His touch is light and spirited, his 
 colouring pleasing, his taste entirely 
 of the Roman school, and his pic- 
 tures have both force and delicacy. 
 He embellished his landscapes with 
 historical subjects, and his works 
 are always distinguished by elegant 
 architecture or ruins. The works 
 of this master are very scarce and 
 valuable. 
 
 BRESANG (Hans or John), a 
 German engraver, who flourished 
 about the year 1513. He was a con- 
 temporary of Hans Balding, as ap- 
 pears from a comparativeexamination 
 of their style, which bears the nearest
 
 71 
 
 resemblance so much so, as to have 
 occasioned a suspicion that they were 
 the productions of the same hand. 
 They are chiefly wooden cuts, al- 
 though there are some copperplates 
 attributed to him. Strutt. 
 
 BREYDELL (Charles), called 
 Cavalier, a landscape painter, born 
 at Antwerp in 1677, and died in 
 1744, aged 67. He was at first a 
 disciple of old Rysbrack, the land- 
 scape painter ; he afterwards copied 
 at Amsterdam several views of the 
 Rhine, from the designs of Grifficr. 
 At last he settled at Ghent, where 
 his productions were much sought 
 after ; but from a desire of hastily 
 enriching himself, he often painted 
 slight and inconsiderable pictures, 
 which appear unworthy the pencil 
 which had painted others so greatly 
 superior. His works appear to have 
 two different manners ; one during 
 the time Griffier was his model, and 
 afterwards when he changed to imi- 
 tate Velvet Brueghel. The pictures 
 of his last time are full of spirit, his 
 design and execution correct ; and if 
 he had been more exact in imitating 
 and consulting nature, would have 
 been truly valuable. Pilk. 
 
 BREYDELL (Francis), a por- 
 trait and conversation painter, bom 
 at Antweq) in 1679, died in 17-50, 
 aged 71. It is generally supposed 
 lie was a disciple of old Rysbrack, 
 as well as his brother Charles ; but 
 he chose very different subjects, for 
 at an early age he painted portraits 
 with such success, that he was ap- 
 pointed painter to the Court of 
 Hesse Cassel. He also painted con- 
 versations, feasts, assemblies, and 
 carnivals. He afterwards came to 
 England with his friend Vandermyn, ! 
 aiid continued for several years. His i 
 conversations and other compositions ; 
 nre much admired, where he has 
 given a proper variety to his figures. 
 Ibid. 
 
 BRIE (Theodore de), a German 
 engraver, who died about 1,598. Ho 
 engraved the plates to Boissard's 
 Roman Antiquities, in which he was 
 assisted by his sons, Theodore and 
 Israel, whom he brought up to his 
 own business. His own head and 
 Boissard's he has prefixed to some of 
 the volumes. The first English work 
 to which his name is attached was 
 the Funeral of Sir Philip Sydney, 
 and which was expressly engraved 
 in London. The next was a title- 
 page, with the arms of the lord- 
 keeper Hatton at large, to \Vagenar's 
 Mariner's Mirror in 1,588; the last 
 does great honour to De Brie. He 
 cut the curious plates, describing 
 the manners and fashions of the 
 Virginians, which were published by 
 Thomas Hariot, Serjeant to Sir 
 Walter Raleigh, and employed by 
 him in the discovery. This work 
 was printed at Frankfort by J. 
 Wechelius in 1590. The cuts were 
 done at De Erie's own expense, 
 from drawings by J. White, who was 
 sent thither for that purpose. Picart 
 has copied thcai in his Religious 
 Ceremonies of all Nations. He 
 engraved the plates to the Latin 
 Narrative of the Cruelties of the 
 Spaniards in America, published in 
 1,598. About the same time np- 
 pcared De Brio's great work, inti- 
 tuled, " Descriptio India 1 Orientalis, 
 & Occidentals, 19 parts, 5 vols. 
 folio." His son Theodore engraved 
 the heads for Boissard's Collection 
 of Eminent Persons. 
 
 BRIL (Matthew), an historical 
 and landscape painter, born at Ant, 
 wcrp in 15.50, and died in 1,584, 
 aged 34. He learned the rudiments 
 of his art in his native city, and 
 afterwards went to Rome, where in 
 a few years he displayed so much 
 merit in landscape and history, that 
 Pope Gregory XIII. employed him 
 to work ia the Vatican, and allowed
 
 72 
 
 him an honourable pension as long 
 as he lived. D'Aryenville, Ue 
 Piles, Pit/i. 
 
 BRIL (Paul), a landscape painter, 
 born at Antwerp in 1554, and died 
 in 1626, aged 72. He was brother 
 to the preceding, and a disciple of 
 Daniel Voltelman's. lie afterwards 
 visited his brother Matthew at Rome, 
 where he saw the works of Titian 
 .and the Caracci, arid altered his 
 Flemish manner entirely, by fixing 
 upon a style and colouring that were 
 far more pleasing. The pension and 
 employ at the Vatican, enjoyed by 
 his brother, was conferred upon him. 
 His manner of painting is true, 
 sweet, and tender; his scenery, 
 situations, and distances, are ad- 
 mirable. In the latter part of his 
 life, his landscapes were always 
 small, but beautifully and exqui- 
 sitely finished; he frequently painted 
 them on copper. Annibale Caracci 
 generally painted the figures on his 
 landscapes, which greatly increased 
 their value. His works are at pre- 
 sent seldom to be met with Hrid. 
 
 BRINKMAN (Philip Jerome), 
 a German painter and engraver, 
 born at Spires in 1709. He was a 
 pupil of J. G. Dathaii. His favourite 
 subjects were landscapes, but be also 
 painted history and portraits ; in 
 some of the latter he imitated the 
 force and colouring of Rembrandt. 
 He was painter to the court, and 
 keeper of the gallery at Meutz. 
 I/oubrakfn. 
 
 BRIZE (Cornelius), a painter of 
 still life and musical instruments. 
 The subjects of this painter's pencil 
 arc bas-reliefs, armour, shields, wea- 
 pons, and volumes lying open, which 
 he finished in a curious manner, 
 grouping them with all the art, 
 elegance, and judgment, the nature 
 of the subject would admit. There 
 is a painting in the Old Man's Hos- 
 pital, at Amsterdam, of Old Age 
 
 Persecuted by Poverty, the figures 
 by Grebber, and the still life by 
 Brize, in which he has shown extra- 
 ordinary merit. Pilk. 
 
 BRIZIO (Francesco), a painter 
 of architecture and landscape, born 
 at Bologna in 1574, and died in 
 1623, aged 49. He received his 
 first instructions from the school of 
 Passeroti, but afterwards was a dis- 
 ciple of Ludovico Caracci. He 
 studied the principle* of architecture 
 and perspective with indefatigable 
 application, and his compositions in 
 that style are greatly admired, not 
 only for the truth of the perspective 
 and beauty of colouring, but also 
 for the grandeur of his ideas, the 
 majestic style of his architecture, the 
 elegance of the ornaments, and the 
 noble style of landscape which he 
 introduced in them Ibid. 
 
 BROERS ( ), a painter of 
 
 conversations, fairs, and markets. 
 This master executed his subjects, 
 which were of the lowest kind, with 
 great truth, liveliness, and humour. 
 He had a light clean touch, and a 
 free manner of handling, and he 
 always grouped his figures with 
 singular skill. His keeping was re- 
 markably good in the back grounds', 
 and his compositions produce an 
 agreeable effect Ibid. 
 
 BROMPTON ( Robert), a portrait 
 painter. He was a pupil of Benja- 
 min Wilson, and afterwards went to 
 Rome, and received instructions from 
 Raphael Mengs. He was patronised 
 by the earl of Northampton, who 
 was at that time ambassador at 
 Venice. He afterwards returned to 
 England, and by his vanity became 
 embarrassed, and imprisoned in the 
 King's Bench, from whence he was 
 liberated by the empress of Russia, 
 to whom he had been recommended ; 
 upon which he went to Russia, 
 where he did not survive many years, 
 but died at Petcrsburgh ; at what
 
 BRO 73 BKO 
 
 time was uncertain, but certainly | ter of birds and animals in water-co- 
 before 1790. He painted two whole lours, born at Leyden in 1648, and 
 lengths of the Prince of Wales, and died in 1723, aged 75. This artist 
 Duke of York ; and was employed had no particular master, being in- 
 to repaint the famous picture of tended for a much inferior profes- 
 Vandyck, at AVilton-house, which sion ; but his own genius, love of 
 has in consequence considerably suf- the arts, and incessant application, 
 fered. Edwards. enabled him to distinguish himself 
 
 BRONCKHORST (Peter), a per- as one of the most eminent painters 
 spective and historical painter, born in water colours of his time. His 
 at Delft in 1.588, died in 1661, aged subjects were birds and animals of 
 73. His subjects were views of all kinds, wild and tame, which he 
 ancient and modern churches, filled copied after nature with uncommon 
 with historical figures, executed with life, exactness, and expression. 
 great success. There are two pro- Houb., Pilk. 
 
 ductions of his in the council-cham- BRONZING (Agnolo), an histo- 
 ber at Delft : The Judgment of rical and portrait painter, born at 
 Solomon, and Christ driving the Florence in 1511, and died in 1580, 
 Money-Changers out of the Temple : aged 69. He was a scholar of Pon- 
 which are described as being very tormo, though at the same time an 
 fine performances Houb., Pilk. imitator of Michel Angelo. His 
 BRONCKHORST (John), an fresco in the Palazzo Vecchio, and 
 historical and landscape painter, bom Purgatory in the church of Santa 
 at Utrecht in 1 G03. He was first a Croce, are among the pictures gene- 
 disciple of John Verburg, and after- rally admired at Florence. His por- 
 wards went to Brabant, and con- traits are numerous in the Italian 
 tinned some time with Peter Mattys, collections. The ruling tone of 
 a pointer on glass, whom lie assisted his pictures is yellow, and their 
 in several capital works. On his greatest fault want of relief. 
 return to his own country, he was Fuseli. 
 
 much employed, and devoted him- BROSAMER (John Hans), a 
 self to the study and imitations of German engraver, born at Fulda 
 Cornelius Poeleinbcrg, and by the about the year 1506. On account 
 neatness and high finishing of his of the small size of his prints, he is 
 work, and the elegant choice of his ; ranked among what are called the 
 subjects, he obtained a lasting repu- ' little masters. He worked both on 
 tation. He painted on glass till his \ wood and copper, and his style 
 thirty-sixth year, afterwards in oil, resembles that of Aldigrever, though 
 
 in the manner of Poelcmbcrg. There much inferior Strutt. 
 
 are three of his paintings on glass,' BROUWER, or BRAUWER, 
 which are shown as curiosities ; and (Adrian), a painter of drolls and con- 
 in the same church, on the folding- j versations, born of poor parents at 
 doors of the organ, are three his- j Haerlem, in 1608, and died in 1640, 
 torical paintings in oil the Triumph aged 32. He was a disciple of Fran- 
 of David over Goliath; the Anointing ' cis Hals, under whom he became an 
 of Saul ; the Attempt of Saul to kill inimitable artist, and one of the most 
 David while he was playing on the celebrated painters of the Low Coun- 
 Ilarp; all admirably executed. tries. His subjects were taken from 
 Pilk. low life, and always copied from na- 
 
 BHONCKIIORST(John),apain- ture; such as drolls, conversations,
 
 74 
 
 BRU 
 
 feasts, taverns, drunken quarrels, 
 boors playing and disputing at cards, 
 or surgconsdressingthe wounded; but 
 from the various excellencies of the 
 execution they are more highly prized 
 than the works of the most eminent 
 masters. He resided some time with 
 Rubens, who had released him from 
 imprisonment; but from the levity 
 of his disposition, he was induced to 
 quit Rubens, and his death was 
 shortly after hastened by his intern- ! 
 perate mode of living 7/o6., Pilk. \ 
 
 BROWN (John), a painter, born 
 at Edinburgh, and died about 1787. ; 
 He travelled iu Italy for improve- 
 ment, and was esteemed an artist 
 of considerable talents and acquire- 
 ments. His letters on the poetry 
 and music of the Italian Opera, 1 
 vol. 12mo., were published by Lord 
 Monboddo in 1789. 
 
 BROWN (John), he was Serjeant 
 painter to Henry VIII. ; and if he 
 threw no great lustre upon his pro- 
 fession, he was at least a benefactor 
 to its professors. In the 24th of 
 Henry, he built Painters'-hall for 
 the company, where his portrait is 
 still preserved, among other pictures 
 given by artists to the society. 
 
 BROWN (Robert), an English 
 historical painter, born in 1726. lie 
 was a disciple of Thomhill, and as- 
 sisted him in the cupola of St. Paul's. 
 Commencing business for himself, he 
 was much employed in decorating 
 several churches in the city. He 
 was much admired in painting crim- 
 son curtains, apostles, and stories out 
 of the New Testament. lie painted ! 
 the altar-piece of St. Andrew's Un- 
 dershaft, and the s]>aces between the 
 Gothic arches in chiaro-scuro. He 
 likewise executed several altar-pieces 
 for the other churches and chapels in 
 London. 
 
 BRUCE (William), a Scotch ar- 
 chitect. In 1 702 he built Hopetoun 
 House, Scotland. The ground story- 
 
 contains a portico, hall, and four 
 beautiful apartments. In the centre 
 is an octagonal staircase, which leads 
 to the state-rooms. The facade is 
 rusticated, and of fine stone. The 
 windows are well proportioned and 
 arranged ; at the top is a balustrade, 
 with vases and statues, and in the 
 centre rises a stone cupola, which 
 covers the staircase. Bruce was con- 
 sidered one of the best British archi- 
 tects of his day. Walpole. 
 
 BRUEGHEL (Peter), called the 
 Old, a painter of landscapes and droll 
 subjects, born at Brueghel, a village 
 near Breda, in 1.510, and died at 
 Antwerp in 1.570, aged GO. He was 
 a scholar of Peter Coek (or Kouc), 
 but afterwards travelled and studied 
 in Italy. He painted almost every 
 kind of subject, often those full of 
 whim and drollery, in the manner 
 of Jerome Bos, but was generally 
 fond of those representing the march- 
 ing of armies, robberies, skirmishes, 
 sports, dances, weddings, and drunken 
 quarrels ; and, to observe more ex- 
 actly their different humours and 
 actions, often contrived to mix in 
 crowds of the meaner boors in the 
 disguise of a peasant. In whatever 
 style or manner he painted, his 
 figures were correct, and draperies 
 well chosen. A picture, represent- 
 ing the building of the Tower of 
 Babel, is in the collection of the 
 emperor of Germany at Vienna, by 
 whom, as well as the Grand Duke, 
 he was employed, in which he has 
 introduced a number of figures de- 
 licately handled ; it is considered his 
 best performance. He repeated the 
 same subject several times, large and 
 small, and finished them with equal 
 
 skill Houbraken, U'Argenville, 
 
 Pilk. 
 
 BRUEGHEL (Peter Petersz), 
 called the Young, born at Brussels 
 in 1,582, and died in 1642, aged 60. 
 His subjects were plundering, mas-
 
 75 
 
 BRU 
 
 sacrcs, towns on fire, and devils. He 
 was the son of the preceding, and a 
 disciple of Gilles Coningsloo, and 
 universally known by the name of 
 Brueghel d'Enfers, from the subjects 
 he delighted in painting. He scarcely 
 ever designed any historical subjects, 
 except those that would admit of in- 
 troducing witches and devils, such 
 as Orpheus charming Pluto and Pro- 
 serpiue to procure the Deliverance of 
 Eurydice, surrounded with horrible 
 shapes and appearances ; Saul and 
 the Witch of Endor ; and St. An- 
 thony's Temptations Houbraken, 
 
 D'Argenville, Pilk. 
 
 BRUEGHEL (John), called from 
 his dress VELVET BRUEGHEL, 
 a flower, fruit, and landscape painter, 
 born at Brussels in 1 560, and died 
 in 1(52.5, aged 65. Authors differ as 
 to his instructors, though all may be 
 founded in fact ; some say, he learned 
 the principles of painting from his 
 father; others, that he was taught 
 painting in miniature by Peter Van 
 Aalst, and afterwards oil-painting 
 by Peter Goekimlt. In every part 
 of painting and colouring, design and 
 pencilling, he proved far superior to 
 his father, and indeed to all his con- | 
 temporaries, in his peculiar style, i 
 His inclination first led him to paint | 
 fruit and flowers from nature, which 
 lie executed with great neatness and j 
 delicacy ; afterwards landscapes, sea- 
 ports, and markets, with a number 
 of figures, exactly and correctly 
 drawn, though exceedingly small. 
 Sometimes he painted flowers in gar- 
 lands or festoons, and landscapes, in 
 which Rubens and other eminent 
 masters inserted the figures ; and at 
 other times was employed by Steen- 
 wyck, Mompert, Rothenamer, and 
 Van Balen, to adorn their pictures 
 with his figures. There is a fine 
 landscape of his greatly admired, 
 three feet high, and four feet broad, 
 
 ! with figures of Vertumnus and Po- 
 mona, by Rubens. Also another, 
 beautifully finished, representing a 
 Desert, in which Giovanni Batista 
 Crespi painted the figure of St. Je- 
 rome ; and an oval picture of the 
 Virgin, painted by Rubens, encom- 
 passed by a garland of flowers, ad- 
 mirably painted by Brueghel. There 
 is also one in the Napoleon Museum, 
 of Adam and Eve in Paradise, of 
 which Rubens painted the figures, 
 and Brueghel the accessories : it is 
 considered his master-piece, and the 
 most valuable production of the 
 Flemish school ; and another en- 
 tirely by his own hand, of the same 
 collection, of a Repose in Egypt. 
 His works are admirable in every 
 respect : the only fault which is ge- 
 nerally found with them is his dis- 
 tances being too blue Houbrakeii, 
 
 D'Argenville, Pilk. 
 
 BRUEGHEL (Abraham), called 
 NEAPOLITAN, a fruit and flower 
 painter, born at Antwerp in 1 692. He 
 travelled to Italy when very young, 
 and constantly made nature his mo- 
 del. His objects were represented 
 with truth and elegance, a warm and 
 natural colouring, and with a broad 
 fine touch. His works are ranked 
 among those of the most admired 
 masters Pilk. 
 
 BRUNELLESCHI (Philip), an 
 architect, born at Florence in 1377, 
 and died in 1446, aged 69. He was 
 originally a goldsmith and watch- 
 maker, but afterwards studied archi- 
 tecture and perspective, in which he 
 made a wonderful progress. He was 
 patronised by the Medici family, for 
 whom he built some fine structures. 
 He erected the dome of the cathedral 
 at Florence, which Michel Angelo 
 highly praised. He also understood 
 military architecture, and was an ex- 
 cellent engineer, as well as an agree- 
 able poet. Felibien, D'Aryenville.
 
 76 
 
 BRUNT (Orazio), an Italian en- 
 graver, born at Sienna about the year 
 1(!30. He was one of the few Ita- 
 lians who worked entirely with the 
 graver, and appears to have imitated 
 the style of F. de Poilly. He en- 
 graved some plates from his own 
 designs, and others from Rutilio 
 Manetti, &c. Strutt. 
 
 BRUNIAS (Augustine), an Ita- 
 lian painter. He resided some time 
 in England, and painted decorative 
 subjects for panels and ceilings, both 
 in colours and chiaro-scnro. He 
 exhibited at the Royal Academy in 
 1777 and 1779. He afterwards 
 went to the West Indies, and resided 
 chiefly at Dominica Edwards. 
 
 BRUYN, or BRU EN (Abraham), 
 a Flemish engraver, born at Ant- 
 werp about the year 1540. He is 
 ranked among the little masters, on 
 account of the general size of his 
 plates being very small. They are 
 executed entirely with the graver, in 
 n neat formal style, and his drawing 
 is far from correct. His works are, 
 however, esteemed for their neatness. 
 His best prints are his portraits, and 
 his small friezes of hunting, hawk- 
 ing, &c. Strutt. 
 
 BRUYN, or BRUEN (Nicholas 
 de). He was the son of the artist 
 mentioned in the preceding article, 
 born at Antwerp about 1570. Al- 
 though lie was instructed by his 
 father in engraving, he did not fol- 
 low his example, cither in the style 
 of his execution, or in the size of his 
 plates. He appears to have studied 
 and to have formed his manner from 
 the works of Lucas of Leyden. His 
 compositions are abundant, but he 
 wanted taste in the selection of his 
 forms. He finished his plates very 
 neatly with the graver ; but there is 
 not much effect in his prints, from 
 his ignorance of the management of 
 the chiaro-scuro. Notwithstanding 
 
 this defect, which was very general 
 at the time in which he lived, his 
 works possess considerable merit 
 Strutt. 
 
 BRUYN (Cornelius), a Dutch 
 painter in the 17th century. He 
 travelled through Russia, Persia, 
 and the East Indies, an account of 
 which he published. Nouv. Diet. 
 Hist. 
 
 BRY, or BRIE (Theodore de), 
 an eminent German engraver, born 
 at Liege in 1 528. He resided chiefly 
 at Frankfort, where he carried on the 
 business of a print and bookseller. 
 It is not known by whom he was in- 
 structed in the art of engraving, but 
 from his style he appears to have 
 paid particular attention to the works 
 of Sebald Beham. This laborious 
 artist worked almost wholly with the 
 graver, in a neat free style, well 
 adapted to the subjects he made 
 choice of : such as public processions 
 arid parades, where a great number 
 of figures are introduced, which ho 
 drew correctly, and gave great spirit 
 and expression to his heads. He 
 engraved the plates for the first four 
 volumes of Boissard's Roman Anti- 
 quities ; the two last volumes were 
 completed by his sons, John Theo- 
 dore and John Israel Strutt. 
 
 BRY, or BRIE (John Theodore 
 de). He was the eldest son of the 
 preceding artist, born at Liege in 
 1561. He greatly assisted his father 
 in the considerable works in which 
 he was engaged ; and, with the assist- 
 ance of his brother John Israel, com- 
 pleted the two volumes of Boissard's 
 Roman Antiquities, which were left 
 unfinished at his father's death. He 
 also added considerably to the col- 
 lection of Portraits of Illustrious 
 Persons, begun by Theodore de Bry. 
 Ibid. 
 
 BUCKSHORN (Joseph), a Dutch 
 painter of portraits, &c., who died
 
 77 
 
 about 1709. He eame early to Eng- 
 land, and was a disciple of sir Peter 
 Lely, whose works he copied in great 
 perfection. He likewise copied some 
 of Vandyck's, particularly the earl of 
 Stafford. 
 
 BUDD (George), a portrait and 
 landscape painter. He was originally 
 a hosier; hut having studied painting, 
 he pursued it, and taught drawing for 
 several years. He painted a portrait 
 of Timothy Burnet, a shoemaker, 
 famed for supporting an action against 
 the Princess Amelia, as ranger of 
 Bushy-Park, which has been engra- 
 ved Edwards. 
 
 BUFFALMACCO (Buonamico), 
 an historical painter, horn at Florence I 
 in 1262, and died in 1340, aged 78. I 
 He was for some years a disciple of i 
 Andrea Taffi, and was allowed to be ! 
 ingenious in his compositions. He i 
 had a talent for droll humour, and ; 
 was the first that advised the intro- | 
 duction of a label from the mouth of 
 the figure to represent it as speaking. 
 This advice was given ludicrously to 
 a painter, but seriously introduced 
 and followed, from whence the cus- 
 tom arose. Pilk. 
 
 BUGIARDINI (Giuliano), an 
 historical and portrait painter, born 
 at Florence in 1481, and died in 
 15.50', aged 75. He at first received 
 instructions from Bertoldo, a sculp- 
 tor; but being a great friend of Mi- 
 chel Angclo Buonarotti, he received 
 further instructions from him. Some 
 of his works were esteemed, but his 
 design and composition were imper- 
 fect, and his drawingincorrect. Ibid. 
 
 BUN EL (Jacques), a French his- 
 torical painter, born at Blois in 1588. 
 He was a disciple of Frederick Zuc- 
 chero, and painted with great repu- 
 tation at Rome and Paris. At the 
 latter he painted a Descent of the 
 Holy Ghost, which Nicolo Poussin 
 preferred to all the other paintings 
 in that city. D'Arycnvillc, Pilk. 
 
 BUNK (James), a portrait painter 
 of no great powers, who died about 
 the year 1780. His favourite pro- 
 ductions were candle-light pieces, 
 but his works were mostly copies 
 from prints. He exhibited with the 
 Free Society of Artists, from 1766 
 to 1769. Edwards. 
 
 BUONACCORSI, called PIE- 
 R1NO DEL VAGA (Pierino), an 
 historical and ornamental painter, 
 born in Tuscany in 1500, and died 
 in 1547, aged 47. He is celebrated 
 as one of the most distinguished 
 scholars and assistants of Raffaellc 
 in the Vatican. The Immolation of 
 Isaac, in the Stanze, the Taking of 
 Jericho, Joseph sold by his Brethren, 
 Jacob with the Vision, the Drown- 
 ing of Pharaoh, with others among 
 the frescos of the Loggie, are his. 
 That he had much of the Florentine 
 style, may be seen by many of his 
 works. But the real theatre of 
 Pierino's art is Genoa, where he 
 arrived in 1528, to preside over the 
 embellishments and decorations of 
 the palace of Prince Doria ; here 
 every thing, whether executed by 
 Pierino himself, or from his car- 
 toons, breathes the spirit of the 
 school of Raffaelle. It is to his 
 style and principles Genoa owes the 
 foundation of its school. D'Argen- 
 ville, Fuseli. 
 
 BUONAROTTI (Michel Ange- 
 lo). See Introduction. 
 
 BUONTALENTI (Bernardo), 
 called GIRANDOLE, an histori- 
 cal, miniature, and portrait painter, 
 architect and sculptor, born at Flo- 
 rence in 1547, and died in 1608, 
 aged 61. He learned correctness of 
 design, and knowledge of colouring, 
 from Salviati, Bronzino, and Vasari ; 
 but the art of painting in miniature 
 he acquired from Giulio Clovio. His 
 works, as a painter, were soon the 
 objects of public admiration, from a 
 certain dignity in his portraits and 
 ii 2
 
 78 
 
 Madonnas, as well as his colouring. 
 He fortified several places in Tuscany, 
 and built several superb edifices He 
 invented several hydraulic machines, 
 and was well skilled in mathematics. 
 Nouv. Diet. Hist., Pilk. 
 
 BUPALUS, a celebrated Greek 
 sculptor, who lived in the 60th Olym- 
 piad, who, in conjunction with An- 
 thermus, made the bust of the poet 
 Hipponax Pliny. 
 
 BURGHERS ( Michael), a Dutch 
 engraver, who died about 16.93. He 
 came to England soon after Louis 
 XIV. took Utrecht, and settled at 
 Oxford, where, besides several other 
 works, he engraved the almanacks : 
 the first appeared in 1676, without 
 his name. He executed several 
 Finall views of the new buildings at 
 Queen's-college, and drew an exact 
 plan of the old chapel before it was 
 pulled down. His other works were, 
 sir Thomas Bodley ; at the corners 
 were heads of William earl of Pem- 
 broke, archbishop Laud, sir Kenclm 
 Digby, and John Selden ; William 
 Somer, the antiquary ; Franciscus 
 Junins, from Vandyck ; John Bare- 
 foot, letter doctor to the university, 
 1681; head of James II. in an alma- 
 nack, 1 686 ; small head of sir Tho- 
 mas Wyat; Anthony a. Wood, in a 
 niche ; king Alfred, from a MSS. 
 in the Bodleian-library; archbishop 
 Chichclcy; John Baliol; Devoi-guilla, 
 his wife; Timothy Halton, from the 
 life; Dr. Wallace, in 16.90; two of 
 Dr. Ratclifie ; a large face of Christ, 
 done with one stroke, in the manner 
 of Mellan ; several frontispieces for 
 the Classics published at Oxford ; 
 and he likewise executed sovi-i-.il for 
 the English translation of Plutarch's 
 Lives. 
 
 BURGMAIR (Hans or John), 
 a German painter and engraver, born 
 at Augsburg, in 1474. He was the 
 disciple and friend of Albert Durcr. 
 la his native city are preserved seve- 
 
 ral of his pictures, which are much 
 in the style of his master, and possess 
 considerable merit. His prints are 
 principally, if not entirely, wooden 
 cuts, and are executed with a spirit 
 and fire that approaches his master. 
 His cut in chiaro-scuro of the em- 
 peror Maximilian I. on horseback, is 
 dated 1 508 ; and it has been very 
 probably supposed by Professor 
 Christ, that the fine wooden cuts 
 marked I. B., dated 1510, in the 
 old collection of the works of Geyler 
 dc Keyserberg, are by this engraver. 
 Stntt. 
 
 BURNET (James), a Scotch 
 landscape painter, born in 1788, and 
 \ died in 1816, aged 28. He disco- 
 vered an early taste for drawing, and, 
 with his brother John, received in- 
 structions in the studio of Scot, the 
 landscape painter. He afterwards 
 studied at the Trustees' Academy, 
 under Graham, and was noticed for 
 the natural truth of his delineations. 
 In 1810 Burnet arrived in London, 
 and, to use the words of his biogra- 
 pher, " He had sought what he 
 wanted in the academy, but found it 
 not ; he therefore determined, like 
 Gainsborough, to make nature his 
 academy ; and with a pencil and 
 sketch-book he might be seen wan- 
 dering about the fields around Ix>n- 
 don, noting down scenes which 
 caught his fancy, and ]>eopling them 
 with men pursuing their avocations, 
 and with cattle of all colours, and in 
 all positions." Burnct produced his 
 first picture of Cattle going out in 
 the Morning. This was soon followed 
 by another, Cattle returning Homo 
 in a Shower. This latter picture 
 placed him in the first rank as a pas- 
 toral painter. Others followed of 
 equal truth and beauty : 1 . Key of 
 the Byre ; 2. Crossing the Brook ; 
 3. Cowboys and Cattle; 4. Break- 
 ing the Ice; .5. Milking; 6. Crossing 
 the Bridge ; 7. Inside of a Cowhouse j
 
 79 
 
 8. Going to Market ; 9. Cattle by a 
 Pool in Summer ; 1 0. Boy with 
 Cows. Several of those pictures 
 were eagerly sought after, and pur- 
 chased by different noblemen at high 
 prices : others were reserved for his 
 relations and friends. " But while 
 this promising young artist," says his 
 biographer, " was watching the shift- 
 ing colours of the sky, and the 
 changing hues of nature, he was 
 sensible that a disease, which flatters 
 wliile it destroys, was gradually gain- 
 ing upon him, as ice upon the stream, 
 and robbing him of his vigour, bodily 
 and mental. He still continued his 
 excursions among the fields: the 
 consumption, from which he was a 
 sufferer, made him feel the beauty 
 more deeply of solitary places : he 
 was to be found often in secluded 
 nooks; and the beautiful church-yard 
 of Lee, in Kent, near which he in his 
 latter days resided, was a place where 
 lie frequently wandered. But change 
 of air and scene brought no improve- 
 ment to his health. He died on the 
 27th of July, 1816, aged 28 years." 
 Allan Cunningham. 
 
 Bl'SCHETTO (Da Dulichio), a 
 Greek architect of the 1 1th century, 
 was born in the isle of Dulichio. He 
 built the cathedral of Pisa, where he 
 died. Ftiibien. 
 
 WSHNKLL (John), an English 
 sculptor, who died about 1701. He 
 was :in admired sculptor in his own 
 time, but only memorable to us by 
 a capricious character. He travelled 
 to Italy, and resided some time at 
 Rome and Venice ; in the last city 
 lie executed a magnificent monument 
 for a Procunitore di San Marco, re- 
 presenting the siege of Candia, and a 
 naval engagement between the Ve- 
 netians and Tuiks. Upon his return 
 to England, he executed the statues 
 of Charles I. and II. at the Royal 
 Exchange, and sir Thomas Gresham 
 above stairs. His most esteemed 
 
 work was the kings at Temple-bar. 
 He carved several marble monu- 
 ments, particularly one for Lord 
 Ashburnham, in Sussex ; one for 
 Dr. Grew's wife, in Christ-church, 
 London ; and Cowley's and sir Pal- 
 mer Fairbourn's, in Westminster- 
 abbey. He had agreed to complete 
 a set of kings at the Royal-exchange, 
 but hearing that another artist (Cil>- 
 ber) had made interest to carve some 
 of them, Bushnell would not pro- 
 ceed, though he had begun six or 
 seven. Some of his profession as- 
 serting that though he was skilful 
 in drapery, he could not execute a 
 naked figure, he engaged in an Alex- 
 ander the Great, which served, to 
 prove that his rivals were in the 
 right, at least in what he could not 
 do. His next whim was to demon- 
 strate the possibility of the Trojan 
 horse, which he had heard treated as 
 a fable that could not have been put 
 in execution. He undertook such 
 a wooden receptacle, and had the 
 dimensions made in timber, intend- 
 ing to cover it with stucco. The 
 head was capable of holding twelve 
 men sitting round a table ; the eyes 
 served for windows. Before it was 
 half completed, a storm of wind 
 overset and demolished it ; and 
 though two vintners, who had con- 
 tracted with him to use his horse as 
 a drinking booth, offered to be at the 
 expense of erecting it again, he was 
 too much disappointed to recom- 
 mence. 
 
 BUSOLEN, a Dutch portrait and 
 historical painter, who resided in 
 England in the reign of Charles II. 
 He was much esteemed for his por- 
 traits of several noblemen of that 
 prince's court ; but of whom few 
 particulars are known. Dict.Poli- 
 graphicum. 
 
 BYEN (Nicholas), an historical 
 and portrait painter, born at Dron- 
 theim, in Norway, and died about
 
 80 
 
 1692. He was much employed by 
 the late sir Wm. Temple, at his 
 house at Sheen, near Richmond, in 
 Surrey, where he died young, from 
 the effects of an intemperate life. 
 He was the first man buried in the ; 
 church of St. Clements Danes, after 
 it was rebuilt. This church was 
 first built by his countrymen. Diet. 
 Poligraphicum. 
 
 BYRNE (William), an English 
 engraver, born in London in 1743, 
 and died in 180.5, aged 62. He 
 studied \mder his uncle, an artist 
 little known, and after some time [ 
 went to Paris, where he became a ' 
 pupil of Aliamet, and afterwards of 
 
 J. G. Wille. He may be justly 
 ranked among our eminent engravers 
 of landscape. His works are consi- 
 derable, of which the following are 
 most deserving of notice : Antiqui- 
 ties of Britain, the Views of the 
 Lakes of Cumberland, Scenery of 
 Italy, Apollo watching the Flocks 
 of king Admetus, the Flight into 
 Egypt ; Evening, a fine landscape, 
 after Claude Lorraine ; Abraham 
 and Lot quitting Egypt; a Sea-piece; 
 Evening, after Roth ; two Views of 
 Leuben, in Saxony ; the Death of 
 Captain Cook; the Waterfalls of Nia- 
 gara. 
 
 C 
 
 /^ ABEL (Adrian Vander), an emi- 
 ^^^ nent painter, was bom at Rys- 
 wick, in 1631, and died in 1695. 
 His landscapes and cattle are very- 
 fine. Houb. 
 
 CABEZALERO (Juan Martin 
 dc), a Spanish painter, born, accord- 
 ing to Palomino, at Almendcn, near 
 Cordova, in 1633. He was a dis- 
 ciple of Don Juan Carrenno, and 
 painted history with great reputation. 
 His principal works are at Madrid, 
 of which two of the most esteemed 
 are in the church of San Nicolo, re- 
 presenting the Assumption of the 
 Virgin, and a picture of St. Ilde- 
 fonso. He also painted in the church 
 of the Franciscans, an Ecce Homo, 
 and the Crucifixion. 
 
 CACCIA (Gnglielmo, called il 
 Moncalvo), a Picdmontese painter, 
 born at Montabone, 1.568, and died 
 in 162.5, aged 57. He was called il 
 Moncalvo, from his long residence 
 in that place. He first settled at 
 Milan, where he painted some pic- 
 tures for the churches. He after- 
 wards resided some time at Pavia, 
 
 and was elected a citizen. His style 
 has something of the energy of the 
 Caracci ; but it has been observed 
 by Lanzi, his biographer, that if he 
 had been educated in the school of 
 the Caracci, it is probable he would 
 have left some of his works at Bo- 
 logna, and that in his landscapes he 
 would have shown more of the taste 
 of Annibale than of Paul Brill. His 
 manner partakes altogether more of 
 the Roman than the Bolognese 
 school. As a fresco painter, his 
 abilities are considerable. In the 
 church of St. Antonio Abate, at 
 Milan, he painted in fresco the tute- 
 lar Saint, with St. Paul, the first 
 hermit, a work which sustains itself 
 in the perilous comparison with 
 some of the best productions of the 
 Carloni. Another distinguished per- 
 formance in fresco, by Caccia, is the 
 cupola of St. Paolo, of Novara. Of 
 his oil paintings, the most effective 
 are, his St. Pietroin the Chiesa della 
 Crocc ; his St. Teresa, in the church 
 of that name ; and the Taking Down 
 from the Cross, in the church of St.
 
 81 
 
 Gaudenzio, at Novara, which is by ' 
 many considered his chef d'aeuvre. \ 
 At Moncalvo, the church of the Con- 
 ventual! may be considered as a gal- 
 lery of his works. At Chicri are 
 two fine pictures by this master, of 
 the Raising of Lazarus, and the Mi- 
 racle of the Loaves, admirably com- 
 posed, and of the finest expression. 
 Lanzi. 
 
 CAFF A (Melchior), a sculptor 
 and designer, born at Malta in 1631, 
 and died at Rome in 1687, aged .56. 
 This artist has been compared to 
 Bernini. Several of the churches at 
 Rome are ornamented with his pro- 
 ductions. IF ArgennVle. 
 
 CAFFIERl (Philip), a sculptor, 
 born at Rome in 1634. He went to \ 
 France, by invitation from Cardinal 
 Mazarine, and the minister of finance, 
 Colbert, who appointed him inspector 
 of the marine at Dunkirk, in 1616. 
 Nouv. Diet. Hist. 
 
 CAFFIERl (James), a sculptor, 
 and son of the preceding, who died 
 about 17.55. He executed some fine 
 busts in bronze Ibid. 
 
 CAFFIERl (John James), also 
 a son of Philip, and followed his 
 father's profession. Ibid. 
 
 CAGLIARI (Paolo), called PA- 
 OLO VERONESE, an historical 
 painter, born at Verona in 1530, 
 and died in 1588, aged 58. He was 
 a disciple of Antonio Badilc, and ' 
 when young painted in the cathedral 
 of Mantua, where he displayed his 
 superiority over his competitors. He 
 went to Venice, and afterwards to ' 
 Rome, where, from the frescoes of 
 Michel Angclo and Raffaelle, he : 
 acquired the idea of that breadth 
 which distinguishes him in his alle- 
 gorical and mythological pictures. 
 The Apotheosis of Venice, in the 
 ducal palace, for magnificence of 
 combination, loftiness, splendour, 
 and variety, offers in one picture the 
 principles of the elemental beauties 
 
 of his style. It was, however, less 
 to this work than to his convivial 
 compositions that Paolo owes his 
 celebrity. He painted four at Ve- 
 nice, for four refectories of convents, 
 all of enormous dimensions. Light 
 grounds, and virgin tints, have con- 
 tributed to preserve the freshness of 
 his pictures ; of which, the family of 
 Darius presented to Alexander, and 
 a St. Giorgio, are examples ; they 
 have received from that period that 
 mellowness time alone can give. 
 De Piles, D" Argenvitte. 
 
 CAGLIARI (Carletto), an histo- 
 rical painter, born at Venice in 1570, 
 and died in 1596, aged 26. He was 
 a son of Paolo, and by his instruc- 
 tions produced some extraordinary 
 performances when only eighteen 
 years of age, and had he not been 
 cut off by an early death, would, it 
 is imagined, have equalled his fa- 
 ther. De Piles, PUk., D'Aryen- 
 ville. 
 
 CAGLIARI (Gabriele), an histo- 
 rical and portrait painter, also a son 
 of Paolo, bom at Venice in 1568, 
 and died in 1631, aged 63. The 
 attention of this artist was principally 
 directed to commerce, and only at 
 intervals to painting, when he painted 
 some historical subjects, but princi- 
 pally portraits. Ibid. 
 
 CAGLIARI (Benedetto), a sculp- 
 tor and painter of architecture, born 
 at Verona in 1538, and died at Ve- 
 nice in 1598, aged 60. He was the 
 brother of Paolo Veronese, and 
 painted in his style and manner, 
 but he chiefly excelled in painting 
 architecture, with which he enriched 
 the compositions of his brother. The 
 St. Agatha, at Muranu, his best per- 
 formance, has been attributed to his 
 brother, and engraved under his 
 name Ibid. 
 
 CAGNACCI (Cuido), also called 
 GAULASSI, an historical painter, 
 born, according to some, at Castel
 
 82 
 
 Durante, and to others at Archan- 
 geli, in 1600, and died in 1 (if! 1, aged 
 81. He is better known in Germany 
 than Italy, being patronised by the 
 court of the emperor Leopold. He 
 painted chiefly pictures for princely 
 or private apartments. His Lucretia 
 in the palace of Isolani, and his David 
 in the Colonna, have been repeatedly 
 copied by the Bolognese and Roman 
 schools, and the latter oftener than 
 even the David of Ciuido. Fuscli, 
 Nouv. Diet. Hist. 
 
 CAIRO (Ferdinando), an Italian 
 painter, born at Casal Monferrato in 
 1656, and died in 1682, aged 26. 
 He received the first rudiments of 
 design from his father, an unknown 
 artist. lie was afterwards placed 
 under the tuition of M. Antonio 
 Franceschini, at Bologna. He painted 
 history, and, in conjunction with 
 Giacinto Garofalino, was employed 
 to paint the ceiling of the church of 
 St. Antonio, at Brescia, which is fa- 
 vourably spoken of by Averoldi 
 
 Vasari. 
 
 CAIRO (Francesco"), called CA- 
 VALIERE DEL CAIRO, an his- 
 torical and portrait painter, born at 
 Milan in 1598, and died in 1674, 
 aged 76. He was a disciple of Mo- 
 ruzzoiie, whose style he at first 
 adopted, but altered it when he had 
 perfected his studios at Rome ; and 
 afterwards by studying the works of 
 the famous masters of the Venetian 
 school, he acquired such a strong and 
 lively manner of colouring as to 
 Lave his pictures ascribed to Titian, 
 or Paolo Veronese. The Duke of 
 Savoy, Victor Amadous I., invited 
 him to his court, conferred on him 
 the order of knighthood, and allowed i 
 him an honourable pension. There 
 is a picture of St. Theresa, by this i 
 master, at Venice, which is much , 
 admired ; and one at Pavia, repre- i 
 Bcnting the Virgin, St. Catherine of i 
 Sienna, and another saint, excellently ! 
 
 designed and coloured, in a style re- 
 sembling Rubens Pilk. 
 
 CALABRESE (Matbias). The 
 real name of this painter wasPRETI ; 
 he was born at Calabria in 161 3, and 
 died in 1699, aged 86. He studied 
 under Lanfranc, and his works are in 
 much estimation Moreri. 
 
 CALANDRUCCI (Giacinto), an 
 historical and portrait painter, born 
 at Palermo, in 1646, and died in 
 1707, aged 61. He was a disciple 
 of Carlo Maratti, whose manner and 
 style of composition he imitated. He 
 became an artist of considerable 
 eminence, and executed several noble 
 works for the churches, convents, 
 and chapels at Rome Pilk. 
 
 CALCAR (John dc), an histori- 
 cal and portrait painter, born at Cal- 
 car, a city of Cloves, in 1499, and 
 died at Naples, in 1546, aged 47. 
 He was the principal disciple of Ti- 
 tian, and some of his designs and 
 paintings have been accounted, by 
 good judges, the works of Titian 
 himself. And it has also been af- 
 firmed that several of his pictures 
 have been mistaken for the works of 
 Raffaclle. He designed all the heads 
 for the works of Vasari, and the ana- 
 tomical figures in the works of Ves- 
 salius. Rubens was in possession of 
 a Nativity by this master, in which 
 the light proceeded from the infant. 
 Pilk, L>e Piles. 
 
 CALCI A (Giuseppe). This painter 
 was a Picdmontesc, and according to 
 Lanzi, was called Genovcsino, which 
 has occasioned him to be confounded 
 with Marco Genovcsino, a Milanese, 
 who is noticed in his place. G. Cal- 
 cia painted some altar-pieces for the 
 churches at Turin and Alessandria. 
 In the church of the P.P. Predica- 
 tori, in the former city, is a picture 
 of St. Dominic, and another of St. 
 Thomas ; but he distinguished him- 
 self more by his cabinet historical 
 pictures, which were gracefully de-
 
 83 
 
 signed and well coloured, one of 
 which is particularly noticed by Lanzi 
 in the collection of the Marches! 
 Ambrogio Ghilini, of Christ praying 
 in the Garden. He flourished about 
 the year 1675. Pilk. 
 
 CALDARA DA CARAVAG- 
 G1O (Polidoro), an historical and 
 ornamental painter, born in 1495, 
 and died in 1543, aged 48. This 
 master, from a labourer, became an 
 assistant of Raffaelle, in the works of 
 the Vatican. He acquired great ce- 
 lebrity for his unrivalled power of 
 imitating the antique-relievos, which 
 lie did little, if at all, inferior to the 
 ancients themselves. These admirable 
 works he executed in chiaro-scuro. 
 He was the inventor of a style which 
 rose and perished with him. His 
 design was correct, and without man- 
 nerism. He had a faculty of tran- 
 sposing himself into the times of 
 which he represented the transac- 
 tion, the costume, and rites. Of all 
 the works in friezes, facades, and su- 
 pnipovtes, executed by him and Ma. 
 turino, of Florence, his companion, 
 scarrely a fragment remains. When 
 the Duke of Bourbon stormed and 
 pillaged Rome, in 15'27, Polidoro 
 fled to Naples, where he received 
 numerous commissions, and had be- 
 gan to form a school, but soon after 
 determined to pass over to Sicily. 
 He now changed chiaro-scnro for 
 colour, and painted at Migrina a 
 large composition of Christ led to 
 Calvary, which has been highly ex- 
 tolled._Z>e Pilis, Pilk., D'Aryen- 
 ville. 
 
 CALEXDARIO (Philip), an ar- 
 chitect and sculptor, who resided at 
 Venice in 13.54. He erected the 
 porticos that surround the place of 
 St Mark Moreri. 
 
 CALIAVARI (Luca), a painter 
 of seaports, landscapes, and views of 
 Rome, born at Udino in lu'0'5, and 
 died in 1715, aged 50. He acquired 
 
 his whole skill by studying and 
 copying the works of several eminent 
 painters. His subjects were gene- 
 rally seaports and landscapes, em- 
 bellished with a variety of elegant 
 figures, especially views about Rome 
 and Venice, which have much merit. 
 He published a volume of perspec- 
 tive views of Venice, etched with 
 aquafortis. Pilk. 
 
 CALLESTRUSA (Giovanni Bat- 
 tista), a Roman engraver and painter, 
 who flourished about 1652. Diet. 
 Polyyraphicum . 
 
 CALLIMACHUS (of Corinth), 
 a Greek architect, who nourished 
 about 540 years before Christ. He 
 was the inventor of the Corinthian 
 order, which is said to have origi- 
 nated by seeing the leaves of the 
 acanthus gracefully spreading over 
 
 the basket upon a lady's tomb 
 
 Plini/, Moreri. 
 
 CALLOT (James), a celebrated 
 designer and engraver, was born at 
 Nancy, in Lorraine, in 1593, and 
 died in Florence in 1636, aged 43. 
 This ingenious designer and admirable 
 engraver was the sou of John Callot, 
 a gentleman of a noble family, and 
 herald at arms for Lorraine. His 
 parents designed him for a very dif- 
 ferent profession, hut his love for the 
 art induced him to quit his paternal 
 home, when he was only twelve years 
 of age ; and being without money or 
 resources, he attached himself to a 
 company of wandering Bohemians, 
 and found his way to Florence. He 
 was taken notice of by some officer 
 attached to the court, who placed 
 him under Cantagallina to learn 
 drawing. After passing some time 
 at Florence, he visited Rome, where 
 being recognised by some persons of 
 Nancy, who were friends of his fami- 
 ly, he was prevailed on to return 
 with them to his parents. Meeting 
 witli a continued opposition to his 
 desire of following his favourite pvir-
 
 84 
 
 suit, he again eloped, but was fol- ! 
 lowed by his brother to Turin, and ' 
 brought back to Nancy. His parents 
 at length finding it in vain to control 
 so confirmed an attachment, permit- 
 ted him to visit Rome, for the pur- 
 pose of study, in the suite of the envoy 
 from the Duke of Lorraine to the 
 Pope. Callot, on his arrival' at 
 Rome, gave full scope to the bent of 
 his genius, and he studied drawing 
 with the greatest assiduity, under the 
 tuition of Giulio Parigii. Having 
 become a ready and able designer, he 
 was desirous of acquiring the free use ' 
 of the graver, for which purpose he 
 placed himself under Philip Tho- 
 masin. He was not, however, very [ 
 successful in the use of the graver, 
 of which he appears himself to have 
 been sensible, as he soon abandoned 
 it for the point. He went again to 
 Florence in the time of the Grand 
 Duke Cosmo II., and etched some 
 small plates from his own designs, 
 which had the greatest success, pro- 
 cured him the patronage of the Duke, 
 and brought him into the highest 
 estimation with the public. On the 
 death of Cosmo, he returned to 
 Nancy, where he found a new and a 
 liberal protector in Henry, Duke 
 of Lorraine. In 1628, he went to 
 Paris, where his works were already 
 much admired, and he was employed 
 by Louis XIII. to engrave some of 
 the principal sieges and battles of the 
 French, particularly those of Rochelle 
 and the Isle de Rhe. Whilst he was 
 in the highest favour at the court of 
 France, he gave a praiseworthy proof 
 of his loyalty and patriotism. On 
 being required by the Cardinal de 
 Richelieu to make a drawing, and 
 engrave a plate, of the Siege of 
 Nancy, which was at that time taken 
 by the French, 1631, as he had 
 done those of Rochelle and Rhe, he 
 desired to be permitted to decline 
 what he considered as celebrating the 
 
 humiliation of his country. On the 
 minister's observing, in an insolent 
 and threatening tone, that there were 
 means of making him comply, Cal- 
 lot spiritedly replied, " I will sooner 
 cut off my right hand than employ it 
 in any thing derogatory to the honour 
 of my prince, or disgraceful to my 
 country." Every one, the least con- 
 versant with the art of engraving, is 
 acquainted with some of the works 
 of this ingenious artist. His greatest 
 merit is in the prints where he has 
 confined himself to very small figures; 
 when he attempted them on a larger 
 scale, his style becomes rather heavy, 
 and he loses a portion of that taste 
 and spirit that distinguish his figures 
 of a small proportion. The drawings 
 of Callot are extremely admired, and 
 they possess even more spirit than 
 his prints. He frequently made 
 several designs for the same plate, 
 before he could arrange the subjects 
 to his satisfaction ; and M. de Wate- 
 let asserts that he saw four dif- 
 ferent drawings by him, for his cele- 
 brated plate of the Temptation of St. 
 Anthony. The number of his prints 
 is prodigious, and amounts to upwards 
 of fifteen hundred. Strutt. 
 
 CALVART (Denis), an histori- 
 cal and landscape painter, born at 
 Antwerp in 1555, and died in 1619, 
 aged 64. At first he employed him- 
 self in painting landscapes and study- 
 ing nature ; but having determined 
 to travel to Italy, on his journey he 
 stopped at Bologna, where he became 
 a disciple of Prospero Fontana, and 
 afterwards of Lorenzo Sabbatini, with 
 whom he travelled to Rome, where 
 he perfected himself in design, per- 
 spective, architecture, and anatomy. 
 He afterwards opened an academy at 
 Bologna, and, from his style of co- 
 lour, he procured a large number of 
 disciples, among whom were Guido, 
 Alb'ino, and Domcnichino. There 
 is a fine picture by Colvart in the
 
 85 
 
 Palazzo Ranuzzi, at Bologna, repre- 
 senting Two Hermits, and a Nativity 
 in the Pembroke collection. The 
 works of this master are to be found 
 in the different public and private 
 collections in Europe. D'Argen- 
 ville, Pilk. 
 
 CALVI (Lazzaro), an historical 
 
 former in the style of Borgognone, 
 and the latter in taste and manner of 
 Gaspar Poussin, whom he imitated 
 successfully. Pilk. 
 
 CAMASSEI or CAM ACE (An- 
 drea), an historical and landscape 
 painter, who died in 1648. He was 
 at first a disciple of Domenichino, 
 
 painter, born at Geneva in 1501, and and afterwards in the school of An- 
 died in IGOfi, aged 105. He was a drea Scacchi. He was employed at 
 son of Agostino Calvi, one of the St. Peter's at Rome, and St. John 
 most admired painters and reformers Lateran, and his works are much 
 of the old style, and was, with Pan- admired for their design and colour- 
 taleo Calvi, his eldest brother, among ing. The Battle between Constan- 
 thc first pupils of Perino del Vaga. tine and Maxentius, and the Triumph 
 Pantalco was content to lend his as- of Constantino, are noble and grand 
 sistance and name to Lazzaro, with- compositions. There is a picture of 
 out pretending to share the praise due Venus and the Graces, said to be 
 to his numerous ornamental works at his, at Wilton, the seat of the earl of 
 Geneva, Monaco, and Napoli, among Pembroke, in Wiltshire. Ibid. 
 which none exceeds the faqade of the CAMERATA (Giuseppe), a Ve- 
 palace Doria, near Spiuola. From a netian painter in miniature, and an 
 jealousy of rival merit he fell into engraver, born at Venice about the 
 excesses unknown to other artists, year 1724. He learned the use of 
 if we except Corenzio. He was en- the graver from Giovanni Cattini, 
 gaged in these cabals when he painted and in 1751 was invited to Dresden, 
 the Birth of St. John the Baptist, in to assist in engraving the plates for 
 the chapel Centurione, in concurrence the gallery, where he was made 
 with Andrea Semini and Luca Cam- principal engraver to the court. Ca- 
 biasi, which, though one of his best per- merata engraved several plates, not 
 formances, fell short of the powers of only from the pictures in the Dresu 
 Luca, to whom Prince Doria gave the den Gallery, but from his. own de- 
 preference, which so enraged Calvi signs Strutt. 
 
 that he left the art for twenty years, i CAMPBELL (Colin), a Scotch 
 He returned to it at last, and prac- architect, who died about 1734. He 
 Used it till his 85th year. He was of was a countryman of Gibbs, had 
 a very irritable disposition ; but his fewer faults, but not more imagina- 
 extrcme old age is said to have been tion. He published three large 
 attained by his frugal manner of folios, under the title of Vitruvius 
 living. Moreri. , Britannicus, containing many of his 
 
 CALZA (Antonio), a landscape own designs, with plans of the other 
 and battle painter, born at Verona architects. The best of Campbell's 
 hi 1653. He was a disciple of Carlo designs are, Wanstead-house, the 
 Cignani, at Bologna; but having seen Rolls, and Merworth in Kent; the 
 some battle pieces of Borgognone, he latter avowedly copied from Palladio. 
 determined to visit Rome, where he Campbell was surveyor of the works 
 became his disciple, and copied his i at Greenwich-hospital, 
 works with great care and delight. 1 CAMPHUYSEN (Dirk), a pain- 
 lie afterwards devoted himself to tcr of landscapes, cattle, and moon- 
 paint battles and landscapes, the lights, born at Corcum in 1586. He
 
 86 
 
 was a disciple of Diedcric Govert/e. 
 He was possessed of considerable 
 talent, and studied nature with care, 
 judgment, and assiduity. His sub- 
 jects were mostly small landscapes, 
 with numerous buildings, huts, or 
 views of villages on the banks of 
 rivers, and generally represented by 
 moonlight. They have groat merit, 
 and his distances are particularly well 
 managed. As he quitted painting 
 when he was only eighteen years old, 
 his works are of considerable value. 
 Pilk. 
 
 CAMPI (Galeazzo), an historical 
 and portrait painter, who died in 
 1 536. His historical works are still 
 to be seen at Cremona and Ferrara, 
 but his power is most evident by a 
 portrait of himself, painted by his 
 own hand, which is said to be of 
 extraordinary merit, and which was 
 placed in the gallery of painters at 
 Florence Ibid. 
 
 CAMPI (Bernardino), an histori- 
 cal painter, born at Cremona in 1 522, 
 and died in 1584, aged G2. He was 
 a disciple of Julio Romano, and 
 afterwards studied Raffaelle, and the 
 antique at Rome. His principal 
 works are at Mantua, Cremona, and 
 Milan. Ibid. 
 
 CAMPIGLIA (Gio. Domenico), 
 an Italian painter and engraver, born 
 at Lucca in IG.9'2. He studied at 
 Florence under Tommaso Redi and 
 Lorenzo del Moro, and at Bologna 
 attended the school of Giuseppe del 
 Sole. He painted some historical 
 subjects at Florence, and several por- 
 traits, among which was his own, 
 which he placed in the gallery. He 
 particularly excelled in drawing after 
 the antique marbles, and was much 
 employed at Rome and Florence in 
 
 making drawings for the engravers 
 
 Strutt. 
 
 CANAL (Antonio), called CA- 
 NALETTO, a painter of ruins, per- 
 spective, and views, born at Venice 
 
 in 16.Q-7, and died in 1708, aged 71. 
 He was the son of Bernardo, a scene 
 painter, and at first followed his 
 father's profession. He went when 
 young to Rome, and applied himself 
 with assiduity to paint views from 
 nature, and the ruins of antiquity. 
 On his return to Venice he conti- 
 nued the same studies from the pro- 
 spects of that city. Numbers of these 
 are exact copies of the spots they re- 
 present, and several the compound 
 of his own invention. The most 
 instructive and novel of these ap]>cars 
 to be that view of the grand canal in 
 which he has introduced some de- 
 signs by Palladio. He produced 
 great effects, somewhat in the man- 
 ner of Tiepolo, who sometimes put in 
 his figures. It lias been observed of 
 this artist, that he took picturesque 
 
 liberties without extravagance 
 
 Pilk. 
 
 CANGIAGIO or CIAMBIASO 
 (Ludovico), called LUCHETTO. A 
 
 [ Genoese painter and sculptor, born 
 in 1-527, and died in Spain in 1585, 
 aged 58. His works at Genoa are 
 very numerous, and he was employed 
 by the king of Spain to adorn part of 
 
 I the Escurial ; Cangiagio had three 
 different manners, at three different 
 periods of his life ; his first was gigan- 
 tic, and not natural ; his second was 
 his best style ; and the third is dis- 
 tinguished by a more rapid and ex]>c- 
 ditious manner of pencilling. There 
 were two paintings of this master in 
 the royal collection at Paris a 
 
 j Sleeping Cupid as large as life, ami 
 Judith with her Attendant ; and one 
 in the Pembroke collection at Wil- 
 ton, representing Christ bearing his 
 
 Cross De Piles, D' AryenviHe, 
 
 Pilk. 
 
 CANO (Alonzo), called the Mi- 
 
 1 chel Angcloof Spain, born at Grenada 
 in 1(500, and died in 1(>76, aged 76. 
 He studied architecture under his 
 father, and sculpture under Pachcco
 
 87 
 
 of Seville, and painting under Juan 
 del Castillo. He executed two col- 
 lossal figures of St. Peter and St. 
 Paul, which were much admired ; 
 and he adorned several churches and 
 palaces with his works, both in paint- 
 ing and sculpture. He was made 
 first royal architect, king's painter, 
 and instructor to the prince Don 
 Balthazar Carlos. It is related of 
 him, that during his last moments, 
 when the priest held to him a crucifix 
 wretchedly exefuted, he told him to 
 take it away, for it was so badly done 
 
 he could not bear the sight of it 
 
 Cumberland's Anecdotes of Span- 
 ish Painters. 
 
 CANOT (Peter Charles), a French 
 engraver, born in 1710. He came 
 to England in 1740, where he resided 
 the remainder of his life. He en- 
 graved a great number of plates of 
 landscapes, marine, and other sub- 
 jects, many of which have great 
 merit. Some of his best prints are 
 those he engraved after the marines 
 and sea engagements, afterwards 
 pahited by Mr. Paton. Strutt. 
 
 C'ANOVA( Antonio* ),a celebrated 
 Venetian sculptor, born in 1757, at 
 Possagno, a village situated at the 
 foot of the Venetian Alps, and died 
 in 1822, aged 6.5 years. His father 
 and grandfather were sculptors of 
 repute at that time. By the death 
 of his father, Antonio became an 
 orphan in the third year of his age. 
 Deprived of his father, he was in- 
 debted for tlic rudiments of his art 
 to his grandfather, Pasino, who 
 adopted the excellent method of 
 teaching him early the familiar use 
 of the implements of sculpture, em- 
 ploying him on the works on which 
 he was himself engaged. 
 
 Canova, by the recommendation of 
 
 * This brief sketch of Canova is ex- 
 tracted from his Life, written by Couut 
 Cicognara. 
 
 the patrician Giovanni Falieiywho was 
 embellishing his palace at Asolo, was 
 placed under Torretto, who was one 
 of the best of the Venetian sculptors, 
 with the view of forwarding his pro- 
 gress, and further engaged that he 
 should accompany the artist to Ve- 
 nice, which accordingly took place 
 two years after. By the death of 
 Torretto, Canova was left without 
 any guidance or restraint, having 
 received from his master only the 
 first instructions in his art. He had 
 enjoyed, however, since his arrival 
 at Venice, the protection of his ex- 
 cellent patron Falier, and found an 
 immense course of knowledge and 
 improvement in the gallery of plaster 
 casts of the Commandatore Farsetti, 
 comprising all the celebrated remains 
 of antiquity. There was also at that 
 time an academy at Venice, calcu- 
 lated to excite a spirit of emulation 
 among the young artists, but which 
 was not enlightened by those juster 
 principles whose influence began then 
 to be partially visible, and was pre- 
 cursory of a new revival of the arts 
 in Europe. Antonio was now placed 
 with the sculptor Gio Ferrari, Tor- 
 retto's nephew, and worked with him 
 on the statues that embellish the 
 gardens of the Casa Tiepolo, at 
 Carbonara. Canova did not con- 
 tinue in this school for more than 
 one year, for, becoming strongly 
 convinced of the necessity of a wide 
 deviation from the rules of art which 
 he saw practised, he boldly resolved 
 to endeavour to explore those paths 
 which, he thought, had been used 
 by the ancients, and from which he 
 beheld, with surprise and regret, the 
 departure of his contemporaries. His 
 proficiency even at this early age 
 was considerable, as is attested by 
 the two baskets of fruit which he 
 sculptured in marble, in his four- 
 teenth year, and which arc yet to be 
 '\ seen on the first landing-place of
 
 88 
 
 CAN 
 
 the Farsctti palace, now the Hotel 
 della Gran Brcttagna, at Venice. 
 
 His first effort was a group of 
 Orpheus and Eurydice. The statue 
 of Eurydice was completed in his 
 sixteenth year, that of Orpheus was 
 begun the following year. This com- 
 position, in soft stone, was publicly 
 exhibited in Venice, on the occasion 
 of the festival of the Ascension, and 
 first awakened the admiration and 
 ambition of his countrymen. These 
 two statues are now preserved in the 
 Fuller palace at Asolo. In the fol- 
 lowing year he repeated this subject 
 in marble, in rather a smaller size, 
 for the senator M. Antonio Grimani. 
 The most elaborate composition which 
 Canova executed previously to his 
 departure from Venice, was the group 
 of Dajdalus and Icarus, in which he 
 more signally evinced his daring 
 abandonment of conventional modes, 
 and his entire devotion to the 
 guidance of nature. He likewise 
 sculptured the statue of Esculapius, 
 and one of the Marquis Polcni ; the 
 former being now in the villa Cro- 
 mer at Monfelice, the latter in the 
 Prato at Padua. 
 
 The rapidity of his progress now 
 prompted his illustrious patron to 
 procure for him more adequate 
 means and a loftier theatre for the 
 exercise of his powers. Accordingly, 
 in December, 1780, Canova entered 
 for the first time that seat of the arts, 
 little imagining that lie was destined 
 to attain there to the highest rank, 
 and to establish rules of art, by his 
 example, which would extend its in- 
 fluence to the remotest posterity. 
 
 On his first arrival at Rome, 
 Canova had experienced the kindest 
 reception from the Venetian ambas- 
 sador, and had free access to his 
 splendid mansion. This enlightened 
 and accomplished nobleman soon be- 
 came impressed with a high sense of 
 the merits and power of the young 
 
 sculptor, procured from Venice a cast 
 in plaster of the Group of Dedalus 
 and Icarus, which he had executed 
 in that city, for the purpose of ex- 
 hibiting it to the artists and con- 
 noisseurs at Rome. On the occasion 
 of the first production of this group, 
 lie was surrounded by the most dis- 
 tinguished artists and critics then 
 residing at Rome, who contemplated 
 the work with silent astonishment, 
 not daring to censure what, although 
 at variance with the style then fol- 
 lowed, commanded their admiration, 
 and revealed the brightest prospects. 
 The embarrassment of the young 
 artist was extreme, and he frequently 
 spoke of it afterwards as one of the 
 most anxious moments of his life. 
 From this state of anxiety he was, 
 however, soon relieved, by the almost 
 unanimous approbation of the spec- 
 tators present. 
 
 From the moment of his arrival 
 at Rome he had commenced a severe 
 and profound study of the great 
 models of ancient art, without, how- 
 ever, neglecting the fruits of his 
 previous close observance of na- 
 ture, the expression of which he 
 always proposed to himself to make 
 a distinguished quality in his works. 
 He had a profound contempt for all 
 conventional modes in the arts, and 
 was led, even at that early age, by a 
 correct taste rather than by instruc- 
 tion, to prefer, among the monu- 
 ments of ancient art, those which 
 were of the age of Phidias, in which 
 the lofty conceptions of the artist are 
 most closely united with truth of 
 expression ; a decision which has 
 since been fully confirmed by the 
 exhibition made to Europe by the 
 British Museum of the first certain 
 monuments of the arts of that era. 
 
 The Chevalier Zulian, the Vene- 
 tian ambassador at Rome, now saw 
 the im]>ortance of giving effective 
 assistance to the developing powers
 
 CAN 
 
 89 
 
 of Canova ; he, therefore, placed at 
 his command a fine block of marble, 
 to be devoted to a subject of his 
 own choice, and to show the profit 
 derived from his residence and stu- 
 dies at Rome. This was the first 
 marble sculptured by Canova on 
 
 turning to Rome, applied himself 
 wholly to this great work, which 
 proved the means of raising his fame 
 to the very highest rank. Previously 
 to this undertaking,he had sculptured 
 at Rome only his Theseus above- 
 mentioned, and a small statue of 
 
 those true principles by which he j Apollo in the act of crowning him- 
 had proposed to himself to be guided j self, which he presented to the sena- 
 in his works, a composition by which tor Abondino Rezzonico, one of his 
 
 a new path was opened to all the 
 productions of the imitative arts. 
 
 patrons, who died in 1782. ToVol- 
 pato posterity are much indebted, 
 
 The subject which he chose was j who, with judicious confidence in the 
 Theseus, conqueror of the Minotaur, ', talents of the young sculptor, pro- 
 and the work was conducted through- cured the confiding this great work 
 out in the palace of the Venetian i to him, and thus afforded an oppor- 
 ambassador. It was a highly inter- | tunity of making known his extra- 
 esting moment, when his excellent i ordinary powers to the world, 
 patron produced a cast of the head | At the time this great work was 
 only of the Theseus to a party of i in progress, he produced a youthful 
 the first artists and critics assembled j Psyche, and also modelled many 
 in his house, without informing them i other works, particularly those beau- 
 whence it had been obtained ; all j tiful compositions in bas relief, which 
 concurred, however varying in other first opened the eyes of modem 
 points, in pronouncing it to be of Gre- sculptors. These began to appear 
 cian workmanship; several thought | about 1790, before any artist had 
 they had seen the marble from which j ventured on anv thing in this style. 
 
 it had been taken, not being able to 
 recollect exactly where it was; but 
 
 They were all left in the clay models, 
 except that of Socrates parting with 
 
 when theambassadorconducted them j his Family, which was worked in 
 
 before the original and entire group, 
 their surprise was indeed extreme, 
 and they were forced to exclaim that 
 
 marble with great care and accuracy. 
 The commencement of one com- 
 position was not delayed until the 
 
 by this work art had commenced a new j completion of another; for while his 
 
 career. On this occasion it may be chisel was still employed on the 
 
 said that Theseus was the conqueror, 
 
 not only of the Minotaur, but of 
 
 Envy also, forcing from rival artists 
 
 the first homage of their admiration 
 
 of Canova, who, at &o early an age, 
 
 had raised art to a higher degree of 
 
 perfection than had been attained by j and Psyche, variously represented ; 
 
 any sculptor since its revival in i the group of Venus and Adonis ; 
 
 Tomb of Ganganelli, he was forming 
 the clay model of that of Pope 
 Rezzonico, which was placed in the 
 church of St. Peter, in 1 792. During 
 the few succeeding years he executed 
 several statues and groups of Cupid 
 
 Italy. 
 
 the monument of Emo, now in the 
 
 In 1783, by the friendship of Gio. ! Arsenal at Venice ; the first statue 
 Volpato, he received a commission j of Hebe ; and the first of the Peni- 
 to execute a monument for the cele- I tent Magdalen. All these works 
 
 brated Pope Ganganelli. He now 
 gave up his study at Venice, which 
 was finally closed in 1 783, and, re- 
 
 were completed before the expiration 
 of the eighteenth century ; so that, in 
 the course of twenty years, he had
 
 90 
 
 CAN 
 
 produced a greater number of works 
 than many laborious artists have in 
 the whole of a long existence. And 
 it should be remembered that the 
 practice which he himself subse- 
 quently introduced for lessening the 
 labour of the sculptor, by employing 
 inferior workmen to reduce the block 
 to the last stratum of the superficies, 
 was not then in use. This adoption 
 of mechanical aid he effected by 
 forming his models of the exact size 
 in which they were to be worked 
 in marble ; he always, however, ap- 
 plied himself the last hand to his 
 works, giving to his marbles a soft- 
 ness and delicacy of contour, and 
 a minute accuracy of expression, for 
 \vhich we should look in vain in the 
 works of others of that time. In- 
 deed, the great superiority of Canova 
 is more particularly seen in these 
 touches of art, to which no one can, 
 perhaps, equally attain, who has not 
 early acquired a familiar use of the 
 chisel, but trust their fame to subor- 
 dinate artists; the last minute and 
 finishing touches are those which 
 require the highest powers of the 
 artist, and are the means of pro- 
 ducing his noblest efforts. 
 
 The personal habits of Canova 
 were, throughout his life, regular 
 and moderate ; he rose carl}', and 
 immediately applied himself to his 
 designing or modelling, and after- 
 wards to working in marble. He 
 was always disposed to live abste- 
 miously, as well from motives of 
 health as of reflection. He seldom 
 went from home, but passed his 
 evenings in receiving his friends, 
 with an extreme gentleness and 
 urtianity of manners, but without 
 the slightest approach to meanness 
 or affectation. 
 
 It was the good fortune of Canova 
 to esca|>e unhurt the effects of the 
 political events which then agitated 
 Europe, and to be able to devote 
 
 himself undisturbedly to his art. 
 Pallas seems to have guarded him 
 like Ulysses, by spreading around 
 him a divine atmosphere, which 
 shielded off the disasters, privations, 
 and misfortunes of that era. Am- 
 bition and the desire of military 
 glory characterised the great men of 
 that period, and particularly the 
 great conqueror; calling for monu- 
 ments to record their actions to pos- 
 terity, which object Canova was 
 deemed most able to fulfil. Thus 
 he was summoned to Paris in 1 802, 
 to model the portrait of Napoleon, 
 from which he executed a colossal 
 statue in marble, and then in bronze; 
 the first, by the sport of inconstant 
 fortune, now being on the banks of 
 the Thames ; the latter in the Aca- 
 demy at Milan. Canova was again 
 called to Paris in 1810, to model 
 a portrait of the Empress Maria 
 Louisa, whom he represented in a 
 sitting posture, with the attributes 
 of the goddess Concordia; now in the 
 palace of Parma. 
 
 In the intervals of these journeys 
 to Paris he made a second visit to 
 Vienna, for the purpose of placing 
 the sepulchre of the Archduchess 
 Christina in the church of the 
 Augustincs in that city. This com- 
 position added greatly to his repu- 
 tation there, and excited so strong 
 a desire in the imperial court to 
 possess his works, that he was in- 
 duced to send his magnificent group 
 of Theseus Destroying a Centaur to 
 Vienna rather than to Milan, for 
 which city it was originally intended. 
 The Emperor Francis caused a tem- 
 ple, in the style of the purest Greek 
 models, to be erected in the imperial 
 garden* for its reception, and nothing 
 was wanting to the completion of 
 I the design but the presence of 
 Canova, to direct the placing of 
 the group, when his death inter- 
 vened.
 
 CAN 
 
 91 
 
 In the early part of 1821 he took 
 a jouniey to Possagno, to inspect 
 the progress of the works there, and 
 make many important alterations in 
 his first designs, necessary in the 
 adaptation of an edifice evidently 
 formed on the united recollections 
 of the Parthenon and the Pantheon, 
 to the purpose of a Christian church. 
 On his return to Rome he modelled 
 the group of the Piety, one of the 
 principal works which remain to he 
 executed in marble. The first con- 
 ceptions of this group were most 
 felicitous, and the composition most 
 rapid, suffering neither pause nor 
 amendment in its progress, although, 
 from the profound science it involves, 
 the artist had evidently to overcome 
 great difficulties in the expression of 
 his ideas. When completed, how- 
 ever, it formed the wonder of all 
 Rome, and of the strangers in that 
 city. In the course of the winter 
 he modelled a monument for the 
 Marquis Berio, of Naples ; also seven 
 designs for the metopes of the church 
 at Possagno, the subjects taken from 
 sacred history ; and a colossal bust, 
 the portrait of an intimate friend. 
 With the advance of spring he com- 
 pleted, with a delightful finish, the 
 group of Mars and Venus, for his Bri- 
 tannic Majesty, and also completed 
 the recumbent statues of the Mag- 
 dalen, and the Endymion, which he 
 had executed for two distinguished 
 Knglish noblemen. Besides these 
 important objects, he proceeded, at 
 every leisure moment, with other 
 works which he had in hand. The 
 Sleeping Nymph; Dircc, Nurse of 
 Bacchus ; a repetition of the Nymph 
 awaked at the Sound of the Lyre ; 
 a Dansatrice; and various busts, and 
 other minor works. 
 
 In the month of May he went to 
 Naples, to inspect the wax of his 
 second colossal horse, preparatory to 
 the fusion of the work, and returned 
 
 to Rome, with a tendency to dis- 
 order in his stomach, which was 
 always badly affected by that cli- 
 mate. Having recovered himself in 
 some degree, and completed the 
 works above mentioned, he left that 
 city, for the last time, in September, 
 for Possagno, hoping to derive benefit 
 from the journey, and from his 
 native air, and arrived in that village 
 on the 17th of the same month ; 
 but, as was usual with him, by a too 
 hurried journey, and while he was 
 still unable to bear the heat of the 
 weather, which was in that year 
 unusually great throughout Italy. 
 Indeed, he was very ill on his 
 arrival, without taking to his bed, 
 expecting relief from his native air 
 and the waters of Recodro ; all was, 
 however, unavailing. On the 4th 
 of October he arrived at Venice, in- 
 tending to stay there a few days, 
 having written as follows in the last 
 letter that was signed by his hand : 
 " My health goes on as usual, or is, 
 perhaps, rather worse than it was. 
 For a few days I thought it getting 
 better, but I vas disappointed ; per- 
 haps the journey to Rome may re- 
 store me. I would fain embrace 
 you once again." 
 
 Continuing for several days to 
 grow gradually worse, he performed 
 the last offices of religion, and re- 
 signed himself to die, with the utmost 
 constancy and serenity, uttering only 
 short sentences to his attendants, 
 and of a pious nature. Approaching 
 to his end, he said to those who 
 moistened his dying lips, "Good, 
 very good but it is in vain." His 
 last words were, " Pure and lovely 
 spirit." These he uttered several 
 times just before he expired. Ho 
 spoke no more ; but his visage be- 
 came, and continued for some time, 
 highly radiant and expressive, as if 
 his mind was absorbed in some sub- 
 lime conception, creating powerful
 
 92 
 
 and unusual emotions in all around 
 him. 
 
 The fascinating influence which 
 the grace and beauty of his female 
 figures exercise on the senses, and 
 the emotion produced by their vo- 
 luptuous expression, have caused him 
 to be called, by many, the " sculptor 
 of Venus and the Graces;" but it | 
 surely will not be said by posterity, 
 that the statues of the three pontiffs, 
 the colossal groups of Hercules and 
 Lichas, and of Theseus and the 
 Centaur, the Pugilists, Hector and 
 Ajax, Washington, the colossal statue 
 of Napoleon, the group of Piety, or 
 the equestrian monuments of Naples, 
 were imagined in the gardens of 
 Cytherea. On these posterity will 
 decide whether or not Canova pos- 
 sessed that profound acquaintance 
 with nature and anatomy which is I 
 indispensable to the perfection of 
 works of this description. It cer- 
 tainly will be allowed that his sci- 
 ence is not applied to a pompous 
 display of himself, as it is one of 
 the peculiar merits of this artist 
 that he is always modestly concealed 
 behind his works, aiming at justness 
 of expression rather than an osten- 
 tatious display of his science in ex- 
 aggerated forms; his works were 
 therefore addressed to posterity, to 
 whose unbiassed judgment and dis- 
 cernment he apjMjaled for his fame. 
 
 The high esteem in which Canova, 
 while living, was held throughout 
 Europe, is one of the most honour- 
 able records of art and of requited 
 genius; for, not only was he an ob- 
 ject of admiration to Italy, and his 
 own countrymen, but had the whole 
 of Europe, also, for his admirers. 
 In England he was held in high esti- 
 mation, and received, during the 
 short visit he paid to that country, 
 after his last journey to Paris, the 
 most generous and distinguished 
 notice and attention. 
 
 STATUES AND GROUPS. 
 
 1773 Statue of Eurydice, the size of 
 life, in soft stone ; now in the Villa 
 Falier, at Asola. 
 
 1776 Statue of Orpheus, size of life, 
 in soft stone, exhibited among; the 
 other productions of the Academy of 
 Venice, at the festival of the Ascension, 
 afterwards removed to the Villa Fa- 
 lier 
 
 1779 Daedalus and Icarus, a group 
 of the natural size, in Carrara marble ; 
 at present in the Casa Paoli, at 
 Venice. 
 
 1780 Statue of the Marquis Poleni, 
 in soft stone of Vicenza, height seven 
 and a half Venetian feet, executed for 
 the Patrician Leonardo Venier, and 
 placed in the Prato della Valle, at 
 Padua. 
 
 1782 Theseus on the Body of the 
 Minotaur, a group, in Carrara marble, 
 of the size of life, executed at the insti- 
 gation of the Chevalier Girolamo Zu- 
 lian, then Venetian Ambassador at 
 Rome, and became the property of 
 Count de Fries, at Vienna. 
 
 1/83 Models of the allegorical 
 figures of Piety and Meekness, in- 
 tended for the tomb of Ganganelli. 
 
 1739 Statue of Psyche, in marble, 
 executed for Sir Henry Blundell. A 
 repetition of this statue was intended 
 by Canova as a tribute of gratitude to 
 his patron, the Chevalier Girolamo 
 /ulbm. The death of this nobleman 
 happening previously to its comple- 
 tion, it passed into the hands of Na- 
 poleon, who presented it to the Queen 
 of Bavaria. It is now at Monaco. 
 
 178Q Statue of a Cupid, in marble. 
 
 1793 Group of Cupid and Psyche, 
 in a recumbent posture, executed in 
 Carrara marble, for Colonel Campbell, 
 afterwards Earl Brownlow. After va- 
 rious changes it was possessed by 
 Murat, and placed in the royal palace 
 of Compeigne, near Paris. The model 
 had been made in 1787- This group 
 was repeated in 1 796, for the Russian 
 prince, Youssouppoff. 
 
 l~gr, Group ot Venus and Adonis, 
 executed the size of life, in Carrara 
 marble, for the Marquis ot Berio, after 
 whose death it became the property of 
 M. Favre, of Geneva. 
 
 1796 Statue of the Magdalen, the 
 size of life, intended by the sculptor 
 as a gift to his country, but, through 
 political events, it came into the pos- 
 session of M. Juliot, the French Com- 
 missary, and is now at Paris, in the
 
 CAN 
 
 93 
 
 CAN 
 
 possession of Count Sommariva, of 
 Milan. 
 
 1796 Statue of Hebe, the size of 
 life ; executed for Count Albrizzi, of 
 Venice. This statue was repeated 
 several times, with only slight altera- 
 tions of detail. The most perfect is, 
 perhaps, that in possession of Lord 
 Cawdor. 
 
 1797 Group of Cupid and Psyche, 
 in an upright posture, executed in 
 marble, for Murat, and placed, with 
 the recumbent group, in the palace at 
 Compeigne. This group was repeated 
 in 1800, for the Empress Josephine, 
 which is now in the possession of the 
 Emperor of Russia. 
 
 1800 Statue of Perseus holding the 
 Head of Medusa, in marble, of the size 
 of the Apollo di Belvidere. This work 
 was intended for Signer Bossi, the 
 painter, of Milan ; but its removal from 
 Rome was forbidden by Pope Pius VII., 
 who placed it in the Vatican Mu- 
 seum. 
 
 1800 Creugas and Damoxenus (the 
 pugilists), the size of life, placed by 
 Pope Pius VII. in the same museum. 
 
 1800 Colossal statue of Ferdinand 
 the Fourth, King of the Sicilies, now 
 at Naples. 
 
 1802 Colossal group of Hercules 
 and Lichas, executed in Carrara mar- 
 ble, from a model made in 1795; now 
 in the gallery of the Torlonia palace, 
 at Rome. 
 
 1803 Colossal statue of Napoleon 
 Bonaparte, in Carrara marble ; height 
 sixteen Roman palms ; completed and 
 sent to Paris in 1811 ; now in the pos- ( 
 session of the Duke of Wellington. ! 
 There was also a cast in bronze, which 
 is now in the Palace of Arts at Milan. 
 
 1804 Colossal statue of Palamedes, 
 executed in marble, for the Count 
 Sommariva, and is now in his villa, 
 on the Lake of Como. 
 
 1805 A sitting statue of Madam 
 Bonaparte, in Carrara marble, of the 
 size of life ; now in possession of the 
 Duke of Devonshire. 
 
 1805 A recumbent statue, in mar- 
 ble, of Venus Victrix, the natural size ; 
 the face is a portrait of the Princess 
 Paulina Bonaparte Borghese. 
 
 1805 Statue of Venus coming out 
 of the Bath, executed for the Pitti Gal- 
 lery at Florence ; size rather larger 
 than that of the Venus de' Medici. 
 This statue was repeated in marble for 
 the King of Bavaria, and also for the 
 Prince di Canino . the latter is now 
 in the possession of the Marquis of 
 Lansdown. 
 
 1805 Colossal group of Theseus and 
 the Centaur, intended for the city of 
 Milan ; now in the imperial gardens 
 at Vienna. It was completed in 1810. 
 
 1805 Three statues of Dancing 
 Girls ; the first executed for the Em- 
 press Josephine : the second executed 
 for Signior Dominico Manzoni, of 
 Forli ; the third for a Russian noble- 
 man. 
 
 1806 A sitting statue of the Prin- 
 cess Leopoldina Esterhazy, size of 
 life; now in the Palace of Lichten- 
 stein. 
 
 180" Statue of Paris, in Carrara 
 marble, of the size of life ; executed 
 for the Empress Josephine ; now in 
 the possession of the Emperor of 
 Russia. A repetition of this statue, 
 for the hereditary Prince of Bavaria, 
 was completed in 1816. 
 
 1808 Semi-colossal statue of Hector 
 and Ajax, left in the study of the 
 sculptor ; that of Ajax was not com- 
 menced until 1811. 
 
 1808 Statue of the muse Terpsi- 
 chore, now in the possession of Count 
 Sommariva, at Paris ; it was repeated, 
 with some small alterations, for Sir 
 Simon Clarke. 
 
 181 1 A sittingstatue of theEmpress 
 Maria Louisa, in the natural size, 
 with the attributes of the goddess 
 Concordia, no w in the palace at Parma. 
 
 1812 A sitting statue of the muse 
 Polyhymnia, now in the cabinet of the 
 Empress at Vienna. This marble was 
 originally intended for the portrait of 
 Maria Elisa, Princess of Lucca. 
 
 1812 Allegorical statue of Peace, 
 size of life; executed for Count Ro- 
 man zoff, completed in 1815. 
 
 iftH Group of the Graces, ordered 
 by the Empress Josephine; completed 
 for the Prince Eugene, and placed at 
 Monaca. A repetition of this group, 
 with slight alterations, was worked 
 for the Duke of Bedford. 
 
 1815 Model of a colossal statue of 
 Religion, height sixteen Roman palms, 
 to be worked in marble of the height 
 of thirty palms. It was worked in 
 marble, with some alterations, and 
 somewhat less than the model, for 
 Lord Brownlow. 
 
 1815 A recumbent statue of a 
 Nymph and a Cupid playing on a 
 Lyre ; executed for Lord Cawdor, but 
 given up by him to the sculptor, to 
 become the property of the Prince 
 Regent of England. 
 
 1816 Group of Mars and Venus, 
 executed in marble for his Britannic 
 Majesty.
 
 CAN 
 
 94 
 
 CAN 
 
 1817 An Infant St. John the Bap- 
 tist; in the possession of Count Blacas. 
 
 1818 A sitting statue of Washing- 
 ton, in marble; executed forthe United 
 States, and forwarded to America in 
 120. 
 
 1818 Statue of Venus, a variation 
 from that in the I'itti Gallery ; com- 
 pleted in marble in 1 820 ; in the pos- 
 session of Thomas Hope, Esq. 
 
 1818 A colossal statue of Pius VI. ; 
 executed in marble in 1822, and placed 
 in the Church of St. Peter, at Rome. 
 
 1819 A recumbent statue of the 
 Magdalen ; executed in marble, for 
 the Earl of Liverpool ; completed in 
 1822. 
 
 BUSTS. 
 
 1805 Bust, in marble, of Francis I., 
 Emperor of Austria ; executed for the 
 I ibrary of St. Mark ; now at Vienna. 
 
 1808 A bust in marble, of the Prin- 
 cess Canino. 
 
 ibli A colossal bust, in which the 
 sculptor has given his own portrait. 
 
 1814 Bust of Helen ; presented by 
 the artist to the Countess Albrizzi, of 
 Venice. 
 
 1814 Bust of the muse Calliope, 
 executed for Signior Gio. Rosini, of 
 Pisa. 
 
 1817 An ideal Female Head, exe- 
 cuted by order of Madame Grollier, 
 and presented by her to Count Som- 
 mariva. 
 
 1819 Herma of Corinna, executed 
 for the Count Sanseverino di Crema. 
 
 1819 Bust of Laura, executed for 
 the Duke of Devonshire. 
 
 1819 Bust of the muse Erato, in 
 marble. 
 
 18U> Bust of Beatrice, executed for 
 Count Leop. Cicognara. 
 
 1819 Bust of Leonora D'Este, in 
 the possession of the Count Paolo 
 Tosio of Brescia. 
 
 MONUMENTS. 
 
 1787 Tomb of Clement XIV. (G*n- 
 gaiielli), in the Church of the Holy 
 A|ostles, at Rome ; height of the Pon- 
 tiff, thirteen Roman palms ; of the 
 figures, eleven palms. The architec- 
 tural part is also the invention of the 
 sculptor. The clay models, in the 
 same size, were formed in 1783 and 
 1784. The whole is in Carrara marble. 
 
 1792 Tomb of Clement XIII. (Rez- 
 zonico), in the church of St. Peter, at 
 Rome ; height of the Pontiff, nineteen 
 palms ; that of the Genius of Religion, 
 fifteen palms ; the lions are also colos- 
 sal. The idea of this monument and 
 several of the figures is anterior in 
 
 date to that of Ganganelli: also in 
 Carrara marble. 
 
 1794 Monument of the Chevalier 
 Emo, executed by order of the Vene- 
 tian senate, and placed in the arsenal 
 at Venice. 
 
 1804 Model of a monument in- 
 tended to be erected to the memory 
 of Francesco Pesaro. 
 
 1 805 Monument of Christina, Arch- 
 duchess of Austria, in Carrara marble, 
 the figures the size of life. Erected 
 in the Church of the Augustines, at 
 Vienna. 
 
 1806 Monument of the Countess 
 D'Haro, daughter of the Marchioness 
 de Santo Crux ; figures in mezzo re- 
 lievo, of the natural size. Left in the 
 study of the sculptor. 
 
 1806 Sepulchral vase, in marble, 
 ornamented with small bas relief, to 
 the memory of the Baroness Diede, 
 situated at Padua. 
 
 1807 Monument of Alfieri, with a 
 colossal figure of Italy, in the Church 
 of Santa Croce, at Florence. 
 
 1807 Monument to the memory of 
 Count Souza, placed in the Portuguese 
 Church, at Rome. A repetition of this 
 monument was executed, and sent to 
 Portugal. 
 
 1808 Monument to the memory of 
 Gio. Volpato, placed under the porch 
 of the Church of the Holy Apostles, at 
 Rome. 
 
 1808 Monument to the memory of 
 the Venetian patrician, Gio. Falier, 
 executed as a tribute of the sculptor's 
 gratitude. It was forwarded to Venice 
 after the death of Canova. 
 
 1S08 Monument to the memory of 
 Frederick, Prince of Orange. Erected 
 at Padua. 
 
 1812 Monument to the memory of 
 the Countess Mellerino. Situated in 
 the Villa Mellerino, near Milan. 
 
 1812 Monument to the memory of 
 Gio. Battista Mellerino; also in the 
 Villa Mellerino. 
 
 1816 Monument to the memory of 
 Count Trento. Erected at Vicenza. 
 
 1822 Monument, in marble, to the 
 memory of Count Faustino Tadini. 
 Erected at Zovare. 
 
 ** The figures on the seven last 
 monuments are in mezzo relievo, and 
 of the size of life. 
 
 HAS RELIEFS. 
 
 1790 The Death of Priam. 
 
 1 790 Briseis consigned to the He- 
 ralds of Patroclus. 
 
 1790 Socrates defending himself 
 before his Judges.
 
 CAN 
 
 95 
 
 1/90 Socrates sending away bis 
 Ff m ly before drinking; the Poison. 
 
 l/9 Socrates drinking the Poison. 
 
 1/90 The Death of Socrates. 
 
 1790 The Return of Telemachus. 
 
 1792 The Offering of the Trojan 
 Matrons. 
 
 1795 Instruction, or, the Good 
 Mother. 
 
 1795 Charity, or, Good Works. 
 
 1797 Venus dancing with the 
 Graces. 
 
 1797 The Infant Bacchus. 
 
 1797 Socrates rescuing Alcibiades. 
 
 1801 Hercules Infuriate. 
 
 1801 Helen carried off by Theseus. 
 
 ** All these bas reliefs are left in 
 the models, except that of Socrates 
 sending away his Family, which was 
 executed in marble by Canova, and is 
 now the property of Chevalier Giuseppe 
 Commello, of Venice. 
 
 CANTARINI (Simon), called 
 PESARESE, from the place of his 
 nativity, born in 1612, and died at 
 Verona in 1848, aged 36. He was 
 a disciple of Guide, and his works 
 are often mistaken for those of his 
 master. Nouv. Diet. Hist. 
 
 CANUTI (Domenico Maria), an 
 historical painter, born at Bologna 
 in 16'23, and died in 1678, aged 55. 
 He had no instructor in painting but 
 nature, seconded by a happy genius. 
 He was employed iu many magni- 
 ficent works at Rome and at Bolog- 
 na, which are still much admired. 
 
 put. 
 
 CAPELLANI (Antonio), a mo- 
 dern Italian engraver, born at Venice 
 about 1730. He was a pupil of 
 Wagner, and engraved several plates 
 both at Venice and Rome. The 
 greater part of the portraits for the 
 ne>* edition of Vasari, published by 
 Bottari, at Rome, in 1760, are by 
 this artist. He also engraved seve- 
 ral plates for the Scuolo Italic* 
 Picturae, under the direction of Gavin 
 Hamilton. Strutt. 
 
 CARACCI (Ludovico), an his- 
 torical, landscape, and portrait pain- 
 ter, born at Bologna in 1555, and 
 died in 1619, aged 64. He was at 
 
 first a disciple of Prospero Fontana, 
 but afterwards studied the works of 
 Titian, Tintoretto, and Paolo Ver- 
 onese, at Venice : and Parmegiano 
 and Correggio, at Parma. He was, 
 however, far from subscribing to any 
 master's dictates, or implicitly imi- 
 tating former styles, but was the 
 uniform pupil of nature. He is 
 esteemed to have less fire in his 
 compositions than Annibale or Agos- 
 tino, but to surpass them in grace, 
 dignity, and sweetness ; but particu- 
 larly in religious subjects, which his 
 taste preferred, and for which he 
 appears eminently fitted, by the 
 simple but dignified manner of his 
 designs, and that solemnity of hue 
 which has been so often recom- 
 mended as the proper tone of histo- 
 ric colour. His Madonnas too, after 
 the manner of Correggio, had a won- 
 derful grace. The foundation of 
 that school, so highly celebrated 
 and distinguished by the title of the 
 Academy of the Caracci, was laid 
 by Ludovico, in concert with Agos- 
 tino and Annibale. They establish- 
 ed well-chosen models of men and 
 women, and had a collection of casts 
 from the best figures, some antique 
 statues, and curious basso-relievos, 
 which Ludovico had collected at 
 Rome ; the best designs of the great 
 masters, and books on all subjects 
 relative to the art. They were 
 assisted by a noted anatomist, An- 
 thony de la Tour. Among the dis- 
 ciples formed in this academy are 
 Guido, Domcnichino, Albano, Lan- 
 franc, and Guercino. Ludovico was 
 great in landscapes as well as in 
 figures, and his private character 
 was estimable. Many of his pictures 
 have been engraved, and some by 
 himsel f. D*A rgenville. 
 
 CARACCI (Agostino), an his- 
 torical and portrait painter, and en- 
 graver, bom at Bologna in 1558, 
 and died in 1602, aged 44. He was
 
 CAK 
 
 96 
 
 CAR 
 
 the son of a tailor at Cremona, and 
 elder brother of Annibale. His first 
 master was Prospero Fontaua, and 
 afterwards Passerotti ; but chiefly 
 Ludovico Caracci, under whose di- 
 rection he acquired that taste and 
 knowledge which have rendered his 
 name eminent. He devoted a great 
 portion of his time to engraving, 
 which he had learned from Corne- 
 lius Cors. He assisted Annibale in 
 the disposition and execution of the 
 Farnesc Gallery; but from jealousy, 
 on the part of his brother, they 
 separated. His most celebrated 
 work in oil is the Communion of 
 St. Jerome, which is now, with its 
 rival picture of the same subject by 
 Domenichino, in the Louvre at 
 Paris. Agostino, for a time, led a 
 free course of life ; but by contem- 
 plating a Madonna, of his own paint- 
 ing, he was struck with remorse, and 
 retired to a convent, where he died. 
 D'Argenville. 
 
 CARACCI (Annibale), an histo- 
 rical, portrait, and landscape pain- 
 ter, born at Bologna in 1,560, and 
 died in 1609, aged 49. He was a 
 disciple of his cousin-german, Ludo- 
 vico Caracci, and studied the works 
 of Titian, Tintoretto, and Paolo 
 Veronese, at Venice ; and those of 
 Correggio at Parma. His early per- 
 formances at Bologna afforded proofs 
 of an extensive genius; and his fame 
 extending to Rome, Annibale was 
 invited thither by Cardinal Farnese, 
 who employed him to paint that 
 gallery, which is so well known 
 through all Europe, to which he 
 devoted ten years of his life, and 
 which will remain a monument to 
 the glory of Annibale, but of ever- 
 lasting disgrace to his employer, who 
 rewarded his talents in a manner so 
 meanly and unworthily. He re- 
 ceived from that wealthy ecclesiastic 
 five hundred crowns, for the labour 
 of ten years. At Rome he was in- 
 
 lueed to change his Bologncse man- 
 ier, which had much of Correggio's 
 n it, to one which was indeed more 
 earned, but at the same time more 
 dry, and less natural, both in design 
 ind colouring. His genius appears 
 o have been better adapted to 
 wctical and profane subjects than 
 sacred ones ; and though superior in 
 >o\ver, execution, and academical 
 )rowess, was inferior to his brother 
 and cousin in taste, sensibility, and 
 udgment : of this the Farnese Gal- 
 ery, his master-piece, is a sufficient 
 )roof. D 1 Argenville. 
 
 CARACCI (Antonio), railed IL 
 GOBBO, a natural son of Agostino, 
 born at Bologna in 1583, and died 
 n 1618, aged 35. He was in- 
 structed in the art of painting by 
 Annibale, and appears to have had a 
 lively and promising genius; and if 
 a judgment of his talents may be 
 formed by his frescos in the three 
 chapels belonging to the church 
 of San Bartolomee nell'Isola, it 
 would appear not improbable he 
 might have surpassed even the whole 
 family of the Caracci. Ibid. 
 
 CARACCI (Francesco), called 
 FRANCESCIIINO, an historical 
 painter, born in 1594, and died in 
 1622, aged 28 He was the brother 
 of Agostino and Annibale Caracci, 
 and a disciple of Ludovico, under 
 whom ho became, in a short time, 
 an eminent designer of naked figures, 
 and was considered by his master 
 superior to any of his fellow disci- 
 ples, in freedom of hand, correctness 
 and truth ; but by neglecting colour 
 he lessened his reputation, which ho 
 might otherwise have effectually 
 secured. 
 
 CARAVAGGIO (Polidoro Cal- 
 dara da). This distinguished painter 
 belongs to the school of Lomlia-dy 
 by birth, but to that of Rome by 
 education. He was bora at Cara- 
 vaggio, in the Milanese, in
 
 97 
 
 His parents lived in the greatest indi- 
 gence and obscurity, and,- after pass- 
 ing his youth in misery and want, he 
 was obliged to leave his home in 
 search of employment ; and, on his 
 arrival at Rome, was engaged as a 
 porter, by the artists who were en- 
 gaged in the Vatican, under Leo X., 
 to carry the mortar for the plaster 
 
 sions of his heads, the grandeur and 
 copiousness of his compositions, and 
 theelevation of his ideas, he appeared 
 to have restored the purest era of 
 Athenian art. In colour, almost en- 
 tirely a monochromist, he was the 
 first of the Roman school that at- 
 tempted the magical effect of chiaro- 
 scuro in the management of the 
 
 of their fresco paintings. Whilst he i masses of light and shadow. It was 
 was occupied in this humble station, the custom at Rome, at the time of 
 lie observed, with great attention, j Polidoro, to ornament the exterior 
 with what facility the artists executed of the principal houses and palaces 
 
 the designs of Raffaelle ; and, inspired 
 
 with the works of eminent artists, 
 
 by liis natural disposition for the executed in a style called by the 
 art, lie made some attempts, which Italians " sgrafitto,^ expressed by 
 attracted the notice of Raffaelle, of hatchings on the plaster, in the man- 
 whom he afterwards became one of ner of engraving. In works of that 
 the most illustrious disciples. His nature, Polidoro and his friend Ma- 
 assiduous application in studying lurino were much employed; and it 
 the ancient statues and bassi-relievi, is greatly to be regretted that their 
 was such, that in a little time he ' exposure to the weather and the 
 apjieared to have imbibed the true ravages of time have deprived the 
 spirit of the Grecian sculptors ; the art of these valuable productions, of 
 sauic perfection of design, the same whose beauty we may form some 
 purity of form, appeared in all he judgment from the prints which have 
 did. This scrupulous attention to been engraved from some of them by 
 the antique rendered him little sen- Cherubino Alberti, Hen. Goltius, 
 bible to the charm of colouring ; and Gio. Batista Galustruzzi. After 
 and, indeed, for some time he en- passing some time at Naples, he went 
 tirely neglected it, contenting him- over to Sicily, where his first em- 
 self with representing, in chiaro- ployinent was painting the triumphal 
 Bcuro, the designs he had composed art-lies which were erected at Mes- 
 from his studies of the beauties of sina, on the occasion of Charles V.'s 
 antiquity. Such was his excellence return from his expedition to Tunis, 
 in these productions, that he was His next work was his celebrated 
 selected by Raffaelle to paint the picture of Christ bearing his Cross, 
 friezes which accompanied the works a grand composition of many figures, 
 of that master in the apartments of painted in oil, with a beauty and 
 the Vatican ; and they were in no harmony of colouring which proved 
 way unworthy of being placed with that he was capable of distinguishing 
 the sublime productions of that iltuB- himself in that department of art 
 trious artist. From the models he when the subject admitted of it. The 
 consulted, Polidoro was a strict ob- remainder of his history is painful to 
 server of the propriety of costume, relate. Rome being restored to trnn- 
 The trophies with which he accom- qmllity, Polidoro was desirous of re- 
 panied and embellished his works j turning to the emporium of art, 
 are truly antique, and by the variety I which he had been forced to abandon 
 of his attitudes, the simple cast of by necessity. Preparatory to his de- 
 his draperies, the admirable expres- j pur. arc from Sicily, he had drawn
 
 98 
 
 his money from the bank ; tempted by 
 which, lie was murdered by his ser- 
 vant, a Sicilian, in 1 543, in his 48th 
 year. His principal works are his 
 friexes and other ornaments in the 
 Vatican ; in the garden of the Palazzo 
 Buffalo at Rome, the Fountain of 
 Parnassus ; in the court of the same 
 palace, his History of Niobe ; in St. 
 Silvcstra a Monte Cavallo, two sub- 
 jects of the Life of Magdalen, &c., 
 &c I)" 1 A rgcn viUe. 
 
 CARAVAGGIO (Michel An- 
 gelo Amerigi da), an historical, 
 portrait, fruit, and flower painter, 
 bom at Caravaggio in the Milanese 
 in 1569, and died in 1609, aged 40. 
 He studied under Giorgionc, at Ve- 
 nice, and afterwards under Giuseppe 
 Cesari, at Rome ; but he established 
 a style of his own, as he found in the 
 works of his masters more to reject 
 than to follow. His great excellence 
 consisted in truth of colour. His 
 master-piece is the Entombing of 
 Christ, at present in the Louvre, at 
 Paris. D'Argenville relates the 
 following anecdote of this celebrated 
 artist : Being at an alehouse, with- 
 out any money to pay his reckoning, 
 he painted a new sign, which after- 
 wards sold for a considerable sum. 
 JD 1 'Argenville. 
 
 CARDI (Ludovico), called CI- 
 GOLI or CIVOLI, an historical 
 painter, born in 155.0, and died in 
 1613, aged 54. He was a disciple 
 of Santi di Titi, and gave a new style 
 to the Florentine school ; he was 
 the inventor of an original, but 
 not a steady style ; that w : hich he 
 adopted differs from his former one. 
 His best works are the following: 
 the Trinity, in the church of Santa 
 Croce ; St. Albert, in that of Santa 
 Maria Maggiore ; the Martyrdom of 
 St. Stephen, at the Sisters of Monte 
 Domini ; St. Anthony converting a 
 Heretic, at Cortona ; and his St. 
 Peter healing tho Cripple, in the 
 
 Vatican, at Rome, which Andrea 
 Sacclii placed next the Transfigura- 
 tion of Raffaelle and the St. Jerome 
 of Domenichino, but which unfor- 
 tunately is at present nearly de- 
 stroyed De Piles, D 1 Argenville. 
 CARDON (Anthony), a Flemish 
 engraver, born at Brussels in 1773. 
 He was instructed in the art of en- 
 graving by his father. During the trou- 
 bles in the Low Countries, Mr. Car- 
 don took refuge in England, in the 
 year 1 790, when he was only 1 7 years 
 of age. He brought with him an 
 introduction to Mr. Colnaghi, whose 
 discernment discovered the rising 
 talent of the young artist, and he 
 gave him immediate employment. 
 In a few years he became eminent 
 from the plates he engraved for some 
 of the most respectable publications 
 that have appeared since that time. 
 I He also engraved several detached 
 prints and portraits, in a very pleas- 
 ing and admirable style. Mr. Car- 
 i don had risen to a distinguished 
 ; rank in public estimation, when he 
 fell a victim to a too assiduous ap- 
 plication to his profession. Gents.'' 
 Mag. 
 
 CARDUCCI (Bartolomco), an 
 historical painter, born in Tuscany 
 in 1560, and died in Spain, in 1610, 
 aged 50. He went to Spain with 
 Frederico Zucchero, where he estab- 
 lished himself with his brother Vin- 
 ccn/io. He was one of the painters 
 employed in the Escurial, and as- 
 sisted Pcllegrino Tihaldi in painting 
 the ceiling of its library, and the 
 frescos of the cloisters. His master- 
 piece is said to be a Descent from 
 the Cross, in the small chapel of 
 
 St. Philipe el Real, in Madrid 
 
 Ibid. 
 
 CARINGS (John), an English 
 landscape painter, who died at Am- 
 sterdam about 1640. He passed 
 great part of his time in Holland, 
 and painted many views of that coun-
 
 99 
 
 try with neatness and precision 
 
 Diet. Pali/. 
 
 CARLINI (Agostino), an Italian 
 sculptor, who died in 1799. He re- 
 sided in England, and was appointed 
 keeper of the Royal Academy. He 
 excelled particularly in draperies. 
 Among his best works is an eques- 
 trian statue of the King, a model of 
 which is in the council-room of the 
 Royal Academy; and a statue of the 
 late Dr. Ward, in marble, which is 
 in the great room of the Society of 
 Arts, at the Adelphi. Gen. Biog. 
 Diet. 
 
 CARLISLE (Ann), an English 
 artist, contemporary with Vandyck ; 
 she was much esteemed as an artist, 
 and patronised by king Charles I. 
 Diet. Poly. 
 
 CARLONI (Giov. Batista), an 
 historical painter, born at Genoa in 
 1594, and died in 1680, aged 86. 
 He was a disciple of Passignano ; he 
 studied at Rome, and afterwards 
 with his brother Giovanni. Their 
 most splendid works are, the frescos 
 of the cathedral del Guastato, at 
 Genoa, the colouring of which at the 
 same time surprises and enchants; 
 every colour is pronounced in its 
 purest and deepest tone, without im- 
 pairing the harmony of the whole. 
 Batista survived his brother fifty 
 years, and distinguished himself by 
 his novel style, in the churches and 
 collections of Liguria and Lombarby. 
 Vies des Peintres. 
 
 CARMONA (Emanuel Salva- 
 dore), a Spanisli engraver, born at 
 Madrid about 1 740. He visited 
 Paris when young, and became a pu- 
 pil of C. Dupuis. In a few years 
 he made so great a progress that he 
 was received into the academy at 
 Paris in 17o'l. He afterwards re- 
 turned to Spain, where he continued 
 to give proof of his respectable ta- 
 lent Strutt. 
 
 CAROTO (Giovanni Francesco), 
 
 an historical and portrait painter, 
 born at Verona in 1470, and died 
 in 1546, aged 76. He was at first 
 a disciple of Liberale Veronese, af- 
 terwards of Andrea Mantegna, un- 
 der whom he so greatly improved as 
 to he often superior to his master. 
 He originally preferred to paint in a 
 small size ; but at length, from a de- 
 sire of confuting those who asserted 
 he was incapable of painting in large, 
 he executed a noble design in the 
 chapel of the Virgin, at Verona, 
 with figures as large as life, which 
 established his name and reputa- 
 tion. Pilk. 
 
 CAROTO (Giovanni), an histo- 
 rical and portrait painter, and archi- 
 tect, brother of the preceding. He 
 was a disciple of his brother, and 
 imitated his manner. He made 
 drawings of all the curious remains 
 of antiquity in and near Verona, 
 particularly the famous amphithea- 
 tre, which were engraved and pub- 
 lished. In the latter part of his life 
 he settled at Venice, and had for his 
 scholars, Paolo Veronese, and An- 
 selmo Cannero Ibid. 
 
 CARPENTIERS (Adrian), a 
 foreign artist, who resided in Eng- 
 land, and exhibited in 1774. One 
 of his best performances was a half 
 length of Roubilliac, the sculptor, an 
 excellent likeness. Edwards. 
 
 CARPI (Ugo da), an historical 
 painter, who died in 1500. This 
 artist is more famous as the disco- 
 verer of a manner of painting in 
 chiaro-oscuro, than as a painter. This 
 art he performed by two pieces of 
 box- wood, one of which marked the 
 outlines and shadows, and the other 
 impressed the colours, leaving some 
 parts of the paper uncovered as 
 masses of light. He executed in 
 this manner several prints from the 
 designs and cartoons of Raftaelle, 
 particularly one of the Sybil; a 
 Descent from the Cross ; the History
 
 100 
 
 CAR 
 
 of Simon the Sorcerer ; and the wards of Jacques Jordaens. He was 
 Deatli of Ananias. This art was appointed state painter at the court 
 greatly improved by Balthasar Pe- of Friesland, and adorned the pulaco 
 truzzi of Sienna, and Pannegiano, with several fine paintings, particu- 
 who published several excellent de- larly landscapes, in which he intro- 
 signs in that manner Pilk. duced buntings of the wild hoar and 
 
 CARPIONI (Julio), a painter of other animals; which subjects he 
 history, bacchanals, triumphs, and painted in the manner of Snyders. 
 sacrifices, born at Venice in 1611, He resided the principal part of his 
 and died in 1674, aged 63. He was life at the Hague and Amsterdam, 
 a disciple of Alessandro Varotari, His style of painting was agreeable, 
 called Paduanino, under whom, in and his colouring good Pilk. 
 a short time, he acquired great re- I CARRE (Michael), younger bro- 
 putation. He preferred painting in ther of the preceding, born at Am- 
 a small size, and those subjects stcrdam in 1666, and died in 17-8, 
 which admit a great number of aged 62. He studied at first under 
 figures, as bacchanalians, sacrifices, his brother, and afterwards became 
 &c. His works are held in high a disciple of Nicholas Berchcm. 
 estimation, and much sought after, j He, however, most unaccountably 
 Ibid. I preferred the style of Vander Leew 
 
 CARPI (Girolami), a portrait and to that of Berchem. He resided 
 historical painter, born at Ferrara, some time in London, but from dis- 
 in 1501, and died in 1506, aged 55. j appointment returned to his native 
 He was a disciple of Garofalo, but ' city, from whence he was invited to 
 devoted his whole time and attention , the Prussian court, where he ob- 
 for several years in studying and ! tained a good appointment. He had 
 copying the works of Correggio ; in i great readiness of hand, and neatness 
 which he succeeded so far, and ac- i in pencilling his easel pictures ; but 
 quired such excellence in the imita- ' his inclination led him to a larger 
 tion of Correggio' s style, that many ' size ; to the embellishment of grand 
 paintings finished by himself were ! saloons, halls, and large apartments. 
 
 taken for originals ; and it is not im- 
 probable, that several of his paint- 
 ings j>ass at this day for genuine 
 
 Ibid. 
 
 CARRIERA(Rosalba), a portrait 
 paintress in crayons and miniature, 
 
 works of Corregirio Ibid. I born at Chiozza in 1675, and died 
 
 CARR (Johnson), or KERR, a ' in 1757, aged 82. She carried crayon- 
 landscape painter, born in 1743, and j painting to a high degree of excel- 
 died in 1765, aged 22. He was one I lence, though her performances 
 of the most considerable of Wilson's i seldom arrived to the strength of oil 
 
 pupils, and obtained several premi- 
 ums from the Society for the En- 
 
 pictures. Her portraits arc graceful 
 in conception and attitude, and fresh 
 couragement of Arts, particularly and alluring in colour ; her Madon- 
 in the years 1762 and 1763, when nas, and other sacred subjects, grace- 
 he received the first prizes Ed- fill and dignified, and even majestic. 
 
 ward*. 
 
 CARRE (Henry), a Dutch land- 
 scape and conversation painter, born 
 at Amsterdam in 1656, and died in 
 1721, aged 65. He was at first a 
 disciple of Jurian Jacobsz, and ufter- 
 
 By her incessant application, she 
 was deprived of her eye-sight during 
 the last ten years of her life. 
 
 CARS ( I*aurence), a French de- 
 signer and engraver, born at Lyons
 
 101 
 
 in 1702. He was the son of an ob- 
 scure engraver, of whom he re- 
 ceived some instructions; but he 
 went young to Pans, where it was 
 long before he distinguished himself. 
 Cars may be considered as one of 
 the best French engravers of the 
 eighteenth century, in the kind of 
 subjects he selected. His best plates 
 are those he has engraved after Le 
 Moine, and particularly the print of 
 Hercules and Omphale Strutt. 
 
 CARTER (George), a painter, 
 who died about 178G. He was ori- 
 ginally a tradesman, and upon failure 
 became a painter. He travelled for 
 the study of the art to Rome and 
 other places ; but it appears he had 
 neither genius nor ability sufficient 
 to entitle him to the rank of an his- 
 torical painter, though he has as- 
 sumed the title to himself in some 
 of his productions. He exhibited in 
 1778, at the Royal Academy, an 
 Adoration of the Shepherds, and af- 
 terwards presented it to the church 
 of St. James, Colchester. In the 
 year 1 785, he made an exhibition of 
 his works, which contained thirty- 
 five articles. IZdivards. 
 
 CARTER (William), an English 
 engraver, who flourished about the 
 year lb'6'0. He was a scholar of 
 Hollar, and a successful imitator of 
 his style. It is very probable he as- 
 sisted Hollar in the prodigious num- 
 ber of works in which lie was en- 
 gaged, as his name or mark is only 
 affixed to a very few prints. In 
 Ogilby's translation of Homer, the 
 vignettes and other ornaments were 
 engraved by Carter Strutt. 
 
 CARVER(Robert),an Irish land- 
 scape, sea-view, and scene-painter, 
 who died in 1791. He was intro- 
 duced into England by Barry, the 
 player, and was engaged at Drury- 
 lane by Garrick, to paint the scenes, 
 and afterwards at Covent-Gurden, 
 where he was employed till his death. 
 
 In his sea- views he excelled in re- 
 presenting the waves breaking on 
 the shore, or dashing against the 
 rocks Edwards. 
 
 CASALI (Andrea), an Italian 
 painter and engraver, born at Civita, 
 Vecchia, about the year 1 720. He is 
 said to have been a scholar of Sebas- 
 tian Conca. He visited England about 
 the year 1748, and was employed in 
 ornamenting the seats of several of 
 the nobility. He etched some plates 
 from his own designs, and one from 
 Raffaelle Walpole. 
 
 CASALI (Andrew), an historical 
 painter. This artist resided several 
 years in England, and was employed 
 in 1748 to paint the transparencies 
 which formed a part of the decora- 
 tions of the fire-works exhibited in 
 the Green Park, St. James's, on the 
 celebration of the peace of Aix-la- 
 Chapelle ; and also painted some 
 ceilings for Mr. Beckford, at his cele- 
 brated seat at Fonthill, Wiltshire. 
 He obtained several premiums given 
 by the Society for the Encourage- 
 ment of Arts for historical subjects; 
 and painted a Wise Man's Offering, 
 for the chapel of the Foundling Hos- 
 pital, which has been removed for 
 the admission of Mr. West's Young 
 Children brought to Christ ; and 
 two figures of St. Peter and St. Paul, 
 in chiaro-scuro for the altar-piece of 
 St. Margaret's church, Westminster. 
 His works possess all the insipid 
 merits of the modern Italian school ; 
 shewy, but tawdry in their colour- 
 ing, and theatrical and trifling in 
 their composition Edwards. 
 
 CASAL1N1 (Lucia), a portrait 
 paintrcss ; sho was a disciple of 
 Giuseppe dal Sole, and signalised 
 herself by painting portraits. 
 D'Aryenville. 
 
 CASAUBON (Frederick), an his- 
 torical and portrait painter, born at 
 Solirgen, a city of Germany, in 
 1623, and died in Loudou, in KiDO,
 
 102 
 
 ngcd 67. At eighteen years of nge 
 he went to Amsterdam to be in- 
 structed in the art of painting, and 
 in 1650 he visited Paris, and re- 
 ceived instructions from Le Hrun. 
 lie was afterwards sent to Italy, 
 by the Chancellor of France, and 
 maintained there by that minister 
 for fourteen years, two of which lie 
 jwissed with Niccolo Poussin, of whose 
 manner he was so nice an imitator 
 that some of his pictures were taken 
 for Poussin's. After this he visited 
 England ; hut not finding encourage- 
 ment in historical painting, he 
 adopted portrait painting, in which he 
 was much patronised. He was sup- 
 posed to be the first who introduced 
 the art of painting on glass at that 
 period, and painted some with great 
 ability. He understood perspective, 
 and was reckoned an accomplished 
 painter. He lies buried in the church 
 
 of St. Andrew's, Holborn Diet. 
 
 Poly. 
 
 CASSANA (Nicolo), called NI- 
 COLETTO, an historical' and por- 
 trait painter, bora at Venice in 
 1659, and died in 1713, aged 54. 
 He was the eldest son, and a disciple 
 of Giovanni Francesco Cassano, a 
 Genoese, who became eminent as a 
 portrait painter, under the direction 
 of Bernardino Strozzi. The Grand 
 Duke of Tuscany invited Nicoletto 
 to his court, where he painted the 
 portrait of that prince, and the prin- 
 cess Violante, his consort. The 
 principal historical subject he painted 
 was the Conspiracy of Catiline. He 
 was invited to England, and patron- 
 ised by Queen Anne, whose portrait 
 lie painted PiU<. 
 
 CASSANA (Giovanni Agostino), 
 called L'ABATE CASSANA, a 
 painter of animals and fruit. He was 
 the younger brother of Nicolo, and 
 instructed by his father, Francesco 
 Cassana, but finished his studies at 
 Venice. Ho was a good portrait 
 
 jKiintcr, but preferred the represent- 
 ation of animals and fruit : his pic- 
 tures in that class are frequent in 
 the collections of Italy Pilk. 
 
 CASSANA (Maria Vittoria), sis- 
 ter of the preceding, who died in the 
 beginning of the last century. She 
 painted chiefly devotional pieces for 
 private families Ibid. 
 
 CASSENTINO (Jacopo di), an 
 historical and portrait painter, born at 
 Cassentino in 1276, and died 1356, 
 aged ftO. He was a disciple of Tad- 
 deo Gaddi, and considered in his 
 time an artist of considerable merit 
 in fresco and distemper. He exe- 
 cuted a great many works in his na- 
 tive city, Arezzo, and Florence. He 
 became in 1350, the founder of the 
 Florentine Academy. His uiost me- 
 morable work was St. Luke drawing 
 the Portrait of the Virgin, which he 
 painted for the chapel of the aca- 
 demy Ibid. 
 
 CASTAGNO (Andrea del), an 
 historical painter, horn at a small vil- 
 lage called Castagno, in Tuscany, in 
 1409, and died in 1480, aged 71. 
 lie first became a ]>ainter, by observ- 
 ing an ordinary artist at work in the- 
 country, and, from his promising ta- 
 lents, was placed by Bcmadetto do 
 Medici under the best masters at 
 Florence ; under whom he made such 
 progress, that in a few years he was 
 much employed. He at first painted 
 only in distemper and fresco; his 
 manner at first was rather Ir.inl and 
 dry, but he afterwards learned the 
 art of painting in oil from Domenico 
 Veneziano, who derived his know- 
 ledge of that new discovery from 
 Antoncllo da Messina. From a de- 
 sire of possessing this secret alone, 
 and because the works of Domenico 
 seemed to be more admired than his 
 own, he harboured in his mind the 
 base intention of assassinating him, 
 who had been his friend and bene- 
 factor, wliich he at length secretly
 
 103 
 
 effected, and escaped unobserved ; he 
 lived unsuspected, enjoying riches 
 and reputation, acquired by the prac- 
 tice of his profession. But when he 
 came to die, conscience disclosed the 
 secret, and the crime has caused his 
 memory to be universally detested. 
 His masterpiece is the Conspirators 
 against the House of Medici, in the 
 Hall of Justice at Florence Vie 
 des Peintres, Nouv. Diet. Hist. 
 
 CASTELLI (Bernard), an histo- 
 rical and portrait painter, born at 
 Genoa in 1557, and died in 1629, 
 aged 72. He studied under Andrea 
 Semini and Luca Cambiaso, but 
 preferred the principles of the former. 
 He invented with facility, and had 
 correctness and grace when he chose 
 to exert himself. He made designs 
 for Tasso's Jerusalem, and painted 
 the Call of St. Peter to the Apostol- 
 ate, as an altar-piece for St. Pietro, 
 at Rome. He also painted portraits 
 of the most celebrated poets of his 
 time, from whom he received com- 
 plimentary verses in return Vies 
 
 des Peintres, LfArgenrille, Pilk. 
 
 CASTELLI (Valcrio), an histo- 
 rical and battle painter, born at Ge- 
 noa in 1615, and died in 1659, aged 
 44. He was a scholar of Domenico 
 Fiasella, but chiefly acquired his 
 knowledge from the study of the 
 most celebrated masters. His most 
 favourite subjects were cattle, which 
 he composed with much spirit, and 
 executed with so much variety and 
 freedom of hand as gained him uni- 
 versal applause. His horses are par- 
 ticularly excellent. In this style of 
 painting, he united the fire of Tinto- 
 retto with the fine taste and compo- 
 sition of Paolo Veronese. Amongst 
 the historical subjects which he 
 painted, is the cupola of the church 
 of the Annunciation, at Genoa, 
 which is described as a noble compo- 
 sition ; and the Rape of the Sabines, 
 in the palace of the Grand Duke at 
 
 Florence. There is also a picture 
 by this master in the collection of 
 the Earl of Pembroke, the subject, 
 Christ taken down from the Cross. 
 A great number of his easel pieces are 
 in the different collections of England. 
 Vies des Peint., D'Argen., Pilk. 
 
 CASTELLO (G. Battista), called 
 IL BERGAMASCO, an histori- 
 cal painter, architect, and sculptor, 
 born at Bergamo in 1500, and died 
 in 1570. He was patronised by the 
 Pallavicino family, who enabled him 
 to visit Rome. He is reckoned 
 among the number of Michel An- 
 gelo's scholars. His technic princi- 
 ples were those of Luca Cambiaso, 
 as is evident, on comparison, in the 
 church of St. Matteo, where they 
 painted together. We recognise, in 
 Cambiaso, a greater genius, and 
 more elegance of design ; in Cas- 
 tello, more diligence, deeper know- 
 ledge, and better colour. He painted 
 the ceiling of Nunziata di Portoria, 
 representing the Judge, in an angelic 
 circle, receiving the Elect ; whilst 
 Luca on the panels represented 
 the final doom of the blessed and 
 rejected in the last judgment. He 
 frequently painted alone ; such as 
 the St. Jerome, surrounded by 
 Monks frightened at a Lion, in St. 
 Francisco di Gastello ; and the 
 Crowning of St. Sebastian, after 
 Martyrdom, in his own church : a 
 picture as rich in composition as 
 studied in execution. This painter 
 passed the last years of his life at 
 Madrid, as painter to the num. 
 Cumberland. 
 
 CASTIGLIONE (Giovanni Be- 
 nedetto), called CiRECHETTO, a 
 cattle, landscape, portrait, and histo- 
 rical painter, born at Genoa in 1616, 
 and died in 1 670, aged 54. He was 
 at first a disciple of Battista Pagi, and 
 afterwards of Giovanni Andrea de 
 Ferrari, but received his principal 
 instruction from Vandyck, who at
 
 104 
 
 that time resided at Genoa. He 
 formed to himself a grand manner 
 of design in every branch of his art, 
 and succeeded in profane as well as 
 sacred history, landscape, cattle, and 
 portrait. But though his genius was 
 so universal, his natural and predo- 
 minant turn was to rural and pasto- 
 ral subjects, markets, and animals, 
 in which he had no superior. There 
 is an excellent picture by this mas- 
 ter, in the chapel of St. Luke's 
 church, at Genoa ; in the Palazzo 
 Brignole is a grand composition, ad- 
 mirably finished ; and in the Palazzo 
 Carcgha is an historical picture ofi 
 Rachel concealing the Teraphini 1 
 from Laban, in which the figures 
 
 and animals are exceedingly fine 
 
 Pilk. 
 
 CASTIGLIONE (Francesco), a 
 landscape, historical, and cattle 
 painter. He was the son and dis- 
 ciple of Benedetto, and inherited 
 much of the merit and extraordi- 
 nary talents of his father, and imi- 
 tated his style and manner in com- 
 position, handling, and design. He 
 was also as universal a painter as his 
 father, though not in every respect 
 equal. Ibid. 
 
 CASTRO (Pietro de), a still life 
 painter, who died in 1663. His sub- 
 jects were shells, musical instru- 
 ment?, gems ; vases of gold, sil- 
 ver, and crystal ; books, and rich 
 bracelets ; and in those subjects his 
 choice and disposition were elegant, 
 his colouring natural and transpa- 
 rent. He showed peculiar judgment 
 iu grouping. Every object is exact 
 when critically examined, and 
 made at the same time, by a judi- 
 gious arrangement, to form an even- 
 ness of light and shadow. There was 
 a capital picture of this master in the 
 possession of William Montgomery, 
 Esq. of Dublin. Ibid. 
 
 CATTON (Charles), R. A., an 
 herald painter, boru at Norwich, and 
 
 died in August, 1798. He was a 
 member of the Academy in St. Mar- 
 tin's-lanc, and acquired a good know- 
 ledge of the human figure, which, 
 with his natural taste, ranked him 
 above all others of his profession in 
 London. He was appointed one of 
 the members of the Royal Academy, 
 and served the office of master of the 
 company of paper-stainers in the year 
 1784. It should be observed, that 
 some years ago, when Mr. Catton 
 began his career, the profession of 
 coach-painting might be ranked 
 among the arts ; but since the coach- 
 makers have taken into their own 
 hands the decoration of carriages, 
 it has degenerated into frivolity and 
 meanness, herald-painters having 
 become their journeymen. Ed- 
 wards. 
 
 CAVALLARI (Anthony), a Fle- 
 mish sculptor and gilder, who flou- 
 rished in the sixteenth century. This 
 artist came into England in the reign 
 of Henry VIII., and was employed, 
 in conjunction with Benedetto Ro- 
 vezzano, in beautifying a tomb 
 which Cardinal Wolscy was then 
 building. 
 
 CAVALLERIIS (Giovanni Ba- 
 tista), an Italian engraver, bom near 
 Brescia, about the year 1530. His 
 style of engraving resembles ./Enens 
 Vico, although inferior to him. 
 Many of his plates are copied from 
 other prints. They are etched, and 
 finished with the graver. He was 
 very laborious, and his plates amount 
 to near 300 Strutt. 
 
 CAVALLINI (Pietro), an histo- 
 rical painter and worker in mosaic, 
 born at Rome in 1279, and died in 
 13(J4, ngcd 8.5. He was a disciple of 
 Giotto, and assisted him in the cele- 
 brated picture, in mosaic, over the 
 <rrand entrance of St. Peter's. But 
 his best performance was a fresco 
 painting in the rhurrh of Ara Cceli, 
 at Rome, in which ho represented,
 
 105 
 
 above, the Virgin and Child, sur- 
 rounded with glory ; and below, the 
 figure of the Emperor Octavian, 
 whose attention was directed by the 
 sybil to the figures in the air. He 
 was remarkable for the great multi- 
 tude of paintings which he finished, 
 and for his piety. Pilk., De Piles. 
 CAVEDONE (Jacopo), an histo- 
 rical painter, born at Sassuolo, near 
 Modena, in 1580, and died in 1660, 
 aged 80. He learned design in the 
 academy of the Caracci, and studied 
 after the naked, in the schools of 
 Baldi and Passerotti ; and to acquire 
 a proper knowledge of colouring, he 
 visited Venice, where he carefully 
 examined the perfections of Titian. 
 His works at Bologna were for some 
 time considered equal to the compo- 
 sitions of Annibale Caracci, and 
 there is a picture by Cavedone, in 
 the King of Spain's chapel the Vi- 
 sitation of the Virgin which Ru- 
 bens, Velasquez, and Michel Angelo 
 Colonna, really thought to be the 
 performance of Annibale. His first 
 manner was his best ; it afterwards 
 degenerated, and the latter part of 
 his life was miserably bad, perhaps 
 produced by the overwhelming load 
 of misfortunes which he had to en- 
 dure sickness, united with extreme 
 poverty, a violent shock he received 
 by a scaffolding falling, on which he 
 was painting, and the death of an 
 only son. In the chapel belonging ! 
 to the church of St. Paul, and in the ' 
 church of St. Salvadore, at Bologna, 
 are several very capital performances 
 of Cavedone ; but one of his best is 
 in the church of the Mendicants at 
 Bologna, representing Petronius and 
 another saint on their knees, on the 
 lower part of the picture, and the 
 Virgin and Child in the clouds, at- 
 tended by angels. Pilk. 
 
 CAXES (Eugcnio), an histori- 
 cal and portrait painter, the son of 
 Patrizio Caxcs, a Florentine, born 
 
 at Madrid in 1577, and died in 1642, 
 aged 65. He learned the art of his 
 father, with whom he was employed 
 by Philip III. in his Palace del Par- 
 do. The excellence of his frescos 
 in the Sala d'Udienza procured him 
 the favour of that prince, who ap- 
 pointed him painter to the court in 
 1612. He painted the history of 
 I Agamemnon, in the Alcazar, at Ma- 
 ,' drid ; but the convent of St. Philip, 
 in the city of Madrid, contained the 
 chief collection of this master's 
 works, where they perished by fire, 
 together with the convent itself, iu 
 1718. Repainted, in conjunction 
 with Vincenzio Caducci, several 
 pictures in the cathedral of To- 
 ledo and elsewhere. Cumberland's 
 Anecdotes of Spanish Painters. 
 
 CECIL (Thomas), an English 
 engraver, who flourished about the 
 year 1630. The partiality of Eve- 
 lyn for his countrymen has induced 
 him to place this artist on a level 
 with the greatest artists of his time ; 
 a period which was distinguished by 
 ; some of the greatest engravers of 
 France, particularly Manteul, and 
 at which engraving was at a very low 
 ebb in England. However unde- 
 serving of this flattering character, 
 his plates are not without consider- 
 able merit. They are neatly exe- 
 cuted, entirely with the graver, and 
 consist of portraits from his own de- 
 signs. Strutt. 
 
 CELER ( ), an ancient Ro- 
 man architect, employed by the Em- 
 peror Nero, after the conflagration of 
 Rome, in the construction of his 
 golden house, which surpassed all 
 that was stupendous and beautiful 
 in Italy. His statue, 120 feet high, 
 stood in a court ornamented with 
 porticoes of three files of lofty co- 
 lumus, each file a mile long; the 
 gardens were of vast extent, with 
 vineyards, meadows, and woods, 
 filled with every sort of domestic
 
 CEL 
 
 106 
 
 and wild animals ; a pond was con- i 
 verted into a sea, surrounded by a 
 sufficient number of edifices to form 
 a city. Pearls, gems, and the most 
 precious materials, were used every- 
 where, and especially gold, the great 
 profusion of which, within and with- 
 out, and even on the roofs, caused 
 it to be called " the Golden House." 
 Milizia's Hist, of Arc/iitects. 
 
 CELESTI (Andrea), willed Ca- 
 valier, an historical and landscape 
 painter, born at Venice in 1637, and 
 died in 1 70(>, aged 69. He was a 
 pupil of Cavalier Mattco Ponzoni, 
 and was greatly admired for his style 
 in history and landscape, but chiefly 
 employed himself in the latter. His 
 landscapes are natural and elegant, 
 and his colouring pleasing. He 
 painted views about Venice and other 
 cities of Italy, of a large and small 
 size. There are two of his histo- 
 rical compositions in the chapel of 
 Madonna della Pace, at Venice, and 
 one in the chapel of Spedaletto, re- 
 presenting St. Jerome, with the Vir- 
 gin, and some saints Pilk. 
 
 CELLINI (Benvenuto), a cele- 
 brated Italian sculptor and engraver, 
 born at Florence in 1500, and died 
 in 1570, aged 70. He served his ap- 
 prenticeship to a jeweller and gold- 
 smith. He also learned drawing, en- 
 graving, and music ; and Clement 
 VII. appointed him his goldsmith 
 and musician. He was a man of a 
 turbulent disposition, but of an un- 
 daunted courage ; and when Rome 
 was besieged by the Duke of Bour- 
 bon, the charge of the castle of St. 
 Angelo was committed to Cellini. 
 He was also employed to make 
 stamps for the mint, and the coins 
 and medals which he executed arc 
 very beautiful. On the death of Cle- 
 ment he returned to Florence, from 
 whence he went to France, where he 
 was patronised by Francis I.; but lie 
 soon left that country, and revisited 
 
 Rome, where he was confined for a 
 long time in the castle of St. Angelo, 
 on the charge of having robbed the 
 fortress of a considerable treasure 
 when he had the care of it. He 
 escaped, but was retaken, and suf- 
 fered great hardships till he was re- 
 leased by the mediation of Cardinal 
 Ferrara. He then went to France, 
 where he executed some fine works 
 of sculpture, and particularly cast 
 large figures of metal, which gained 
 him a high reputation. After staying 
 there five years, he returned to his 
 own country, and was employed by 
 the Grand Duke Cosmo. He worked 
 equally well in marble and metal. 
 Cellini wrote a treatise on the gold- 
 smith's art, and another on sculp- 
 ture, and the casting of metals. 
 Life written by himself, and trans- 
 lated into English by Dr. Nugent, 
 2 vols. 8vo. 
 
 CERATI (Abate D. Domcnico), 
 a celebrated Italian architect, who 
 flourished in the sixteenth century. 
 From his earliest youth he was at- 
 tached to the study of civil and mi- 
 litary architecture, and succeeded so 
 well that he was considered capable 
 of filling the professor's chair of civil 
 architecture, then established at Pa- 
 dua. His duty was to instruct the 
 artists in every species of drawing or 
 design : he conveyed his instructions 
 witli great ardour and facility, and 
 had the satisfaction of finding his 
 efforts generally crowned with the 
 most complete success. The obser- 
 vatory of Padua was ingeniously 
 erected by this architect, on the an- 
 cient tower formerly rendered hor- 
 i rible by the cruelties of Ezzelino. 
 \ This building surpasses the most re- 
 ! nowned of the same kind in Europe, 
 I and is furnished with the best instru- 
 I ments, though not made in Italy. 
 Cerali directed the magnificent 
 , buildings of the hospital of Padua, 
 where the first Jesuits established
 
 107 
 
 themselves. The embellishments 
 to the Prato delle Valle were from 
 his designs, and under his direction ; 
 it is reduced to a spacious ellipsis, 
 surrounded by a canal ; both the pa- 
 rapets are adorned with statues. The 
 entrance to the piazza is by four 
 handsome stone bridges ; the former 
 is raised to avoid inundations, and 
 under the semicircular loggia are 
 shops ; in the centre of this piazza 
 is either a group of statues or an obe- 
 lisk. Milizia. 
 
 CEREZO (Matteo), a Spanish 
 painter of Scripture pieces, born at 
 Burgos in Spain in 1635, and died 
 in 1685, aged SO. He entered the 
 school of Carrenno, at Madrid, which 
 he attended for five years. He exe- 
 cuted, jointly with Herrera el Mozo, 
 various commissions for Madrid, Bur- 
 gos, and Valladolid. His principal i 
 work is the Supper at Emmaus, in 
 the refectory of the Recoletos, at 
 Madrid, which is reckoned equal to 
 the best works of Ti/iano, Tintoretto, 
 or Paolo. Cumberland. 
 
 CERINI (Giovanni Domenico), 
 an Italian painter, was born at Pe- I 
 rugia in 1606, and died in 1681, | 
 aged 75. He was the disciple of 
 Guido and Domenichino. His histo- 
 rical subjects are happily executed. 
 Pilk. 
 
 CERQUOZZI(M. Angelo), called 
 M. A. DELLE BATTAGLIE, an ' 
 Italian painter of landscapes, &c., 
 born in 1 600, and died in 1 660, aged 
 60. Cerquozzi formed his style after 
 the manner of Bamboccio, but dif- 
 fered from him in the character and 
 physiognomy of his figures. Bam- 
 boccio is superior to him in land- 
 scapes, but he excels Bamboccio in 
 the spirit of his figures. One of the 
 best works of this master is in the 
 Palace of Spada at Rome, in which he 
 has represented an army of fanatic 
 Lazzaroni shouting applause to Mas- 
 saniello. Fuseli. 
 
 CESARI (Otiiseppe), called II 
 
 CAVALIER D'ARPINO, an Ita- 
 lian painter, born in 1560, and died 
 in 1 640, aged 80. He was the son of 
 a painter, and discovered in his in- 
 fancy a pregnancy of conception, and 
 a rapidity of execution, which pro- 
 cured him the patronage of Dante, 
 and theprotection of Gregorio XIII. 
 The best specimens of this master are, 
 the Birth of Romulus, and the Battle 
 of the Sabines. He reared a numerous 
 school, distinguished by little more 
 than the barefaced imitations of his 
 faults D' Argenville. 
 
 CESARI (Bernardino). He was 
 the brother and scholar of Giuseppe 
 Cesari, whom he assisted in many of 
 his works : he also painted several 
 pictures of his own composition, in 
 the churches at Rome, entirely in 
 the style of his brother. In S. Carlo 
 a Catinari is a picture of his paint- 
 ing, of Christ appearing to Mary 
 Magdalen. For Clement VIII. he 
 painted a large fresco work in St. 
 John of Lateran, representing the 
 Emperor Constantino in a triumphal 
 car, with many figures D' 'Arqen- 
 viUe. 
 
 CESI (Bartolomeo), an Italian 
 painter, born in 1556, and died in 
 1627, aged 71. Tiarini learned from 
 this artist the practice of fresco ; and 
 his works contain the germ of Guide's 
 elegance. His best works are altar- 
 pieces at St. Jacopo and St. Martino, 
 which Guido is said to have often 
 spent whole hours in contemplating. 
 To his exertions chiefly is ascribed 
 the secession of the painters in 1595, 
 from cutlers, chasers, and saddlers, 
 with whom they had been incorpo- 
 rated for several centuries ; and, 
 though he could not rid them of the 
 cotton-workers' body, he established 
 their precedence and superiority of 
 rank Vasari. 
 
 CESPEDES (Pablo de), a Spa- 
 nish historical painter, architect, and 
 sculptor, born at Cordova in 1532, 
 and died in 1608, aged 70. He
 
 108 
 
 twice visited Rome, and formed bis j 
 Btyle upon the model of that great 
 artist, Michel Angelo, not in paint- 
 ing only, but in architecture and 
 sculpture also ; in both of which, by 
 the happy fertility of his genius, he 
 acquired great fame. It was his prac- 
 tice to model the heads of his prin- 
 cipal figures, when he was engaged 
 in any great historical composition, 
 and several of these are yet to be 
 found in his native city of Cordova. 
 When he was at Rome, he supplied 
 a head to a famous antique trunk of 
 his countryman Seneca, in white 
 marble, and acquitted himself so hap- 
 pily in this arduous undertaking that 
 he was generally thought to have 
 exceeded the original. He composed 
 a treatise, in which he compares the 
 ancient and modern art and practice 
 of painting : his contemporaries speak 
 of this work in high strains, but it-is 
 unfortunately lost to the world, toge- 
 ther with one in verse on the general 
 subject of painting. Cespedes com- 
 posed several pictures during his re- 
 sidence at Rome, and in the church 
 of the Holy Trinity he was employed 
 amongst the principal artists of his 
 time, and left there some paintings 
 of distinguished excellence. Though 
 the works of Cespedes are dispersed 
 in Seville and the cities of Andalu- 
 sia, yet it is in Cordova that we must 
 expect to find his principal perform- 
 ances, particularly his famous com- 
 position of the Last Supper, in the 
 High Church. As a colourist, Spain 
 never produced a painter superior to 
 Cespedes. In anatomy, drawing, and 
 perspective, he w;is peculiarly cor- 
 rect : his angels in the Martyrdom 
 of Santa Catalan!, a picture which 
 he painted for the Jesuits' college at 
 Cordova, are touched with all the 
 colouring and effect of Correggio, 
 whose manner he much resembled. 
 Cumberland's Anecdotes of Spa- 
 nish Painters. 
 
 CHAMBERLAIN (Mason), an 
 
 English painter, of whom few parti- 
 culars are ksown, and who died in 
 1787. When the Royal Academy 
 was founded, he became one of its 
 members Fuseli. 
 
 CHAMBERS (Sir William), a 
 celebrated architect, born at Stock- 
 holm in 1729, and died in 1796', 
 aged 67. He was descended of an 
 ancient Scotch family, who had set- 
 tled in Sweden. At the age of 1 8, 
 he was appointed supercargo to the 
 Swedish East India Company ; and 
 he brought from China the Asiatic 
 style of ornament, which became so 
 fashionable in England at one time, 
 under the patronage of the king, as 
 generally to be adopted. Mr. Cham- 
 bers settled in England, obtained 
 considerable business as an archi- 
 tect, and was appointed surveyor- 
 general. The building of Somerset- 
 house will prove a lasting monu- 
 ment of his taste ; but his principal 
 works are his staircases, and de- 
 signs for interior ornaments. His 
 treatise on civil architecture is 
 a valuable work Europ. Mag., 
 Month. Mag. 
 
 CHAMPAGNE (Philip de), a 
 Flemish landscape painter, born at 
 Brussels in 1602, and died in 1764, 
 aged 72. Champagne, after some ele- 
 mentary instructions, went to Paris, 
 where he was appointed painter to 
 the Queen of France, and was mem- 
 ber of the Academy of Painting. He 
 designed correctly, had an agreeable 
 tone of colour, and well understood 
 the principles of perspective and ar- 
 chitecture. Many of his pictures 
 have been engraved. His nephew, 
 | John Baptist Champagne, was a 
 good artist, and a member of the 
 Academy. He died in 1688 
 D'jirgenville, Vies des Peintres. 
 
 CHAMPAGNE (John Baptist), 
 nephew of tl>e preceding, born at 
 Brussels in 1545, and died in 1688, 
 aged 45. He studied under his uncle 
 several years, and afterwards visited
 
 109 
 
 CHA 
 
 Italy. On his return from travelling, 
 he was appointed director or professor 
 of the Royal Academy. D'Argen- 
 ville, Piik. 
 
 CHANTRY (J.), an English en- 
 graver, who died about 16(>2. He 
 engraved the heads of Edward Leigh, 
 Esq., M. A., of Magdalen-hall, Ox- 
 ford, 1660, and Thomas Whitaker, 
 physician to Charles II. 
 
 'CHAPERON (Nicholas), a 
 
 French engraver, born at Chateau- 
 dun, in 1596. He studied painting 
 under Simon Vouet, and went to 
 Rome for improvement; but he 
 never made any proficiency in paint- 
 ing; his talents led him to engrav- 
 ing. He remained at Rome several 
 years, and in 1636 published his set 
 of fifty-two plates from the works of 
 Raffaelle, in the Loggia of the Vati- 
 can, called Raffaelle's Bible. Several 
 artis'shave engraved these admirable 
 productions ; in all of them we look 
 in vain for the noble character and 
 purity of design of their great au- 
 thor ; perhaps Chaperon's produc- 
 tions are the least faulty of any that 
 have appeared Strutt. 
 
 CHARES, an ancient sculptor, 
 who executed the celebrated Colos- 
 sus at Rhodes, which was destroyed 
 by the Saracens in 667. The brass 
 of this statue was purchased by a Jew, 
 and loaded 900 camels. Pocock's 
 Travels. 
 
 CHATEAU (William), a French 
 engraver, born at Orleans in 1633. 
 After learning the elements of de- 
 sign at Paris, he went to Rome, and 
 became a pupil of John Frederick 
 Greuter. His first productions were 
 some plates for the portraits of the 
 popes. He afterwards engraved se- 
 veral prints after N. Poussin, which 
 are entirely executed with the gra- 
 ver, in the style of Poilly and Bloe- 
 maert ; the others he advanced con- 
 siderably with the point, which he 
 handled with spirit and taste. His. 
 
 prints of that descriptioH have great 
 merit. After passing several years 
 at Rome he returned to Paris, where 
 he was employed and patronised by 
 M. de Colbert. Strutt. 
 
 CHATEL (Francis du), a Fle- 
 mish painter, born at Brussels in the 
 middle of the sixteenth century. He 
 was a disciple of David Teniers the 
 younger, and strictly adhered to the 
 style of his master. The most capi- 
 ! tal picture by this master is one in 
 the town-hall of Ghent ; it is near 
 twenty feet long and fourteen high ; 
 j representing the king of Spain receiv- 
 ing the oaths of fidelity from the 
 ; States of Flanders and Brabant, in 
 \ 1666. The back-ground shews a 
 | view of one of the principal places 
 in Ghent, adorned with triumphal 
 arches and decorations ; and it is 
 i said the number of figures amounts 
 ' to above a thousand, with a great 
 variety of characters : through the 
 | whole, the groups are so aptly dis- 
 posed that there is not the smallest 
 appearance of confusion. Pilk. 
 
 CHATELAIN (J. B.), an inge- 
 nious English designer and engraver, 
 born about the year 1710. This 
 artist was endowed with extraordi- 
 j nary capacity; and if his application 
 ' had been equal to his genius, few 
 ! would have equalled him in the 
 branch of art to which his natural 
 disposition directed him He had a 
 peculiar talent for designing land- 
 scapes, either from nature or his 
 own fancy, which he did with a 
 readiness that was altogether sur- 
 ' prising. Unfortunately, from his 
 idle and dissolute course of life, he 
 ! seldom exercised his abilities until 
 : compelled by necessity. The draw- 
 ings and plates he has left make 
 I us deeply regret the irregularity of 
 I his conduct, which has limited our 
 ' gratification to a much smaller num- 
 ber of his admirable productions, 
 than his uncommon thcilty, under
 
 110 
 
 CHE 
 
 more regular habits, would have se- 
 cured to us. He has engraved some : 
 landscapes from his own designs ; 
 but the greater part of his works are ' 
 from the pictures of Caspar Poussin, ; 
 and other masters, for the collection ' 
 of landscapes published by Mr. Boy- 
 dell in 1744. The following list coin- 
 prises most of his works : 
 
 The Four Times of the Day ; etched 
 by Chatelain ; afterwards finished 
 in mezzotinto by Houston. 
 
 Nine Eight Landscapes after Gas- 
 par Poussin, and one Landscape 
 after Rembrandt. 
 
 Eight Views of the Lakes in Cumber- 
 land and Westmorland, after Bel- 
 
 .' lers. 
 
 Elevea different Views, after Marco 
 Ricci. 
 
 Three grand Landscapes, after Cor- 
 tona, N. Poussiu, and F. Bolopnese. 
 Strutl. 
 
 CHAUVEAU (Francis), a French 
 engraver, born at Paris in 1618, and 
 died in 1676, aged 58. His engrav- 
 ings are mostly after his own designs, 
 in a very excellent taste. Moreri. 
 
 CHAUVEAU (Rene), an inge- ! 
 nious French sculptor, son of the 
 foregoing, born in 1663, and died in ' 
 17'2'2, aged 59. He resided many j 
 years in Sweden, and also executed 
 some considerable works at Berlin. ] 
 Ibid. 
 
 CHAVEAU (Francis), a French ! 
 painter and engraver, born at Paris I 
 in 1618. He studied under Lau- j 
 rence de la Hire. He painted small 
 pictures in the style of that master ; 
 but not meeting with much success, 
 he devoted himself entirely to en- 
 graving. His first attempts were 
 made with the graver, but he soon 
 quitted it for the point, with which 
 he could express, with convenient 
 celerity, the effusions of a lively and 
 fertile genius. This expedition was 
 requisite in the great number of 
 plates he engraved for the book- 
 sellers, in which, if we do not find a 
 polished execution, we discover force, 
 
 fire, and ingenuity. His smaller 
 plates are much in the manner of 
 Sebastian le Clerc, which are his 
 best performances. He is supposed 
 to have produced nearly three thou- 
 sand plates, most of which were for 
 the different publications in which 
 he was employed. Strutt. 
 
 CHEDEL (Qnintin), a French 
 designer and engraver, born at Cha- 
 lons in 1705. He was much em- 
 ployed in engraving for the book- 
 sellers at Paris, and the number of 
 his plates is very considerable. They 
 are etched with great spirit, and 
 sometimes finished with the graver 
 in a style of unusual ability. Ibid, 
 
 CHEMIN (Catherine du), a 
 French paintress of flowers, who 
 died at Paris in 1698. She prin- 
 cipally excelled in painting flowers, 
 and her husband erected to her me- 
 mory a noble monument in the 
 church of St. Landry. Moreri. 
 
 CHERON (Elizabeth Sophia), 
 an ingenious French paintress, born 
 at Paris in 1648, and died in 1711, 
 aged 63. She was the daughter of 
 Henry Chcron, a painter in enamel, 
 who, observing her to be passion- 
 ately fond of the art of painting, took 
 pains to instruct her in design and 
 colouring. She very soon rose in 
 general esteem by her performances, 
 and particularly by the portraits 
 which she painted ; for, besides their 
 striking resemblance, they were ele- 
 gantly disposed, well coloured, and 
 neatly finished ; and as she had a 
 singular talent for painting history, 
 her usual manner of portrait-paint- 
 ing was in the historical style. In 
 1672, she was admitted a member 
 of the Academy of Painting ; and 
 the Academy of Ricovrati, at Padua, 
 did her the same honour. She was 
 likewise a good poetess, and had a 
 fine taste for music. D'Argenville. 
 Pilk. 
 
 CHERON (Louis), brother of the
 
 Ill 
 
 above, born at Paris in 1660, and 
 died in London in 1713, aged 53. 
 After learning the rudiments of his 
 art in his own country, he travelled 
 to Italy, where his sister allowed 
 him a competency to enable him to 
 prosecute his studies. During his re- 
 sidence in Italy, he made the works 
 of Raffaelle and Julio Romano the 
 principal object of his studies, by 
 which his future compositions had 
 always a certain air of the antique, 
 though he had no great portion of 
 grace, and his figures were frequently 
 too muscular. In the church of 
 Notre Dame, at Paris, are two of 
 his paintings ; the one, Herodias 
 holding the charger with the head 
 of St. John the Baptist; the other, 
 Agabus foretelling the Persecutions 
 of St. Paul. He came to England 
 on account of his religion, being a 
 Protestant ; and was emplo^yed by 
 several of the nobility, particularly 
 the Duke of Montague, for whom he 
 painted the Council of the Gods, the 
 Judgment of Paris, &c. D' Argen- 
 ville, Walpole. 
 
 CHIAKI (Giuseppe), an histori- 
 cal painter, born at Koine in 1654, 
 and died in 1727, aged 73. He was 
 a disciple of Carlo Maratti, by whom 
 he was greatly esteemed. He exe- 
 cuted several historical pieces for 
 
 churches and persons of rank 
 
 Pilk. 
 
 CHIAVISTELLI (Jacopo), a 
 painter of architecture, born at Flo- 
 rence in 16*21, and died in 1698, 
 aged 77. He studied design and co- j 
 louring under the direction of Fabri- 
 cio Boschi, an artist of considerable 
 credit. He afterwards entered the 
 academy of Baccio del Bianchi, a 
 painter, architect, and engineer. By 
 his instruction Jacob made an ex- 
 traordinary progress, became superior 
 to all his competitors, and showed an 
 execution far beyond his years or ex- 
 perience. /<&/(/. 
 
 CHIMENTI (Jacopo), an Italian 
 painter, born in 1554, and died in 
 1640, aged 86. He was a pupil of 
 S. Friano, and gained considerable 
 credit by his manner of painting 
 sweetmeats and table luxuries. His 
 best picture is a St. Ivo, in the 
 gallery at Florence. D'Argen- 
 ville. 
 
 CIALDERI (Girolamo), born at 
 Urbino in 1 593. He studied under 
 Carlo Ridolfi. His best work is the 
 Martyrdom of St. John, in the church 
 of St. Bartholomeo, at Urbino. He 
 painted landscape well, and intro- 
 duced architectural pieces with taste 
 and judgment Pilk. 
 
 CIAMPOLLI (Agostino), an his- 
 torical painter and architect, bom at 
 Florence in 1578, and died in 1640, 
 aged 6*2. He was the disciple of 
 Santi di Titi, from whom he learned 
 designing, and gradually rose to great 
 reputation. He afterwards visited 
 Rome, where he was employed in 
 the church of St. John Lateral), in 
 the Vatican. He was so distin- 
 guished an architect, that he pre- 
 sided over the building of St. Pe- 
 ter's, at Rome. D 'Arffenville, 
 Pilk. 
 
 GIBBER (Gabriel), a celebrated 
 sculptor, a native of Holstein in Ger- 
 many. It is not accurately known 
 when this artist came to England ; 
 but he has left several fine specimens 
 of his skill, as a great master in this 
 branch of art. Soon after his arrival 
 in England, he was employed to exe- 
 cute the sculpture of the Monument, 
 in London ; but what will immorta- 
 lise his name as a sculptor, are the 
 two fine figures of Insanity now in 
 the New Bethlem Hospital, St. 
 George's Fields Gen. Biog. Diet. 
 
 CICCIONE (Andrea), a Neapoli- 
 tan architect, who flourished in the 
 fifteenth century. He built the 
 famous monastery and church of 
 Monte Oliveto, the beautiful palace
 
 of B.irtolomco of Capua, prince of 
 Biecia, and San Biago de Librari. 
 The cloister of San Scverino, in the 
 Ionic order, and the small church of 
 the Pontano, near the Pietra Santa, 
 were afterwards executed from his 
 designs. Miliatia 
 
 CIGNANI (Carlo), a cele- 
 brated Italian painter, born at Bo- 
 logna in 1628, and died in 1719, 
 aged 91. He received his first in- 
 structions in the art of painting from 
 Giovanni Battista Cairo Casalasco; 
 and afterwards became the disciple 
 of Albano, in whose school he ap- 
 peared with all the advantage that 
 could be expected from a youth of 
 the most promising and superior ta- 
 lents. To improve himself farther, 
 he studied RafTaelle, Annibale Ca- 
 racci, Caravaggio, Correggio, and 
 Guido, and combined something of 
 each in a manner peculiarly his own. 
 His ideas are lively, his imagination 
 fine, and his invention fertile; and 
 he is deservedly admired for the 
 force and delicacy of his pencil, for 
 the great correctness of his design, 
 for a distinguished elegance in his 
 composition, and also for the mel- 
 lowness which he gave to his colours. 
 The draperies of his figures are in 
 general easy and free : his expres- 
 sion of the passions is judicious and 
 natural, and there appears a remark- 
 able grace in every one of his figures. 
 In the Palazzo Arnaldi, at Florence, 
 there is an admirable picture by this 
 master, representing the wife of Po- 
 tiphar endeavouring to detain Jo- 
 seph. The composition of this 
 painting is extremely good, full of 
 fire, taste, and excellent expression, 
 and in a broad manner. The head 
 arc fine, the colouring good, and the 
 whole has a fine effect. In the Pa- 
 lazzo Zambeccari, at Bologna, then 
 is a Sampson, painted by Cignani, ii: 
 a noble and grand style ; and in tin 
 superb collection of the Duke of DC. 
 
 vonshire, there is another picture of 
 Joseph disengaging himself from the 
 nnnodesty of hismistress D'Ar- 
 genviUe, Pilk. 
 
 CIGNAROLI (Seipio), an emi- 
 nent landscape painter, but no parti- 
 culars of his birth or death arc 
 inown. ' He was a disciple of Cava- 
 lier Tempesta, and studied the works 
 of that master with great attention. 
 He afterwards visited Rome, where 
 lie studied the works of Salvator 
 Rosa, and Nicolo Poussin. His 
 jreat merit recommended him to 
 the duke of Savoy, who invited him 
 to his court, where he lived for se- 
 veral years in the highest esteem 
 Pilk. 
 
 CIGOLI (Luigi), an Italian ar- 
 chitect, born at Cigoli in 1.559, and 
 died in 1013, aged 54. He was a 
 good painter, but he preferred archi- 
 tecture as his principal delight. He 
 was charged with the erection of the 
 triumphal arches and theatrical de- 
 corations, for the festivals held at 
 Florence in honour of the marriage 
 of Mar}' de Medicis with Henry IV. 
 of France. The bronze equestrian 
 statue of Henry IV., on the Pont 
 Neuf, at Paris, was designed by Ci- 
 goli. At Florence he erected the 
 Loggia of the Fornaquina, which 
 has rustic Doric pilasters at the an- 
 gles, with an ornament above, over 
 which is a balustrade ; in the centre 
 is a large arch, flanked by two iso- 
 lated columns, and on each side two 
 lesser arches. He also built the court 
 of the Strozzi palace, with arches 
 over each alternate intcr-columnia- 
 tion, windows with triangular and 
 circular pediments, and others sur- 
 rounded by an architrave. His best 
 work is the Renuccini palace at Flo- 
 rence, of three stories, simple, and 
 of good proportions. In Rome, Ci- 
 goli built the palace near Piazza 
 Mudama. He executed a number of 
 other works, and gave many designs
 
 CIM 113 CIR 
 
 for the tlujade and sides of the Ba- painted in distemper and fresco, as 
 silica Vaticana; but they did not | the use of oil in painting was not 
 please Paul V., who was too much ' discovered till the year 1410. Soiue 
 infatuated with his Maderno. Mi- of his works are still preserved in 
 
 lizia. 
 
 C1MABUE (Giovanni), a cele- 
 
 the church of Santa Croce, in Flo- 
 rence. Giotto was his disciple 
 
 brated reviver of painting in Italy, ] De Piles, I)' 'Aryenville. 
 born in 1240, and died ia 1300, i CINCINNATO (Diego de Ro. 
 aged 60. At that period, when learn- molo), a Spanish painter, who died 
 ing, arts, and sciences, were almost at Rome in 1660. He was the son of 
 extinct in Italy, by the perpetual Romolo Cincinnato, a Florentine 
 wars and contests in that country, painter, and received the first in- 
 and when the knowledge of painting structions from his father, who was 
 in particular seemed totally lost, then employed, with Pellegrino Ti- 
 it happened fortunately to be re- baldi, in the Escurial. He entered 
 vivcd, in a surprising manner, by i the service of the duke of Alcala, 
 Giovanni C'imabue, who from thence and went with him to Rome, when 
 obtained the name of the father of he was appointed ambassador from 
 modern painters. ! Philip IV. to Pope Urban VIII. 
 
 The senate of Florence having He painted his holiness three several 
 invited some ordinary Greek artists times, so much to his satisfaction, 
 to that city, they were employed to that he was rewarded with many 
 repair the paintings in the churches; handsome presents, and made a 
 and Cimabue, already prepossessed knight of the order of Christ. His 
 in favour of the art, spent whole brother Francesco was also an ar- 
 days in observing their manner of list of merit, and was honoured with 
 
 working, to the entire neglect of his | the dignity of a knight of Christ 
 
 school education. So strong an at- ! Cumberland's Anecdotes of Spa- 
 tachment to these Greek painters \ niah Painters. 
 
 prevailed with his father to indulge [ CIPRIANI (Giovanni Batista,) 
 him in a study, to which his genius , an Italian painter, who died in Eng- 
 scemed evidently to direct him ; . land in 1785. He was a native of 
 and he placed Cimabue with them ] Florence, and studied the works of 
 as a disciple. He received the in- Gabbiani. Lanzi mentions two 
 structions of his masters with such paintings of this artist, in the abbey 
 eager delight, and applied himself of St. Michael, in Pelago ; one of St. 
 so incessantly to practice, that in a Tesauro, the other of St. Gregorio 
 short time he proved far superior to VII. He visited England when 
 his directors. His reputation was so young, and spent the remainder of 
 great, that when Charles of Naples his life highly esteemed as an artist 
 passed through Florence, he visited and as a man. His best pieces are 
 
 Cimabue, and thought himself well 
 entertained by the sight of his works. 
 One of his pictures was considered 
 so great a curiosity at that time, 
 that it was carried from his house 
 in solemn pomp, in procession to 
 the church of the Virgin Mary, at- 
 tended with music, and the applause 
 of his fellow-citizens. He only 
 
 at Holkham, in Norfolk; and his 
 designs were engraved by F. Barto- 
 lozzi and his disciples. He was a 
 member of the Royal Academy in 
 
 London Fuseli. 
 
 CIRCIGNANO (Nicolo), an his- 
 torical painter, born in 1516, and 
 died in 151!!?, aged 72, called Pome- 
 ranee, from the place of his birth. 
 L-2
 
 114 
 
 Several of his paintings arc in the 
 churches at Rome and Loretto. His 
 son Antonio was also an eminent 
 painter. Pilk. 
 
 CITTADINI (Fnmcesco), an Ita- 
 lian landscape painter, born in 1616, 
 and died in 1681, aged 65. This 
 artist studied the works of Guido, 
 and painted landscapes and figures 
 on cauvas or copper. His best works 
 are at Bologna. Pilk. 
 
 CIVOL1 (Louis), an Italian pain- 
 ter, whose real name was Cardi, was 
 a native of Cigoli, in Tuscany. He 
 studied the manner of Correggio with 
 success, and excelled also in poetry 
 and music, but abandoned the latter 
 that lie might not im]>ede his progress 
 in painting. His best pictuiesare at 
 Florence D'Arfjenville. 
 
 CLARET (William), an English 
 portrait painter, who died about 1 706. 
 He was a pupil of sir Peter Lely, 
 whose style and manner he success- 
 fully imitated. 
 
 CLARKE (John), a Scotch en- 
 graver, who died about 1697. He 
 executed two profile heads in medal 
 of William and Mary, dated 1690; 
 and prints of sir Matthew Hale, of 
 George Baron de Goertz, and of Dr. 
 Humphrey Prideaux. He likewise 
 engraved seven little heads of Charles 
 II., his queen, prince Rupert, prince 
 of Orange, duke of York, duke of 
 Momnouth, and general Monck. 
 This artist is not to be confounded 
 with John Clarke who lived in 
 Gray's-inn. 
 
 CLARKE (William), an English 
 engraver. He engraved the portrait 
 of George, duke of Albcmarle, from 
 a picture by Barlow; Elizabeth 
 IVrcy, duchess of Somerset ; and 
 Joint Shower, from a picture of his 
 own. The latter is a small mezzo, 
 tinto. Stmtt. 
 
 CLEEF (Joseph, or Joas Van), 
 an Historical painter, born at Ant- 
 wi'i-p, who died about 1536. He 
 
 was a disciple of William van Cleef, 
 and was regarded as the best colourist 
 of his time. Van Clecf painted, 
 after the manner of Quintin Malays, 
 portraits, misers, and bankers counting 
 or weighing money; but he gave more 
 force and life to his pictures than Mat- 
 sys. He resided some time in England, 
 and accompanied Antonio More to 
 S]>ain. Descamps says, that, being 
 introduced to the king of Spain by 
 Antonio More, he conceived so ex- 
 travagant an opinion of his own merit, 
 that he went distracted by seeing 
 some of Titian's pictures preferred 
 
 to his own J}escamps, Pilk. 
 
 CLEEF (John Van), an histori- 
 cal painter, born at Venloo, in 1646', 
 and died in 1716, aged 70. He wag 
 a disciple of Gentile, an historical 
 painter at Brussels ; and afterwards 
 of Gaspar de Craycr, with whom he 
 resided for several years. He painted 
 the principal altar-pieces at Ghent, 
 and finished the tapestry intended as 
 a present to Louis XIV. His com- 
 positions resembled those of the 
 Roman school ; his subjects were 
 well chosen, and well disposed; and 
 though full of figures there appears 
 no confusion. He enriched his com- 
 positions with grand pieces of archi- 
 tecture, which he thoroughly under- 
 stood. Pilk. 
 
 CLEEF (Henry), a landscape 
 painter, born at Antwerp about 151 7, 
 and died in 1589. He was a dis- 
 ciple of Francis Floris, and was often 
 employed by him to paint the back- 
 grounds of his pictures. He finished 
 several of the paintings which were 
 left imperfect by that artist, with 
 such skill and judgment as to make 
 them apj>car only the work of one 
 master. He was admitted a member 
 of the Academy of Painters at Ant- 
 werp, in 1533. His brother Martin 
 was likewise an historical painter. 
 f 'oningsloo, and several other distin- 
 guished landscape painters, employed
 
 115 
 
 him to insert the figures in their 
 works. Henry painted the hack- I 
 grounds of his pictures. Houb. \ 
 
 CLKKC (John le), a French pain- 
 ter, horn at Nancy in 1587, and died 
 in 1633, aged 46. He went to Italy 
 when young, and was a disciple of 
 Carlo Veneziano, with whom he 
 worked for a long time, and preferred 
 the manner of his master to all others. 
 His freedom of hand was remarkable ; 
 he had a light pencil, and in his 
 colouring he resembled his master. 
 He was highly esteemed at Venice 
 for his extraordinary merit, and as a 
 token of public respect he was made 
 a knight of St. Mark. Pilk. 
 
 CLERMONT ( ), a French 
 
 painter of grotesques, &c., who died 
 about 1760. He came early to Eng- 
 land, and painted in grotesque, fo- 
 liages, with birds and monkeys, par- 
 ticularly a gallery for Frederick, 
 prince of Wales, at Kew ; two tern- j 
 pies for the duke of Marlborough's 
 island near Windsor, called, from 
 his grotesques, Monkey-island. He 
 was much employed by the nobility 
 and gentry of England. 
 
 CF..EYN (Francis de), a grotesque 
 painter, who died about 1658. He 
 visited Rome, where he resided for 
 several years, and acquired a taste 
 for the beautiful and ornamental 
 grotesque. James I. invited him to 
 England, and employed him to draw 
 designs for tapestry, ami settled a 
 pension upon him. Several of his 
 paintings are in Holland-house ; 
 there is one ceiling in grotesque, 
 and small compartments on the 
 chimneys, somewhat after the man- 
 ner of Parmegiano. Pilk. 
 
 CLOCK (Nicholas), a Dutch en- 
 graver, born at Leyden about the 
 year 1570. He was a disciple of j 
 FrancisFloris,buthisstyle resembles j 
 that of Cornelius de Cort, without 
 being nearly equal to that master. We 
 have by him tkc following prints : 
 
 The Four Elements, represented in 
 half-length figures, dated 1.597 ; The 
 Judgment of Midas, after Karel Van 
 Marnier, 158.0 Strutt. 
 
 CLOSTERMAN (John), a por- 
 trait painter, born at Hanover in 1 656, 
 and died in 1713, aged 57. In 1681 
 he visited England, where he was 
 patronised by the duke of Somerset, 
 and painted in conjunction with 
 Riley. His colouring was strong, 
 but heavy ; and his portraits were 
 plain and servile imitations of his 
 models. According to Houbraken, 
 he went to Spain in 1696, and painted 
 the portraits of the king and queen ; 
 and returned from that court enriched 
 and respected. Having formed a 
 foolish and infatuated fondness for a 
 young woman of light character, who 
 had taken care to persuade him she 
 had an attachment to his person and 
 interest, she watched a proper oppor- 
 tunity, and robbed him of all his 
 money, plate, jewels, &c., and fled 
 out of the kingdom. This misfor- 
 tune affected Closterman so violently, 
 that he did not long survive his loss. 
 Houb., Pilk. 
 
 CLOUET, or CLOWET (Peter), 
 a Flemish engraver, bom at Antwerp 
 in 1606. After having learned the 
 rudiments of the art in Flanders, he 
 went to Italy, and at Rome became 
 a pupil of Spierrc and Bloemart. On 
 his return to Antwerp, he engraved 
 several portraits and subjects after 
 Rubens. They are executed with 
 the graver, in a firm clear manner, 
 resembling the style of Pontus, but 
 not equal to that master. His plates, 
 particularly those after Rubens, are 
 considerably esteemed Strutt. 
 
 CLOUET,or CLOWET (Albert), 
 a Flemish engraver, who was the 
 nephew of the preceding artist, horn 
 at Antwerp in 1624. Following the 
 example of his uncle, he visited Italy 
 in the early part of his life, and be- 
 came a pupil of Cornelius Bloemart.
 
 116 
 
 Among bis first productions were 
 some plates of portraits of painters, 
 for the Vite de Pittore, &c., by 
 Bellori, published at Rome in 1672. 
 He also engraved several portraits for 
 a work entitled Effigies Cardinal 
 mine Viventium, published at Rome 
 by Rossi. At Florence he engraved 
 after some of the pictures in the Pa- 
 lazzo Pitti. His plates of historical 
 subjects are executed in the neat 
 :ind finished style of Cornelius Bloe- 
 uiart. In his portraits he sometimes 
 imitated the manner of Mellan, and 
 
 at others that of F. de Poilly 
 
 Strutt. 
 
 CLOVIO (Giorgio), a Sclavonian 
 painter of history and portraits, born 
 in Sclavonia in 1 498, and died in 
 1578, aged 80. He went to Rome 
 at the age of eighteen, and studied 
 the works of Michel Angelo and 
 Julio Romano, on which he formed 
 his taste of composition and design. 
 His works are very valuable, and 
 are numbered among the curiosities 
 of Rome. Vasari mentions two or 
 three of the pictures of this artist, on 
 which he had bestowed the labour 
 of nine years; but his principal 
 picture, representing Nimrod build- 
 ing the Tower of Babel, was so ex- 
 quisitely finished, and so perfect in 
 all its parts, that it seemed quite 
 inconceivable how the eye or the 
 pencil could execute it. He says, it 
 is impossible to imagine any thing 
 more admirably curious, whether one 
 considers the elegance of the attitudes, 
 the richness of the composition, the 
 delicacy of the naked figures, the 
 jwrspective, the proportion of the 
 objects, the tender distances, the 
 scenery, the buildings, or other or- 
 naments, for every part is beautiful 
 and inimitable. Vasari, D'Aryen- 
 ville, Pilk. 
 
 COCHIN (Charles Nicholas), a 
 ccU-bratcd engraver, bom at Paris in 
 1688, aud died in 1754, aged b'G. 
 
 In his youth he practised painting, 
 which he quitted for the burin. His 
 works are highly esteemed for their 
 sweetness, exactness, and spirit. The 
 best are after Watteau and Lo Moine. 
 Now:. Diet. Hist. 
 
 COCHIN (Charles Nicholas), a 
 painter and engraver, son of the above, 
 ' born at Paris in 1715, and died in 
 I 1790, aged 75. He was keeper of 
 | the designs in the Louvre, Chevalier 
 j of the order of St. Michael, and se- 
 cretary to the Academy of Painting. 
 He wrote letters on the Pictures of 
 Herculaneum ; Dissertation on the 
 Effect of Light and Shade ; Travels 
 in Italy, or a Collection of Observa- 
 tions on the Works of Architecture, 
 Sculpture, and Painting ; Letters on 
 the Lives of Slodz and Deshays, &c. 
 Ibid. 
 
 COCHRAN (Robert), a Scotch 
 architect, who was employ ed by Jameg 
 ! III. in building several great struc- 
 tures. That monarch created him 
 earl of Mar, aud distinguished him 
 j by so many marks of his favour, that 
 the other nobles rose, seized the 
 favourite in the royal presence, and 
 hanged him on the bridge of Lau- 
 der in 1484. Gen. Bioy. Diet. 
 
 COCHRAN (William), a Scotch 
 painter, born at Strathaven in 1738, 
 and died in 1785, aged 47. At an 
 early age he went to Rome, and 
 studied under Gavin Hamilton. He 
 then returned to Scotland, where ho 
 painted portraits and historical pieces 
 with great success. Ibid. 
 
 COCKSON (Thomas), an Eng- 
 lish engraver, who flourished in the 
 reign of James I. and Charles I. 
 Mr. Vertue has given us the follow- 
 ing list of his works : Mathias, 
 emperor of Germany; Demetrius, 
 emperor of Russia; Maryde Medici; 
 Louis XI ; Concini, marquis d'Ancre, 
 1617; Francis White, dean of Car- 
 lisle, 16'24. The above six are in 
 folio. Henry Bourbon, prince of
 
 117 
 
 Conde ; princess Elizabeth ; Samuel 
 1 hiiiiel ; T. Coryat ; the Revels of 
 Christendom ; king James I. sitting 
 in Parliament ; king Charles I. in 
 like manner, each on a whole riieet. 
 Charles earl of Nottingham on horse- 
 buck ; sea and ships. 
 
 CODA (Benedetto), an Italian 
 painter, who died about 1520. He 
 painted a picture in the dome of Ri- 
 mini, representing the Wedding of 
 Maria, and inscribed Opus Benedict!; 
 and another for the church of St. 
 Rocco, at Pcsaro ; it represents the 
 patron saint of the church, with St. 
 Sebastian at the throne of the Ma- 
 donna, surrounded by a number of 
 angels. Vasari. 
 
 CODAGORA (Viviano), an Ita- 
 lian painter of the Roman school, ' 
 who flourished about 1650. He 
 painted with success the ruins of| 
 Rome, and perspective views of his 
 own invention, in which Cerquo/zi, I 
 Miel, and others, placed a variety of] 
 figures. His pictures are justly ac- 
 cused of having too deep a hue, 
 which often destroys their effect. 
 
 PUk. 
 
 COECK (Pietro), a Flemish ar- 
 chitect, who died in 1656. He was 
 born at Alost, a city in the Low 
 Countries. He went to Italy to 
 perfect himself in drawing, and re- 
 turned an architect, sculptor, and 
 engraver. He executed many works 
 in his own country, which acquired 
 for him wealth and fame. His de- 
 sire for knowledge led him to Turkey, 
 where he made a series of drawings, 
 representing particular ceremonies of 
 the nations he had seen. The em- 
 peror Charles V. nominated him his 
 painter and architect. He has left 
 many treatises on geometry, archi- 
 tecture, and perspective. 
 
 COELLO (Alonso, commonly 
 called the Elder ), a Portuguese 
 pointer, born in 1515, and died in 
 1590, aged 75. He wont to Rome 
 
 at an early age, and studied in the 
 school of Raffaelle de Urbino, and 
 completed himself in his art under 
 the instructions of Antonio Moro, 
 in Spain ; he passed from Spain into 
 Portugal, and was in the service of 
 Don Juan, and afterwards of his 
 widow, Donna Juana, sister of Philip 
 II. Upon the retirement of Antonio 
 Moro, the king of Spain solicited his 
 sister to supply the loss of that great 
 artist by sending him Coello ; upon 
 his arrival at court, Philip lodged 
 him in an apartment near at hand, 
 with which he had a private commu- 
 nication, for the purpose of visiting 
 him whilst he was at work. Coello 
 painted several portraits of Philip on 
 foot and horseback, and of all the 
 royal family or distinguished person- 
 ages, that composed the court. He 
 was so high in the esteem of Philip, 
 that he styled him Titiano Portugues, 
 and addressed him by the affectionate 
 appellation of My beloved son Alonso 
 Sanchez Coello. He was one of the 
 painters employed in the Escurial, 
 and is said to have emulated the 
 colour and manner of Titian. 
 Wa/pole, Gen. Biog. Diet. 
 
 COELLO (Claudio), a Spanish 
 painter, and related to the former, 
 died in 1693. The best picture of 
 this master represents the Com- 
 munion of Saints, and forms one of 
 the altar-pieces in the sacristy of St. 
 Lorenzo in the Escurial. He is said 
 to resemble the manner of Paolo 
 Veronese. Walpnle, Pilk. 
 
 COIGNET (Giles), called Giles 
 of Antwerp, from the place of his 
 birth, born in 1530, and died in 
 1600, aged 70. He visited Rome, 
 and painted in conjunction with 
 Stella. They painted many histori- 
 cal subjects, as also some in the gro- 
 tesque style, both in fresco and in 
 oil. He is accused of employing his 
 disciples in copying his works, and, 
 after retouching them, selling the
 
 118 
 
 CON 
 
 pictures as originals of his own. 
 Pilk. 
 
 COLE (Humphrey), an old Eng- 
 lish engraver, who flourished about 
 the year 1572. He engraved a map 
 and a frontispiece for Parker's Bible, 
 published in 1572, in which he has 
 represented the portrait of queen 
 Elizabeth, with the earl of Leicester 
 as Goliath, and the Lord Burleigh as 
 David Strutt. 
 
 COLECHURCH (Peter), an 
 English architect, who flourished in 
 the twelfth century. The only par- 
 ticulars that Vertue could procure of 
 this architect and priest was, that in 
 the year 1163 he rebuilt London- 
 bridge of timber. 
 
 COLIGNON (Francis), a French 
 designer and engraver, born at Nancy 
 about the year 1621. He was a pu- 
 pil of Cailot, and studied the works 
 of Delia Bella and Silvestre. He 
 engraved some of the plates of the 
 conquered towns in the reign of 
 Louis XIV., published by Bcaulieu. 
 His best works are views of buildings, 
 with small figures, in the style of 
 Cailot, which he executed with great 
 spirit and freedom Strutt. 
 
 COLLAERT (Adrian), a Flemish 
 designer and engraver, born at Ant- 
 werp about the year 1520. After 
 having learned the principles of the 
 art in his own country, he visited 
 Italy for improvement, where he 
 passed some years. On his return 
 to Flanders, he engraved a great 
 number of plates, executed in a neat 
 finished style, but with a certain de- 
 gree of dryness. His drawing is cor- 
 rect, and his heads expressive 
 
 Ibid. 
 
 COLLAERT (Hans or John). 
 He was the son of the preceding en- 
 graver, born at Antwerp about the 
 year 1540. After being instructed 
 by his father, he followed his ex- 
 ample in visiting Italy, for fur- 
 ther improvement. He assisted his 
 
 father in many of his works, and 
 engraved a great number of plates, 
 which are executed in the style 
 of Adrian, but with more taste 
 and less stiffness. . He must have 
 lived 'to a great age, as we have plates 
 by him dated from 1555 till 1622. 
 Strutt. 
 
 COLLEONI (Oirolarno). Very 
 few particulars of this artist are 
 known ; but Vasari mentions a pic- 
 ture which represents the marriage 
 of St. Catherine, which was taken 
 for a work of Tiziano, till the disco- 
 very of the inscription, " Hierony- 
 mus Colleo, 1555," established its 
 
 author Vasari. 
 
 COLLINS (Charles), an English 
 
 painter of fowls, dead game, &c., who 
 
 i died about 1744. His best perfonn- 
 
 ' ance is a painting of dead game, in 
 
 which he introduced his own portrait 
 
 in a hat. 
 
 COMODI (Andrea), a Florentine 
 landscape and historical painter, bora 
 iu 1560, and died in 1638, aged 78. 
 He was a pupil of Lodovico C'ardi, 
 called Cigoli, and studied anatomy, 
 architecture, and perspective, and had 
 ! some knowledge of modelling. Ho 
 travelled to Rome, where he studied 
 the works of the most celebrated 
 1 ancient and modern artists. After 
 ' residing some years at Rome, he re- 
 ( turned to his native city. Comodi 
 j had a surprising power of imitating 
 i every style with the utmost exact- 
 ! ness, whether in landscape or history. 
 1 Several of the churches and convents 
 are enriched with his paintings ; the 
 Grand Duke, and many of the nobi- 
 lity of Florence, employed him in 
 copying the works of the most cele- 
 brated ancient masters. Pilk. 
 
 CONCA (Sebastian), an eminent 
 historical painter, born at Gaeta in 
 1676, and died in 1764, aged 88. 
 He was a pupil of Solimene, and 
 under his tuition became an able 
 artist. Concii visited Rome, ands pent
 
 CON 119 COO 
 
 five years in studying the antique. '; traits for the emperor and the prin- 
 His mind was fertile, and his pencil cipal nobility of his court. His 
 rapid, with a bold and stinking co- ; manners and accomplishments pro- 
 lour : and delighted the eye by the cured him the honour of nobility. 
 splendour, contrast, and delicacy of Pi!k., D' Aryenville. 
 his tints. He painted several fine ; CON'TE ( Jacopino dal), an hisu 
 pictures for the king of Naples ; and torical and portrait painter, born at 
 Pope Clement XI. made him a ca- Florence in 1510, and died in 1.598, 
 valier in a full assembly of the aca- aged 88. He was a disci pie of Andrea 
 
 demicians of St. Luke D'Aryen- del Sarto, and received instructions 
 
 vitte, Pilk. from that master in design and co- 
 
 CONDIVI (Ascania), an Italian louring. Though he practised histo- 
 painter and writer ; according to Va- rical composition while underAndrea, 
 sari, his abilities were of the lowest yet he principally attached himself 
 class in the art ; but lie deserves to be to portrait painting, in which branch 
 mentioned amongst the list ofpainters, he arrived at great excellence. Conte 
 as having written the life of Michel visited Rome, M'here he painted a 
 Angelo Buonarotti, and lived in portrait of Pope Paul III., which 
 great friendship with that great gained him the favour of that pon- 
 artist Vasari. \ tiff: and he likewise painted the 
 
 CONINGSLOO (Egidius or Gil- ' portraits of most of the cardinals at 
 les), a Flemish landscape painter, Rome, who liberally rewarded him. 
 born at Antwerp in 1 .544, and died He imitated the style and compo- 
 iu 1G09, aged fi5. He received his sition of Michel Angelo; but with 
 first instructions from Peter Van an ease of manner and originality of 
 Aalost, the younger, and afterwards , colour, which make them his own. 
 from Leonard Kroes. He resided Pilk. 
 
 several years in France; but having ! COOK (Henry), an English his- 
 an ardent desire for improvement, he torical painter, born in 1642, and 
 travelled to Rome, where he much died in 1709, aged 58. He visited 
 improved his style by study. His Italy, and studied the works of Raf- 
 paintings were eagerly bought by the , faelle and Michel Angelo. On his 
 dealers in pictures, who sent them return to England he painted the fine 
 to different parts of Europe. His altar-piece of the New College-chapel 
 style of colouring is pleasant, but at Oxford. His copies of Raffaelle's 
 has too much green, and his scenes cartoons are highly esteemed, and 
 are generally crowded. Van Cleef De Piles says they were drawn in 
 painted the figures in his landscapes. ! turpentine oil, after the manner of 
 Pilk. i distemper, of which he was the in- 
 
 CONTAR1NI (GiovannO, a Ve- ! ventor De Piles. 
 
 netian portrait painter, born at i COOPER (Richard), an English 
 Venice in 1549, and died in 1605, engraver, who flourished about (he 
 aged 56. He studied and copied the | year 10'G2. His plates are chiefly 
 works of Titian. His portraits were ; portraits, of which the following are 
 much admired for their excellence I the principal : The Children of 
 of colouring, sweetness of tint, and I Charles I.; Henrietta Maria, his 
 strong resemblance; and he painted { queen; William III.; Mary, his 
 history with great taste, and correct- queen ; Frederick, Prince of Wales, 
 ness of design. He afterwards visited and his sisters ; Francis Bacon , Lord 
 German}, and painted several por- Keeper and Chancellor; Tlionia*
 
 120 
 
 COP 
 
 Wen tworth, Karl ofStrafford ; George 
 Jeffries, Justine of the King's Bench, 
 and Chancellor ; Allan Ramsay, 
 the Scotch poet ; and Andrew Allen, 
 the painter. Strutt. 
 
 COOPER (Samuel), a celebrated 
 miniature painter, horn in London 
 in 1609, and died in 1672, aged 63. 
 This artist received his instructions 
 in the art from his uncle, Mr. John 
 Hoskins. Nature prompted him to 
 paint portraits in miniature, and in 
 that style he proved far superior to 
 any of his own countrymen, and 
 equal to the first names in Europe. 
 He was commonly called the Vandyk 
 in Small, as he resembled that cele- 
 brated master in the beauty and 
 clearness of his colouring, the agree- 
 able turn of the head, and the spirit 
 and relief of his portraits. He painted 
 King Charles II., and his Queen ; 
 the Duke of York; Duchess of Cleve- 
 land; and most of that monarch's 
 court. The French king offered him 
 1.50/. for his picture of Oliver Crom- 
 well De, Piles, Wnlpole. 
 
 COOPER(Alexander),an English 
 historical painter, and brother to the 
 above ; likewise a pupil of Hoskins. 
 At an early age he visited Holland 
 and Flanders; from whence he was 
 invited to Sweden, where he had the 
 honour of being appointed limner to 
 the Queen Christina. He also painted 
 landscapes in water-colours, and was 
 accounted to have a correct manner 
 of drawing. DP, Piles. 
 
 COPLEY (John Singleton, R. A), 
 an eminent historical and portrait 
 painter, born at Boston, in America, 
 in 1737, and died in 181.5, aged 78. 
 " At the early age of seven years," 
 says his biographer, " Copley showed 
 an inspiration for art, when he was 
 observed to absent himself from the 
 family circle for several hours at a 
 time, and was traced to a lonely 
 room, on whose bare walls he hail 
 drawn, in charcoal, a group of mar- 
 
 tial figures, engaged in some name- 
 less adventure. Boston, at this 
 period, had neither academy of arts 
 nor private instructors. Copley had 
 therefore to educate himself a task, 
 after all, not so difficult to genius as 
 the dull imagine, and which he set 
 about undismayed, in the absence of 
 models and masters." Of Copley's 
 early productions little notice can be 
 rendered than that they were chiefly 
 portraits, and domestic groups, to 
 which the wild wood scenery of Ame- 
 rica usually formed back-grounds. 
 
 From 1760 to 1767, Copley sent 
 several pictures to England, for the 
 exhibitions of the Royal Academy, 
 one in particular, wliich struck the 
 academicians with surprise a Boy 
 and a tame Squirrel ; it was a por- 
 trait of his half-brother, Henry Pel- 
 ham, and of such excellence as natu- 
 rally raised high expectations. 
 
 In 1774, having arranged his af- 
 fairs, he set sail for Italy, by the way 
 of England. " In London," says 
 his biographer, "he found few friends, 
 and many counsellors, and left it for 
 | Rome, August 26th, 1774." Of 
 Copley's proceedings in Rome there 
 is little account ; but we find him 
 writing in May, 1775: "Having 
 seen the Roman school, and the 
 wonderful efforts of genius exhibited 
 by Grecian artists, I now wish to 
 see theVenetian and Flemish schools : 
 there is a kind of luxury in seeing, 
 as well as there is in eating and 
 drinking ; the more we indulge, the 
 less arc we to be restrained ; and 
 indulgence in art I think innocent 
 and laudable. I have not one letter 
 to any person in all my intended 
 route, and I may miss the most 
 beautiful thing?. I beg you, there- 
 ! fore, to assist and advise me. I pro- 
 pose to leave Rome about the 20th 
 ' of May ; go to Florence, Parma, 
 ' Mantua, Venice, Inprnok, An?s- 
 ' liitrjli. Stiittgardt, Manluim, Cob-
 
 COP 121 COP 
 
 Icntz, Cologne, Dusscldorf, Utrecht, near him appear Sir Robert Boyd, 
 Amsterdam, Leyden, Rotterdam, ; Sir William Green, chief engineer, 
 Antwerp, Brussels, Ghent, Bruges, J and others, to the amount of a dozen 
 Lille, Paris, and London. The only | or fifteen. There is, however, a 
 considerable stay which I intend to j want of true perspective ; the de- 
 make will be at Parma, to copy the j fenders of the rock are like the chil- 
 Correggio. Art is in its utmost per- j dren of Anak ; the perishing ma- 
 fection here ; a mind susceptible of , riners, at the very line where the sea 
 the fine feelings which art is calcu- j washes the defences of stone, are less 
 lated to excite, will find abundance than ordinary mortals. Copley pre- 
 of pleasure in this country. The sented to that noble institution, 
 Apollo, the Laocoon, &c., leave no- Christ's Hospital School, the Escape 
 thing for the human mind to wish , of Brook Watson, when a Sea-Boy, 
 for; more cannot be effected by the from a Shark. He was bathing at 
 genius of man than what is happily , Havannah ; a shark seized his foot 
 combined in those miracles of the ( and snapped it off, and was about to 
 chisel." I devour him, when a seaman struck 
 
 In 1777 Copley became an Asso- the monster between the eyes with 
 ciate, and in 1783 he was chosen a heavy boat-hook, and saved his com- 
 a Royal Academician. His name had panion. The terror of the boy the 
 been established, for some time, by fury of the fish and the resolution 
 works of eminent merit, among the of the mariner, are well represented ; 
 first of which was The Death of while the agitated water in which the 
 Chatham. Praise poured in upon scene is laid seems bloody, 
 the successful painter from all quar- j Copley now produced The Arrest 
 ters. The picture was so much ad- of the Five Members of the Com- 
 inired, that the artist was emboldened mons by Charles the First. The 
 to have an engraving made from it of point of time chosen is when the 
 an unusual size, *iz. thirty inches king, having demanded if Hampden, 
 long, and twenty-two inches and a Pym, Hollis, Hazelrig, and Strode 
 halt' high, by the hand of Bartolozzi. were present, Lenthall, the speaker, 
 This was followed by another, The replies, " I have, sir, neither eyes to 
 Death of Major Pierson. It was see, nor tongue to speak, in this 
 engraved by Heath, and equals in place, but as the House is pleased to 
 dimensions that of The Death of , direct me." The scene is one of 
 Chatham. His next subject was deep interest, and the artist has 
 a much more magnificent one; the handled it with considerable skill 
 Repulse and Defeat of the Spanish and knowledge. The labour which 
 Floating Batteries at Gibraltar. The , this picture required must have been 
 common council of London com- , immense; besides the grouping, the 
 missioned this picture for their hall : proper distribution of parts, and the 
 and they gave ample space and verge passion and varied feelings of the 
 enough wherein to trace the be- j scene, he had some fifty-eight like- 
 leagnered rock and its fiery assailants; nesses to make, of a size correspond 
 viz., a panel twenty-five feet long, , ing with his design, 
 and twenty-two feet and a half high. | At seventy years of age Copley 
 In this great picture, as in his others, ' had energy sufficient to send to the 
 he introduced many portraits ; the j Exhibition the portraits of the Earl 
 gallant Lord Heathfield himself is I of Northampton, Baron ' Graham, 
 foremost in the scene of death; and Viscount Dudley and Ward, Lord
 
 COR 
 
 122 
 
 COR 
 
 Sidmouth, tlic Prince of Wales, at 
 a review, attended by Lord Heath- 
 field, and other military worthies. 
 His last work was The Resurrec- 
 tion ; and with this his labours 
 
 is represented as sitting at the foot 
 of the cross. At Haerlem there is 
 a picture of the Circumcision, which 
 he painted in 1517 ; and Van Mauder 
 speaks highly of a design of this artist 
 
 closed, unless we except a portrait of! in the church of Alkmaar; the sub- 
 
 his son, Lord Lyndhurst, painted in 
 1814 Allan Cunningham. 
 
 COQUES (Gonzales), a Flemish 
 painter of portraits and conversa- 
 tions, born in 1 6 1 8, and died in 1684, 
 aged 66. He imitated the style of 
 Vandyk with great success, and, next 
 to that inimitable artist, he was 
 esteemed equal to any painter of his 
 time Gen. Biog. Diet. 
 
 CORENZIO (Belisario), a Greek 
 painter, born about 1558. He was 
 a pupil of Tintoretto, and after- 
 wards settled at Naples. Nature 
 had bestowed on him a fertility of 
 ideas, and celerity of hand, by which 
 he alone performed the task of four 
 
 ject is the Passion of our Saviour. 
 Pilk. 
 
 CORNELISZ (Cornelius), an his- 
 torical and portrait painter, born at 
 Haerlem in 1.562, and died in 1638, 
 aged 76. He received his first in- 
 structions from Peter le Long, the 
 younger, and made such a rapid 
 progress, that he was called Corne- 
 lius the Painter. At the age of 
 seventeen he quitted his master, and 
 determined to improve himself by 
 travelling to Italy, but was prevented 
 by a concurrence of circumstances 
 which caused him to settle at An- 
 twerp. On his arrival he placed 
 himself under Francis Pourbus, and 
 
 industrious painters. He painted his \ afterwards with Giles Coignet ; by 
 
 picture of the Crowd miraculously 
 Fed, in forty days, for the refec- 
 tory of the Benedictines D' 'Argen- 
 viUe. 
 
 CORNELISZ (Lucas Cornelii), 
 a Dutch painter, born about 1495. 
 He was the disciple of Cornelius 
 Engelbrecht, and was n-puted an ex- 
 traordinary artist in his time. He 
 visited England by an invitation 
 from Henry VIII., who received 
 
 whose instructions he improved his 
 first style, which M-as raw and hard, 
 and acquired a soft and agreeable 
 manner of colouring and pencilling. 
 One of his large designs was the But- 
 tle of the Giants, and the Deluge, in 
 which the naked figures and the aget> 
 are extremely well expressed. His 
 colouring was good, the dispositions 
 of his figures elegant ; and, consider- 
 ing he had no opportunity of studying 
 
 him kindly, and appointed him prin- ! the antique at Rome, it may be said 
 cipal painter. At Leyden, his pie- he followed nature in all his per- 
 ture of the Woman taken in Adul- fonnances. Du Prcsnoy, De Piles, 
 tery is highly admired ; and in i Pilk. 
 
 England, at Penshurst, the portraits CORRADI (Domenico), called 
 of the Constables of Queenborough- DEL GHIRLANDAIO, a Floren- 
 castle, from the reign of Edward III. tine painter, bom in 1449, and died 
 to Henry VIII., are painted by his in 1403, aged 44. He is said to 
 hand. Pilk. j have been the first who abolished 
 
 CORNELISZ (Jaques), a Dutch ! tinsel and gold fringe from the 
 historical painter, born at Oast-Sanen | draperies. Vasari enumerates a mim- 
 about 1471. In the old church at j ber of historical works by this master, 
 Amsterdam is preserved a Descent together with some portr.iits; \vhieh 
 from the Cross, by this master ; it is arc selected with judgment, and de- 
 an altar-piece, and Mary Macdalcn Knoatod with character. Michel
 
 1:23 
 
 Angelo was one of his pupils. 
 Vaaari. 
 
 CORK ADI (Octavio), an Italian 
 historical painter, who flourished 
 ahout lu'43. He was a disciple of 
 Giacomo Cavedone, under whom he 
 studied for some years. His prin- 
 cipal merit consisted in copying the 
 works of the most eminent masters, 
 which he executed with great skill ; 
 many of his copies being, even in 
 his own time, accounted originals of 
 those masters which he imitated. 
 D'Argenvitte, Pilk. 
 
 CORREGGIO (Antonio Allcgri 
 de). As much difference of opinion 
 exists respecting the hirth and death 
 of this celebrated master, we shall j 
 follow De Piles, who asserts that he j 
 was born at Correggio, in the duke- ' 
 dom of Modena, in 1472, and died in 
 1312, aged 40. His real name was [ 
 Allegri. Raffaelle's fame tempted j 
 him to visit Rome. He attentively ! 
 considered the pictures of that great 
 painter; and after examining them 
 a considerable time, without break- ' 
 ing silence, he said, " Well, and j 
 I also am a painter." It is not ! 
 known under whom he studied, I 
 and it is supposed that he wus self- 
 taught. His manner is beautiful, 
 and his ideas uncommonly grand. 
 No one ever excelled him in ex- 
 pressing the delicacy of flesh ; and ! 
 his knowledge of the chiaro-oscuro | 
 was surprising. The octangular cu- ! 
 pola of the cathedral of Parma, in ! 
 which Correggio represented the As- | 
 sumption of the Virgin, is, of all j 
 cupolas, painted before or after, the ! 
 most sublime ; though, covered with 
 smoke and nearly obliterated, it 
 scarcely shews more than the ruins of 
 its former grandeur. His Ascension 
 of Christ, and the Coronation of the 
 Virgin, attended by the A]x>stles, 
 Evangelists, and the great doctors of 
 the church, are in the cupola, lunette, 
 and gallery, of the church of St. 
 
 Giovanni, at Parma. Correggio's best 
 oil-pictures are now dispersed; and 
 Italy has but few of his best works 
 left. The occasion of his death was 
 remarkable. Having received in 
 Parma a payment of sixty crowns of 
 copper money, he carried it home 
 on his back, about twelve miles, in 
 the heat of the day, which, with 
 drinking cold water, threw him into 
 
 a fever, of which he died De Piles, 
 
 D' Aryenville. 
 
 CORRUBA (Francesco), an Ita- 
 lian engraver, by whom we have 
 a set of plates of the principal foun- 
 tains which are in the gardens at 
 Rome, into which he has introduced 
 several small figures, in the style of 
 Callot. They are etched with con- 
 siderable spirit Strutt. 
 
 CORT (Cornelius), an esteemed 
 engraver of the Flemish school, born 
 at Hoorn, in Holland, in 1.53(>. It 
 is probable that he was first in- 
 structed by Jerome Cock, for whom, 
 in the early part of his life, he 
 executed several plates, which were 
 published with the name of his mas- 
 ter. After having engraved a con- 
 siderable number of subjects from 
 the Dutch and Flemish painters, he 
 went to Italy, and first settled at 
 Venice, where 'he resided in the 
 house of Titian, and engraved some 
 of the finest works of that great 
 master. He afterwards visited Rome, 
 where he established a school, and 
 executed many of those estimable 
 works which are the delight of the 
 collector. The art of engraving had 
 hitherto been nearly confined to small 
 plates; and it was Cornelius de Cort 
 that opened the way to a more im- 
 portant walk of the art. It was 
 under this aide artist that Agostino 
 Caracci acquired his admirable use 
 of the graver. The plates of C. Cort 
 are entirely executed with that in- 
 strument, in a bold, open, and mas- 
 terly style. His drawing is correct
 
 COS 
 
 124 
 
 and tasteful ; and his back grounds, 
 particularly his landscapes, arc ma- 
 naged with great skill and finesse. 
 Strntt. 
 
 CORTE (Juan de la), a Spanish 
 painter, who was horn at Madrid in 
 1587, and died in 1660, aged 75. 
 He distinguished himself by land- 
 scapes, battles, and perspective views, 
 as well as in subjects from Scripture 
 History. He was painter to Philip | 
 III. and his successor, who employ- j 
 cd him in the decoration of the pa- 
 laces of Buen Retiro and El Salon- 
 cete. 
 
 CORTESE (Jacopo). See COUR- 
 TOIS (James). 
 
 CORTESE (Guglielmo). Sec 
 COURTO1S (William). 
 
 CORTESE (G.), an Italian 
 paintress, born at Florence in 1670, 
 and died in 173G, aged 66. She 
 studied under Livio Mehus, and 
 Pietro Diindini ; but afterwards 
 learned to paint in miniature of 
 Hippolito Galantini. In that style 
 of painting she became extremely 
 eminent, and was much admired for 
 a pleasing and natural tint of colour- 
 ing, and for a lively and striking 
 resemblance of the persons whose 
 portraits she drew Pilk. 
 
 CORTONA (Pietro da). See 
 BERRETINI. 
 
 COSIERS (John), an historical 
 painter, born at Antwerp in 1603. 
 He was a disciple of Cornelius de 
 Vos, with whom he continued some 
 years, and adopted his style of de- 
 sign and colouring. His great repu- 
 tation procured him an invitation 
 from the King of Spain, for whom 
 he executed seven! fine paintings ; 
 as likewise the Cardinal Infant, the 
 Arch-duke Leopold, and several i 
 other princes ; who bestowed on him 
 many marks of their favour, which 
 he justly merited by his extraordi- \ 
 nary abilities. His drawing is cor- I 
 rect, his colouring good, except that 
 
 it sometimes partakes of a yellowish 
 tint ; but this is not perceivable in 
 all his performances. A capital 
 painting of this master is to be seen 
 at Mechlin ; the subject is, the Pas- 
 sion of Our Saviour; and Houbraken 
 assures us, that this work alone is 
 sufficient to establish the reputation 
 of Cosiers. Houb., Pilk. 
 
 COSIMO (Pietro da), an histo- 
 rical and portrait painter, bom at 
 Florence in 1441, and died in 1521, 
 aged 80. He was a disciple of Co- 
 sirno Rosclli, and soon became a 
 better painter than his master. He 
 accompanied his master to Rome, 
 (who was invited to paint one of the 
 Pope's chapels) and assisted him in 
 his work. Pietro gave such proofs 
 of his skill, that he was employed 
 in the Vatican for some years; which 
 so effectually recommended him to 
 the favour of the Pope, and the prin- 
 cipal nobility, that he painted for 
 them a great number of historical de- 
 signs, as well as portraits. He had 
 the satisfaction of instructing Andrea 
 del Sarto, and Francesco de San 
 Gallo, in the principles of the art. 
 As he advanced in life, he altered 
 his style of design, and painted whim- 
 sical subjects, such as satyrs, harpies, 
 monsters, &c. De Piles, Pilk. 
 
 COSTER (Adam), a painter of 
 Antwerp, and according to some wr- 
 ters a pupil of Theodore Rom bouts. 
 He painted equally well in history and 
 portrait, but his favourite subjects 
 were gay assemblies and public fes- 
 tivals. There is a fine print repre- 
 senting a concert, engraved from one 
 of his paintings. Pilk. 
 
 COSWAY (Richard), a cele- 
 brated miniature painter, born at 
 Tiverton, in Devonshire, in 1740, 
 and died in 1821, aged 81. His 
 father was master of the public 
 school in that town. At a very 
 early age Cosway discovered a strong 
 attachment for drawing ; and in pro-
 
 J25 
 
 cess of time, the rude outlines of the 
 young artist became more elegant 
 and regular ; and by the time he 
 was thirteen years old, his sketches 
 were of such promise as to warrant 
 his removal to London, where he 
 was placed, first under Hudson, and ' 
 next under Shipley, who kept a 
 drawing school in the Strand. His 
 frkill in drawing became so great, 
 that in the course of a few years he 
 obtained no less than five premiums, 
 some of five, and one of ten guineas, 
 from the Society of Arts. " The : 
 first was conferred when he was but 
 fourteen years old ; the last when 
 lie was under four and twenty." Of 
 the early progress of the young art- 
 ist little is known, if we except the 
 account of Smith, his biographer : 
 " That he was employed to make 
 drawings of heads for the shops, as 
 well as fancy miniatures and free 
 subjects for snuff-boxes for the jewel- 
 lers, mostly for ladies whom he 
 knew ; and from the money he 
 gained, and the gaiety of the com- 
 pany he kept, he rose from one of 
 the dirtiest of boys to one of the 
 smartest of men." In 1771, he was 
 elected Royal Academician ; and so 
 numerous was the demand for the 
 uid of his pencil, that there are few i 
 families of distinction but possess ; 
 more or less of his miniatures. The | 
 skill with which he could bring an 
 ill-formed face within the rules of 
 beauty, communicate lustre to 
 eyes naturally dull, and colour to 
 the checks from which the rose had 
 fled, and maintain enough of likeness 
 to the original, was not likely to go 
 unrewarded. Besides the income 
 which arose from his fine drawings, 
 and his numerous miniatures, Cos- 
 way derived occasional sums from 
 old paintings which he purchased, 
 repaired, and sold to such customers 
 as had galleries to fill or rooms to 
 decorate. " He stnt," says his bio- 
 
 grapher, " to the Exhibition, for se- 
 veral success! ve years, a few pictures, 
 chiefly of that kind which pertain to 
 portrait and poetry. The Rinaldo 
 and Aiinida were suggested by Tasso, 
 and the heads were supplied by two 
 of his titled sitters ; a miniature in 
 the character of Cupid was of the 
 same stamp ; so was the Child 
 enacting St. John. The Portraits 
 of a Lady and her Son, as Venus 
 and Cupid ; the Madonna and 
 Child, portraits ; and the Portrait 
 of a Young Lady in the Character 
 of Psyche ; explain themselves. 
 He exhibited various others ; but 
 these were the chief. His know- 
 ledge of the human figure, as it ap- 
 peared to the sculptors of old, and 
 as he found it in life, was equal or 
 superior to that of most of his con- 
 temporaries. His outlines were ac- 
 curate and elegant ; his manner was 
 partly from the Roman School, and 
 partly from his own experience ; and he 
 considered it a beauty in his own com- 
 positions, that they resembled more 
 the deep sober hue of Italian painting, 
 than the gaudy glow of that of Eng- 
 land." As his miniatures are chiefly 
 confined to the chamber and the ca- 
 binet, the works of Cosway are less 
 widely known than they deserve. 
 Smith, Cunningham. 
 
 COTES (Francis), an English 
 historical painter, bom about 17-1), 
 and died suddenly of the stone in 
 1770. He was a scholar of Knapton, 
 and painted portraits in oil and cray- 
 ons, the hitter of which he carried 
 to great perfection. The best pic- 
 tures of this artist are, the Queen 
 holding the Princess Royal, then an 
 infant, in her lap ; his Wife; Polly 
 Jones, a woman of pleasure; Mr. 
 O'Brien, the Comedian ; Mrs. Child, 
 of Osterley-park ; and Miss Wilton, 
 afterwards Lady Chambers. He was 
 one of the founders of the Royal 
 Acadcinv Pdk.
 
 126 
 
 cou 
 
 COTTE (Robert dc), a French 
 architect, born in 1657, and died in 
 173rt, aged 78. He was instructed 
 in the rules of architecture by his 
 grandfather, Fremin do Cotte, who 
 served as engineer in the famous 
 siege of Rochelle, and was also archi- 
 tect to Louis XIII. Robert ren- 
 dered himself illustrious by the 
 famous peristyle of Ionic colonnade 
 of the palace of Trianon and its adja- 
 cent parts ; by the chapel of Louis 
 XIII., in the cathedral of Notre 
 Dame at Paris ; by the fountain in 
 the face of the Palais Royal ; the 
 portico of St. Roch ; that of the Fa- 
 thers de la Charite, and for a num- 
 ber of palaces, as those of Etrecs and 
 dn Maine ; and also the gallery of 
 Toulouse. He made the plan for 
 the Place de Belle Cour at Lyons ; 
 for the Bishop's palace at Verdun ; 
 for the Chateau dc Frescati ; for the 
 Bishop's palace at Strasburg ; and 
 for a number of other consi- 
 derable edifices. He was Di- 
 rector of the Royal Academy of 
 Architecture, and Vice-President of 
 that of Painting and Sculpture. On 
 the death of Hanlouine Mansard, he 
 was declared first architect to the 
 king, and superintendant of the 
 royal buildings, gardens, arts and 
 manufactures. Louis XIV., who 
 highly esteemed him, and even 
 treated him with familiarity, pre- 
 sented him with the order of St. 
 Michael. This great artist, whose 
 lively imagination was regulated by 
 an excellent judgment, heightened 
 by an excellent taste, and strength- 
 ened by incessant labour, comprised 
 with case and originality. The 
 Electors of Bavaria and Cologne, the 
 Count de Hanau, and the Bishop of 
 Wurtzburg, were desirous of his de- 
 sitjns for palaces. The ornamenting 
 of rooms with looking-glasses was I 
 the invention of this architect ; and 
 if arranged with more simplicity, j 
 
 they would be more elegant 
 Milizia. 
 
 COULET (Anne Philihert), an 
 ingenious French lady, who engraved 
 several plates of very pleasing land- 
 scapes and marines, which are 
 charmingly etched, and finished 
 with the graver in a delicate and 
 agreeable style. We have by her 
 the following : The Rendezvous a 
 la Colonne ; The Departure of the 
 Boat ; The Fortunate Passage : The 
 Fine Afternoon ; The Fishermen 
 Throwing their Nets ; The Neapoli- 
 tan Fishermen ; Rural Pleasures ; 
 The Companion ; Going to Market. 
 Strutt. 
 
 COURTOIS (James), a cele- 
 brated French painter, commonly 
 known by the name ofLEBOUR- 
 GUIGNON, born in Franche 
 Comte in 1621, and died in lo'7(>, 
 aged 5.5. He studied under his fa- 
 ther ; after which he followed the 
 French army in Italy, and painted 
 battle-pieces from designs taken by 
 him when the actions happened. 
 After this Guido took him to Bo- 
 logna, and introduced him to Alhano, 
 and both these great artists readily 
 gave him instructions. During his 
 stay in Rome he painted some his- 
 torical works, among them a Mag- 
 dalen, in the church of St. Martha ; 
 and the Murder of the Innocents, 
 with the Adoration of the Shepherds 
 in that of II Gesu. He carried the 
 art of painting battle-pieces to such 
 perfection, that Michel Angelo dcllc 
 Battaglie himself extolled his works. 
 They arc painted with so much spirit, 
 that an intelligent writer has ob- 
 served, " in beholding his pictures 
 we seem to hear the shouts of 
 war, the neighing of horses, and 
 the cries of the wounded." Having 
 settled at Florence, he married the 
 daughter of a painter, of whom he 
 was very jciilous. On her death he 
 fell under a suspicion of having
 
 127 
 
 poisoned her, which induced him to 
 cuter among the Jesuits at Rome. 
 lyArqenvillt', Pilk., Fuseli. 
 
 COURTOIS (William ), aFrench 
 painter, and brother of the above, 
 born in 1628, and died by taking 
 a quack medicine for the gout, 
 in 1673, aged 41. He went to 
 Rome, and became a disciple of 
 Pietro da Cortona, whose manner he 
 equalled. He painted some fine 
 pictures for Pope Alexander VII., 
 irticularly one of the Battles of 
 oshua Ibid. 
 
 COUSIN (Jean), a French 
 painter and sculptor, who flourished 
 ilmiit 1.589. His principal works 
 are the Martyrdom of St. Lawrence ; 
 the History of the Samaritan Wo- 
 man ; and the Paralytic. There are 
 several of his paintings in the city of 
 Sens, also some portraits ; but his 
 most esteemed work is his picture of 
 the Last Judgment. His principal 
 work iu sculpture is Admiral Cha- 
 bot's Tomb, in the chapel of Orleans, 
 belonging to the Celestines, in Paris. 
 -De Piles. 
 
 COUSTOU (Nicholas), a French 
 sculptor, born at Lyons in 1658, and 
 died in 1733, aged 75. He exe- 
 cuted several great works, particu- 
 larly a marble group in the sanc- 
 tuary of Notre Dame, representing 
 the Virgin with the Infant Jesus, 
 and a number of Angels. D'Ar- 
 yt'nritt'', Vies dea Arr.hitectes. 
 
 COUSTOU (William), brother 
 of the above, born in 1677, and 
 died in 1746, aged 69. There are 
 many excellent pieces by this artist in 
 France, the finest of which are two 
 horses, on the terrace of Murli. He 
 was Director of the Royal Academy 
 of Painting and Sculpture. His son 
 William succeeded him in his ho- 
 nours in the Academy, and gained a 
 great reputation in the same line. 
 He died in 1777. Ibid. 
 
 COUVAY (John), a French en- 
 
 graver, born at Aries, about the year 
 1622. He worked almost fntirely 
 with the graver, in a bold coarse 
 manner, not unlike the style of Vil- 
 lainena Strutt. 
 
 COXIS ( Michael), an historical 
 and portrait painter, born at Mech- 
 lin in 1497, and died in 1592, aged 
 95. He received his first instruc- 
 tions from Bernard Van Orlay, of 
 Brussels ; but he afterwards visited 
 Rome, and became the disciple of 
 Raffaelle. In the school of this great 
 master he acquired his style of de- 
 sign and colouring, and imitated his 
 manner so far as to be qualified to 
 design his own female figures with 
 grace and elegance. Upon his return 
 to his native country, lie carried with 
 him a considerable number of Raf- 
 fuelle's designs, which he did not 
 scruple to use in his own composi- 
 tions ; by which means his pictures 
 were much admired. When Jerome 
 Cock returned from Rome and 
 brought into Flanders the school of 
 Athens, designed by Raffaelle, Coxis' 
 deception was discovered, and his re- 
 putation was considerably injured. 
 His best works are, a Last Supper, 
 in the church of St. Gudule, at Brus- 
 sels ; a St. Sebastian, and a Cruci- 
 fixion, in the church of Notre Dame, 
 at Antwerp ; besides several por- 
 traits, which are fine imitations, and 
 the expression is in all of them 
 excellent. De Piles, Pilk. 
 
 COYPEL (Noel), a French 
 painter, born in 1638, and died in 
 1707, aged 69. He was a disciple 
 of Quillettier ; and in 1663, he was 
 admitted into the Academy of Paint- 
 in;:, of which he was chosen professor. 
 The king gave him apartments in the 
 Louvre, and nominated him Di- 
 rector of the French Academy at 
 Rome, which institution flourished 
 greatly under his c:irc. He executed 
 a number of great works, which are 
 highly esteemed D' Argenville.
 
 CRA 
 
 128 
 
 COYPRL (Anthony), a French 
 painter, and son of the above, bom 
 in lb'6'1, and died in 1722, aged (il. 
 He accompanied his father to Rome, 
 where he greatly improved himself. 
 Besides his professional talents, he 
 
 and Sellers out of the Temple ; 
 which, for composition, attitudes of 
 the figures, and lustre of the colours, 
 exceeds all admiration. Though these 
 brothers lived in the closest connec- 
 tion, and apparent friendship, they 
 
 had a taste for literature, and wrote > were so jealous of having their se- 
 a poetical epistle on Painting, in a cret known, that one brother would 
 style of elegance. In 1715, lie was not suffer the other to see him at 
 appointed first painter to the King. ! work ; and W outer would cover up 
 flrid. \ his work, when Dirk came into the 
 
 COYSEVOX (Anthony), a apartment where he painted Ibid. 
 
 French sculptor, bom at Lyons in 
 1640, and died in 1720, aged 80. 
 There are many fine specimens of 
 this artist at Versailles ; but that 
 which will immortalise his memory 
 is the magnificent tomb which he 
 
 executed for the great Colbert 
 
 I? Argenvitte. 
 
 COZZA (Francesco), a disciple of 
 Domenicliino, who flourished about 
 1664. He was a native of Palermo, 
 in Sicily, and was employed in seve- 
 ral great works at Rome, as well in 
 oil painting as in fresco. Pilk. 
 
 CRAASBECK (Joseph Van), a 
 
 CRADOCK (Luke), an English 
 painter of birds, dead game, and ani- 
 mals, in which he particularly ex- 
 celled. He was born at Ilchester, 
 Somersetshire, in 1660, and served 
 his apprenticeship to a house-painter 
 in London. Without the help of an 
 instructor, he became a faithful de- 
 lineator of birds and animals, which 
 he painted with a freedom and fire 
 that entitled him to more distinc- 
 tion, and a more liberal remunera- 
 tion, than he received during his- 
 life. After his death, as has too' 
 frequently been the case with the 
 
 Flemish painter, born at Brussels in [ works of many ingenious .artists, his 
 1608, and died in 1668, aged 60. i works were sold at three or four 
 He was the disciple of Brouwer, and times the price he received for them 
 
 painted scenes in public-houses, 
 whicli he executed very happily. 
 One of his most capital designs is a 
 representation of some boors drunk, 
 and fighting ; the tables, chairs, pots, 
 men, women, and children, tumbled 
 together, and one of the combatants 
 stretched out as dead. Houbraken, 
 Pilk. 
 
 CRABETH (Dirk and Woutcr), 
 two celebrated painters on glass; but 
 of whom no particulars are accurately 
 known as to their birth or death. 
 These brothers travelled together in 
 France and (iermany, and after- 
 wards visited Holland, which, ac- 
 cording to some writers, was their 
 native country. The most beautiful 
 
 when living Walpole. 
 
 CRAN1US, or KRANACH, the 
 Elder (Luca), an historical and por- 
 trait painter, born at Kranach, a 
 town in the bishopric of Bamberg, 
 in 1470, and died in 1553, aged 83. 
 His great reputation recommended 
 him to the Elector of Saxony, by 
 whom he was employed for several 
 years, and liberally rewarded by that 
 prince for his labours. It is said 
 lie painted a portrait of the cele- 
 brated Martin Luther, which was 
 much admired for its striking like- 
 ness. He was much attached to 
 painting the heads of old men and 
 women ; ami the draperies of his 
 figures were imitated from the fash. 
 
 work of these artists is in the great | ion of the time. His best work is a 
 church of Clouds, in Holland. The Naked Lucrctia, as large as life, in an 
 subject is, Christ driving the Buyers erect posture, which is preserved
 
 129 
 
 with great care, and highly valued. 
 Sandrct'irt, Pilk. 
 
 CRAXIUS, the Younger (Luca), 
 son of the above, born at Wittem- 
 berg in 1510, and died in 1586", 
 aged 76. He was instructed by his 
 father, whose style he strictly fol- 
 lowed as long as he lived. He 
 ]>:iinted the portrait of Frederic, 
 Klector of Saxony, and many of the 
 great officers of his court. Ibid. 
 
 GRAYER (Caspar de), a Fie. 
 niish painter, born at Antwerp in 
 1585, and died in 1669, aged 84, 
 He was a disciple of Raffaelle, the 
 
 m of Michael Coxis, hut showed 
 
 ich proofs of genius, that he soon 
 surpassed his master. The first work 
 which established him in the favour 
 of the court at Brussels, was a 
 portrait of the Cardinal Ferdinand, 
 brother to the King of Spain, which 
 he painted at full length, and as large 
 as life. This picture was sent to Ma- 
 drid, and was so highly admired by the 
 King of Spain, that he sent him a 
 gold chain and medal, and conferred 
 upon him a considerable pension. 
 The most approved picture of this 
 master is the Centurion alighting 
 from his horse, and prostrating 
 himself at the feet of Our Saviour. 
 D' Argenville, Pilk. 
 
 CKEPU, a Flemish flower painter, 
 who flourished about lo'GO. He was 
 originally bred to the military profes- 
 sion, and was an officer in the Span- 
 ish army. His pictures were much 
 sought after, and sold for consider- 
 able prices ; his compositions were 
 pleasing ; and his flowers were light, 
 tender, and natural, which consti- 
 tute their greatest merit. Pilk. 
 
 CRESPI (Daniel), an Italian 
 painter, born in 15.02, and died in 
 lU.'W, aged 38. He was a disciple 
 of Giulio Cesare Procaccini, but 
 soon sin-passed his master ; and it is 
 related of this artist, that though he 
 never frequented the school of the 
 C'anicci, yet he was familiar with 
 
 and imitated their best principles. 
 His most celebrated work is the His- 
 tories from the Life of St. Bruno, 
 in the Certos at Milano, consisting 
 of the Parisian Teacher, who, raising 
 himself from the bier, pronounces 
 his own condemnation despair and 
 terror are personified in him and the 
 assembly ; and the Duke of Calabria, 
 who in hunting discovers the solitary 
 cell of the Hermit. Ibid. 
 
 CRESPI (Giuseppe Maria), an 
 Italian painter, born in 1665, and 
 died in 1747, aged 82. He accus- 
 tomed himself to paint in a chamber, 
 so contrived as to admit only a ray 
 of the sun, or light of a flambeau, 
 to enable him to give greater round- 
 ness and relief to his paintings, by a 
 nice observation of the force of light 
 and shadow. He was famous for 
 caricatures, and frequently amused 
 himself with designing comic and 
 burlesque fancies, which he expressed 
 with great humour and drollery. 
 Pilk. 
 
 CRESTI (Domenico), an Italian 
 painter, born in 1558, and died in 
 lG'38, aged 80. He received the 
 name of Passignano, from the place 
 of his birth, a village near Florence, 
 and received his first instructions in 
 the art from Macchictti, and after- 
 wards from Batista Naldini. On 
 visiting Florence, Cresti became a 
 dis'-iple of Frederick Zucchero, and 
 painted several works in conjunction 
 with that master. He had uncom- 
 mon and great abilities, a fruitful in- 
 vention, a noble taste for grand com- 
 positions, with a competent skill to 
 introduce a multitude of figures in 
 his designs, and an accurate judgment 
 to dispose them with elegance. Yet 
 he has been censured by able judges 
 in the art, for not adorning his figures 
 with suitable draperies, though they 
 were in other respects excellent for 
 the correctness of design, and for the 
 natural easy turn of the attitudes. 
 
 CR1TZ (John de). This artist
 
 cau 
 
 130 
 
 was serjeant-painter to Charles I. ; 
 but Vcrtue has only mentioned two 
 of his pictures, one of Sir Philip Sid- 
 ney, and the other of Serjeant May- 
 nard with a paper in his hand. De 
 Critz and others were purchasers of 
 the king's effects, after his death, to 
 the amount of 4999/. 
 
 CROSS (Michael), an English 
 painter, who is said to have been 
 sent by Charles I. to copy several 
 pictures in Italy, and having obtained 
 leave from the Doge of Venice to 
 copy Raffaelle's Madonna, in St. 
 Mark's church, he left his own piece 
 liehind him, and carried off the ori- 
 ginal ; which was bought, when the 
 king's furniture was sold, by the 
 Spanish ambassador, and is now in 
 the Kscurial Walpole. 
 
 CROSS (Thomas), an English 
 engraver, who flourished in the reign 
 of Charles I. He engraved the fol- 
 lovringplates : Jeremiah Burroughs, 
 1646 ; Jones More, mathcm., with a 
 scroll of paper in his hand, 1649; 
 Thomas Doolittle, minister of the 
 gospel ; Robert Dingly. master 'if 
 arts ; John Gadbury, Christopher 
 Love, Edward Leigh ; John Richard- 
 son, bishop of Ardagh, 1654; and a 
 frontispiece to White's Ricli Cabinet, 
 1684. 
 
 CROSSE (Lews), a painter of 
 portraits in miniature, who died in 
 1 7-4. This artist is not to he con- 
 founded with Cross the copyist, in 
 the reign of Charles I. He painted 
 several portraits in miniature for the 
 nobility and gentry, some of which 
 are in the collection of the duchess 
 of Portland, the countess of Fordign, 
 fie. Crosse had a valuable collec- 
 tion of miniatures, the works of Peter 
 Oliver, Hoskins, and Cooper, which 
 was sold in 17 '22. 
 
 CRUYL (Levinus), a Flemish 
 designer and engraver, born at Client 
 about 1640. He designed the views 
 of the most interesting objwts in and 
 near Rome, enriched with figures 
 
 and animals, touched with spirit, and 
 in a pleasing style. Several of his 
 drawings have been engraved by Giulo 
 Testa Strutt. 
 
 CRUYS (Theodore Ver), a Dutch 
 engraver, who resided chiefly in Italy. 
 He engraved some plates from the 
 pictures of the Florentine gallery, 
 some views of seaports, after Salva- 
 tor Rosa, and several portraits. 
 Strutt. 
 
 CUERENKERT (Theodore Van), 
 a Dutch engraver of great merit, born 
 in 1 o2:2, and died in 1 .590, aged 68. 
 He fell into some strange notions 
 concerning religion, and maintained 
 it unlawful to attend public worship; 
 for which he was sent to prison, and 
 afterwards banished from Hacrlem. 
 Gen. Biog. Diet. 
 
 COMINGS (Master). The only 
 information relating to this artist, is 
 extracted from a book belonging to 
 the church of St. Mary Ratcliffe, at 
 Bristol. 
 
 Memorandum, 
 
 That master Cumings hath delivered, 
 tlie 4th day of July, in the year of our 
 Lord 14/0, to Mr. Nicholas Betts, vicar 
 of Ratcliffe, Moses Couteryn, Philip 
 Bartholemow, and John Brown, pro- 
 curators of Ratcliffe beforesaid, a new 
 sepulchre well-gilt, and cover thereto ; 
 an image of God Almighty rising out 
 of the same sepulchre, with all the or . 
 dinance that longeth thereto , that is 
 to say, 
 
 A lath made of timber, and iron work 
 thereto ; 
 
 Item, Thereto longeth Heaven, made 
 of timber and stained cloth ; 
 
 Item, /////, made of timber and iru 
 work, with devils : the number, thir- 
 teen ; 
 
 Item, Foir knights armed, keeping 
 the sepulchre, with their weapons in 
 their hands that is to say, two axes, 
 two spears, two paves ; 
 
 Item, Four pair of angels' wings, 
 four angi-ls, made of timber and well- 
 painted ; 
 
 Item, The fadre, the crown and vi- 
 sage, the bell with a cross upon it well 
 gilt with line gold ; 
 
 Item, The Holy Ghost coming out 
 of heaven into the sepulchre ; 
 
 Item. Longeth to the angels four 
 chevelers.
 
 131 
 
 CUNYSGHAM (Dr. William), 
 a physician and engraver of Norwich, 
 who flourished in the reign of queen 
 Elizabeth. In his cosmographical 
 glass, a fine copy of which is described 
 by Ames (p. 237), are many cuts, 
 and a large map of Norwich, some 
 of the plates engraved by the doctor's 
 own hand. It was printed in folio 
 in 15.59, and dedicated to the lord 
 Robert Dudley, afterwards the well- 
 known earl of Leicester. 
 
 CURRADI (Francesco), an Ita- 
 lian historical and portrait painter, 
 born in 1570, and died in 16GO, aged 
 90. He had a delightful manner, 
 great correctness of design, and a 
 complete kupwledge of the chiaro- 
 oscuro. Pilk. 
 
 CUYP, or KUYP (Albert), a 
 distinguished Dutch marine painter, 
 born at Dort in 1600'. He received 
 his first instructions from his father, 
 who was but an indifferent painter ; 
 but he was endowed with a genius 
 that wanted little more assistance 
 than the incipient rudiments of the 
 art. He acquired the chaste and 
 exquisite style for which he is so 
 particularly admired, by a close and | 
 vigilant attention to nature, under 
 all the vicissitudes of atmosphere 
 and seasons. His pictures frequently 
 represent the borders of the Maes 
 river, with shepherds and herdsmen 
 attending their flocks. These sub- 
 jects he has treated with an enchant- 
 ing simplicity that may be truly said 
 to be peculiar to him. Whether he 
 wished to exhibit the dewy vapour 
 of morning ushering in the bright- 
 ness of a summer day, the glittering 
 heat of noon, or the still radiance of 
 evening, nature is perfectly repre- 
 sented. It is not, perhaps, giving 
 him more merit than is due to him, 
 to assert that no painter has surpassed 
 him in the purity of his aerial tint. 
 Cuyp was not confined to landscapes 
 and figures; he painted with equal 
 
 success sea-pieces and views of rivers, 
 with boats sometimes sailing with a 
 fresh breeze, sometimes at anchor in a 
 sultry calm ; in which the brilliancy 
 of a sunny sky is reflected in the 
 water with a transparent lucidity of 
 , colour that is indescribable. Among 
 his most surprising productions are 
 his frost-pieces, with figures amusing 
 themselves on the ice. He excelled 
 also in horse-fairs and skirmishes of 
 cavalry, which he painted with infi- 
 nite spirit. He was not less happy 
 in his pictures of moonlight; in which 
 the admired works of Vandemeer 
 are eclipsed by a superior and a more 
 delicate gradation of light. He also 
 painted portraits, the interior of 
 churches, fruit, flowers, and may be 
 called the most universal painter of 
 the school to which he belongs. His 
 pencil is uncommonly broad and fa- 
 cile, with an unusual plumpness of 
 touch, and a crispness of surface 
 which is peculiar to him, if we except 
 the works of Rembrandt, to which 
 those of Cuyp bear some analogy in 
 the richness of the colour and the 
 intelligence of light and shadow. 
 One of his principal performances is 
 the representation of the cattle mar- 
 ket at Dort, and the square where 
 the troops exercise. In that picture 
 he lias painted the most beautiful 
 horses on the parade, so like, that 
 every one of them might be as dis- 
 tinctly known on the canvas as in 
 their evolutions. His studies were 
 entirely from nature, and most of 
 his landscapes are sketched from 
 scenery in and about the city of Dort. 
 The pictures of this excellent artist 
 are more frequently to be met with 
 in England than in any other coun- 
 try. It was the discrimination of 
 the English collectors, and their ar- 
 dour to possess his works, that first 
 brought them into the reputation 
 they now hold even in his own coun- 
 trv Satidraart.
 
 132 
 
 D 
 
 ~T\A (Abraham), a German en- I 
 -* graver, who imitated the style 
 f Theodore de Brye. There is a 
 plate by him of the Last Supper, 
 executed with the graver in a neat 
 stiff style ; it is inscribed Abraham 
 Da, fecit ; from which it may be 
 presumed it is from his own design. 
 Slrutt. 
 
 D ACH (John), a German painter, 
 horn at Cologne in I5(>6'. He was 
 employed by the emperor Rodolphus 
 II., who bestowed upon him honours 
 and riches. His pieces are very ex- 
 cellent Vie des Peint. 
 
 DAHL (Michael), a Danish por- 
 trait painter, who died in England in 
 1743. He was in great repute, and 
 had the honour of painting the por- 
 trait of queen Anne. Walpole's 
 Anecdotes of Painting. 
 
 DALKN (Cornelius Van), a 
 Dutch engraver, born about 16'40. 
 He engraved a great variety of por- 
 traits, and a set of antique statues, 
 in a masterly style Gen. Bioy. 
 Diet. 
 
 DALENS (Theodore), a Dutch 
 landscape painter, horn nt Amsterdam 
 in 1 Go!), and died in Hi88, aged 2.0. 
 His pieces arc faithful and spirited 
 copies of nature. Hnub. 
 
 DALLAMANO (Giuseppe 1 ), a 
 Modcnese painter, born in 1679, and 
 died in 17- r >8, aged 79. This artist, 
 it is related, did not even know the 
 alphabet ; but by an extraordinary 
 talent, especially for colour, arrived 
 nt a great perfection in art /*anzi, 
 De.sc.amps. 
 
 DAMER (Hon. Anne Seymour), 
 a distinguished sculptor, born in 1 74ff, 
 and died in 1828, aged 80. She was 
 the daughter of field-marshal Con- 
 way, brother to Francis, first marquis 
 of Hertford, by I*i<ly Caroline Camp- 
 
 bell. There are few more gratifying 
 examples than that of a woman of 
 high rank, beauty, and accomplish- 
 ments, disdaining the frivolous and 
 the frequently vicious pursuits by 
 which females in the higher circles 
 of society are unhappily absorbed, 
 and occupying herself with studies 
 of an intellectual character studies, 
 the tendency of which is to refine 
 and elevate the tone of her mind, to 
 secure to her sound, rational, and 
 permanent enjoyment, and eventually 
 to place her name among those whom 
 posterity will contemplate with feel- 
 ings of admiration and respect. 
 
 When yet very young, happening 
 to see David Hume, the historian, 
 talking with one of the Italian boys 
 who carry plaster-casts about the 
 streets, she, in a subsequent conver- 
 sation, depreciated the talents by 
 which such works were produced. 
 Mr. Hume frankly told her that, 
 with all her attainments, she was 
 wholly incompetent to any similar 
 performance. Piqued at this obser- 
 vation, Miss Conway immediately 
 procured some wax, and assiduously, 
 but privately, modelled a head suffi- 
 ciently well to excite Mr. Hume's 
 surprise when she showed it to him. 
 He remarked to her, however, that 
 it was much easier to model than to 
 I carve. She instantly procured a 
 piece of stone and a chisel, and cut 
 out a rude bust that still more 
 strongly called forth his wonder and 
 praise. From that moment she be- 
 came enthusiastically attached to 
 sculpture ; took lessons from the 
 celebrated sculptor Ceracchi, who at 
 the time happened to be in London ; 
 learned the technical part of working 
 in marble in the stu/lio of Mr. Ba- 
 con, the royal academician ; studied
 
 133 
 
 the elements of anatomy under Mr. I lection of the late R. P. Knight, Esq., 
 f , i . i i .1 ! transferred with that collection to the 
 
 Cruickshank ; subsequently made | British Mnseum> and place(I at tne 
 
 journeys into Italy, to contemplate I entrance opposite to the great stair- 
 the chefs-d'oeuvre of the art, in order ' case. 
 
 that she might perfect herself in the Abu , st - ! n marb }f' f Bacchus (per. 
 
 , . , , .,/-, , trait of prince Lobomirski), placed in 
 
 pure and simple style of the Greeks, the g^i^y of tne university of Ox- 
 
 \vhich she always endeavoured to fol- ford. 
 
 low, and repeatedly declared that she A bust, executed in bronze, of sir 
 
 r i ,/,.... r r Joseph Banks, the late president of 
 
 preferred the distmc ion of being an the ^ )ya , ^^ prese n te d to the 
 
 artist to any other that could be of- British Museum. 
 
 fered her. 
 
 A dog, executed in marble, presented 
 
 In 1767, Miss Conway was mar- ' her late ma J estv fl uee " , 
 
 and now m possession of her royal 
 
 ried to the Hon. John Damcr, eldest highness the Landgravine of Hesse 
 son of Joseph, first lord Milton, and Homberg. 
 
 brother to George, earl of Dorches- ; Two kittens, in white marble, pre- 
 rr.1 . sented to the right honourable Horace 
 
 ter. 1 he union was an unhappy \vali>ole 
 
 one. He shot himself at the Bed- ; An osprey eagle, in terra cotta, also 
 ford Arms, in Covent Garden, in ! presented to Mr. Walpole. 
 
 1776 The eleranL tasteful and 1 A bust, in marble, of the right hon- 
 l//o. elegant, tasteful and Qurable charles James Fox> which 
 
 classical productions of her chisel arc Mrs . Darner presented in person to 
 numerous and widely scattered. We ; Napoleon Bonaparte, on the first of 
 cannot pretend to give anv thing even Mav ' 18ls ; at the palace Elyste, at 
 ', . i ' i- r i Pans. This bust had been promised 
 
 approaching to a complete list of her Qn a journev which Mrs . Damc r marie 
 
 works ; but among them were the to Paris at the period of the Treaty of 
 
 following: | Amiens. She quitted Paris shortly 
 
 ' after her presentation of the bust of 
 
 A statue, in marble, eight feet high, ' Mr. Fox -, but, before her departure, 
 of his late majesty George the Third, she received, by the hands of Count 
 placed in the Register Office at Edin- Bertrand, a magnificent snuff-box, 
 burgh. i with the portrait, surrounded by dia- 
 
 Two colossal heads, in relief, execu- i monds, of the emperor, who begged 
 tod in Portland-stone, representing her acceptance of it in remembrance 
 Thame and Isis; forming the orna- of him. 
 
 merits of the key-stone of the middle ! Paris, a small bust, in marble, 
 arch of the bridge at Henley upon- j Thalia, a small bust, in marble. 
 Thames . Isis, a bust, in Greek marble, in the 
 
 A bust, in marble, of her mother, ' collection of Thomas Hope, Esq. 
 the countess of Aylesbury, erected as : Bust, in marble, of sir Humphrey 
 a monument in Tunbridge church, Davy, late president of the Royal So- 
 Kent. ciety. 
 
 A bust, in terra cotta, of her father, A bust, in marble ; portrait of the 
 field-marshal Conway. late hon. Penniston Lamb, in the cha- 
 
 A group of two sleeping dogs, exe- racter of Mercury. 
 
 cuteil in marble, and given to her A bust, in terra cotta, of the late 
 brother in-law, Charles Lennox, duke queen Caroline, 
 of Richmond. | A small bust, head of a Muse, in 
 
 A bust, in marble, of I>ady Viscount bronze. 
 
 Melbourne, now placed in the collec- i A bust, in marble, heroic size, of 
 tion of earl Coopi r, at Penshanger. Lord Nelson. For this bust Lord Nel- 
 
 A bust, in marble, of Lady Elizabeth 
 Forster, afterwards duchess of Devon- 
 shire. 
 
 A bust of herself, executed in 1/78, 
 and placed i i the Hall of Ancient and 
 Modern Painters, in the Royal Gallery 
 of Florence. 
 
 Another bust of herself, in the col- 
 
 son, who was a great friend of Mrs. 
 Darner's, sat immediately after his re- 
 turn from the battle of the Nile. She 
 made a present of it to the city of Lon- 
 don, and received a letter of thanks in 
 return. It was put up in the Common 
 Council Chamber at Guildhall, where 
 it now is.
 
 134 
 
 DAN 
 
 hi early life, Mrs. Darner tra- ! 
 veiled much ; and she had written 
 descriptions of her various tours, 
 which at one period it was her inten- 
 tion to publish. By her will, how- , 
 ever, she directed her executor to 
 destroy all her papers ; which is the ! 
 more to be regretted, as she was in 
 possession of numerous letters from 
 Lord Orford, and other distinguished 
 persons. Retaining to the last her 
 attachment to the fine arts, she de- 
 sired that her working apron and her 
 tools might be deposited in her coffin. 
 Gen. J3iog. Diet. 
 
 DAMINI (Pietro), an Italian 
 painter, born at Castelfranco in I 
 1.592. Such was the expectation 
 occasioned by the early display of: 
 his talents, that some writers have 
 not hesitated to affirm that he j 
 would have equalled Titian if he j 
 had not died young ; which, as j 
 Lanzi observes, may be regarded as j 
 hyperbole. There are many of his ' 
 works at Castelfranco, Viqenza, I 
 Crema, and particularly at Padua, ; 
 in which city, in the church of [ 
 Cletnente, is his picture of Christ | 
 giving the Keys to St. Peter; and 
 in the church of II Santo, his most 
 celebrated work of the Crucifixion, 
 with the Virgin Mary and St. John ; 
 a picture of extraordinary beauty, and 
 of the most harmonious colour. In 
 the cloister of the Pardi Serviti, at 
 Vicjenza, he painted several pictures 
 of the S. Filippo, the founder of 
 their order. The style of Datnini 
 is varied and elegant, but he is by 
 no means uniform. He appears to 
 have frequently changed his manner, 
 in search of greater perfection ; and 
 his last works are evidently his 
 beat. -r- Lanzi. 
 
 DANCKERT, or DANCKERS 
 (Cornelius), a Dutch engraver, bom 
 at Amsterdam in 1561. He esta- 
 blished himself at Antwerp as a 
 printseller, where he engraved seve- 
 
 ral plates of portraits, and other 
 subjects, which are not without 
 considerable merit. He had a son, 
 an engraver, who succeeded his 
 father, and possessed some degree 
 of merit Strutt. 
 
 DANDRIDGE (Bartholomew), 
 an English painter of portraits and 
 conversations, who died at an early 
 age, about 1709. He was the son 
 of a house-painter, but turning his 
 attention to painting portraits, he 
 arrived at considerable eminence ; 
 and was much patronised for his 
 felicity in taking likenesses. He 
 likewise painted small conversations. 
 
 DAND1NI (Pietro), an histori- 
 cal painter, bom at Florence in 
 1646, and died in 1712, aged 66. 
 He was in the service of the Grand 
 Duke, so that few of his pictures 
 are to be found out of his own 
 country Gen. Biog. Diet. 
 
 DANIELE (Voltarra du), a cele- 
 brated painter and sculptor, born in 
 Tuscany in 1509, and died in 1556, 
 aged 47. He was a disciple of An- 
 thony de Verceil, and Bathazer, of 
 Siena ; but afterwards applied him- 
 self wholly to Michel Angclo's 
 style, who highly esteemed him. 
 His finest paintings are in the 
 church of the Trinity, at Rome. 
 Daniele left painting to follow sculp- 
 ture. He cast the celebrated horse 
 in brass, which is in the Palais 
 Royal at Paris, and which was in- 
 tended for the statue of Henry II., 
 but Daniele did not live to finish 
 it De Piles. 
 
 DANKERS (Henry), a Dutch 
 landscape painter, born at the 
 Hague, where he taught the first 
 rudiments of painting ; but he after- 
 wards travelled to Italy, and studied 
 there for some years. Charles II. 
 invited him to England, and em- 
 ployed him to paint views of the 
 seaports in his dominions, and par- 
 tirularly the prospects on the coasts
 
 135 
 
 of Wales, as 'also views of all the 
 royal palaces, \vhieh commission he 
 executed extremely to the satisfac- 
 tion of the king. He followed his 
 profession in London for several 
 years, and was esteemed the neatest i 
 and best painter in his way of that 
 time. His brother John was a i 
 painter of history, and lived and 
 died at Amsterdam. De Piles. 
 
 DA RET ( Peter), a French en- 
 graver, born at Paris about the year 
 1610. After receiving some in- 
 structions in engraving, he went to 
 Rome in search of improvement, 
 where he passed a considerable time. 
 He engraved a great number of 
 plates ; they are chiefly executed 
 with the graver, and are not without 
 merit in point of neatness, though 
 very deficient in taste and correctness 
 of drawing. Strutt. 
 
 DAULLE (John), an eminent 
 French engraver, born at Abbeville 
 in 1703. He received some instruc- 
 tions from his fellow-citizen Robert 
 Herquet, an artist little known, and 
 afterwards went to Paris, where his 
 merit was not long unnoticed, and 
 he was received into the academy in 
 174'2. He engraved several plates 
 of ]x>rtraits, with historical and other 
 subjects, which are chiefly worked 
 with the graver in a clear and firm 
 style, and which entitle him to the 
 rank of one of the ablest artists of 
 his time. Ibid. 
 
 DAVEN (Leon), an Italian en- 
 graver, who flourished about the 
 year 1540. He distinguished him- 
 self as an engraver at Rome and 
 Florence, and accompanied Francesco 
 Primaticcio to France, and engraved 
 some plates after the works of that 
 master at Fontainbleau ; he had 
 previously executed several plates 
 after the pictures of that great 
 painter before he visited France, 
 and appears to have been particu- 
 larly attached to him. His works 
 
 are chiefly etched in a broad, bold, 
 and singular manner ; they possess, 
 however, considerable merit, and are 
 esteemed by the judicious collector. 
 Strutt. 
 
 DAVENPORT ( ), an Eng- 
 lish historical and portrait painter, 
 who died about 1695. He was a 
 scholar of Sir Peter Lely, and a 
 fellow disciple of Greenhill. Daven- 
 port arrived at considerable emi- 
 nence, and several of his portraits 
 have been much commended for 
 their strength of colouring. He had 
 likewise a talent for music. 
 
 DAVID (Ludovico Antonio), an 
 Italian portrait painter, who flou- 
 rished about 1710. He was a pupil 
 of Ercole Procaccini, the younger; 
 and resided at Rome many years 
 as a portrait painter, and travelled 
 through Italy. In St. Silvestro, at 
 Venice, there is a Nativity of his 
 in a minute style. He wrote the 
 Life of Correggio Vasari. 
 
 DAVID (Charles), a French en- 
 graver, born at Paris about 1605. 
 It is not ascertained by whom he 
 was instructed, but he ranks as a 
 very respectable artist among the 
 engravers of his time. His plates 
 are executed with the graver in a 
 clear firm manner, and his drawing 
 is tolerably correct. His prints are 
 held in considerable estimation 
 Strutt. 
 
 DAVID (Jerome), a French 
 engraver, brother to the preceding 
 artist, born at Paris about the year 
 1608. He engraved a considerable 
 number of plates in the same style 
 as his brother, many of which are 
 portraits. Ibid. 
 
 DAVID (Francis), a modern 
 French engraver, born at Paris in 
 1741. He was a pupil of Le Bas, 
 and has engraved several plates of 
 portraits, and various subjects in a 
 very neat finished style. Ibid. 
 'DAVID (M.), a celebrated
 
 136 
 
 French historical painter, born in 
 1748, and died at Brussels in 1825, 
 aged 76. At the period when the 
 development of his powers com- 
 menced, the genius of French paint- 
 ers had fallen into the worst pos- 
 sible direction. The style of the 
 Italian school, transmitted by Pous- 
 sinand LeSueur, had been abandoned ; 
 and under the idea of returning to 
 nature, they had adopted a petty af- 
 fected representation of her, which 
 possessed neither the graceful, of 
 which they were in search, nor the 
 ideal or the grand, which they had 
 Voluntarily renounced. David re- 
 paired to Rome, there his mind was 
 influenced by the twofold impression 
 which it received from the numerous 
 grand and exact productions of the 
 Italian School, and from the statues 
 of the ancients, so chaste, so correct, 
 so simply beautiful. Tims impres- 
 sed, he struck into a new course, and 
 produced his picture, Andromache; 
 which, by many, is regarded as one 
 of his master pieces. His painting 
 had then somctlring of the Italian 
 gravity and simplicity ; and his pure 
 and lofty design, like that of the 
 ancients, had not attained that ideal 
 perfection, bordering upon the stiff- 
 ness of statuary, which he acquired 
 at a Liter period. In his next pic- 
 ture, Bclisaritis, the composition is 
 simple and grand, the design chaste, 
 the expression true, the colouring 
 sedate ; the entire character of the 
 production bearing a great resem- 
 blance to Poussin, with more cor- 
 rectness and arrangement than that 
 .artist usually displays. In tracing his 
 course from his Belisarius to his Rape 
 of the Sabincs, the influence of the 
 Italian school will be seen gradually 
 to diminish, and the taste for ancient 
 design to become stronger, so as at last 
 to settle into academic correctness. 
 In his Horatii, which may [>crhaps 
 bo regarded as the production that 
 
 marks the zenith of hii talents, there 
 is the same grandeur, the same se- 
 verity of composition and expression, 
 the same sobriety in the execution ; 
 but without yet ceasing to be natu- 
 ral : the disposition of the subject is 
 seen to incline towards the sterility 
 of bos relief. In the Rape of the 
 Sabincs, one amongst the most ad- 
 mired and most deserving of admira- 
 tion of M. David's pictures, it is 
 seen that his drawing has become 
 altogether academic, and the atti- 
 tudes betray a too great fondness for 
 the display of beautiful forms. His 
 Socrates is grandly conceived ; his 
 Brutus is full of beautiful details; 
 his Thermopylae, and the many 
 other works that have signalised his 
 pencil, are marked with all the 
 touches of a great master ; but by 
 those who love the simple and the 
 true, and- are fearful of style, when 
 it becomes systematic, the first works 
 of M. David will be esteemed the 
 best. His most distinguished pro- 
 ductions are known throughout 
 Europe, and a list of his works of 
 minor importance may be found 
 in the Annuaire Necrologique, by M. 
 Mahul, 1826. Among the most 
 celebrated may be included, Paris 
 and Helen ; The Judgment of 
 Brutus ; The Death of Socrates ; 
 Napoleon ascending the Alps ; 
 Napoleon's Coronation ; The dis- 
 tribution of the Eagles; Cupid and 
 Psyche ; Tclemachus and Kncharis, 
 and Leonidas, which last is consid- 
 ered his chef-d'oeuvre. David was 
 a great favourite of Buonaparte. 
 The conqueror of Austcrlitz is said 
 to have advanced two steps to- 
 wards this artist in his painting 
 room, and taking off his hat, to have 
 exclaimed, " Sir, I salute you !" 
 lie was allowed as a special mark of 
 distinction, to occupy the corner 
 wing of the old palace, from which 
 every man of genius and science en-
 
 137 
 
 titled to reside there, had been re- 
 moved. Bonaparte always con- 
 sulted him in the arrangement of his 
 paintings and statues ; and all the 
 government costumes were from his 
 designs. David had many pupils and 
 was not \vithout adherents ; but from 
 the sanguinary part he had taken in 
 the Revolution he was shunned by 
 the great and the good, and seemed 
 to lead the life of a proscribed exile, 
 in the very centre of the gayest city 
 in Europe. David painted the Coro- 
 nation of Bonaparte, in conformity 
 with the instructions of his master. 
 It was not that picture, however, 
 which was exhibited in Pall Mall 
 some years since. On the restora- 
 tion of the Bourbons, the expatriated 
 painter retired to Brussels, and there 
 he finished what he considered an 
 improved and heightened copy of the 
 original painting. That painting was 
 exhibited in London, where, from 
 various circumstances, it naturally 
 attracted much notice and excited 
 much criticism. Bonaparte, Jose- 
 phine, the Cardinal Capara, and two 
 or three other figures, were univer- 
 sally allowed to be fine ; but the re- 
 maining cluster of two hundred and 
 ten figures gave the painting the air 
 of a crowded stage ; on which, the 
 leading actors concentrate attention, 
 whilst the surrounding mutes had 
 not grace enough to be even naturally 
 affected. M. David, when he went 
 into exile, announced to his pupils 
 that he was about to change his style, 
 and that he would send them from 
 the Netherlands a specimen of the 
 true manner of colouring. Critics 
 consider him to have fulfilled his 
 promise in his Mars and Venus, 
 which has been exhibited with his 
 Belisarius, Horatii, Brutus, Rape of 
 the Sabines, &c. " Mars, overcome 
 with fatigue, is stretched on a couch ; 
 Venus, who has risen to make room 
 for him, has one hand resting upon 
 
 him, whilst with the other she is 
 placing a crown on his head, which 
 she is to bestow on condition that 
 he quits the pursuit of arms. Mar* 
 consents, and presents his sword as 
 a token of his sincerity. The Graces 
 are hastening to disencumber the 
 God of his armour. Love is un- 
 loosing his sandals ; every attempt is 
 making to render his return to the 
 field impossible." On the 17th of 
 April, 1 826, was the day of the sale 
 at Paris, of the pictures, drawings, 
 and sketches left by David. The 
 catalogue, drawn up by M. Perignon, 
 is extremely interesting; it mentions 
 the Mars disarmed by Venus; the 
 Andromache weeping for Hector ; 
 the Apelles training Campaspe ; 
 the Bonaparte at Mont St. Bernard; 
 with several other pictures of the 
 principal events in the life of Bo- 
 naparte; and numerous sketches and 
 studies made during the artist's resi- 
 dence at Rome. Among the modern 
 subjects, are the drawings of the 
 Tennis Court, several portraits, and 
 two pictures of the members of the 
 Legislative Assembly, and of the 
 Convention, Gent. Mag., Gen. 
 Biog. Diet. 
 
 DAVIS (Edward le), an English 
 engraver, who died about 1684. He 
 was of Welch extraction, and served 
 his apprenticeship to Loggan, whose 
 wife obliging him to follow her in 
 livery, he ran away to France, and 
 became a dealer in pictures, by which 
 on his return he made a good for- 
 tune. He engraved the following : 
 James duke of York, a large head, 
 with flowers round the oval ; Ber- 
 tram de Ashburnham, for Guillim's 
 Heraldry ; duchess of Portsmouth, 
 sitting ; St. Cecilia playing on a 
 bass-viol, with boy angels flying, 
 probably done at Paris, after Van- 
 dyck ; general Monck ; Stephen 
 Montcagle, 1675 ; Charles II. sit- 
 ting, the face expunged afterwards, 
 N -2
 
 DEL 138 DEL 
 
 and replaced with king William ; a ' he was born at Hcnsdcn. He was 
 Merry Andrew, after Francis Hulls, a disciple of Francis Hals, whose 
 engraved in an odd manner ; an Ecce | style he adopted; and executed por- 
 I Inn ID, after the Caracci, scarce ; ' traits and conversation pieces, with 
 Charles duke of Richmond, a boy, a great deal of spirit and corrcct- 
 after Wissing, 1672. | ness. His subjects were the inside 
 
 DAVISON (Jeremiah), an Eng- of churches filled with figures, 
 lish painter of portraits on satin, horn grand temples, magnificent saloons 
 in 1695, and died in 174.5, aged 50. j and galleries, with people assembled 
 He was first a disciple of Sir Peter at concerts of music, or feasting, 
 Lely, and afterwards studied under dancing &c. ; his architecture is in 
 Vanekcn. He was patronised by the a noble taste ; his figures are well 
 Duke of Athol, whose portrait, witli designed, and grouped with great 
 that of the duchess, he had painted, judgment Houb. Pilk. 
 and accompanied that nobleman to DELET (William James), a 
 Scotland, where he met with great ' Dutch portrait painter, but more 
 encouragement. celebrated engraver. He was born 
 
 DEAN (Hugh), an Irish land- at Delft in 1580, and received his 
 scape painter, who died in London first instructions in design from his 
 in 1784. He went to Italy, and father, Jacob Van Delct, a portrait 
 resided there some years. On his painter of little celebrity. He prac- 
 return to England, in 1780, he , tised some time in the style of his 
 exhibited a transparent representa- father ; but having attempted to en- 
 tion of Mount Vesuvius ; and, it is grave some plates after the portraits 
 asserted, soon after turned methodist of Mirevelt, whose daughter he had 
 preacher Gen. JBiog. Diet. j married, his success was such as to 
 
 DEL ARAM (Francis), a French induce him to abandon painting and 
 engraver, who flourished in the reigns devote himself entirely to the graver, 
 of James I. and Charles I. He en- He handled that instrument with 
 graved the following plates : William j uncommon freedom and clearness, 
 Somers, King Henry's jester, from i and his heads arc finely drawn. The 
 Holbein ; Henry VIII. ; Queen plates he executed in the early part 
 Mary I., in oval frame ; Sir Thomas of his life are more neatly finished 
 Gresham ; Queen Elizabeth, after ; than those he afterwards produced ; 
 her death, with a long inscription ; but the latter are engraved in a 
 James I. ; Henry Prince of AVales, bold, open style, producing a fine 
 son of James I. ; Arthurus Scverus effect. Wali>ole. 
 
 OToole Nonesuch, 1618; Henry 
 
 DELET ( James William), aDutch 
 
 Percy, Earl of Northumberland, i portrait painter and engraver, bom at 
 almost bald, and with a very thick : Delft in 1618. He was the son of 
 beard, 1619; Frances, Duchess of ( the preceding artist, and was in- 
 Richmond and Lennox, covered with strutted in the art of painting by his 
 jewels, and a large veil behind, 1623. grandfather, Michael Mirevelt, and 
 
 He likewise executed the frontis- followed him in his excellent style 
 piece to Nero C;csar, folio, 16:24. J of treating those subjects, and be- 
 
 DELEN (Dirk Van), a Dutch came eminent as a portrait painter, 
 painter; but Houbrakcn, to whom | He also distinguished himself as an 
 we are indebted for this article, i engraver, in which he was instructed 
 neither mentions the birth nor dealh by his father. A set of oval por- 
 of this master; other writers assert traits, without the name of the painter,
 
 139 
 
 is generally attributed to this artist. 
 Strutt. 
 
 DKLMONT (Deodato),an histo- 
 rical painter, born at St. Tron in 
 1581, and died in 1(534, aged 53. 
 He was a disciple of Ruben?, whom 
 he accompanied to Italy. Delmont 
 was employed by the Court of New- 
 burgh ; and was ennobled by the 
 Duke as a testimony of his merit. 
 Several paintings by this master 
 are preserved in the churches and 
 convents of Italy; but his three 
 best pictures are at Antwerp : the 
 Transfiguration, in the church of 
 Notre Dame ; Christ carrying his 
 Cross, in the Jesuits' church ; the 
 Adoration of the Magi, in a cloister 
 of the same church ; he also painted 
 the altar-piece. Mijreri. Pilk. 
 
 DENXER (Balthasar), a portrait 
 painter, born at Hamburgh, in 1 68.5, 
 and died in 1747, aged 62. He 
 painted the portrait of an Old Woman, 
 for which he was ottered five hun- 
 dred guineas, and refused it 
 
 Pilk. 
 
 DENYS (Jacques), a Flemish 
 historical and portrait painter, born 
 at Antwerp in 1045. He studied in 
 Italy, where he improved himself 
 by copying the best masters. He 
 afterwards returned to his native city, 
 where he died. His manner resem- 
 bles that of Vandyek. Pilk. 
 
 DKRYCK, or DERICK (Peter 
 Cornelius), a Dutch painter of land- 
 scapes and portraits, born at Delft 
 in 1568, and died in 1030, aged 62. 
 He was a disciple of Hubert Jacobs, 
 and having acquired a good degree 
 of knowledge under that master, he 
 visited Italy, where he studied the 
 most eminent masters, and at last 
 fixed on B:is>san as his model. His 
 chief excellence consisted in his imi- 
 tation of the style, manner, and tint 
 of colouring of Buskin, which was so 
 dextrous, that even the best judges 
 were frequently deceived by some of 
 
 the pictures of Dervck De PiL's, 
 
 Pilk. 
 
 DERYCK (William;, a Flemish 
 historical painter, born at Antwerp 
 in 1697. He was originally bred 
 a jeweller, but afterwards applied 
 himself to painting. Dervck visited 
 England, and painted historical sub- 
 jects as large as life, and in a bold 
 manner ; but, although there was 
 an appearance of merit in some 
 particular parts, yet his outline was 
 frequently incorrect; and in respect 
 of grace, and an agreeable variety, 
 he was very deficient IbuL 
 
 DESGODETS (Anthony), a 
 French architect, born at Paris in 
 1653, and died in 1728, aged 75. 
 On his passage to Rome in 1674, 
 he was taken by the Algeriues, and 
 kept in slavery for sixteen months. 
 On being exchanged, he repaired to 
 Rome, where he composed a work 
 entitled " The Ancient Edifices of 
 Rome, drawn and measured with 
 the greatest exactness." Folio. On 
 his return to Paris he was constituted 
 comptroller of the royal buildings 
 and architect to the king. Two 
 works of his on architecture were 
 published after his death Nouv. 
 Diet. Hisi. 
 
 DESPLACES,a French engraver, 
 who died in 1749. He executed 
 several fine pieces from the paintings 
 of Jouvenct, CJuido, and other great 
 masters. Now. Diet. Hist. 
 
 DESPORTES (Francis), a French 
 painter, bom at the village of Cham- 
 pignon in Charn]>agne, in 1661, and 
 died in 1743, aged 72. He was a 
 disciple of Nicosius Bernard, whose 
 style he ever afccr adopted. His 
 subjects were flowers, insects, ani- 
 mals, or representations of the chace, 
 which he designed and coloured with 
 great truth. He painted many pic- 
 tures for Louis XIV., the Duuphin, 
 and the Duke of Orleans, represent- 
 ing the chace of different amnmlb
 
 540 
 
 DIX 
 
 in which the action and attitudes of j by him of the Adoration of the Magi, 
 the dogs are full of spirit, nature, j well composed, and (tainted with 
 
 and life Pilk. 
 
 great facility. He was more em- 
 
 DEWIT( Jacob), a Dutch painter, i ployed for private collections than 
 born at Amsterdam in 1695, and I for the churches, and must have de- 
 died in 1745, aged 50. He was a | voted a great part of his time to 
 disciple of Albert Spiers and Jacob van i engraving, as he has left a consider- 
 Halen, but formed his style chiefly I able number of plates, of which the 
 
 from the works of Rubens and Van- 
 dyck. His most celebrated work is 
 Moses appointing the Seventy Elders, 
 which he painted for the burgo- 
 masters of Amsterdam, and which 
 was placed in their great council- 
 chamber. Pilk. 
 
 greater part are etchings. They are 
 executed in a free style, with con- 
 siderable taste, and his designs are 
 
 graceful, and tolerably correct 
 
 Strutt. 
 
 DIEPENBEKE (Abraham), a 
 Dutch painter, born in 1607, and 
 
 DEYNUM i John Baptist Van), a died in lt>75, aged 68. He was a 
 Dutch painter, born at Antwerp in disciple of Rubens. His works are 
 1 6'20. lie principally excelled in held in high estimation, and many 
 painting portraits in miniature, and 1 engravings have been published from 
 
 also history and landscapes in water- 
 colours, which he executed with neat- 
 ness, judgment, and taste. Moreri. 
 DEYSTER (Lewis), a Flemish 
 
 his designs. Houb. 
 
 DIEST (Adrian Van), a Dutch 
 painter, born at the Hague in 1655, 
 and died in 1704, aged 49. He 
 
 painter, born at Bruges in 1656, and came to England at an early age, 
 died in 1711, aged 55. His pictures j and was much employed in design- 
 have been compared in style and ing views of the western parts of 
 
 execution to Vandyck. Nouv. Diet. 
 Hist. 
 
 DEYSTER (Anna), a landscape 
 
 England. Some of his pictures have 
 great clearness and transparency in 
 the colouring, and a peculiar ten- 
 
 paintress, daughter of the above, born derness in the distances; they are 
 
 at Bruges in 1696, and died in 1746, 
 aged 50. She excelled in landscapes, 
 
 truly fine in the skies, have an un- 
 common freedom in the clouds, and 
 
 and imitated the touch and colouring i an agreeable harmony through the 
 f the copies she took of her father's whole Pilk. 
 works, so that few of the best judges 
 could determine positively which 
 
 were the copies, or which the ori- 
 ginals. She died in poverty by quit- 
 ting painting for constructing organs 
 and harpachorda. Nouv. Diet. 
 I/ist., Pilk. 
 
 DIAMANTIN1 (Giuseppe Cava- 
 licre), a Venetian painter, and more 
 eminent engraver, who flourished 
 about 1660. It is not said by whom 
 he was instructed ; but lie chiefly 
 resided at Venice, where he distin- 
 iiished himself by several works, 
 
 DIETRICH (Christian William 
 Ernest), a celebrated painter, bom at 
 Weimar in 171'-, and died in 1774, 
 aged 6'2. After studying under his 
 father, he went to Dresden, and was 
 instructed in landscape painting by 
 Alexander Theile. He next visited 
 Italy, and became professor in the 
 academy at Dresden, and director of 
 the school of painting at Meissen. 
 He painted landscapes, scripture- 
 pieccs, portraits, rustics, and conver- 
 sations, with great force and life. 
 He also engraved in a good style. 
 
 both as a painter and engraver. In Gen. Biy. Diet. 
 
 the church of St. Mois-e is :i picture 1 D1XON (John), an English
 
 141 
 
 painter of history in miniature, who 
 died about 1715. His best pictures 
 are, Diana and her Nymphs, after 
 Poelemberg ; and a Sleeping Venus, 
 Cupids, and a Satyr. William III. 
 appointed him keeper of his picture- j 
 closet. Dixon, says Vertue, once 
 bought a picture at a broker's, which , 
 lie sold to the Duke of Devonshire 
 for .500/., but does not specify the 
 hand or subject. 
 
 DOBSON (William), an English 
 historical and portrait painter, born 
 in London in 1610, and died in 1646, 
 aged 36. lie was apprenticed to 
 Mr. Peak, a stationer and dealer in 
 pictures, in the city of London, who 
 observing his partiality for painting, 
 encouraged him in it, and procured 
 a few excellent pictures for him to 
 copy, particularly some of Titian and 
 Vandyck ; and the manner of these 
 two masters he always retained. By 
 the course of study and practice he 
 improved so remarkably that a pic- 
 ture of his painting being exposed in 
 the window of a shop on Snow-hill, 
 in London, Vandyck, passing by, was 
 struck with it exceedingly ; and in- 
 quiring after the author, found him 
 at work in a poor garret. Vandyck 
 soon relieved him from a situation so 
 unworthy of his merit, and generously 
 furnished him with every thing requi- 
 site for his appearance in a character 
 suitable to his talents. He after- 
 wards recommended him to Charles 
 II., who took him into his service, 
 kept him at Oxford as long as lie 
 remained there, sat to him after for 
 his portrait, and distinguished him 
 by the name of the English Tintoret. 
 His manner is free, bold, and sweet, 
 with a charming tone of colour ; 
 thouirh inferior to Vandyck in the 
 gracefulness of his figures, yet he 
 gave life, dignity, and sentiment to 
 liis portraits ; and for truth, cha- 
 racter, and resemblance, few have 
 
 surpassed him. At Wilton, the seat 
 of the Earl of Pembroke, there is 
 a fine picture of Dobson's ; the sub- 
 ject is, the Decollation of St. John 
 the Baptist ; and at Blenheim, Nor- 
 thumberland-house, and the Duke 
 of Devonshire's, are several very fine 
 pictures of this artist. De Piles, 
 Pilk. 
 
 DOES (Jacob Vander), a Dutch 
 painter, born at Amsterdam, in 
 16-23, and died in 1673, aged 50. 
 He studied at Rome, where he 
 adopted the manner of Bamboccio. 
 His pictures are dark ; but in the 
 composition of his landscapes his 
 taste was noble, and the figures ex- 
 ecuted with justness and delicacy. 
 He had two sons, Jacob and Simon, 
 both good artists; the first in his- 
 torical pieces, died 1713 ; the latter 
 in landscapes and cattle : he died in 
 1717. Iluub. 
 
 DOKS (Anthony Vander), a 
 Dutch engraver, born at the Hague 
 in 1610. He engraved several por- 
 traits, and a few other subjects, ex- 
 ecuted with the graver in the style 
 of Paul Pontius, of whom it is not 
 improbable he may have been a pu- 
 pil. Although inferior to that artist, 
 his best plates have considerable 
 merit. He engraved several of the 
 plates for a work entitled Portraits 
 de.s Hommefi Hhtstres dans le \7rne 
 siecle, published at Amsterdam, 
 some of which are dated in 1649. 
 Strutt. 
 
 DO LCI (Carlo or Carlino), a 
 Florentine painter, born at Florence 
 in 1616, and died in 1686, aged 70. 
 He was a disciple of Jacopo Vignali. 
 His first attempt was a whole pic- 
 ture of St. John, painted when he 
 was only eleven years of age, which 
 received extraordinary approbation ; 
 afterwards he painted a portrait of 
 his mother, which gained him such 
 general applause, as placed him in
 
 142 
 
 DON 
 
 the highest rank of merit. Dolci 
 was fond of painting sacred subjects ; 
 but sometimes painted portraits. 
 His pencil was tender, his touch 
 neat, and his colour transparent ; 
 though he has been censured for 
 the excessive labour tastowed upon 
 his pictures ; and his carnations 
 have more the appearance of ivory 
 than the look of flesh. His most 
 esteemed works are a St. Sebastian, 
 in the Pahvzzi Corsini, at Florence; 
 the Four Evangelists, the figures as 
 large as life, in the Palazzo Ricardi. 
 There is also a fine picture of this 
 master in the collection of the Earl 
 of Pembroke, at Wilton-house, in 
 Wiltshire, of which the subject is 
 the Virgin ; it is ornamented with 
 flowers, and these are painted by 
 Mario da Fiori Pilk. 
 
 DOLCI (Agnese). She was the 
 daughter of the preceding artist, 
 and arrived at some degree of ex- 
 cellence in copying the works of 
 her father. She also painted some 
 pictures of her own composition. 
 
 DOMEN1CHINO, or ZAM- 
 PIERI (Domenico), a celebrated 
 Italian painter and architect, born 
 at Bologna in 1581, and died in 
 1641, aged (>'0. He received his 
 first instructions in the art of paint- 
 ing from Denis Calvart ; he after- 
 wards became a disciple of the 
 Cancel, and continued in that 
 school for a considerable time. 
 The great talents of Domenichino 
 did not unfold themselves so early 
 in him as talents much inferior to 
 his have disclosed themselves in 
 other painters. His fellow-pupils, 
 from his slowness, called him the 
 " Ox ;" but one of his masters told 
 them, that " this ox would in time 
 make his ground BO fruitful, that 
 painting would be fed by what it 
 produced." This master's works 
 have been justly compared with the 
 
 Caracci, Nicolo Poussin, and Leo- 
 nardi da Vinci, in composition and 
 design ; and superior to them all in 
 expression of the passions ; and in 
 simplicity and variety in the airs of 
 the head, he is allowed to be little 
 inferior to Raffaelle; yet his atti- 
 tudes are but moderate, his drape- 
 ries rather stiff, and his pencil heavy. 
 However, as he advanced in years 
 and experience, he advanced in ex- 
 cellence, and the latest of his com- 
 positions are the best. The Com- 
 munion of St. Jerome, and the 
 Adam and Eve, are too well known 
 to need a description ; and they 
 are universally allowed to be capital 
 works, especially in the expression. 
 Some of the best paintings of this 
 great master are, a Dead Christ, on 
 the knees of the Virgin, attended 
 by Mary Magdalen and others, in 
 the Palazzo della Torre, at Naples ; 
 the Martyrdom of St. Agnes (this 
 was painted as an altar-piece by Do- 
 menichino), for the church of St. 
 Agnes, at Bologna. He was also 
 skilful in architecture, and Gregory 
 XV. appointed him his architect. 
 D*AryenviIk, De Piles, Pilk. 
 
 DONATI ( ), an Italian 
 
 architect and sculptor, born at Flo- 
 rence in 1683, and died in 1766, 
 aged 83. He executed some fine 
 statues and elegant works for Cosmo 
 de Medicis, and some of the Italian 
 states Roscoe's Life of Lorenzo 
 de Medicis. 
 
 DONCKER (Peter), a Flemish 
 painter, who died in 1668. He was 
 a disciple of Jacob Jordes, and 
 afterwards travelled to Italy in the 
 train of the Duke de Cerqui. He 
 improved himself at Rome, and at- 
 tained great excellence in his pro- 
 fession. There was also a John 
 Doncker of the same family, who 
 promised to have been a good painter, 
 but he died young Pilk.
 
 143 
 
 DORBAY (Francis), a French 
 architect, who died at Paris in Ki97. 
 He designed several great works at 
 the Louvre and the Tuilleries. 
 Nouv. Diet. Hist. 
 
 DORIGNY (Michael), a French 
 painter and engraver in aqua fortis, 
 born in 1617, and died in 1665, 
 aged 48. He was professor in the 
 Academy of Painting at Paris. His 
 paintings are excellent, hut he only 
 engraved after his own pictures. 
 If Aryenville. 
 
 DORIG1SY (Lewis), a French 
 painter, and son of the above, born 
 in 1654, and died in 1742, aged 88. 
 He was taught the first rudiments 
 of the art from his father, and after- 
 wards became a disciple of Le Brun. 
 In that school he made a consider- 
 able progress ; but being disap- 
 pointed of obtaining the first prize 
 in the academy, he travelled to 
 Italy, and studied for several years 
 at Rome, Venice, and Verona. His 
 principal work is the dome of the 
 great church at Trent. Pilk. 
 
 BORIGNY (Sir Nicholas), a 
 celebrated French engraver, born at 
 Paris in 1657, and died in 1746, 
 aged 89. He was son of Michael 
 Dorigny, by a daughter of Vouet the 
 painter. His father dying when he 
 was very young, he was brought up 
 to the study of the law, which he 
 pursued till he was thirty years of 
 age, when being examined, in order 
 to being admitted to plead, the judge 
 finding him very difficult of hearing, 
 advised him to relinquish the pro- 
 fession. He took the advice, and 
 having a brother a painter at Rome, 
 determined to embrace the same 
 occupation. Repairing to Rome, 
 and receiving instructions from his 
 brother, he followed painting for 
 some years, when having acquired 
 great freedom of hand, he was ad- 
 vised to try etching. He had now 
 executed several plates, and lastly 
 
 the gallery of Cupid and Psyche, after 
 Raffaelle when a new difficulty 
 struck him. Not having learned 
 the handling and right use of the 
 graver, he despaired of obtaining the 
 harmony and perfection at which he 
 aimed ; but having conquered that 
 difficulty too, he began with a set 
 of the planets. Mercury, his first, 
 succeeded so well, that he engraved 
 
 i four large pictures with oval tops, 
 and from thence proceeded to Raf- 
 faelle's Transfiguration, which raised 
 his reputation above all the masters 
 of that time. At Rome he became 
 known to several Englishmen of 
 rank, who persuaded him to come to 
 England and engrave the cartoons. 
 
 ; He arrived in June, 1711, but did 
 not begin his drawings till the Easter 
 following, the intervening time being 
 
 | spent in raising a fund for his work. 
 
 i At first he proposed that the plates 
 
 j should be engraved at the queen's 
 expense, and to be given as presents 
 to the nobility, foreign princes, and 
 ministers. The Lord Treasurer Ox- 
 ford was his friend ; but Dorigny 
 demanding four or five thousand 
 pounds, put a stop to that plan ; yet 
 the queen gave him an apartment at 
 Hampton Court, with necessary per- 
 quisites. The work, however, was 
 undertaken by subscription at four 
 guineas a set. The labour seeming 
 too heavy for one hand, Dorigny sent 
 to Paris for assistance, which brought 
 over Dupuis and Du Bosc, who dif- 
 fered with him in two or three years, 
 before his plates were more than half 
 done. April 1st, 1719, Dorigny 
 presented to George I. two complete 
 sets of the cartoons, and a set of 
 each to the prince and princess. The 
 king gave him a purse of one hun- 
 dred guineas, and the prince a gold 
 medal. The Duke of Devonshire, of 
 whom he had borrowed four hundred 
 pounds, remitted to him the interest 
 
 for f >ur years ; and in the following
 
 144 
 
 year procured him to be knighted by j hratcd one of the Four Doctors of 
 the king. He painted some por- the Church. Vamiri, 
 traits here, but not with much suc- 
 cess in likenesses ; and his eyes be- 
 ginning to fail, he retired to France 
 
 DOSSIER (Michael), a French 
 engraver, born at Paris in 1(!H4. 
 Tliis artist engraved several plates, 
 
 1724. His collection of draw- executed with the graver in a neat 
 ings had been sold before, in 1723. ' style, resembling that of P. Drevet. 
 Among them were some after Dome- The following are most prominent: 
 nichino and Guercino,' and one after The portrait of JohnBuptist; Colbert; 
 Volterra, which Vertue preferred to Marquis de Torci ; the Marriage of 
 all his other works. There were an the Virgin ; Christ curing the Blind 
 hundred and four heads, bands, and at Jericho ; Christ driving the Mo- 
 feet, traced off from the cartoons, ncy-changers from the Temple ; 
 The whole number of plates, large Mary Magdalen washing the Feet 
 
 and small, were 1.53. 
 
 of Christ ; Vertumnus and Pomona. 
 
 DORSCH (Evenird), a famous Strutt. 
 German engraver on gems, born at j DOUDYNS, or DODOENS 
 NuiTinbiirg, in 1(549, and died in j (William), a Dutch painter, born 
 1712, aged 63. He excelled all the > in 1(>30, and died in 16'97, aged <>7. 
 artists of his time. Gfn. Bioy. \ He received bis first instruction in 
 
 DORSCH (Christopher), a Gcr- j art from Alexander Petit, an i neon- 
 man engraver, and son of the pre- \ siderable artist, and afterwards visited 
 ceding, born at Nuremburg, in 1<>7'>, Rome, where he resided twelve years, 
 and died in 1732, aged 5(>. He had and formed a correct style of compo- 
 a good knowledge of painting, but \ sition. On bis return to the Hague, 
 devoted himself to the same pursuit j he met with an honourable reception, 
 as his father, and executed portraits and was employed in several grand 
 on gems from the life, without taking Works; being appointed director of 
 
 di-a wings. Gen. Bior/. 
 
 the academy. He had a grand man- 
 
 DOSSI(Dosso), an Italian painter, ner of designing and composing his 
 who died about 1.500. He studied subjects, with correctness of outline 
 at Rome several years, and formed \ and elegnnce of form. Pilk. 
 a, style which has been sometimes I DOUVEN (John Francis), an 
 compared with that of Raffaelle, ; historical and portrait painter, horn 
 sometimes to Titian, and sometimes at Rurcmondc in 1(>.5(>, and died in 
 said to resemble Correggio. He was 1727, aged 71. Yc was at first a 
 the brother of Gio. Batista, and with ; disciple of Gabriel Lambertin at 
 him has been ranked the first names ' Liege, and afterwards with Christo- 
 of Italy, by their countryman Ariosto. ] pher Puitlink. He .was invited to 
 His most celebrated picture is, Christ the court of Dusseldorf, where he 
 among the Doctors, in the church of painted the portraits of the duke and 
 the Dominicans, at Faenza, but this the princiiwl personages of his court, 
 is only a copy, time having destroyed i The duke was so highly pleased with 
 the original ; and even in the copy Douven's painting, that he appointed 
 the simplicity of the composition, him (though only twenty-eight years 
 the variety of the characters, and old) principal painter to his court. 
 
 the breadth and propriety of the 
 drapery, deserve admiration. Several 
 fine pictures of this master are at 
 Dresden, among which is the cele- 
 
 He afterwards accompanied him to 
 Vienna, where he painted the por- 
 traits of the emperor and empress. 
 Douvcn was likewise employed at
 
 145 
 
 the courts of Portugal, Denmark, 
 Modena, and Tuscany; and at the 
 latter so far obtained the favour of 
 the Grand Duke, that he ordered 
 the portrait of Douven, painted by 
 the artist himself, to he placed in the 
 gallery of painters. Pilk. 
 
 DOUW (Gerhard), a celebrated 
 Dutch painter, born at Leyden in 
 1613, and died in 1674, aged 61. 
 He received his first instructions in 
 drawing and design from Bartholo- 
 mew Dolendo, an engraver, and also 
 from Peter Kouwhoorn, a painter on 
 glass ; but at the early age of fifteen 
 he became the disciple of Rembrandt. 
 In that famous school he remained 
 three years, and then found himself 
 qualified to study nature, the most 
 unerring guide. Though his man- 
 ner appears different from that of 
 his master, yet it was to Rembrandt 
 alone that he owed that excellence 
 in colouring by which he triumphed 
 over the artists of his country. His 
 general manner of painting portraits 
 was by the aid of a concave mirror, 
 and sometimes by looking at the 
 object through a frame with many 
 exact squares of fine silk ; but the 
 latter custom is disused, as the eye 
 of a good artist seems a more compe- 
 tent rule, though the use of the 
 former is still practised by painters 
 in miniature. It is almost incredible 
 what vast sums have been given, and 
 are given at this day, for the pic- 
 tures of Douw, even in his own 
 country, as also in every part of 
 Europe ; for he was exceedingly cu- j 
 rious in finishing them, and patiently 
 assiduous beyond example. Sand- ' 
 raart relates, that having once, in ' 
 company with Bamboccia, visited 
 Gerhard Douw, they could not for- 
 bear admiring the prodigious neatness ' 
 of a picture which he was then paint- ; 
 ing, in which they took particular j 
 notice of a broom ; and expressing ! 
 their surprise at the excessive neat- ' 
 
 ness of the finishing of that minute 
 object, Douw told them he should 
 spend three days more in working ou 
 that broom before he should account 
 it entirely complete. In a family 
 picture of Mr. Spieling (Douw's 
 principal patron), the same author 
 asserts, that Mrs. Spiering sat five 
 days for the finishing of one of her 
 hands that leaned on an arm-chair. 
 Douw was incontestibly the most 
 wonderful of all the Flemish mas- 
 ters. Every thing that came from 
 his pencil is precious, and his colour- 
 ing hath exactly the true and lovely 
 tints of nature ; and his pictures are 
 remarkable not only for retaining 
 their original lustre, but for having 
 the same beautiful effect at a proper 
 distance, as they have when brought 
 to the nearest view. The most ca- 
 pital picture of this master in Hol- 
 land was not very long since in the 
 possession of the widow Van Hock, 
 at Amsterdam ; it was of a larger 
 size than usual, being three feet high, 
 by two feet six inches broad, within 
 the frame. In it two rooms are 
 represented ; in the first (where there 
 appears a curious piece of tapestry, 
 as a separation of the apartments) 
 there is a figure of a woman giving 
 suck to a child ; at her side is a cra- 
 dle, and a table covered with tapestry, 
 on which is placed a gilt lamp, and 
 some pieces of still life. In the se- 
 cond apartment is a surgeon's shop 
 with a countryman undergoing an 
 operation, and a woman standing by 
 with several utensils. The folding- 
 doors show on one side a study, and 
 a man making a pen by candle-light; 
 on the other side, a school, with boys 
 writing, and sitting at different tables; 
 every part, and every particular ob- 
 ject, being expressed with so much 
 beauty, truth, and force, as is scarce 
 to be comprehended. It was his 
 peculiar talent to show in a small 
 compass what other painters could
 
 146 
 
 express in a much larger extent. 
 Houbraken, Sandraart, Pilk. 
 
 DOYEN (Le), a French engraver, 
 who resided at Paris about the year 
 1666. He was principally employed 
 by the booksellers, and executed 
 some plates in a poor formal style, 
 among which are some prints of or- 
 naments, and the plates for a book, 
 entitled, " Figures des differents Ha- 
 bits des Chanones reguliers en ce 
 siecle," published at Paris in 1666. 
 
 DREYET (Peter), a French en- 
 graver, born in 1664, and died iu 
 1 739, aged 75. This artist engraved 
 principally from the works of Pous- 
 sin, and other celebrated masters of 
 the French school. His works are 
 held in high esteem. His son Peter 
 was also eminent in the same line. 
 Now. Diet. Hist. 
 
 DRILLINGBURG ( William Van), 
 a Dutch landscape painter, born in 
 1626. He was a disciple of Abra- 
 ham Bloemart. After quitting him, 
 Le assumed a manner of painting very 
 different from that of his master; 
 for he studied to imitate the style of 
 John Both in the choice of his sub- 
 jects and situations. But, notwith- 
 standing all his industry, he could 
 never arrive at that beauty of colour- 
 ing which distinguishes the land- 
 scapes of Both. Houbrakcn was the 
 
 disciple of this master Sandraart, 
 
 Pilk. 
 
 DROESHOUT(Martin),a French 
 engraver, who flourished in the 
 reign of Charles I. He executed 
 the plates for Hay-wood's Hierarchy 
 of Angels, and engraved a print of 
 Dido stabbing Herself, for Staplcton's 
 Virgil, octavo. Droeshout also exe- 
 cuted the following heads : Shak- 
 speare ; John Fox, the martyrologist ; 
 Richard Elton ; John Hewson, Bishop 
 of Durham ; and a head of Lord 
 Mountjoy Blount. 
 
 DROGSLOOT, a Dutch land- 
 scape painter, but of whose birth or 
 
 death no particulars are mentioned- 
 He painted views of towns, villages, 
 or cities, which are represented with 
 much truth and exactness. His sub- 
 jects are from the lowest life, such 
 as fairs, markets, &c., with parades 
 for military exercises. His land- 
 scapes are pleasant in the colouring, 
 the skies clear, the distances well 
 observed, and the perspective of the 
 buildings true ; but his figures want 
 elegance ; yet there is a great deal 
 of nature in their actions, attitudes, 
 and occupations. Pilk. 
 
 DROST ( ), a Dutch painter. 
 
 This artist was a disciple of Rem- 
 brandt, and painted in the manner of 
 that great artist. He afterwards 
 visited Rome, where he resided 
 several years, and lived in strict in- 
 timacy with Carlo Lotti, and other 
 eminent painters ; by whose instruc- 
 tions, and an attention to the finest 
 productions of art, he acquired a 
 taste of design far superior to that 
 of Rembrandt. The best work of 
 this master is, a St. John Preaching; 
 which consists of a great number of 
 figures, with good expression, well 
 grouped, and excellently coloured 
 Houb. Pilk. 
 
 DRUIVERSTEIN (Aart Janze), 
 a Dutch landscape painter, born at 
 Hnerlem in 1564, and died in 1617, 
 aged 53. According to the testimony 
 of Van Mander, he was a very fine 
 painter of landscapes, with small 
 figures, and different kinds of ani- 
 mals Van Mander, Ifoubraken. 
 
 DUBOIS (Simon), a Flemish 
 painter, born at Antwerp, and died 
 in 1708. He visited England when 
 young, and painted portraits of a 
 small size in oil-colour, which are 
 commonly distinguished by the laced 
 cravats, the fashion of that time ; he 
 likewise painted small battle-pieces, 
 in the taste of the Roman school. 
 Dnbois had such a great demand for 
 lu's works, that he grew rich, and
 
 147 
 
 married the daughter of Vandervelde. 
 Houb., Pilk. 
 
 DUBO1S (Edward), a Flemish 
 historical and landscape painter, 
 born at Antwerp iu 16'22, and died 
 in 1699, aged 77. He travelled to 
 Italy at an early age, and studied the 
 antiques. Charles Emanuel, Duke 
 of Savoy, appointed him his painter, 
 and he executed several fine paint- 
 ings for that prince. He afterwards 
 visited England, where he was much 
 employed by the nobility and gentry. 
 DUG (John le), a Dutch painter, 
 born at the Hague in 1636. He was 
 the disciple of Paul Potter, (whose 
 excellence in painting cattle is well 
 known), and equalled him in painting 
 animals. He was appointed director 
 of the Academy of Painting at the 
 Hague, in the year 1661 ; but the 
 time of his death is uncertain 
 Ibid. 
 
 DUCART (Isaac), an eminent 
 Dutch flower painter, born at Am- 
 sterdam in 1630, and died in 1697, 
 aged 67. He generally painted on 
 satin, giving his objects great lustre 
 and Ix-auty Pilk. 
 
 DUCHANGE(Gaspard),aFrench 
 engraver, born in 1660, and died in 
 1757, aged 97. He executed many 
 tine pieces from the Italian and 
 French masters, particularly from 
 Ariosto's Orlando Furioso. His 
 works are held in high estimation 
 by collectors D'Aryenville^ouv. 
 Diet. Hist. 
 
 DUJARDON (Charles), a Dutch 
 painter and engraver, born at Am- 
 sterdam in 1640, and died at Venice 
 in 1674, aged 37. He painted market- 
 scenes, mountebanks, and robbers. 
 Dujardon also engraved in aqua- 
 fortis Houb. 
 
 DULLAERT (Heyman), a Dutch 
 painter and poet, born at Rotterdam 
 in 1636, and died in 1684, aged 48. 
 He was the son of a picture mer- 
 chant, who observing his talent for 
 
 painting, placed him as a disciple 
 under Rembrandt, whose manner of 
 colouring and style of design he ever 
 after happily imitated. Houbraken 
 and Weyerman have described some 
 of the works of Dullaert in the 
 highest terms of commendation, for 
 their beautiful colouring, and the 
 free bold manner in which they are 
 handled. A very capital picture of 
 this master is,aHermit on his Knees, 
 which is executed with so much 
 spirit that it might have been ac- 
 counted the work of Rembrandt 
 himself, if the name of Dallaert had 
 not been marked upon it. Another 
 of his pictures, representing Mars in 
 Armour, is highly spoken of. He 
 wrote some poetical pieces, and had 
 a taste for music. Houb., Pilk. 
 
 DUXSTALL (John), an English 
 engraver, who died about 1677. This 
 artist was likewise a drawing-master, 
 and kept an academy for that pur- 
 pose in the Strand. The following 
 | are his best portraits: William 
 Gouge ; Samuel Clarke, martyrolo- 
 gist ; and King William and Queen 
 Mary. 
 
 DUPUIS (Charles), a French 
 engraver, who died in 1743. This 
 artist was sent for to England by 
 Dorigny, to assist him in finishing 
 the Cartoons. He likewise exe- 
 cuted some plates of the history of 
 Charles I. ; but differing with Do- 
 rigny, and the climate not agreeing 
 with him, he returned to Paris, 
 where he died suddenly. 
 
 DURER (Albert), a celebrated 
 German painter and engraver, born 
 at Nuremburg in 1741, and died in 
 1528, aged 57. He was a disciple 
 of Michael Wolgemnth, with whom 
 he continued three years. He en- 
 graved more than he painted, so that 
 his pictures are wonderfully scarce 
 and highly valued. The people of 
 Nuremburg still show with pride, in 
 the senators' hall, his portraits of
 
 148 
 
 Charlemagne, and some other em- 
 perors. But he has gained the 
 greatest name by his engravings. 
 He was the first who engraved on 
 wood. The Emperor Maximilian 
 conferred on him a pension and 
 patents of nobility. Durer wrote 
 a book on the rules of painting, and 
 some other works. Pilk. 
 
 DUSART (Cornelius), a Dutch 
 painter, born at Haerlem in 1665, 
 and died in 1704, aged 39. He was 
 a disciple of Adrian Ostade, and ex- 
 celled in painting conversations, 
 dancings, and the inside of taverns. 
 The imagination of Dusart was re- 
 markably strong, and his memory 
 amazing; for whenever he saw a 
 striking original figure, which he 
 thought capable of being introduced 
 into any future design, he could, at 
 any distance of time, recal the idea 
 of it, and retain every trace of it so 
 distinct, as to describe it with the 
 same attitude, humour, and natural 
 turn, as if the object had been then 
 present before his eyes Pilk. 
 
 DUVAL (Philip), a French his- 
 torical painter, who died in London 
 about 1709. He was a disciple of 
 Le Brun, and afterwards travelled 
 
 to Venice, where he studied the 
 works of Titian, Tintoretto, &c. It 
 is not known when he came to 
 England, but he practised in London 
 for several years, and met with con- 
 siderable encouragement. His best 
 picture is, Venus receiving Armour 
 for her Son. 
 
 DUVAL (Nicholas), a Dutch 
 painter, born at the Hague in 1 644, 
 and died in 1732, aged 88. He 
 studied in Italy under Pietro da 
 Cortona, whose manner he adopted. 
 On his return he was employed by 
 William III. at Loo, and probably 
 accompanied that prince to England. 
 He was appointed director of the* 
 academy at the Hague, and painted 
 the ceiling of the saloon Pilk. 
 
 DUVENE (Marc Van), an emi- 
 nent historical painter, born at 
 Bruges in 1674, and died in 1729, 
 aged 55. He went to Italy when 
 very young, and was a disciple of 
 Carlo Maratti, with whom he con- 
 tinued four years. On his return 
 to his own country he was employed 
 in several grand works for the 
 churches and convents. Several of 
 his works are to be seen at Bruges. 
 Pilk. 
 
 E 
 
 T^DELINCK (Gerard), an emi- 
 *-** nent engraver, born at Ant- 
 werp in 1641, and died in 1707, 
 aged 66. He resided in France, 
 where he executed some fine pieces, 
 as the picture of the Holy Family, 
 from Raffaelle ; and the Tent of Da- 
 rius, from Le Bnm. Mortri. 
 
 EDEMA (Gerard), a Dutch land- 
 scape painter, born at Amsterdam in 
 1652, and died in 1700, aged 48. 
 He was a disciple of Evcrdingen, 
 and having made considerable profi- 
 ciency under that master, applied 
 
 himself to the study of nature. He 
 visited Switzerland, and chose for his 
 scenes tracts of rude uncultivated 
 countries, interspersed with rocky 
 hills, cliffs, cascades, and torrents, 
 which he always expressed well. 
 Edema went to Norway and New- 
 foundland to delineate the plants and 
 insects of thosecountries. Granger, 
 Pilk. 
 
 EDWARDS (William), an Eng- 
 lish architect and bridge-builder, 
 born in 1718, and died in 1789, 
 aged 71. He was originally only
 
 149 
 
 a common mason ; but by the force 
 of genius, and some instructions in 
 architecture, he acquired an uncom- 
 mon skill in building bridges, the 
 principal of which is that on the 
 river Taafe. It is the segment of a 
 circle, the chord of which at the sur- 
 face of the water is 147 feet. He 
 also exercised the calling of a metho- 
 dist preacher. Europ. Mag. 
 
 EECKHOUT (Gerbrant Vander), 
 a Dutch historical and portrait pain- 
 ter, born at Amsterdam in 1621, 
 and died in 1674, aged 53. He was 
 a disciple of Rembrandt, whose man- 
 ner he imitated so wonderfully, that 
 it is difficult to distinguish between 
 several of his paintings and those of 
 his master. He painted after nature, 
 and with such a force as nature only 
 can equal ; his touch and colouring 
 are the same as Rembrandt's, but he 
 rather excelled him in the extremi- 
 ties of his figures. His principal 
 employment was in portraits, and in 
 those he was admirable ; but he sur- 
 passed all his cotemporaries in the 
 power he had of painting the mind in 
 the countenance. His masterpiece 
 in that style was the portrait of his 
 own father, which had so much force, 
 resemblance, and life, as to astonish 
 even Rembrandt himself when he 
 saw it. Though he painted portraits 
 to so great a degree of perfection, yet 
 he took great pleasure in painting 
 historical subjects, which he executed 
 with equal success. In that style 
 his composition is rich, and full of 
 judgment, and the distribution of his 
 masses of light and shadow is truly 
 excellent. By the best judges, he is 
 allowed to be by far the best disciple 
 of that master ; little inferior to him 
 in most particulars, and in some re- 
 spects he is accounted to surpass him. 
 His best historical pictures are, Christ 
 among the Doctors, in the collection 
 of the Elector Palatine ; and Simon 
 with Christ in his Ann*, which is 
 
 esteemed a most excellent perform- 
 ance Houb., Pilk. 
 
 EECKHOUT (Anthony Vander), 
 a painter of fruit and flowers, born 
 at Brussels in 1656, and died in 
 1695, aged 39. He travelled to 
 Italy with his brother-in-law, Lewis 
 Deyster, a very eminent artist, with 
 whom he painted in conjunction 
 during the whole time of his con- 
 tinuance abroad. Their works were 
 highly esteemed ; Deyster painted 
 the figures, and Eeckhout the fruit 
 and flowers. Upon his return to 
 Brussels, he received many marks 
 of respect and distinction ; yet he 
 forsook friends, honours, and a cer- 
 tainty of enriching himself, and em- 
 ! barked for Italy, where he wished to 
 i spend the remainder of his days. 
 I But chance conducted him to Lisbon, 
 where his works sold for an exceed- 
 ing high price, as he painted all his 
 subjects in the Italian taste. He 
 had lived at Lisbon about two years, 
 I when a young lady of quality and of 
 1 considerable fortune married him ; 
 ' but his success and affluence unhap- 
 ! pily excited the envy and jealousy 
 of abandoned ruffians, who shot him, 
 as he was taking the air in his coach, 
 i nor could the assassins be ever dis- 
 i covered. Pilk. 
 
 EGMONT (Justus Van), a Dutch 
 painter, born at Leyden in 1602, 
 and died in 1674, aged 72. He 
 visited France at an early age, and 
 was appointed painter to the king of 
 France, and one of the directors of the 
 Academy of Paris. D ' Argenville. 
 EHRET (George Dionysius), a 
 botanical painter, born in Germany 
 in 17 10, and died in 1770, aged 60. 
 At an early age he applied himself 
 to drawing and painting flowers. In 
 1736, he was employed by Mr. 
 Clifford, in Holland, for whom he 
 illustrated with beautiful figures the 
 Hortus Cliffortianus. From thence 
 he came to England, where he met 
 o 2
 
 150 
 
 with liberal encouragement. He 
 painted a number of figures in the 
 English botanical gardens, of which 
 one hundred were engraved under 
 the title of Plantse Selecta. He was 
 chosen a member of the Royal 
 Society. Pulteney's Sketches of 
 Botany. 
 
 ELBRUCHT (John Van), a 
 Dutch painter, born about 1500. ! 
 He settled at Antwerp, and painted j 
 landscapes and sea pieces with great 
 force and beauty. Houb. 
 
 ELDER (William), a Scotch en- 
 graver, who died about 1698. He 
 engraved a print of himself in a fur 
 cap, and another in a wig ; but his 
 best work was a plate of Ben Jon- 
 son. His other works are, heads of 
 Pythagoras ; Dr. Mayern ; John Ray; 
 Dr. Morton; Archbishop Bancroft ; 
 George Parker; Charles Snell, 
 writing-master ; Admiral Russel ; 
 and Judge Pollexfcn. 
 
 ELIAS, or MATHIAS (Mat- 
 thew), an eminent painter, born at 
 Cassel in 1658, and died in 1741, 
 aged 83. He was originally em- 
 ployed in tending cattle; but his 
 genius being discovered by Corbein, 
 a painter, lie took him under his 
 care. Elias soon gained the esteem 
 of his master, by evincing superior 
 talents to his fellow-students. He 
 settled at Dunkirk, where he paint- 
 ed a fine altar-piece. His portraits 
 are held in high estimation. Pilk. 
 
 ELLIGER, or ELGER, the Old 
 (Ottoman), a German painter, born 
 at Gottenburg in 1633. He was a 
 disciple of Daniel Segars, and imita- 
 ted the style of that master with 
 great success. His great merit pro- 
 cured him an invitation from the 
 court of Berlin, where his perfor- 
 mances received a universal appro- 
 bation. His best works are carefully 
 preserved in the German collections, 
 among which they are accounted 
 considerable ornaments. Ibid. 
 
 ELLIGER, or ELGER, the 
 
 Young (Ottoman), a German paint- 
 er, and son of the preceding, bora 
 at Hamburgh in 1666, and died in 
 1732, aged 66. He received the 
 first rudiments in art from his fa- 
 ther, and was placed as pupil with 
 Michael Van Musscher ; but after- 
 wards entered the school of Lairesse. 
 His style is good, and he enriched 
 his back grounds with elegant archi- 
 tecture ; in which may be observed 
 the noble remains of the ancient 
 Greeks, Egyptians, and Romans ; 
 for, if the scene of the subject was 
 laid in any of those countries, he 
 always contrived to introduce some 
 monument relative to the times in 
 which the transaction of the subject 
 might historically be supposed to 
 happen. He painted two very fine 
 designs for the elector of Mentz, 
 the Death of Alexander, and the 
 Nuptials of Peleus and Thetis 
 Pilk. 
 
 ELLIOT (William), an English 
 engraver, born at Hampton Court in 
 1727, and died in 1766, aged 39. 
 He engraved several landscapes, 
 which were admired for the taste 
 and freedom of his point. His best 
 prints are from the landscapes of the 
 brothers Smith, of Chichester. This 
 ingenious artist died in the prime of 
 life Strutt. 
 
 ELMER (Stephen), an English 
 painter of dead game and still life, 
 who died about 1795. This artist 
 produced several good pictures, and 
 was considered as the superior artist 
 in this branch of art in his time. 
 He resided chiefly at Farnham, in 
 Surrey. Edwards. 
 
 ELSHEIMER, or ELZHEI- 
 MER (Adam), an er-inent German 
 painter, born at Frankfort in 1574, 
 and died in 1620, aged 46. He was 
 a disciple of Philip Uficnbach ; but 
 proving a much better painter than 
 his master, he determined to com-
 
 151 
 
 plete his studies at Rome. Upon 
 his arrival at Rome, he commenced 
 an intimacy with several eminent 
 painters; and after examining the 
 works of the best ancient and 
 modern artists, he fixed upon a style 
 peculiar to himself, of designing 
 landscapes with historical figures in 
 small, and finishing them in so neat 
 and exquisite a manner as to be 
 without a competitor; and indeed 
 far superior to any painter of his 
 time. It is impossible to conceive 
 any thing more exquisite in painting 
 than the productions of the pencil 
 of Elsheimer; for whether we con- 
 ceive the fine taste of his design ; 
 the neatness and correctness of the 
 drawing of his figures; the admira- 
 ble management and distribution of 
 his lights and shadows ; the light- 
 ness, the spirit, and the delicacy of 
 his touch ; or the excellency of his 
 colouring we are astonished to ob- 
 serve such combined perfections in 
 one artist ; in whose works, even 
 the minutest parts will endure the 
 most critical inspection ; and the 
 whole together is inexpressibly beau- 
 tiful. While he was alive, his pic- 
 tures bore an excessive high price, 
 and was amazingly enhanced after 
 his death. Iloubraken mentions 
 one of them, respecting Pomona, 
 which was sold for eight hundred 
 German florins. Sandraart mentions 
 a great number of his capital per- 
 formances, among which are, Tobit 
 and the A ngel ; Latona and her 
 Sons, with the Peasants turned into 
 Frogs ; the Death of Procris ; and his 
 most capital picture of the Flight into 
 Egypt, which needs no description, as 
 there is a print of it extant, engraved 
 by Gaud, the friend and benefactor 
 of Elsheimer. Houbraken, Sand- 
 raart, Pilk. 
 
 ELSTRACKE (Reginald), an 
 English engraver, who flourished in 
 the reigns of Queen Elizabeth, and 
 
 James I. His first print, according 
 to the date, is the portrait of Sir 
 Philip Sidney, executed probably 
 soon after his death ; Queen Eliza- 
 beth ; the Black Prince in an oval, 
 as are most of the following : 
 Richard Whittington, lord mayor, 
 and his Cat ; Gervase Babington, 
 bishop of Worcester; Sir Julius 
 Caesar, knight, master of the rolls ; 
 Henry V., titles in Latin ; Sir 
 Thomas Moore ; Thomas Sutton, 
 Founder of the Charter-house, done 
 after his death, 1611, which shows 
 Elstracke was then living ; Edmund 
 lord Sheffield, President of the 
 North ; Thomas Howard, earl of 
 Suffolk, Lord Treasurer of England; 
 Robert earl of Essex ; Anne Boleyn ; 
 John Harrington, baron of Exton ; 
 William Perkins, Lord Darnley, and 
 Queen Mary, whole lengths on one 
 plate ; Pedesha Shassalem, the 
 great mogul ; Philip III. ; Chris- 
 tian IV.; Sigismond Battori; the 
 archduke Albert and Isabella, two 
 plates ; William Knollis, viscount 
 Wallingford ; Cardinal Wolsey ; 
 Henry, Prince of Wales; Antonio 
 de Dominis ; Ladislaus, king of 
 Poland, in Flower's Troubles of 
 Sweden ; John Odcn Barnevelt, 
 lord of Barkley ; title-page to Basi- 
 liologia, another to Milles's Cata- 
 logue of Honour. 
 
 EMMETT (William). All that is 
 known of this artist is, that he was 
 sculptor to the crown in the reign of 
 Charles II. 
 
 ENGHELBRECHT (Cornelius) , 
 a Dutch painter, born at Leyden in 
 1468, and died in 1533, aged 65. 
 He formed his style of painting by 
 imitating John Van Eyck, being tho 
 first of the Dutch school who paint- 
 ed in oil. His design was good, and 
 his figures were disposed with judg- 
 ment ; his draperies were rich, well 
 cast, and less hard and dry in the 
 folds than appeared in any of the
 
 152 
 
 EVE 
 
 works of his contemporaries. His 
 most capital performance, according 
 to Sanilraart and Van Mander, is the 
 representation of the Lamb in the 
 Revelation of St. John, which he 
 painted for a chapel in the church 
 of St. Peter, at Leyden. It consists 
 of a great number of figures, which 
 are well disposed ; the countenances 
 are noble and full of expression, and 
 the pencilling is very delicate; the 
 whole together being an admirable 
 performance. Sandraart, Pilk. 
 
 ENGHELRAMS (Cornelius), a 
 painter in water colours, born at 
 Mechlin in 1527, and died in 1.583, 
 aged 56. His paintings are chiefly 
 religious subjects ; of which the best 
 are, the Works of Mercy (in which 
 he introduced a multitude of figures), 
 in the Church of St. Rambout, at 
 Mechlin ; the Conversion of St. 
 Paul in the Church of St. Catherine, 
 at Hamburgh. Pilk. 
 
 ENGLISH ( ), an English 
 engraver, who died in 1718. This 
 artist was a gentleman of an easy 
 fortune, who resided at Mortlake. 
 He etched a print of Christ and the 
 Disciples at Emmaus, after Titian, 
 which was much admired. 
 
 ENTIOPE, of Candia, an archi- 
 tect of the 5th century, who was 
 one of the chief founders of the city 
 of Venice. When the Goths invaded 
 Italy in 405, Entiopc fled into the 
 marshes on the borders of the Adri- 
 atic, where he built a house ; and 
 his example was followed by other 
 f ugi ti vcs . Moreri. 
 
 ERMELS (John Francis), a 
 German painter and engraver, born 
 near Cologne in 1664. He resided 
 at Nurcinburg, and painted for the 
 church of St. Sebald, in that city, a 
 picture of the Resurrection. He was 
 more successful, however, as a 
 painter of landscapes, in which he 
 imitated the style of John Both. 
 We have by him a few etchings of 
 
 landscapes, executed with spirit and 
 taste. Strutt. 
 
 ESSEX (James), an English 
 architect, born in 1728, and died in 
 1784, aged 56. He distinguished 
 himself by the repairs and improve- 
 ments of King's Chapel, Cambridge, 
 and Ely and Lincoln cathedrals. He 
 wrote some papers in the Arcbzeologia, 
 and the Bibliotheca Topographica Bri- 
 tannica Gen. Siog. JDict. 
 
 ETLIISTGER (George), a Ger- 
 man engraver in wood, who resided 
 at Bamberg. There is by him a 
 wooden cut representing a Bishop 
 Blaize, inclosed in a border orna- 
 mented with symbols of the Gospel. 
 It is executed with great spirit. 
 Strutt. 
 
 EVELYN (George). ThisEnglish 
 gentleman claims a place among the 
 amateur artists of his country, as the 
 engraver of five small plates of his 
 Journey from Rome to Naples, which, 
 according to Walpole, were etched 
 about the year 1690. In the Gene- 
 ral Dictionary he is stated to have 
 etched some other plates, among 
 which are a view of his own seat at 
 Wooten, and another of Putney. 
 Mr. Strutt attributes to Mr. Evelyn 
 an etching of the portrait of William 
 Dobson, the painter, an oval plate, 
 inscribed, Vere effigies Gulielmo 
 Dobson, Armiger, et Pictor Rcgice 
 Majestatis Angliee, in aqua forti, 
 per I. E. He observes that the 
 letters I. E. are frequently cut off, 
 on which account the plate has been 
 by some supposed to be by Dobson 
 himself. Mr. Evelyn was the au- 
 thor of one of the earliest English 
 publications on the subject of engrav- 
 ing, entitled Sculptura. Ibid. 
 
 EVERDINGEN (Czesar Van), a 
 Dutch painter, born at Alkmaer in 
 1606, and died in 167.1, aged 73. 
 He was a disciple of John Van Bronk- 
 horst, who soon observed a talent in 
 Evcrdingcn superior to any that was
 
 EYC 
 
 153 
 
 under bis direction. He designed 
 with great readiness, possessed a 
 lively imagination, and excelled 
 equally in history and portrait. His 
 colouring had abundance of force, 
 and his pencil was free and firm. 
 Among his best pictures is the Vic- 
 tory of David over Goliath ; it was 
 painted on the folding-doors of the 
 great church of Alkmaer Houb. 
 Pilk. 
 
 EVERDINGEN (Albert Van), a 
 Dutch landscape-painter, born at 
 Alkmaer in 1621, and died in 1675, 
 aged 54. He was the nephew of 
 Cscsar Everdingen, and received his 
 first instructions in art from Roland 
 Savery ; and afterwards became a 
 disciple of Peter Molyn. His par- 
 ticular excellence was in landscape, 
 which his studies after nature, or his 
 invention readily furnished, and his 
 pencil as happily executed. But he 
 was most pleased in describing ro- 
 mantic nature, which he had obser- 
 ved in a voyage he made up the 
 Baltic, and on the coast of Norway. 
 He finished an abundance of draw- 
 ings which show a good invention, 
 and a great freedom of hand ; and 
 it is much lamented that he has so 
 often engaged in painting large pic- 
 tures, because those in a small size 
 are much superior in the pencilling 
 and finishing. Ibid. 
 
 EYCK (Hubert Van), a celebrated 
 Flemish painter, born at Maaseyk, 
 ou the borders of the Metise,in 1366, 
 and died in 1426, aged 60. He was 
 esteemed the founder of the Flemish 
 school, being an artist of singular 
 skill and genius. Eyck originally 
 painted in distemper, and after the 
 
 use of oil was discovered by his bro- 
 ther John, he was celebrated for some 
 curious paintings in that way. His 
 most esteemed painting is, the Four 
 and Twenty Elders adoring the 
 Lamb, as described by St. John in 
 the Revelations ; the design contains 
 three hundred and thirty figures, 
 with such a diversity of countenance 
 as excites wonder even to this day. 
 -D'Argenville, Pilk. 
 
 EYCK (John Van), a celebrated 
 Flemish painter, born in 1370, and 
 died in 1441, aged 71. He was a 
 disciple of his brother Hubert, but 
 proved greatly superior to him in 
 that art. But what will ever im- 
 mortalise his name is his having 
 invented the use of oil in painting, 
 which, after many an ineffectual 
 process, he discovered in 1410. He 
 was conversant in chemistry ; and 
 being extremely anxious to find 
 | some varnish or chemical preparation 
 that might preserve his colours in 
 i their purity, after repeated experi- 
 ments he discovered that colours 
 prepared with linseed or walnut oil 
 | would retain their beauty and lustre, 
 j without the aid of varnish. He 
 i finished his pictures with exquisite 
 neatness, which has greatly contri- 
 buted to the beauty of his works, 
 ! as well as to their value. In the col- 
 lection of the Duke of Orleans, (now 
 in the Napoleon Museum, at Paris) 
 there is a picture by this master of 
 the Wise Men's Offering ; and it is 
 said that a capital painting of John 
 Van Eyck, of the Lord Clifford and 
 his Family, is at Chiswick, in the col- 
 lection of the late Earl of Burlington. 
 Descamps, Sandraart, Pilk.
 
 154 
 
 T7ABER (John, the Elder). This 
 -^ artist was a native of Holland, 
 but came to England about 1695. 
 
 the best artist of his time in per- 
 spective, and was also accounted a 
 good painter of portraits. This 
 
 lie drew portraits on vellum with a ] promising young artist was cut off 
 pen, but was more employed here in in the flower of his age in a melan- 
 
 scraping mezzotinto. We have a num- 
 ber of portraits by him, which, though 
 not to be admired for the excellence 
 of their execution, are interesting to 
 the English collector. Strut t. 
 
 FABER (John, the Younger). 
 This eminent engraver was the son 
 of the preceding artist, born in Hol- 
 land, but was brought to England 
 when he was only three years of age. 
 He greatly surpassed his father as a 
 uiezzotinto engraver, and was es- 
 teemed the ablest artist of his time 
 in that branch, after John Smith. 
 He engraved a great number of por- 
 traits, many of which are very fine. 
 
 Ibid. 
 
 FABRI ANO (Gentile da), an Ita- 
 lian painter, born at Verona in 1332, 
 and died in 1412, aged 80. He 
 was a disciple of Giovanni Fiesolc, 
 and at ;m early age visited Rome, and 
 was much employed in the Vatican. 
 Fabriauo visited several cities of 
 Italy, and adorned a great number 
 of churches and palaces at Florence, 
 Urbino, Siena, Perugia, and Rome. 
 He afterwards travelled to Venice, 
 and by order of the Doge and Senate 
 painted a picture in the great coun- 
 cil-chamber, which was considered 
 such an extraordinary performance 
 
 that he was ennobled by the state of 
 Venice. His best picture is in the 
 church of Santa Maria Maggiore, at 
 Rome, which was highly commended 
 by Michel Angelo. Giacomo Bellini 
 was his disciple. Pilk. 
 
 FABRIC1US (Charles), a Dutch 
 painter, bom in 1624, and died in 
 1654, aged 30. He was esteemed 
 
 choly manner; for his house being 
 near the powder magazine, it sud- 
 denly blew up, and the painter and 
 his disciple, Matthias Spoors, were 
 killed on the spot. Pilk. 
 
 FACHETTI (Pietro), an Italian 
 painter, born at Mantua, in 1535, 
 and died in 1613, aged 78. He vi- 
 sited Rome when young, and studied 
 the works of those great masters 
 fhose paintings have embellished 
 and beautified that city. Fuchetti 
 principally confined himself to paint- 
 ing of portraits, and arrived at such 
 eminence in that branch, that he has 
 been by some compared with Scipio 
 Gaetano. He painted the portraits 
 of the principal nobility of Rome, 
 and particularly ladies of distinction ; 
 which have been much commended 
 for the lively resemblance of the 
 persons, the elegance of the design, 
 and the lovely taste with which they 
 were executed* Ibid. 
 
 FAC1NI (Pietro), an Italian 
 painter, born at Bologna, in 1560, 
 and died in 1602, aged 42. This 
 artist began to learn the art of 
 painting after he was grown up to 
 manhood, by the advice of Annibale 
 Caracci, who, on seeing a whimsical 
 design in charcoal, conceived an idea 
 
 of his being an acquisition to his 
 school. Facini had two character- 
 istics of excellence : a vivacity in the 
 attitudes and heads of his figures, 
 that resembled the style of Tinto- 
 retto ; a truth of carnation, which 
 made Annibale himself declare that 
 his colours seemed to be mixed with 
 human flesh. His principal works
 
 FAI 
 
 155 
 
 are, the Marriage of St. Catherine, 
 attended by the Four Tutelary Saints 
 of the city, which he painted as an 
 altar-piece for the church of St. 
 Francesco, in Bologna ; his Children 
 Carolling or at Play, in the gallery 
 Malvczzi,at Bologna. Pilk. 
 
 FAG I (Raymond de la), an inge- 
 nious designer and engraver, born at 
 Toulouse in 1648. Without the 
 help of a master he produced some 
 pen drawings, little more than out- 
 lines, which are the objects of the 
 admiration of the most intelligent. 
 His figures are elegant and graceful, 
 and their action bold and spirited. 
 He possessed a fertile invention, and 
 a commanding facility of execution. 
 During his residence at Rome, where 
 he passed some years, he lived in ha- 
 bits of intimacy with Carlo Maratti. 
 On his first visit to that artist, he is 
 said to have found him at his easel ; 
 when Maratti, with Italian courtesy, 
 offered him his pencils and pallet, 
 which he declined, observing that he 
 was not a painter. " I am happy," 
 said Maratti, " that you are not ; for 
 if you could paint as well as you 
 draw, I should have abandoned the 
 art." He etched himself some of his 
 designs ; and several others have 
 been engraved by Audran, &c. 
 Strutt. 
 
 FAISTENBERGER( Anthony), 
 a Tyrolesc painter, born at In- 
 spruck in 1678, and died in 1722, 
 aged 44. He formed his style 
 from the works of Gaspar Poussin 
 and John Glauber, and for his far- 
 ther improvement studied nature 
 accurately. The emperor invited 
 him to Vienna, where he resided for 
 several years, and was much em- 
 ployed by that prince, and the no- 
 bility of his court. His landscapes 
 are pleasing, particularly by the ele- 
 gance of his buildings, which are de- 
 signed after the Roman taste. He 
 was not expert in designing figures ; 
 
 and Hans Graaf, and Old Bredael, 
 painted the figures in the landscapes 
 which he painted for the emperor. 
 Pilk. 
 
 FAITHORXE (William), an 
 English painter and engraver, born 
 in 1616, and died in 1691, aged 75. 
 He was a soldier in the royal army 
 during the civil Wai's, and was taken 
 prisoner by Oliver Cromwell. On 
 obtaining his liberty he went to 
 France, where he studied under 
 Champagne. At his return he prac- 
 tised miniature and engraving, but 
 chiefly the latter. He published a 
 book on drawing and engraving. 
 His son William was a good engra- 
 ver in mezzotinto. StrutCs Diet, 
 of Engravers. 
 
 FALC1NI (Domenico), an Ita- 
 lian engraver, by whom we have 
 some wooden cuts, after RafFaelle, 
 and other masters. They are execu- 
 ted on three separate blocks ; one for 
 the outline, another for the demi- 
 tint, and the third for the dark 
 shadow. Strutt. 
 
 FALCK (Jeremiah), a designer 
 and engraver, born at Dantzic in 
 1 629. He was instructed in engrav- 
 ing at Paris, under Chaveau, and 
 became a very reputable artist. On 
 leaving France he passed some time 
 in Holland, where he executed seve- 
 ral plates for the celebrated cabinet 
 of Reynst. From Holland he visited 
 j Sweden, where he passed some time. 
 : He engraved with equal success por- 
 ' traits and historical subjects, both of 
 which have great merit. Ibid. 
 
 FALDONI (Giovanni Antonio), 
 an Italian painter and engraver, born 
 at Ascola, in the Marcadi Trevisano, 
 about the year 1690. He first stu- 
 died landscape painting under An- 
 tonio Luciano ; but afterwards ap- 
 plied himself to engraving, and 
 imitated the style of Giles Sadeler. 
 The manner of Mellan was after- 
 wards adopted by him, in which he
 
 156 
 
 FEE 
 
 was very successful ; and several of 
 his prints are deservedly admired. 
 He engraved a set of portraits of the 
 Doges of Venice, and the Procurators 
 of St. Mark Strutt. 
 
 FALDA (John Baptist), an Ita- 
 lian engraver, of the 18th century, 
 whose etchings are held in high es- 
 teem. He executed views of palaces, 
 and several views in Rome, which 
 are valuable and curious. Nouv. 
 Diet. Hist. 
 
 FALS (Raymond), an ingenious 
 engraver of medals, born at Stock- 
 holm in 1658, and died at Berlin, in 
 1 703. He went to Paris, and ex- 
 ecuted some fine specimens of his 
 art, for which Louis XIV. granted 
 him a pension Ibid. 
 
 FARINATO (Paolo), an Italian 
 painter and architect, born at Vero- 
 na in 1522, and died in 1606, aged 
 84. His design was excellent, his 
 imagination was fruitful, and he had 
 a fine invention. There is a picture 
 by him in the church at Verona, not 
 inferior to one of Paul Veronese, 
 placed next it ; the subject is, the 
 Miraculous Feedingof the Five Thou- 
 sand ; in which there are a multitude 
 of figures, correctly designed, judi- 
 ciously disposed, and the attitudes are 
 easy, natural, and becoming. Pilk. 
 
 FARINATO (Orazio), an Italian 
 painter, son and disciple of Paolo, 
 whose design and manner he imi- 
 tated. His best paintings are in the 
 church of St. Stephen, at Verona, 
 and are highly esteemed Ibid. 
 
 FARIXGTON (George), an 
 English painter, born in 1754, and 
 died in 1788, aged 34. He was a 
 pupil of B. West, P. R. A. After 
 obtaining the gold medal for the 
 best historical picture of the Royal 
 Academy, he went to the East Indies, 
 where he unfortunately died, whilst 
 occupied by a large work, represent- 
 ing the Deewan of the Nawab, at 
 Moorshedabad. He was the brother 
 
 of Joseph Farington, one of the pre- 
 sent members of the Royal Acade- 
 my. Edwards. 
 
 'FERG, or FERGUE (Francis 
 
 Paul), a German painter, born in 
 1689, and died in 1740, aged 51. 
 He travelled to different cities of 
 Germany, in company with Alex- 
 ander Thiele, in whose landscapes 
 he inserted the figures and animals. 
 He visited England, where he mar- 
 ried, and according to report died 
 mi serabl e . Pilk . 
 
 FERGUSON (William), a Scotch 
 painter, who died about 1690. He 
 learned the rudiments of the art in 
 his own country, and afterwards tra- 
 velled to Italy and France. The 
 subjects which he generally painted 
 were dead fowls, particularly pi- 
 geons and partridges ; and sometimes 
 hares and rabbits, besides other sub- 
 jects of still life. His objects are 
 grouped with singular ease and skill, 
 and by his knowledge of the chiaro- 
 scuro, he distributed his lights in a 
 powerful, and frequently in a sur- 
 prising manner Ibid, 
 
 FERRACINO (Bartholomew), an 
 Italian architect and mechanic, born 
 at Padua in 1695, and died in 1764, 
 aged 69. His first invention was a 
 saw worked by the wind. He made 
 some curious clocks, and hydraulic 
 engines ; but his greatest work is the 
 bridge over the Brenta, which is 
 remarkable for the boldness of the 
 design, and its firmness. He was 
 originally a sawyer. Nouv. Diet. 
 Hist. 
 
 FERRAJUOLI (Munzio), an 
 Italian painter of landscapes, born 
 about 1661. He was the disciple of 
 Luca Giordano, but formed a style 
 of his own. His pictures were much 
 admired for the sweetness of their 
 colouring, for a pleasing mixture of 
 tenderness and force, for the beauty 
 of the skies, and the transparency 
 of the waters.
 
 157 
 
 FERRAND (James Philip), a 
 French painter in enamel, born at 
 Joigni, in Burgundy, 1653, and died 
 at Paris in 1732, aged 79. He wrote 
 a treatise on his art. Nouv. Diet. 
 Hist. 
 
 FERRARI (Gaudenzio), an his- 
 torical painter, born in 1484, and 
 died in 1550. He was a disciple of 
 Scotto and Luini ; but he afterwards 
 followed the manner of Leonardo da 
 Vinci. He visited Rome when 
 young, and was employed by Raffaelle 
 in the Vatican. His best works 
 are, the Passion of Christ, in the 
 Grazie of Milano ; and the Fall of 
 Paul, atVercelli. Fas., Descamps, 
 Pilk. 
 
 FERRARI, or DE FERRARA, 
 (Giovanni Andrea), an historical, 
 landscape, and portrait painter, born 
 at Genoa in 1599, and died in 1669, 
 aged 70. He was a disciple of Ber- 
 nard Strozzi. Ferrari was equally 
 expert in painting history, landscape, 
 fruit, animals, and flowers; and 
 these subjects he finished in a small 
 size, but with great beauty and ex- 
 actness. Benedetto Castiglione was 
 his disciple Pilk. 
 
 FERRI (Ciro), an historical 
 painter, born at Rome in 1 634, and 
 died in 1689, aged 55. He was a 
 disciple of Pietro da Cortona, seve- 
 ral of whose works he finished at 
 Florence and Rome. Their pictures 
 resemble each other so closely, that 
 they cannot be ascribed to either 
 without hesitation. Ferri is sup- 
 posed to have less grace in his design, 
 less compass of mind, and less 
 breadth of drapery. His principal 
 work is, a St. Ambrosio, in the 
 church of that Saint at Rome ; and 
 his best works in fresco, are in the 
 Palazzo Pitti at Florence, and at St. 
 Maria Maggiore of Bergamo. Fas., 
 Pilk. 
 
 FESSARD (Stephen), a French 
 engraver, born at Paris in 1714. 
 
 He was a pupil of Ed me Jeaurut, 
 and proved an artist of sufficient 
 merit to be appointed one of the 
 engravers to the King. He produced 
 a considerable number of plates, 
 neatly etched, and finished with the 
 graver. Strutt. 
 
 FETI, or FETTI (Dominico), 
 an Italian painter, born at Rome in 
 1589, and died in 1624, aged 35. 
 He went at an early age to Mantua 
 with Cardinal Gonzaga, and at his 
 accession to the dukedom was ap- 
 pointed painter to the court. Most 
 of Feti's performances are easel 
 
 1 pieces, as he worked very little for 
 churches or convents. He expressed 
 
 j the passions of the soul in a manner 
 
 , that was remarkably strong ; and he 
 had a mellowness in his colouring 
 which is extremely pleasing to a ju- 
 dicious eye. D'ArgenviBe, Pilk. 
 
 FEVRE (Roland le), an Italian 
 painter, born in 1608, and died in 
 1677, aged 69. He was accounted 
 a better designer than painter, and 
 was remarkable for his curious me- 
 thod of staining marble. Pilk. 
 
 FEVRE (Valentine le), a Flem- 
 ish engraver, born at Brussels, who 
 flourished about the year 1680. 
 During a long residence at Venice, 
 
 ; he engraved a number of plates after 
 the works of Titian and Paolo 
 
 j Veronese. They are etched in a 
 slight, feeble manner; but evince the 
 hand of the master, and from the 
 correctness of the design give a 
 faithful idea of the style of these 
 
 eminent painters Strutt. 
 
 FIASELLA, called SARZANA, 
 (Dominico), an Italian painter, born 
 near Genoa in 1589, and died in 
 1669, aged 80. His chief excellence 
 consisted in painting portraits, which 
 he executed with a remarkable just- 
 ness of character, and resemblance 
 
 of life Pilk. 
 
 FICQUET (Stephen), a French 
 engraver, born at Paris in 1731.
 
 158 
 
 He acquired great reputation by a 
 set of small portraits he engraved of 
 distinguished literary characters of 
 France. They are executed with 
 extraordinary neatness and delicacy, 
 and are very correctly drawn. One 
 of his best plates is a portrait of 
 Madame de Maintenon, after Mig- 
 nard, now become very scarce. 
 Strutt. 
 
 FIGINO (Ambrogio), an Italian 
 painter, born at Milan, and died in 
 1590. He was a disciple of Giovanni 
 Paolo Lomazzo; but, although he 
 learned historical composition from 
 this master, yet he devoted his whole 
 study and attention to painting of 
 portraits, in which he principally 
 excelled. Lord Pembroke has a fine 
 picture of the Descent from the 
 Cross, by this master Pilk. 
 
 FILLIAN (John), an English 
 engraver, who died at an early age, 
 about 1680. He was a scholar of 
 the elder Fairthorne, whose head he 
 copied; he likewise executed the 
 heads of Thomas Cromwell, Earl o) 
 Essex, and of Paracelsus. 
 
 FILTCROFT (Henry), an En- 
 glish architect, who died about 1754. 
 
 a diamond worth 100, for his poem 
 on the Death of Lord Ossory. 
 
 FLAXMAN (John, R.'A.), a 
 distinguished English sculptor, born 
 at York in 1754, and died in 182 6, 
 aged 7'2. Mr. Flaxman's father was 
 a moulder of figures, who failing to 
 find employment with the artists of 
 London, sought work in the coun- 
 try, accompanied by his wife, whoso 
 maiden name was Lee. In the 
 course of one of these professional 
 pilgrimages his son John was born. 
 Upon the elder Flaxman's return to 
 London, he kept a small shop in 
 New Street, Covent Garden, and 
 afterwards in the Strand, for the sale 
 of plaster figures. 
 
 " From childhood," (says one of 
 his biographers), " Flaxman was of 
 a delicate constitution, of a serene 
 temper and enthusiastic mind. His 
 weaknesses prevented him from 
 associating with boys of his own age, 
 and he had to seek amusement 
 through many a solitary hour for 
 himself. His grave but cheerful 
 deportment, his thirst for know- 
 ledge and his love of drawing, began 
 to attract the notice of the customers ; 
 
 He built the church of St. Giles in j and as the customers of a figure- 
 the Fields, the steeple of which too dealer arc generally people of some 
 
 much resembled that of St. Martin. 
 He likewise built that of St. Olave, 
 Sonthwark, reckoned the best of the 
 new erections; but the tower was 
 not finished from the deficiency of 
 the allotted fund. 
 
 FLATMAN (Thomas), an Eng- 
 lish painter and poet, who died about 
 1688. He generally painted in 
 miniature, in which he arrived at 
 considerable eminence. Mr. Took, 
 master of the Charter-house, had a 
 head of his father by Flatman, which 
 was so well painted that Vcrtue 
 took it for Cooper's ; and Lord Ox- 
 ford had another, of a Young Knight 
 of the Bath, in a rich habit. Flat- 
 man received a mourning-ring, with 
 
 information and taste, they could 
 not avoid perceiving that this was no 
 common child ; they took pleasure 
 in looking at his drawings, in hear- 
 ing him describe such books as ho 
 read, and in the rapture of his looks 
 when, in their turn, they began to 
 talk of poets, sculptors, and heroes. 
 It was discovered too, that, child as 
 he was, he had not confined himself 
 to the copying of figures around 
 him, but had dipt into Homer, and 
 attempted to think and design for 
 himself." 
 
 Flaxman's earliest notions of art 
 were derived from the collection of 
 casts from classical sculpture in the 
 warehouse of his father, from many
 
 159 
 
 of which he made small models in 
 clay; and being admitted, in 1770, 
 a student of the Royal Academy, he 
 there continued to prosecute his 
 studies with the greatest diligence. 
 We have never heard that he was 
 ever placed under any master ; hut 
 it is rather a curious circumstance 
 that, in early life, he was in the 
 liahit of frequently passing his even- 
 ings in drawing and designing in the 
 company of that excellent painter 
 Mr. Stothard, Mr. Blake the en- 
 graver (lately deceased, so remark- 
 able for the eccentricity of his 
 opinions and designs), Mr. George 
 Cumberland, and Mr. Sharp. The 
 works of the two first-mentioned 
 artists, together with Mr. Flaxman's 
 own, partake, although in different 
 degrees, of the same character, 
 which appears to be founded on the 
 style of the very eminent English 
 sculptor, Banks, whose basso-re- 
 lievos of Thetis and Achilles, 
 and Caractacus before Claudius, 
 will furnish, to those who examine 
 them, sufficient proofs of the vali- 
 dity of this supposition. 
 
 It may be necessary to notice, 
 that Flaxman, while a student at 
 the Royal Academy, was an unsuc- 
 cessful candidate for the gold medal, 
 which that year was adjudged to 
 Mr. Engleheart. So powerfully was 
 he affected by this disappointment, 
 that he shed tears when the decision 
 of the council was announced by 
 sir Joshua Reynolds. Fortunately, 
 however, the occurrence had the 
 effect of stimulating, instead of 
 abating, his exertions. About this 
 period Flaxman lived in Wardour 
 Street, Soho. His principal occupa- 
 tion was modelling in clay and wax. 
 Among the earliest of his produc- 
 tions of this kind, were two exqui- 
 sitely beautiful small profiles in 
 wax ; the one from the head of the 
 Antinous of the Capitol, the other 
 
 an Ariadne. He likewise painted 
 in oil. One of the subjects of his 
 pencil was Hercules rescuing Al- 
 ceste. 
 
 In 1787, Flaxman visited Italy, 
 where he pursued his studies for 
 seven years. When at Rome, he 
 resided in the Via Felice, and his 
 productions were the objects of 
 general admiration. The late Earl 
 of Bristol engaged him to execute in 
 marble his magnificent group, repre- 
 senting the Fury of Athamas, from 
 Ovid's Metamorphoses, consisting of 
 four figures of heroic size. For 
 this he received only 600/., a sum 
 which proved far from sufficient to 
 cover the actual cost; and Flaxman, 
 in all but reputation, was a consi- 
 derable loser by the commission. 
 The group is at Ickworth, the seat 
 of the Marquis of Bristol, in Suffolk. 
 Soon after Flaxman made for Mr. 
 Hare Naylor, for the trifling sum of 
 one guinea each, about eighty de- 
 signs from the Iliad and Odyssey. 
 These designs were so highly ad- 
 mired that Flaxman, who had al- 
 ready executed a beautiful group in 
 marble of Cupid and Psyche, for 
 Mr. Thomas Hope, was engaged by 
 that gentleman to illustrate in a 
 similar manner the works of Dante. 
 He also made a series of designs for 
 the Countess of Spencer, from JEs- 
 chylus. The whole of these designs 
 those from Homer, those from 
 Dante, and those from JEschyhw, 
 were engraved for Flaxman, at 
 Rome, by Thomas Piroli, who after- 
 wards published copies of the plates. 
 While he was in Italy, Flaxman 
 was elected a member of the Acade- 
 mies of Florence and Carrara. 
 
 In 1794, Flaxman returned to 
 England, and took up his abode in 
 Buckingham Place, near the New 
 Road, Marylabonne. His first work 
 after his return, and for which he 
 received the commission before he
 
 160 
 
 left Rome, was the monument to 
 Lord Mansfield, in Westminster 
 Abbey. It represents the noble 
 and venerable earl in his judicial 
 robes, seated in a curule chair, 
 placed on a lofty pedestal, with 
 figures of Justice and Mercy, and 
 behind a recumbent figure emble- 
 matic of death. This is certainly 
 the grandest public monument of 
 which England can boast. One of 
 the causes of its excellence is to be 
 found in the fact of Flaxman's having 
 been left entirely to himself in its 
 production. 
 
 From this period, through a long 
 course of studious years, Flaxman 
 was almost uninterruptedly occupied j 
 with his professional pursuits. Of i 
 their simplicity and beauty the pen 
 is incapable of conveying an ade- 
 quate impression. If we were 
 called upon to select any one work 
 as pre-eminent, we should be in- 
 clined to name the exquisite monu- 
 ment to the Baring family, at 
 Micheldever, in Hampshire. The 
 noble group of Michael and Satan, 
 executed in marble for the Earl of 
 Egremont, and which was the last 
 of the creations of Flaxman's genius, 
 exhibits in the highest degree the 
 grandeur, elegance, and vigour which 
 were among the characteristics of 
 his style. 
 
 As a writer, Flaxman was above 
 mediocrity. In 1799, he published 
 in 4to., " A Letter to the Commit- 
 tee for raising a Naval Pillar or Mo- 
 nument, under the patronage of 
 his royal highness the Duke of 
 Gloucester." In 1809, he contri- 
 buted a sketch of Romney's (the 
 painter), professional character in 
 Hayley's life of that eminent artist. 
 To Dr. Rees's Cyclopaedia, Flax- 
 man contributed the articles, " Ar- 
 mour," " Basso-Relievo," " Beauty," 
 " Bronze," " Bust," " Composition," 
 " Cast," and " Cere*" 
 
 Drawings and a model for the 
 shield of Achilles, as described by 
 Homer, in the eighteenth book of 
 the Iliad, occupied Flaxman occa- 
 sionally for a series of years. They 
 were finished in January, 1818. It 
 is highly creditable to the taste, dis- 
 cernment, and liberality of Messrs. 
 Rundell and Bridge, the celebrated 
 goldsmiths and jewellers, that this 
 appears to have been entirely a spe- 
 culation of their own. They gave 
 the original commission to Flaxman, 
 and paid him for the drawings and 
 models the sum of 620/. Four 
 casts in silver gilt, each of the esti- 
 mated value of 2000 guineas, were 
 finished for them ; the first, for his 
 late majesty George IV., who, with 
 his characteristic liberality and love 
 for the arts, ordered a cast even 
 before the model was finished ; 
 the second, for his royal highness 
 the late Duke of York ; the third, 
 for the Earl of Lonsdale ; and the 
 fourth, for the Duke of Northum- 
 berland. The circumference of the 
 shield is nine feet; its convexity, 
 six inches from the plane. The 
 skill and application necessary to 
 complete so extensive and complica- 
 ted a composition, consisting of up- 
 wards of a hundred human figures, 
 besides animals, &c., no one per- 
 haps but an artist can adequately 
 conceive. Nothing similar to it, 
 ancient or modern, is, that we know 
 of, in existence. Flaxman availed 
 himself of the opportunity of con- 
 densing into one comprehensive 
 space all the knowledge which he 
 had acquired during a long and labo- 
 rious life, from the study of nature 
 and of the sculpture and literature 
 of the Greeks. Among the most 
 striking beauties of this arduous and 
 splendid work, are the personifica- 
 tion of the Sun by the spirited alto- 
 relievo of Apollo in his Chariot, in 
 the centre of the shield; and the
 
 161 
 
 manner in which the various sub- 
 jects of War, the Attack by the Lions 
 on the Herd of Oxen, and the Mar- 
 riage Festival are treated. Of the 
 representation of war especially, in 
 which Flaxman's anatomical know- 
 ledge is finely displayed, it may with 
 perfect truth be said, 
 
 " That each bold figure seems to live, 
 or die." 
 
 Nor in the attack upon the herd can 
 any thing be more admirable than ! 
 the energetic ferocity of the mon- | 
 sters of the forest who have fastened ] 
 on the bull, the desperate efforts of i 
 that noble animal to disengage him- 
 self, and the vain attempts of the j 
 herdsmen to urge their fierce but ! 
 alarmed dogs to farther resistance. I 
 To these scenes of contest and ; 
 death, the beauty, elegance, and : 
 sprightliness of the nuptial proces- j 
 sion, with all its classical accompani- | 
 merits, form a delightful contrast. 
 
 In 1707, Flaxman was elected an ! 
 associate of the Royal Academy, and 
 u royal academician in 1800. On 
 the lOth of February, 1810, he was ; 
 appointed professor of sculpture to 
 that institution. It is not perhaps 
 generally known that this is the 
 ' only professorship of sculpture in 
 the world. A small premium was 
 offered for six annual lectures ; and 
 as money was never his object, he 
 proceeded to fulfil the duty of his 
 office with enthusiasm and know- 
 ledge. " These lectures," says one 
 of his biographers, " are ten in num- 
 ber; and the subjects are, 1. Eng- 
 IMi Sculpture; 2. Egyptian Sculp- 
 ture ; 3. Grecian Sculpture ; 4. 
 Science ; 5. Beauty ; 6. Composi- 
 tion ; 7. Style; 8. Drapery; 9. An- 
 cient Art; 10. Modern Art." 
 
 "Mr. Flaxman's lectures," says ano- 
 ther of his biographers, "were always 
 listened to with profound attention 
 by crowded audiences, and were 
 
 highly admired. They well de- 
 served to be so ; for they were per- 
 spicuously written, judiciously ar- 
 ranged, and contained a copious 
 selection of literary and professional 
 matter, calculated to inform all that 
 heard them, and to advance the 
 student of sculpture in his art; he 
 was continually enriching them with 
 new observations." 
 
 Having lost his amiable and affec- 
 tionate wife in 1 820, his latter years 
 were rather retired. Indeed he was 
 at no period fond of general society ; 
 and used to speak of the time which 
 circumstances occasionally compelled 
 him to pass in it as having been 
 wasted. In large parties, therefore, 
 although his manners were perfectly 
 polite and gentlemanly, he was 
 somewhat silent and reserved. In 
 smaller circles he was cheerful and 
 full of humour, and often eloquent. 
 He was a man of the warmest bene- 
 volence, kind to all with whom he 
 had any intercourse, especially to 
 those whom he engaged to assist 
 him in his professional labours, and 
 affectionate in an exemplary degree 
 to the members of his family. 
 
 Mr. Flaxman contracted a severe 
 cold on Sunday, December 3rd, 
 1826, but was sufficiently well on 
 Monday to receive a few friends at 
 dinner. Medical advice was called 
 in the same evening. His constitu- 
 tion had been weakened by a gra- 
 dual decline of health, which had 
 for several years excited the appre- 
 hensions of his professional and per- 
 sonal friends. He was, therefore, 
 spared the sufferings of a severe or 
 procrastinated illness; and on the 
 morning of the 9th he expired. 
 His body was accompanied to the 
 church-yard of St. Gilcs-in-the 
 Fields, by the president and council 
 of the Royal Academy, on the 15th 
 of December.
 
 162 
 
 FLA 
 
 Subjoined is a complete list of the 
 works of art by Mr. Flaxman, 
 which have been EXHIBITED AT 
 Somerset House : 
 
 1//0 Portrait of a Gentleman ; a 
 model. 
 
 Portrait of a Gentleman ; a model 
 in wax. 
 
 A figure of Neptune ; ditto. 
 
 1771 Four Portraits ; models in wax. 
 
 1772 A figure of History. 
 
 Ditto of a Child ; in wax. 
 
 Bust of a Gentleman ; a model in 
 terra. cotta. 
 
 1773 A figure of the Grecian Co- 
 medy. 
 
 A Vestal ; in basso-relievo. 
 
 1775 A Portrait; in wax. 
 
 1777 A model in clay of Pompey, 
 after his defeat at Pharsalia. 
 
 A ditto of Agrippiano, after the 
 death of Germanicus. 
 
 Portrait of a Lady ; in wax. 
 
 1778 Hercules tearing his hair, 
 after having put off the poisoned shirt 
 given him by Dejanira; a model in 
 terra-cotta. 
 
 A Portrait ; in wax. 
 
 1779 Portrait; in terra-cotta. 
 
 1/80 Sketch of a monument to 
 Chatterton. 
 
 1781 A Portrait; in wax. 
 
 Acis and Galatea ; a basso re- 
 lievo. 
 
 The Death of Julius Caesar, a basso 
 relievo ; from Philippica Secunda Ci- 
 ceronis. 
 
 1783 Model of a monument. 
 
 1784 Monument of a Lady, who 
 died a short time before her child. 
 
 Bust of a Gentleman. 
 
 1785 An Angel comforting a 
 Mourner ; a monumental sketch. 
 
 1786 An Angel comforting a Wi- 
 dow : a monumental basso-relievo, in 
 marble. 
 
 1/87 Venus and Cupid. 
 
 1796 A monument to the late Earl 
 of Mansfield ; to be erected in West- 
 minster Abbey. 
 
 1797 A Sketch in basso-relievo, 
 from the New Testament. 
 
 Ditto. 
 
 Ditto. 
 
 Sir William Jones, writing from the 
 Hindoo Doctors or Pundits reading 
 the Sacred Law. 
 
 1798 A Bust of General Paoli. 
 
 A monumental basso-relievo. 
 
 1800 Apollo and Marpessa. 
 
 Sketch of a monument to the late 
 General Thomas Dundas. 
 
 An Afflicted Mother comforted by 
 an Angel ; a monument at Lewisham 
 church. 
 
 " Come, thon Blessed ;" a marble 
 has relief. 
 
 A sketch of a monument for an emi- 
 nent Lawyer. 
 
 1801" Thy Will be Done ;" a mo- 
 numental basso-relievo in marble. . 
 
 SirWilliam Jones compilingthe Hin- 
 doo Laws ; a basso-relievo in marble. 
 
 A monumental Statue ; in marble. 
 
 A sketch for a colossal statue of Bri- 
 tannia Triumphant ; proposed to be 
 erected upon Greenwich Hill. 
 
 1802 A model of a monument to 
 Captain Montague, who fell in the 
 cause of his country, on the 1st of 
 June, 1"94, when the English, under 
 the command of Earl Howe, obtained a 
 complete victory over the French fleet. 
 
 A bust of H. P. Hope, Esq. 
 
 Domestic Affliction ; a marble bas- 
 so relievo. 
 
 1805" But Deliver us from Evil." 
 
 Angels strewing flowers on the 
 tomb of a deceased poet ; a basso-re- 
 lievo in marble ; part of a monument 
 to the memory of the late I. H. 
 Browne, Esq. 
 
 Mercury descending with Pandora. 
 
 Charity. 
 
 A basso-relievo in marble "Blessed 
 are they that mourn, for they shall be 
 comforted." 
 
 " Lead us not into Temptation." 
 
 1807 A small model for the statue 
 of Sir Joshua Reynolds ; to be erected 
 in St. Paul's cathedral. 
 
 1808 -A marble basso-relievo. 
 
 1 809 Resignation ; a statue in 
 marble. 
 
 "Deliver us from Evil;" an alto- 
 relievo. 
 
 " Thine is the Kingdom ;" an alto- 
 relievo. 
 
 1810 "Instruct the Ignorant ;" a 
 basso-relievo. 
 
 A monument for India, to the me- 
 mory of the late Josiah Webl>e, Esq. 
 On the right of the tablet stand a 
 Brahmin and a Mahommedan ; on the 
 left two English gentlemen, his 
 friends ; one in the civil, the other in 
 the military department. The tiger 
 and lotuses at bottom are emblema- 
 tical of India. 
 
 1811 Victory leaning on a Tro- 
 phy ; a monument of Captains Walker 
 and Becket, for the town of Leeds. 
 
 Maternal Affection ; a basso-relievo. 
 
 1812 A monument to the late 
 Marquis Cornwallis, for the Prince of 
 Wales's Island, in India.
 
 FLE 
 
 163 
 
 1813 A small model for a colossal 
 statue of General Sir John Moore ; 
 to be erected at Glasgow. 
 
 A monumental basso-relievo in 
 marble " Deliver us from Evil." 
 
 A Resurrection ; in marble. 
 
 1814 A Pastoral Apollo. 
 
 Model for part of a monument for 
 Onchester cathedral. 
 
 The Good Samaritan. 
 
 ACanadian Indian; forming part of a 
 monument to the late General Simcoe. 
 
 A British Volunteer ; forming part 
 of a monument to the late General 
 Simcoe. 
 
 1815 A statue in stone of a Lady ; 
 to be erected in Italy. 
 
 1816 A Senatorial statue; in 
 marble. 
 
 A monumental basso-relievo. 
 
 1817 Maternal Love. 
 
 1818 A monument to Major-Gene - 
 ral Sir B. Close, Bart. 
 
 Charity ; a model. 
 
 1819 An alto-relievo, in marble, of 
 Faith. 
 
 Ditto, of Charity. 
 
 A monumental Figure, in marble. 
 
 1820 Religious Instruction ; a bas- 
 so-relievo, in marble, for St. John's 
 church, Manchester. 
 
 1822 Satan overcome by St. Mi- 
 chael ; a group. 
 
 A Sleeping Child ; in marble. 
 
 1823 Bust, in marble, of the late 
 John Forbes, Esq. 
 
 A basso-relievo, in marble, of our 
 Saviour raising the Daughter of 
 Jairus. Luke, ch. viii. v. 54. 
 
 1824 Psyche ; a statue in marble. 
 
 The Pastoral Apollo; a marble 
 statue. 
 
 1826 A small model of Michel 
 Angelo. 
 
 A small model of Raffaelle. 
 
 1827 Statue in ir.arble of the late 
 John Philip Kemble ; to be placed in 
 Westminster Abbey. 
 
 FLEMAEL (Bertholet), an his- 
 torical painter, born at Liege in 1614, 
 and died in 1675, aged 61. He re- 
 ceived his first instruction in the art 
 from one Trippes, an indifferent 
 painter, but afterwards improved 
 himself under Gerard Douffleit. At 
 an early age lie travelled through 
 Genoa, Milan, Florence, and several 
 other cities of Italy ; but his arrival 
 :it Rome amply recompensed him for 
 the labour of his journey. In that 
 
 city he studied to great advantage, 
 and copied the works of the best 
 masters; by which he acquired a 
 taste so elevated that it distinguished 
 him throughout Rome, and recom- 
 mended him to the court of Florence, 
 to which he was honourably invited 
 by the Grand Duke, and employed 
 in several grand works, which estab- 
 lished him in the esteem of that prince, 
 and procured him general applause. 
 After an absence of nine years, he 
 returned to his native city ; and, to 
 ! confirm the high opinion which his 
 countrymen had conceived of his 
 abilities, he painted a Crucifixion for 
 the collegiate church of St. John, in 
 which he introduced a prodigious 
 number of figures, officers, soldiers, 
 and spectators ; yet the composition 
 is not confused. This master had a 
 lively imagination, and a noble taste 
 for historical composition. He was 
 singularly skilled in antiquities, and 
 in all his designs strictly observant 
 of the costume. His pictures are 
 usually enriched with porticos and 
 colonnades, as he was an accomplished 
 architect. His choice of nature was 
 elegant, his expressions animated, 
 and his pencil delicate. His colour- 
 ing was good, and his taste of design 
 was entirely of the Roman school, as 
 well in regard to correctness, as to 
 the objects which he chose to repre- 
 sent. In the cupola of the Barefooted 
 Carmelites at Paris, he painted, in 
 fresco, Elijah ascending to Heaven 
 in a Chariot of Fire; and Elisha 
 below, with his arms extended, to 
 catch the mantle of the Prophet. At 
 Liege are several grand altar-pieces, 
 among which, one in St. Paul's church 
 describes the Conversion of that 
 Saint ; and in the cathedral there is 
 another by this master, representing 
 the Resurrection of Lazarus. Pilk. 
 FLETCHER (Henry), an Eng- 
 lish engraver, who died about 1 734. 
 ! He published a print of the story of
 
 164 
 
 FLO 
 
 Bathsbeba, from Sebastian Concba, 
 being the first essay on his own 
 account. He also engraved a print 
 of Ebenczer Pemberton, minister of 
 Boston. 
 
 FLINK (Govert), an eminent 
 Dutch historical and portrait painter, 
 born in 157'2, and died in !(>!(>, aged 
 44. He was a disciple of Lambert 
 Jacobs, under whom he made an ex- 
 traordinary proficiency. After quit- 
 ting this master, he went to Am- 
 sterdam, and entered the school of 
 Rembrandt, where he became so 
 captivated with the excellence of 
 that great artist, that he studied the 
 composition, manner of colouring, 
 and the pencilling of Rembrandt in- 
 cessantly ; and at last showed him- 
 self not only a good imitator of him, 
 but in some respects his equal, and 
 in freedom of hand rather his supe- 
 rior. He rose so high in professional 
 reputation, that he was continually 
 employed in painting the portraits of 
 princes and illustrious personages ; 
 and several of his performances in 
 that style were admired for the good- 
 ness of the design, and the beauty of 
 the colouring. He excelled in imi- 
 tating the manner of Rembrandt, 
 and many of his paintings arc sold 
 at this day for the work of that mas- 
 ter. After the death of Rembrandt, 
 he took considerable pains to alter 
 his first manner. Having procured 
 a collection of the finest casts from 
 Rome, of the best drawings and de- 
 signs of the artists of Italy, and also 
 of their best paintings, from these he 
 formed his studies. When he ima- 
 gined himself competently improved, 
 lie painted a noble design for the 
 great hall of the Senate-house at 
 Amsterdam, representing Solomon 
 praying for Wisdom; in which his 
 disposition and manner of grouping 
 the figures appear excellent, and the 
 tone of colouring is strong and lively. 
 Ho likewise painted a grand histori- 
 
 cal composition for the artillery com- 
 pany of Amsterdam, consisting of 
 portraits of the most distinguished 
 persons of that body. The figures 
 are well disposed, and every part of 
 the picture was painted by Flink, 
 except the faces, which were painted 
 after the life by Vander Heist. Hou- 
 braken says, that in the painting- room 
 of this master the light was admitted 
 from above, through a kind of dome. 
 Houb., Pilk. 
 
 FLORIS (Francis), a celebrated 
 Flemish painter and sculptor, born 
 at Antwerpin 1520,and died in 1570, 
 aged 50. He practised as a sculptor 
 till he was twenty years of age ; but 
 having a superior fondness for paint- 
 ing, he changed his profession, and 
 placed himself under the direction of 
 Lambert Lombard, whose manner 
 he followed, and imitated him so 
 exactly, that it is no easy matter to 
 distinguish the work of one artist 
 from the other. After continuing 
 some years with that artist, he tra- 
 velled to Rome, and designed after 
 the antiques ; but principally studied 
 the works of Michel Angelo, and in 
 particular his Last Judgment, which 
 lie copied in a free and bold manner. 
 At his return to Antwerp, he sur- 
 prised the artists of his time by his 
 taste of design, which was much more 
 correct ; and by his manner of com- 
 position, which was very different 
 from the manner of his countrymen ; 
 and his performances gained him the 
 honour of being called the Rafniclle 
 of Flanders. His works at that time 
 were in great esteem ; he grew rich, 
 and might have been continually 
 employed by most of the princes of 
 Europe, if his love of excessive 
 drinking had not sunk him into con- 
 tempt. He generally gave a round- 
 ness to his figures ; and though they 
 were so well handled as to bear a 
 near inspection, yet, at a distance, 
 new beauties are frequently to be
 
 16o 
 
 discovered. His readiness of band 
 was remarkable, and his pencil 
 seemed as quick as bis invention, 
 of which he gave an incontestable 
 proof at the entry of Charles V. into 
 Antwerp ; for, being engaged to paint 
 the triumphal arches for that grand 
 ceremony, and having seven figures 
 as large as life to finish in one day, 
 he executed them in seven hours. 
 In the Confraternity-hall of St. Mi- 
 chael, at Antwerp, there is a noble 
 design of Francis Floris. The sub- 
 ject is, The Fall of Lucifer, which 
 is highly celebrated for the goodness 
 of the composition and handling, for 
 the variety of attitudes in the Fallen 
 Angels, and for the strong expression 
 of the muscles in the naked figures ; : 
 and in the same church is preserved 
 an Assumption of the Virgin, no way 
 inferior to the other, either in design j 
 or colouring, and the draperies are , 
 Well cast. He had a bold and strong 
 manner, and his tone of colouring 
 was very pleasing; but his figures 
 have a certain stiffness, though they 
 also frequently have an agreeable , 
 turn Houb., Pilk. 
 
 FOLEK (Antonio), a Venetian 
 painter, born at Venice in 1.530, and 
 died in 1610, aged 80. He was a 
 contemporary and friend of Paolo 
 Veronese, whose style he followed 
 with some success in his colouring, 
 though very deficient in his design, i 
 particularly in his large works. In 
 his easel pictures the inferiority is 
 less discernible, and they possess 
 considerable merit. Among other 
 works by this master, Ridolfi notices 
 the following : In the church of the 
 abbey of St. Gregorio, three pictures 
 of the Assumption of the Virgin, the 
 Scourging of Christ, and the Cruci- 
 fixion ; in S. Barnaba, the Birth of 
 the Virgin ; and in S. Caterina, 
 Christ praying in the Garden, and 
 the Resurrection. Pilk. 
 
 FONT ANA (Domenico),an emi- 
 nent Italian architect, born at Milan 
 in 1543, and died in 1007, aged 04. 
 He raised the celebrated Roman 
 obelisk from the dust in the front of 
 St. Peter's, a work deemed imprac- 
 ticable, and which many others had 
 attempted in vain. Life by Bel- 
 Ion. 
 
 FONTANA (Prospero), an Ita- 
 lian painter, born at Bologna about 
 1512. He was a disciple of Inno- 
 cenzo da Imola, and was accounted 
 to have a fine invention, and his 
 taste of design was elegant. He was 
 preceptor to Ludovico and Annibale 
 Caracci. His daughter Lavinia was 
 also an excellent artist in portrait, 
 and was patronised by Pope Gregory 
 
 XIII. She died in 1002 Va. 
 
 sari. 
 
 FONTENAY (John Baptist Blain 
 de), a French painter, born in 1054, 
 and died in 1715, aged 01. He was 
 taught the art of painting by John 
 Baptist Monnoyer, and painted fruit, 
 flowers, and insects, extremely well. 
 His subjects in general were to paint 
 vases, ornamented on the sides with 
 figures in bas-relief. Those vases he 
 likewise decorated with festoons of 
 flowers in an elegant taste, and 
 grouped them with a great deal of 
 judgment. He was much employed 
 by Louis XIV., particularly at Gobe- 
 lins D' Aryen villc. 
 
 FORABOSCO (Girolamo), a Ve- 
 netian painter, bom in 1000, and 
 died in 1000, aged CO. He was 
 esteemed an admirable artist, as well 
 for the lively and. natural tint of his 
 colouring, as for his exquisite touch 
 and freedom of hand. His paintings 
 were so exquisitely coloured and 
 finished, that they were said to be 
 worked by magic. Several historical 
 compositions, and some of his por- 
 traits, are preserved in Venice as 
 curiosities. The last of his perform-
 
 166 
 
 unces which is mentioned, are a por- 
 trait of the Doge Contarini, painted 
 in 1655, and another of the Doge 
 Pesaro, in 1659. In the Palazzo 
 Sagredo at Venice, there is an Old 
 Man's Head, which seeins to he a 
 portrait of some person of eminence, 
 painted by Forabosco; and it is in 
 every respect admirable as to colour- 
 ing, finishing, and character; full 
 of nature, truth, and expression 
 Pilk. 
 
 FOREST (John Baptist), a 
 French painter, born at Paris in 
 1 636, and died 1712, aged 76. He 
 received the first instructions in art 
 from his father, who was an indiffer- 
 ent painter; but being desirous of 
 improving himself farther, he went 
 to Rome, and placed himself under 
 Francesco Mola. He studied dili- 
 gently, and formed his taste of land- 
 scape on the manner of his master ; 
 but although he had, in some parti- 
 culars, a considerable share of merit, 
 yet he proved very far inferior to 
 liis model. His trees were designed 
 and touched in a masterly style, and 
 most of his situations and scenes 
 were taken from nature; but his 
 colouring was by no means 'agreeable, 
 being often too black, though his 
 pencilling was free and very bold. 
 Moreri. 
 
 FORNAZER1S (Jacob de), a 
 French engraver, who flourished 
 about the year 16 1.5. He resided at 
 Lyons, and appeal's to have been 
 principally employed for the book- 
 sellers, though his plates are execu- 
 ted in a style very superior to the 
 generality of artists of that class. 
 He engraved several frontispieces, 
 which he generally embellished with 
 email historical figures, correctly 
 drawn. His plates are very neatly 
 executed with the graver, though in 
 
 a formal style Strutt. 
 
 FOSSE (Charles de la), a French 
 
 painter, bom at Paris in 1640, and 
 died in 1716, aged 76. He was a 
 disciple of Le Brun for several years, 
 when Louis XIV. sent him to finish 
 his studies at Rome and Venice. He 
 had not so much success in acquiring 
 correctness, and a true elegance of 
 taste and design in the Roman school, 
 as he had in improving his style of 
 colouring in the Venetian ; for those 
 masters which he particularly endea- 
 voured to imitate were Titian and 
 Paolo Veronese ; and by attending 
 to their works he became a good 
 colourist, and rose into esteem. He 
 was fond of large compositions, and 
 his abilities in that way procured 
 him considerable employment in the 
 royal palaces, and among the nobility 
 of France. Though he was consider- 
 ably employed at Versailles, Trianon, 
 and Marli, yet he wanted grandeur 
 in his taste, and correctness in his 
 design ; his style is rather heavy and 
 loaded ; his figures are usually too 
 short, and his draperies but indiffer- 
 ently cast. The duke of Montague 
 invited him to England, and em- 
 ployed him in ornamenting his house, 
 now the British Museum U'Ar- 
 genville. 
 
 FOSSE (John Baptist de la), a 
 French engraver, born at Paris in 
 1725. He was a pupil of Stephen 
 Tressard, and was employed by the 
 booksellers, for whom he engraved 
 several book plates, particularly for 
 an edition of Ovid's Metamorphoses, 
 and for Fontaine's Fables. There 
 are also several portraits by him after 
 the designs of Carmoniel, among 
 which are the following: The Duke 
 of Orleans, on horseback ; the same, 
 with his son, the Duke dcChartres; 
 M. Ramaeu ; the Abbe de Chauve- 
 lin, 1 757 ; and the unfortunate 
 Calas Family Strutt. 
 
 FOUQUIERES (James), a Fle- 
 mish painter, born at Antwerp in
 
 167 
 
 1580, and died in 1659, aged 79. 
 He was first a disciple of Jodocus 
 Mompert, and afterwards of John 
 Brueghel, called Velvet Brueghel ; 
 however, he formed to himself a 
 manner more true than that of his 
 masters, and more like nature, though 
 less highly finished. He was an ad- 
 mirable painter of landscapes, and by 
 some good judges his pictures are 
 thought worthy of standing in compe- 
 tition with those of Titian. Bothartists 
 painted on the same principles, and 
 both had a tone of colouring which 
 was true, regular, and very natural. 
 He was engaged, and much caressed, 
 at the court of the Elector Palatine, 
 and afterwards resided several years 
 in France, where his works met 
 with universal approbation. D'Ar- 
 genville, Pilk. 
 
 FOUCHIER (Bertram de), a 
 Dutch painter, born at Bergen-up- 
 Zoom in 1G09, and died in 1674, 
 aged 65. Having discovered an early 
 genius for painting, his father placed 
 him as a disciple under Anthony 
 Vandyck, at Antwerp. But that 
 master not having sufficient leisure 
 to attend to the careful instruction 
 of his pupils, by his incessant em- 
 ployment, Fouchier went to Utrecht, 
 and studied under John Bylart, with 
 whom he continued for two years. 
 Fouchier visited Rome, where he 
 studied the curious productions of 
 ancient and modern artists, and at- 
 tached himself to the style of Tin- 
 toretto, both in composition and co- 
 louring. Upon his return to his own 
 country, he perceived that the man- 
 ner of Tintoretto, in which he painted, 
 was not acceptable to his countrymen, 
 as it had been in every part of Italy 
 through which he had travelled ; he 
 therefore changed it entirely, and 
 assumed the style and manner of 
 Brouwer, in which he had extraor- 
 dinary success ; and liis compositions 
 
 in that way were held in very great 
 esteem Houb., Pilk. 
 
 FOURDRINIER (Peter), a 
 French engraver, who flourished 
 about the year 1730. He chiefly 
 resided in London, and engraved 
 several plates for the embellishment 
 of books, plays, and pamphlets. He 
 also executed some large plates of 
 architectural views, which are his 
 best performances, some of which 
 were for a large folio volume of the 
 Villas of the Ancients, published 
 by Robert Castel in 1728. He also 
 engraved some of the plans and ele- 
 vations of Houghton-hall. 
 
 FOURDRINIER (Peter), an 
 English engraver, who died about 
 1 769. He excelled in engraving ar- 
 chitecture, and was much employed 
 by the booksellers in executing fron- 
 tispieces, &c. 
 
 FRANCHI (Antonio), an Italian 
 painter, bom at Lucca in 1638, and 
 died in 1709, aged 71. He was 
 first a disciple of Pietro Paolini, a 
 painter of good account in that city ; 
 but when he had studied for some 
 time under him, he preferred the 
 style of Roselli and Pietro da Cor- 
 tona to that of his master, and made 
 their works the object of his most 
 studious attention ; yet, from a de- 
 sire to improve himself still farther, 
 lie went to Florence, and placed him- 
 self under the direction of Baldarsae 
 Franceschini. There he acquired a 
 fine taste of design, correctness of 
 outline, a lovely and natural tint of 
 colouring, and rendered himself a 
 distinguished painter both of portrait 
 and history. At Florence he was 
 employed to paint the pictures of the 
 Grand Duke and Duchess ; and by 
 the latter was honoured with the 
 title of being her principal painter. 
 Several of the chapels in that city 
 have their altar-pieces painted by 
 him ; and most of the nobility cm-
 
 168 
 
 ployed him, not only for their por- 
 traits, but for historical compositions. 
 Pilk. 
 
 FRANCESCA (Pietro della), an 
 Italian painter, born in 1372, and 
 died in 1458, aged 86. Most of the 
 paintings of this ancient master are 
 in Florence, Rome, and Arezro. 
 One of the most celebrated of his 
 compositions is a Night-piece, in 
 which he represents the emperor 
 Constantino asleep in his pavilion, 
 attended by his chamberlain, and a 
 few of his guards, and an angel ap- 
 pearing to him, as in a vision, show- 
 ing him that sign under which he 
 should fight and conquer. The light 
 is diffused from the angelic glory, 
 and distributed with the utmost 
 judgment ; the whole has a fine 
 effect, and every thing preserves the 
 appearance of truth and nature 
 Fa*., Pilk. 
 
 FRANCESCHINI (Marc Anto- 
 nio), an Italian painter, born at 
 Bologna in 1648, and died in 1729, 
 aged 81. He was a disciple of G. 
 Battista Galli, and from him entered 
 the school of Carlo Cignani. Fran- 
 ceschini was employed in embellish- 
 ing many churches and convents in 
 his native city, Bologna, and other 
 cities of Italy ; and particularly at 
 Modena, where he painted the grand 
 hall of the duke's palace, so much 
 to that prince's satisfaction that he 
 wished to retain him in his court ; 
 and offered him a large pension, and 
 such honours as were due to his un- 
 common merit. But Franceschini 
 preferred his freedom and ease to 
 the greatest riches and honours; and 
 with polite respect refused the offer. 
 At Genoa he painted, in the grand 
 council-chamber, a design that at 
 once manifested the fertility of his 
 invention and the grandeur of his 
 ideas; for most of the memorable 
 actions of the Republic were there 
 represented, with a multitude of 
 
 figures, nobly designed, judiciously 
 grouped and disposed, and correctly 
 drawn. He preserved the powers of 
 his mind and his pencil unaltered, 
 to a very advanced age ; and when 
 he was even seventy-eight years old, 
 he designed and coloured his pic- 
 tures with all that fire and spirit for 
 which he had been distinguished in 
 his best time Vasari, Pilk. 
 
 FRANCESCHINI, called VOL. 
 TERRANO (Baldassare), an Ita- 
 lian painter, born at Volterra in 
 1621, and died in 1689, aged 68. 
 He received the first instructions in 
 the art of painting from Matteo 
 Sorella ; but afterwards became the 
 disciple of Roselli, and successfully 
 imitated the graceful design as well 
 as the colouring and pencilling of 
 that great master. However, having 
 observed somewhat still more en- 
 gaging in the colouring of Giovanni 
 da San Giovanni, he studied under 
 him for some time, and at last com- 
 pleted his knowledge, by carefully 
 copying the works of Correggio, at 
 Parma. He was employed in a 
 great number of grand designs for 
 religious houses and chapels, and 
 had a fine invention for historical or 
 poetical subjects ; his expression was 
 strong, with an agreeable colouring. 
 Ibid. 
 
 FRANCESCHINI (Vincenzio), 
 an Italian engraver, who flourished 
 about the middle of the eighteenth 
 century. He executed some plates 
 for the Museo Fiorentino, published 
 in 1748. They are usually marked 
 with the initials of his name, V. F. 
 This artist was related to Domcnico 
 Franceschini, an indifferent Italian 
 engraver, by whom we have a slight 
 etching of the Amphitheatre of 
 Flavins. Strutt. 
 
 FRANCIABIGIO (Marco An- 
 tonio), an Italian painter, horn in 
 1483, and died in 1524, aged 41. 
 He was a disciple of Albertinelli,
 
 169 
 
 but is chiefly known as the competi- 
 tor, and in some works the partner, 
 of Andrea del Sarto. His best 
 work is the Return of M. Tullius 
 from Exile ; a work which, though 
 it remains unfinished, shows him to 
 great advantage. Vas. 
 
 FRAXCKEN, or FRANCKS, 
 called the Old (Franciscus), a 
 Flemish painter, born in 1544, and 
 died in 1616, aged 72. This mas- 
 ter painted historical subjects taken 
 from the Old and New Testament, 
 and was remarkable for introducing 
 a great number of figures into his 
 compositions, which he had the skill 
 to express very distinctly. His 
 touch was free, and the colouring of 
 his pictures generally transparent. 
 Vandyck often commended the works 
 of this master, and esteemed them 
 worthy of a place in the best collec- 
 tions. Many of them are frequently 
 seen at public sales, which render 
 him well known, though several are 
 to be met with in those places which 
 are unjustly ascribed to Francks, and 
 are really unworthy of him. Desc., 
 Vas. 
 
 FRANCKEN, or FRANCKS, 
 called the Young (Franciscus), a 
 Flemish painter, son of old Fran- 
 ciscus Franeks, born in 1580, and 
 died in 1042, aged 62. He was in- 
 structed in the art of painting by his 
 father, whose style and manner he | 
 imitated in a large and small size ; 
 but when he found himself suffi- 
 ciently skilled to be capable of im- 
 provement by travel, he went to 
 Venice, and there perfected himself 
 in the knowledge of colouring, by 
 studying and copying the works of 
 those artists who were most eminent. 
 On his return to Flanders, his 
 works were greatly admired and 
 coveted, being superior to those of 
 his father in many respects; his 
 colouring was more clear, his pencil 
 more delicate, his designs had more 
 
 elegance, and his expression was 
 much better. The subjects of both 
 painters were usually taken from 
 the Old and New Testament ; and 
 it is to be regretted they did not 
 observe more order and propriety in 
 the disposition of their subjects. 
 The most capital performance of this 
 master, is a scriptural subject in the 
 church of Notre Dame, at Antwerp ; 
 and an excellent picture in the small 
 size, is Solomon's Idolatry, in which 
 the king is represented as kneeling 
 before an altar, on which is placed 
 the statue of Jupiter. There is a 
 noble expression in the figure of 
 Solomon, and the drapery of the 
 figure is broad and flowing ; the 
 altar is exceedingly enriched with 
 fine bas-relief, in the Italian style, 
 and is exquisitely finished ; the pen- 
 cilling is neat, the colouring clear 
 and transparent, and the whole pic- 
 ture appears to have been painted on 
 leaf-gold Desc., Pilk. 
 
 FRANCK (John Ulrich), a Ger- 
 man designer and engraver, born at 
 Raufbeuren, in Suabia, in 1603. 
 He resided chiefly at Augsburg, 
 where he etched several plates after 
 his own designs Strutt. 
 
 FRANCK (John), a German 
 engraver, born in 1632. He was the 
 son of the preceding artist, and en- 
 graved several portraits for the book- 
 sellers, of which are some of those 
 in the Priorata Hist. Leop., in 
 conjunction with Susanna Sandrart 
 and J. Meyer. He also engraved a 
 set of the gardens and fountains in 
 the vicinity of Rome Ibid. 
 
 FRANCKS (Sebastian), a Fle- 
 mish painter, born at Antwerp about 
 1572. He was a disciple of Adam 
 Van Oort, and showed a strong ge- 
 nius for painting. His general style 
 was landscapes, with small figures 
 and cattle ; and, according to Van 
 Mander, he seems to have been the 
 author of a peculiar style of painting
 
 170 
 
 in that way. He frequently painted 
 historical subjects on copper; and 
 the subjects of one of those, which 
 was executed with extraordinary 
 neatness, was the Prophet Elisha 
 insulted by the Children ; the out- 
 line of his figures in that composition 
 is correct, the attitudes are agreeable, 
 and the draperies loose. He had a 
 peculiar genius to paint battles, and 
 succeeded well in all subjects where 
 horses could be introduced ; but his 
 chief merit was seen in landscapes. 
 Two fine pictures of this master's 
 hand are in the cabinet of the Elec- 
 tor Palatine ; the one represents the 
 "Works of Mercy, and the other is a 
 Conversation PiUt, 
 
 FRANCES (John Baptist), a 
 Flemish painter, born at Antwerp 
 in 1600. He was the son and dis- ' 
 ciple of Sebastian Francks, and at 
 first painted in the manner of his 
 father; but having afterwards studied j 
 the works of Vandyck and Rubens, 
 he made them his models, and by 
 that means corrected his style and 
 improved his colouring considerably. 
 For some time he painted history, 
 but after finishing several composi- 
 tions of that kind, he painted easel- 
 pieces, representing galleries and 
 grand apartments, furnished with 
 statues, busts, paintings, and other 
 elegancies, with persons differently 
 employed, cither in conversation, at 
 play, or with concerts of music. His 
 best performance is described by 
 Houbrakcn, as being truly excellent 
 in its kind. It represents a grand 
 apartment, or cabinet of a curious 
 person, decorated with busts, and 
 other ornamental furniture elegantly 
 disposed ; and arranged along the 
 wall, are pictures hung up, which 
 arc BO admirably finished, that the 
 different taste of those masters, 
 whose works are supposed to be 
 there, may at first sight be distin- 
 guished by the peculiar design, com- 
 
 position, and colouring. There are 
 only two figures in that apartment, 
 Vandyck and Rubens, who seem to 
 be engaged in playing at tables ; and 
 it is exceedingly commended for 
 the striking likeness of those artists, 
 as also for the delicacy of the touch. 
 Houb., Pilk. 
 
 FRANCO (Battista), a Venetian 
 painter, born in 1498, and died in 
 1561, aged 63. He learned the art 
 of painting and designing, under the 
 direction of some Venetian artists, 
 till he was twenty years of age. 
 Having a strong desire to study the 
 works of the most celebrated mas- 
 ters, he travelled to Rome ; and 
 after having examined them atten- 
 tively, adopted the style and tusto 
 of Michel Angelo Buonarotti ; and was 
 allowed to be the best designer who 
 frequented the chapel that had been 
 enriched with the compositions of 
 that great master. However, though 
 he imitated him in his manner of 
 designing and outline, and in a strong 
 expression of the muscular parts of 
 the human body ; yet, in his colour- 
 ing he was so dry, so black, and so 
 hard, that his pictures seemed to 
 have no other merit to recommend 
 them, than the taste of drawing and 
 design, which, in particular parts, 
 appeared very masterly. Fas., 
 Pilk. 
 
 FRANCO (Giacomo), an Italian 
 designer and engraver, born at Ve- 
 nice about the year 1560. His style 
 of engraving resembles that of Agos- 
 tino Caeacci ; it is free and masterly ; 
 his design is correct, and there is a 
 fine expression in his heads Strutt. 
 
 FRANCOIS, called the Old, 
 (Lucas), an historical and portniit 
 painter, born at Mechlin in l. r >74, 
 and died in 1643, aged G9. He was 
 employed six years by the king of 
 France and Spain ; in which king- 
 doms many excellent paintings are 
 still preserved, and much esteemed.
 
 171 
 
 He was equally eminent for history 
 aud portrait D^Atgenville. 
 
 FRANCOIS, called the Young, 
 (Lucas), an historical and portrait- 
 painter, bom at Mechlin in 1606, 
 and died in 16,54, aged 48. He was 
 the son and disciple of Francois the 
 Old, who instructed him early in 
 the art of painting, and took all pos- 
 sible care to cultivate the promising 
 talents of his son. As goon he had 
 acquired a competent share of know- 
 ledge, he placed himself as a disci- 
 ple with Gerard Segers, who was at 
 at that time in high reputation. He 
 generally painted in a small size, 
 and finished his works with singular 
 neatness. He painted the portraits 
 of many nohle personages of the 
 highest ranks; and he had the satis- 
 faction of gaining their approbation, 
 and, what is still more, the friendship 
 and esteem of his employers. He 
 composed well, and his designs in 
 general showed felicity of concep- 
 tion, united with a tone of colouring 
 
 that was clear and natural D'Ar- 
 
 yenville, Pilk. 
 
 FRANCOIS (Simon), a French 
 painter, born at Tours in 1606, and 
 died in 1671, aged 65. At an early 
 age he travelled to Italy, where he 
 resided several years. At Bologna 
 he became acquainted with Guido, 
 whose portrait he painted. Upon his 
 return to France, he had the good 
 fortune to be the first who drew the 
 portrait of the Dauphin, soon after 
 that prince was born. In that he 
 succeeded so happily, and so much 
 to the satisfaction of the court, that 
 he flattered himself it would prove 
 a means of establishing his fortune 
 and reputation ; but finding himself 
 undeservedly disappointed, he re- 
 tired from the world, to enjoy a life 
 of privacy and quiet. Lf Argenville. 
 
 FRANCOIS (John James), a 
 French engrtvcr, boni at Nancy in 
 1717. He is said to have been the 
 
 first that engraved at Paris in the 
 style representing drawings made in 
 crayons, for which he received a 
 pension of 600 livres from the King. 
 He also executed some small plates 
 of portraits with the graver. The 
 plates for the history of the Modern 
 Philosophers, by Soverion, were en- 
 graved by this artist. Strutt. 
 
 FRATELLINI (Giovanna), an 
 Italian paintress, born at Florence, 
 in 1666, and died in 1731, aged 65. 
 Giovanna possessed invention for 
 historic paintintr, but her chief ex- 
 cellence consisted in portrait. She 
 executed equally well in oil, crayons, 
 miniature, and in enamel. Cosmo 
 III. and most of the princes and 
 princesses of Italy sat to her. Her 
 own portrait in the ducal gallery, 
 painted by herself, is an instance of 
 her talent and maternal affection. 
 It represents her in the act of paint- 
 ing Lorenzo, her only son and pupil, 
 who was carried off by death in the 
 bloom of life. It is painted in 
 crayons, and equals the best produc- 
 tions of Rosalba Vast. 
 
 FREEMAN (John), an English 
 historical painter, in the reign of 
 Charles II. De Piles, (to whom we 
 are indebted for this article,) makes 
 no mention of his birth or death. 
 He went at an early age to the 
 West Indies, and upon his return 
 was much employed by the principal 
 nobility. In the latter part of his 
 life, he was scene-painter to the 
 play-house, in Covent-Garden De 
 Piles. 
 
 FREMINET (Martin), a French 
 painter, born at Paris in 1567, and 
 died in 1619, aged 52. At an early 
 age he visited Italy, and spent fifteen 
 or sixteen years at Rome, Venice, 
 and other cities of note, principally 
 studying the works of Michel Angelo 
 Buonarotti ; audit is imagined that he 
 endeavoured to imitate the taste of 
 Pannegiano, in the contours of his
 
 17-2 
 
 FRI 
 
 figures, and tbe airs of his heads. 
 The merit of this painter consisted 
 in his invention and design, and in 
 his knowledge of anatomy and archi- 
 tecture. He was chief painter to 
 Henry IV. ; and Louis XIII. con- 
 ferred on him the order of St. 
 Michael D'ArgenviUe. 
 
 FRERES (Theodore Dirk), a 
 Dutch painter, horn at Enkhuysen 
 in 1G43, and died in 1693, aged 50. 
 He went to Rome at an early .age, 
 and studied the works of the most 
 eminent masters in that city ; and 
 his compositions show how strongly 
 he had imbibed the taste of the 
 Roman school. His principal merit 
 consisted in his drawing and design ; 
 and had his colouring been equal to 
 his design, he would have been sur- 
 passed by very few. Sir Peter Lely 
 encouraged Freres to visit London, 
 from an expectation that he might 
 have been employed at Windsor ; 
 but Freres, soon after his arrival, 
 finding the preference was given to 
 Verrio, returned again to Holland. 
 In one of the palaces of the prince 
 of Orange, there are several noble 
 pictures of this master ; and in Am- 
 sterdam, a grand hall is entirely 
 furnished with his works ; which 
 Houbraken says, were much admi- 
 red, for a free and fine taste of com- 
 position, and an elegance of design. 
 Houb. 
 
 FRESNO Y (Charles Alphonse 
 Du), a French painter, born at Paris 
 in Kill, and died in 1665, aged 54. 
 After studying under Pcrricr and 
 Vouet, he went to Rome, where he 
 copied the works of the best masters. 
 It is remarked that, in his style of 
 colouring he endeavoured to copy 
 Titian ; and in his taste of design, 
 the style of the Caracci. He was 
 more celebrated as a poet than a 
 painter ; yet no artist could have a 
 more extensive knowledge of the 
 excellences, refinements, or delica- 
 
 cies of the art, than he was univer- 
 sally believed to possess ; nor could 
 any one have better abilities to di- 
 rect others how to excel. He wrote 
 a celebrated Latin poem on the art 
 of painting, which was printed after 
 his death, with a French translation 
 by De Piles. There are two English 
 translations of it, one by Dryden, 
 and the other by Mason. D'Argen- 
 ville, De Piles. 
 
 FREY (James), a Swiss engraver, 
 born at Lucerne about 1681. After 
 learning the principles of design, he 
 went to Rome when he was twenty- 
 two years of age, where he received 
 some instructions from Arnold Van 
 Westerhout, and had afterwards the 
 advantage of studying in the school 
 of Carlo Maratti at the same time 
 with Robert Van Cludcnarde. His 
 progress was rapid, and he was soon 
 regarded as one of the ablest artists 
 at Rome. His drawing is correct 
 and tasteful, and he was a perfect 
 master of harmony and effect. He 
 etched his plates with spirit, and 
 worked over the etching in a firm 
 and masterly style. Few artists have 
 approached nearer to the style of the 
 painters from which they engraved 
 than Frey Strutt. 
 
 FRISIUS (Simon), an eminent 
 Dutch engraver, born at Leuwarde, 
 in Friesland, about the year 1590, 
 and is regarded as one of the first 
 that brought etching to perfection. 
 Abraham Bosse, in his treatise on 
 the art of engraving, &c., observes, 
 that the first artist to whom he was 
 indebted for intelligence, was Simon 
 Frisius, who he thinks entitled to 
 great credit, as being one of the first 
 that handled the point with free- 
 doinand facility. His etchings are 
 bold and masterly ; and in his etch- 
 ings he approaches the neatness 
 and strength of the graver. The 
 prints of Frisius are scarce, and 
 arc much sought after. The small
 
 173 
 
 figures which he occasionally intro- ] 
 duccs into his landscapes, are cor- | 
 rectly drown. Strutt. 
 
 FUESSLI (John Caspar), a Swiss 
 painter, born at Zurich in 1706, 
 and died in 1781, aged 75. He 
 studied for some time at Vienna, 
 under John Kupetsky, and became 
 an eminent painter, particularly of 
 portraits. After residing some years 
 at Kastodt, in the quality of painter 
 to the court, he returned to his na- 
 tive city, and practised his art with 
 reputation. He painted a series of 
 magisterial portraits, which have been 
 engraved in mezzotinto by Valentine 
 Daniel, Preisler, and others. To 
 this estimable artist we are indebted 
 for the lives of the Swiss painters, 
 in three volumes, with portraits and 
 vignettes, designed and engraved by 
 himself. Pilk. 
 
 FLESSLI, or FUSELI, as he 
 himself chose to be called (Henry, 
 K. A.), a distinguished Swiss painter, 
 born at Zurich in 1743, and died in 
 18'J5, aged 8*2. Although young 
 Fuseli evinced from infancy strong 
 indications of the peculiar talent by 
 which lie afterwards so eminently 
 distinguished himself, his father, who 
 hud probably experienced the incon- 
 veniences and evils which too fre- 
 quently beset the profession of an 
 urtist, determined to bring him up 
 to the church, and did every thing 
 that he could to thwart the natural 
 bent of his inclination. This op- 
 position met with the fate which 
 usually attends similar attempts. The 
 zest of prohibition being added to 
 the gratification which young Henry 
 felt in the exercise of his pencil, he 
 devoted to it every moment that he 
 could contrive to withdraw from his 
 other occupations; and frequently 
 purloined candle-ends from the 
 kitchen to enable him to sit up at 
 night, and pursue in solitude and 
 sccrcsy his darling studies. Even 
 
 at that period Michel Angelo was 
 his favourite. His father had an 
 extensive collection of prints, espe- 
 cially after that great master; and 
 with their peculiar merits and style, 
 young Fuseli, by repeated copies, 
 rendered himself familiar. Among 
 the productions of his juvenile in- 
 vention, were a set of outlines, sug- 
 gested by the perusal of an eccentric 
 German novel, called "The Hour- 
 glass;" and representing a number 
 of fantastic imps engaged in all kinds 
 of mischievous tricks. He occasion- 
 ally sold some of his little drawings 
 to his school-fellows. In order that 
 he might be duly qualified for the 
 sacred office to which he was des- 
 tined, his father placed him, at the 
 proper age, in the Academical Gym- 
 nasium, or Humanity College, of 
 which his old friends Bodmer and 
 Breitinger were the most distinguished 
 professors. Here he became a fel- 
 low student in theology with the 
 amiable and celebrated Lavater, with 
 whom he formed a friendship that 
 lasted until death ; and that was 
 transferred to Lavater's son with un- 
 abated fervour. It was here also 
 that he began to cultivate a know- 
 ledge of the English language, in 
 which he soon became so great a pro- 
 ficient as to read Shakspeare with 
 ease, and to translate Macbeth into 
 German. He subsequently trans- 
 lated Lady Mary AVortley Monta- 
 gue's letters into German. Here, 
 too, the writings of Klopstock and 
 Wicland operated as incentives to 
 his muse ; he imbibed an intense 
 love of poetry, and produced several 
 poems in his native language that 
 met with considerable applause. Af- 
 ter studying some time he quitted 
 Zurich, but not until he had taken 
 the degree of Master of Arts. Ac- 
 companied by his friend Lavater, he 
 first repaired to Vienna, and then to 
 Berlin, where they both placed them- 
 Q '2
 
 174 
 
 selves under the instructions of the 
 learned Professor Sulzer, the author 
 of a celebrated Lexicon of the Fine 
 Arts. The ready and apprehensive 
 talent which Fuseli discovered, and 
 the intimate acquaintance that he 
 had acquired of the English language, 
 induced Sulzer to select him, as a 
 person admirably qualified for the pro- 
 secution of a design which he and other 
 learned men had formed, of opening a 
 channel of communication between 
 the literature of Germany and that 
 of England. Added to this peculiar 
 fitness for the undertaking, young 
 Fuseli, who, constant to his early 
 attachment, derived from his pencil 
 all the amusement of his leisure, had 
 made several drawings, among the 
 rest, Macbeth, and Lear, and Corde- 
 lia, for Sir Robert Smith, the English 
 ambassador at the Prussian court, 
 who, pleased with his genius, and 
 flattered by the application of it, 
 treated him with marked kindness, 
 and strongly recommended him to 
 visit England. The occurrence of so 
 many favourable circumstances was 
 irresistible, and the visit to England 
 was determined on. On parting 
 with his friend Lavater, the high 
 opinion which the latter entertained 
 of him was shown by his presenting 
 him with a small piece of paper, 
 beautifully framed and glazed, on 
 which was written in German, " Do 
 but the tenth part of what you can 
 do." " Hang that up in your bed- 
 room, my dear friend," said Lavater, 
 " and I know what will be the re- 
 sult" In 1762, Fuseli arrived in 
 England. On his coming up to Lon- 
 don, his first lodging was in Cran- 
 bourne-street, then called by the less 
 dignified name of Cranbourne-alley. 
 A perfect stranger, not being per- 
 sonally known to a single individual 
 in the vast metropolis, the young 
 traveller, notwithstanding the firm- 
 ness of his character, suddenly be- 
 
 came impressed with the apparent 
 forlornness of his situation, and 
 burst into a flood of tears. He did 
 not, however, long continue in this 
 desolate condition. Having brought 
 letters of introduction from Sir Ro- 
 bert Smith to Mr. Coutts, the 
 banker, and to Mr. Johnson and 
 Mr. Cadell, the booksellers, these 
 gentlemen received him with great 
 cordiality, and by every means in 
 their power forwarded the purpose 
 of his mission. Through their in- 
 terest, he obtained the situation of 
 tutor to a nobleman's son, whom ho 
 subsequently accompanied on a visit 
 to Paris. Among the men of genius 
 and talent to whom Mr. Fuseli was 
 introduced upon his arrival in Lon- 
 don, was Sir Joshua Reynolds. On 
 showing several of his drawings to 
 Sir Joshua, that profound judge of the 
 art inquired how long he had been re- 
 turned from Italy, and expressed sur- 
 prise at hearing that he had never be- 
 fore been out of Switzerland. The 
 president would occasionally beg from 
 him some of his little sketches, and 
 was so much struck with the con- 
 ception and power displayed in these 
 efforts, that at last he could not re- 
 frain from saying, " Young man, were 
 1 the author of those drawings, and 
 were offered ten thousand a year not 
 to practise as an artist, I would re- 
 ject the proposal with contempt." 
 This unequivocal opinion, proceeding 
 from such a quarter, at a moment 
 when Fuseli was balancing with re- 
 spect to his future career, decided it. 
 He had been offered a living if he 
 would take orders ; but he now de- 
 termined to devote his whole life to 
 painting. The first picture he pro- 
 duced was "Joseph interpreting the 
 Dreams of the Baker and Butler." 
 It was purchased by Mr. Johnson, 
 and for many years hung in his 
 house, until at length, being much 
 cracked and otherwise injured by
 
 175 
 
 time, Fuseli had it home to try if copying the cbief pictures of the 
 he could restore it ; but whether or great masters, with the hope of car- 
 not the attempt was ever made is rying away their spirit as well as the 
 not exactly known. The state of : image of their works. He sought 
 the arts in England, at the period to to animate his own compositions by 
 which we are now adverting, was j contemplating rather than transcrib- 
 such that no young historical painter ing theirs. To his sketches he 
 could enjoy the means of beneficial added observations with his pen ; 
 study. Fully aware of the necessity they are rapturous about all that is 
 of having recourse to the foundation lofty, nor are they deficient either 
 of excellence in the arduous pro- j in the shrewdness which penetrates 
 fession which he had undertaken, or the wisdom which weighs. He 
 Fuseli resolved to go to Italy. Ac- i loved to dream along the road to 
 cordingly, in the year 1770, accom- follow the phantasies of an unbridled 
 panicd by his friend Armstrong, he imagination to pen sarcastic re- 
 embarked for Leghorn. The vessel marks sketch colossal groups; and 
 was, however, driven ashore at Ge- j would call out ever and anon, when 
 
 noa, and thence the travellers pro- 
 ceeded to Rome. Fuseli had from 
 his boyhood admired Michel An- 
 
 some strange thought struck him, 
 "Michel Angelo!" His company 
 was eagerly courted by all who 
 
 gelo in his engravings, and he adored wished to be thought wise and witty; 
 him now in hisfull and undiminished and with the English gentry who 
 majesty. It was a story he loved then, as now, swarmed in Rome, he 
 to repeat, bow he lay on his back formed friendships which were useful 
 day after day, week after week, with in after-life. In 1774 he sent to the 
 upturned and wondering eyes, musing British exhibition a drawing of the 
 on the splendid ceiling of the Sistine ' death of Cardinal Beaufort, and 
 chapel on the unattainable gran- three years after, a scene from Mac- 
 deur of the Florentine. He some- beth, both marked by much bold- 
 times, indeed, added, that such a ness and originality. His mind loved 
 posture of repose was necessary fora to range with Shakspeare and Mil- 
 body like his with the pleasant grati- ; ton ; the Satan of the latter, majes 
 
 fication of a luxuriant city. He 
 imagined, at all events, that he 
 drank in as he lay the spirit of the 
 
 tic even in ruin, was a favourite 
 study, and he imagined no one, save 
 himself, could body him forth in all 
 
 sublime Michel, and that by study- his terror and glory : the Tempest 
 ing in the Sistine, he had the full i and the Midsummer Nights' Dream 
 
 advantage of the mantle of inspira- 
 tion suspended visibly above him. 
 The flighty imagination of Fuseli 
 required a soberer master; the wings 
 of his fancy were a little too strong 
 sometimes for his judgment, and 
 
 contained images no less congenial, 
 and he had already filled his port- 
 folio with designs worthy the wand 
 of Prospero or the spells of Puck. 
 His imagination, though he seemed 
 not aware of it, was essentially 
 
 brought upon him the reproach of | Gothic ; his mind dwelt with the 
 extravagance, an error so rare in poetry and superstitions of Christeu- 
 British art that it almost becomes a j dona; he talked about, but seldom 
 virtue. Of his studies in the nume- drew, the gods and goddesses of 
 
 rous galleries of Italy he has left a mi- 
 nute account. He refused to follow 
 the common method of laboriously 
 
 Olympus. In the year 1778, Fu- 
 seli left Italy. He paid a visit to 
 his native Zurich, and lived six
 
 17G 
 
 months with his father, whom he 
 loved tenderly. His elder brother, 
 Roilolph, had settled at Vienna. 
 Early in 1779 he left Zurich, to 
 which he never returned, and came 
 back to London with his mind 
 strengthened with knowledge, and 
 his hand improved in its cunning. 
 With the reputation of an eight-year's 
 residence in Rome upon him, he 
 commenced his professional career, 
 and the beginning was auspicious. 
 Thus stood art at that time in Eng- 
 land. Reynolds excelled all men 
 in portraiture and wrought unrivalled 
 and alone. Wilson and Gainsbo- 
 rough sufficed for the moderate de- 
 mand in landscapes. Barry and 
 West shared between them the wide 
 empire of religious and historical 
 compositions, and there was nothing 
 left for Fuscli, save the poetical. 
 Nature had endowed him eminently 
 for this field, and the nation showed 
 symptoms of an awakening regard for 
 it. No preceding painter had pos- 
 sessed himself of the high places of 
 British verse. The enthusiasm for 
 Milton, and especially for Shaks- 
 peare, was warmer and also more 
 intelligent than at any former time ; 
 and Fuseli was considered by him- 
 self, and by many friends, as destined 
 to turn tliis state of feeling to excel- 
 lent account. The first work which 
 proved that an original mind had 
 appeared in England, was the Night- 
 mare, exhibited in 1788. " A very 
 fine mezzotinto engraving of it was 
 scraped by Raphael Smith ; and so 
 popular did the print become, that, 
 although Fuseli received only twenty 
 guineas for the picture, the publisher 
 made five hundred by the specula- 
 tion." This was a subject suitable to 
 the unbridled fancy of the painter, 
 and, perhaps, to no other imagination 
 has the fiend which murders our 
 sleep ever appeared in a more poetical 
 shape. " His rising fame," says his j 
 
 biographer, "his poetic feeling, his 
 great knowledge, and his greater 
 confidence, MOW induced Fuseli to 
 commence an undertaking worthy of 
 the highest genius The Shakspcare 
 Gallery. Shakspeare presented a 
 whole world to the eye of art, and 
 to embody the whole, or any consi- 
 derable portion of his visions, would 
 demand a combination of powers not 
 to be hoped for. As might have 
 been expected, Fuseli grappled with 
 the wildest passages of the most 
 imaginative plays ; and he handled 
 them with a kind of happy and vigo- 
 rous extravagance, which startled 
 common beholders. The Tempest, 
 the Midsummer Nights' Dream, 
 King Lear, and Hamlet, suggested 
 the best of the eight Shakspearian 
 pictures which he painted; and of 
 these, that of Hamlet is certainly 
 the noblest. It is, indeed, strangely 
 wild and super-human ; if ever a 
 spirit visited the earth, it must have 
 appeared to Fuseli. The majesty 
 of the buried Dane is no vulgar 
 ghost, such as scares the belated 
 rustic, but a sad and majestic shape 
 with the port of a god ; to imagine 
 this required poetry, and in that our 
 artist was never deficient. He had 
 fine taste in matters of high import ; 
 he drew the boundary line between 
 the terrible and the horrible, and he 
 never passed it; the former he knew 
 was allied to grandeur, the latter to 
 deformity and disgust." 
 
 In 1788, Fuseli was elected an 
 associate of the Royal Academy ; 
 and on the 18th of February, 1790, 
 he was elected a royal academician. 
 Between the years 1730 and 1800, 
 Fuseli produced his " Milton Gal- 
 lery," a series of forty-seven pictures, 
 upon subjects taken exclusively from 
 the works of our divine bard. Per- 
 haps, of the whole, The Lnzar 
 House was the most masterly effort. 
 " Spasms," " epilepsies," " fierce
 
 FCE 177 FUE 
 
 catarrhs," and " ulcers," were left pare more at that time : which lec- 
 for the engraver of pathological em- tures, the first on Ancient Art, the 
 bellishments to a book of surgery ; ; second on Modern Art, and the third 
 but " demoniac frenzy" is seen on Invention, were delivered with 
 starting from his iron bed, still en- great effect at Somerset House, in 
 tangled in the coarse rug, and still March 1804; and were published 
 encumbered with the chain that in the course of the same year, with 
 fastened him there. His wife, worn | a dedication to William Lock, Esq., 
 out with the long and thankless toil of Norbury Park, Surrey. 
 
 of watching him, has nevertheless 
 made a last effort to save hjin from 
 
 Having held the office of Professor 
 of Painting until the year 1804, 
 
 self-destruction; but her strength I Fuseli was then, on the death of 
 had all been wasted by her former ; Wilton, appointed Keeper of the 
 anxieties, and she sinks at his Royal Academy ; and there being a 
 feet, unnerved in mind and body, standing order of the institution, that 
 and with little more consciousness no member should enjoy two offices 
 than yonder infant that lies half in it at the same time, he resigned 
 lifeless, just fallen from the sterile I the professorship. However, on the 
 breast of its dying mother. This j death of Opie, and the subsequent 
 latter scene is a beautiful episode ! death of Tresham (who never lec- 
 of the painter's introduction. Her tured), he was, in the year 1810, 
 child is vainly striving to win a unanimously re-elected ; and the 
 glance from her she is not aware : Royal Academy rescinded the order 
 even of its presence. In the centre above alluded to, to enable him to 
 of the back-ground is " Despair," retain both appointments. He soon 
 tending the couch of gaunt " Maras- produced and read three additional 
 inns;" "moping Melancholy'" droops, lectures; the first on the resumed 
 fixed, though fibreless, in the fore- ; subject of Invention, the second on 
 ground to the right ; and " over Composition and Expression, and 
 them," to complete the dismal spec- ! third on Chiaro-oscuro ; but they 
 tacle, the gloomy, bat-like form of were not published until 1820. Of 
 " triumphant Death" hovers, and | Mr. Fuseli's knowledge of the history 
 "his dart ! and principles of his art, and of the 
 
 Shakes, but delays to strike, though ; energetic and comprehensive manner 
 
 I in which he was accustomed to com- 
 
 Tliis exhibition, however, pleased mnnicate that knowledge to the 
 not the multitude. In a pecuniary j students of the Royal Academy, 
 point of view, therefore, it was very j they only can adequately judge who 
 unproductive, and, after two seasons, were so fortunate as to be his 
 was closed. Of the pictures of which ! auditors. 
 
 it had been composed, a few were I In 1802, Fuseli visited Paris, 
 sold, and dispersed in various direc- where he remained about six weeks. 
 
 He there conceived the intention of 
 
 On the secession of Barry from 
 
 writing some account of the treasures 
 
 the office of Professor of Painting to I of art which at that time were accu- 
 tlie Royal Academy, in 1799, Fuseli mulated in the Louvre, and collected 
 was appointed to succeed him. He materials for that purpose ; but the 
 immediately began the composition renewal of the war prevented the 
 of three lectures, his professional avo- I booksellers from encouraging the 
 cations not permitting him to pre- ' production of the work. In 1 805
 
 178 
 
 FOB 
 
 Fuseli's critical powers were again 
 displayed in a new and much en- 
 larged edition of " Pilkington's Dic- 
 tionary of Painters." In 1817, lie 
 was honoured with the diploma of 
 the first class of the Academy of St. 
 Luke, at Rome. So impressed were 
 the students of the Royal Academy 
 with the kindness with which Mr. 
 Fuseli conducted himself towards 
 them in his office of keeper, one of 
 the principal duties of which situa- 
 tion is to superintend what is called 
 " The Antique Academy," that some 
 years sinro they presented him with 
 a handsome silver vase, executed by 
 Messrs. Rundell and Bridge, from a 
 design by Mr. Flaxman; a tribute 
 of grateful respect which affected 
 him sensibly. 
 
 Some of his principal productions 
 are in the following hands : The 
 Lazar-House, and The Bridging of 
 Chaos, have been bought since his 
 death by the Countess of Guildford. 
 The Duke of Buckingham has two 
 of his first pictures from The Mid- 
 summer Night's Dream. Noah 
 blessing his Family Mr. Fuseli pre- 
 sented to the church at Luton, in 
 Bedfordshire. Mr. Roscoe has his 
 Lycidas, Robin Goodfellow, and 
 several others. Sin and Death, and 
 the Night Hag, are in the possession 
 of John Knowles, Esq. The late 
 Mr. Angerstein had three of his 
 pictures ; Satan starting from Ithu- 
 riel's Spear; The Deluge; and The 
 Meeting of Adam and Eve. 
 
 Mr. Fuseli continued to paint to 
 the last week of his life. The pic- 
 ture which was on his easel at the 
 time of lii- death, and which is in 
 a state that may fairly be culled 
 finished, was Constance, from King 
 John. He was painting it for James 
 Carrick Moore, Esq. He left, how- 
 ever, above sixty pictures, most of 
 them finished (the greater part, in- 
 deed, having been exhibited), and 
 
 the rest in different stages of ad- 
 vancement; for it was frequently 
 his practice, when he had completed 
 his composition, and imparted to it 
 some expression and a little effect, 
 to set it aside, and take up some-- 
 thing else. Perhaps it may not bo 
 uninteresting to mention that he 
 finished with his left hand. During 
 his long life he generally enjoyed 
 excellent health. His only com- 
 plaint was a tendency to water in 
 the chest, which he always removed 
 by the use of digitalis. " I havo 
 been a very happy man," he was 
 accustomed to say, " for I have been 
 always well, and always employed 
 in doing what I liked." 
 
 Besides two or three drawings, 
 there are at least five portraits of 
 Fuseli in existence. A portrait in 
 profile, by Northcote, at Rome, in 
 the possession of James Moore, Esq. ; 
 a portrait painted many years ago by 
 Opie ; a most characteristic cabinet 
 picture on ivory, by Haughton; an 
 admirable cabinet picture, by Har- 
 lowe ; and a recently painted half- 
 length by Sir Thomas Lawrence, of 
 which it is enough to say, that it is 
 one of Sir Thomas's finest and most 
 successful productions. There is 
 also a masterly bust of him in mar- 
 ble, by E. H. Baily, R.A. 
 
 Mr. Fuseli has left many manu- 
 scripts; some complete, others im- 
 perfect. Of the first description, 
 the principal are Eight Lectures on 
 Painting, and a volume containing 
 nearly three hundred Aphorisms on 
 Art, which are said to manifest extra- 
 ordinary power and acumen. About 
 twenty years ago he engaged to write, 
 and commenced a history of modern 
 art. Unfortunately this history, 
 although it consists of between five 
 and six hundred manuscript pages, 
 is in an unfinished state ; the narra- 
 tive being brought down only to the 
 death of Michel Angelo. There is
 
 179 
 
 also a German poem on art, which 
 Fuseli himself considered the best 
 tiling he ever wrote ; and there are 
 innumerable fragments, comprehend- 
 ing observations on art, and on 
 artists. 
 
 " As a painter," says one of his 
 biographers, " his merits are of no 
 common order. He was no creeping 
 or timid adventurer in the region of 
 art, but a man peculiarly daring and 
 bold, who rejoiced only in the vast, 
 the wild, and the wonderful ; and 
 loved to measure himself with any 
 subject, whether in the heaven above, 
 the earth beneath, or the waters 
 under the earth. His main wish 
 was to startle and astonish it was 
 his ambition to be called Fuseli the 
 daring and the imaginative, the 
 illustrator of Milton and Shakspeare, 
 the rival of Michel Angelo. Out 
 of the seventy exhibited paintings on 
 which he reposed his hope of fame, 
 not one can be called common- 
 place ; they are all poetical in their 
 nature, and as poetically treated. 
 Some twenty of these alarm, startle, 
 and displease ; twenty more may 
 come within the limits of common 
 comprehension ; the third twenty are 
 such as few men could produce, and 
 deserve a place in the noblest collec- 
 tions ; while the remaining ten are 
 equal in conception to any tiling that 
 genius has hitherto produced, and 
 second only in their execution to 
 the true and recognised masterpieces 
 of art. His colouring is like his de- 
 sign, original ; it lias a kind of super- 
 natural hue, which harmonises with 
 his subjects the spirits of the other 
 state and the hags of hell are 
 steeped in a kind of kindred colour, 
 which becomes their character. His 
 notion of colour suited the wildness 
 of his subjects; and the hue o: 
 Satan, and the lustre of Hamlet' i 
 Cihost, arc part of the imagination o 
 those supernatural shapes. The do 
 
 mestic and humble realities of life 
 ic considered unworthy of his pencil, 
 
 and employed it only on those high 
 
 or terrible themes where iinagina- 
 ion may put forth all its strength, 
 nd fancy scatter all her colours. 
 ie loved to grapple with whatever 
 ic thought too weighty for others, 
 
 and assembling around him the dim 
 hades which imagination called rea- 
 lily forth, sat brooding over the chaos, 
 
 md tried to bring the whole into 
 >rder and beauty Gen. Biog. 
 
 Diet. 
 
 We subjoin a list of the works 
 of art that were exhibited at the 
 loyal Academy by Mr. Fuseli, 
 commencing with the sixth exhibition 
 of that body in 1774, to the period of 
 lis death, 1825, being 1 upwards of half 
 a century. The first two articles 
 were exhibited while he was studying 
 at Rome. 
 
 1774 The Death of Cardinal Beau- 
 brt. A Drawing. 
 
 1777 A scene in Macbeth. 
 
 1/80 Ezzelin Bracciaferro musing 
 over Meduna, slain by him for dis- 
 .oyalty during his absence in the 
 Holy Land. 
 
 Satan starting from the touch of 
 [thuriel's lance. 
 
 Jason appearing before Pelias, to 
 whom the sight of a man with a sin- 
 gle sandal had been predicted fatal. 
 
 1781 Dido, " Ilia graves oculus," 
 &c. &c. jneid 14. 
 
 Queen Catherine's Vision. Vide 
 Shakspeare's Hen. VIII. (acts.) 
 
 A Conversation. 
 
 1782 The Night-mare. 
 
 1783 The Weird Sisters. 
 
 Percival delivering Balisane from 
 the enchantment of Unna. Vide Tale 
 of Thyot. 
 
 Lady Constance, Arthur, and Salis- 
 bury. Vide King John. 
 
 1734 Lady Macbeth walking in her 
 sleep. 
 
 CEdipus with his Daughters receiv- 
 ing the Summons of his Death. So- 
 phocles. 
 
 1785 The Mandrake; a Charm. 
 Vide Ben Jonson's Witches. 
 
 Prospero. Vide Tempest. 
 1786 Francesca and Paolo. Dante's 
 Inferno. 
 
 The Shepherd's Dream. Vide Para- 
 disc Lost, B. 1., line "81.
 
 FUE 
 
 180 
 
 FUE 
 
 CEdipus devoting his Son. Vide 
 CEdipus Coloneus of Sophocles. 
 
 1/88 Theseus receiving the Clue 
 from Ariadne. A finished Sketch. 
 
 1799 Beatrice. Vide Much Ado 
 about Nothing 
 
 1/90 Wolfram introducing Ber- 
 tram of Navarre to the place where 
 he had confined his Wife with the 
 Skeleton of her Lover. Vide Contes 
 de la Reiue de Navarre. 
 
 1792 Falstaff in the Buck-basket. 
 Vide Merry Wives of Windsor. 
 Christ disappearing at Emmaus. 
 1793 Macbeth ; the Cauldron sink- 
 ing, the Witches vanishing. Sketch 
 for a large picture. 
 
 Amoret delivered from the enchant- 
 ment of Busirane by Britomart. Vide 
 Spenser. 
 
 1/98 Richard III. in his Tent, the 
 night preceding the Battle of Bos- 
 worth, approached and addressed by 
 the Ghosts of several whom, at 
 different periods of his Protector- 
 ship and Usurpation, he had destroyed. 
 1799 The Cave of Spleen. Vide 
 Rape of the Lock- 
 
 1800 The Bard. Vide Gray. 
 The Descent of Odin. Ditto. 
 The Fatal Sisters. Ditto. 
 1801 Celadon and Amelia. Vide 
 Thomson's Seasons. 
 
 1803 Thetis and Aurora, the 
 Mothers of Achilles and Memnon the 
 Ethiopian, presented themselves be- 
 fore the throne of Jupiter, each to 
 beg the life of her son, who were 
 proceeding to single combat. Jupiter 
 decided in favour of Achilles, and 
 Memnon fell. Vide ^schylus. 
 
 1804 The Rosicrucian Cavern. 
 Vide Spectator. 
 1805 The Corinthian Maid. 
 1806 Count Ugolino, Chief of the 
 Guelphs of Pisa, locked up by the op- 
 posite party with his four sons, and 
 starved to death in the Tower, which 
 from the event acquired the name of 
 Torre della Fame. Vide Inferno. 
 Milton dictating to his Daughter. 
 1807 Criemhild, the widow of Siv- 
 ril, shows to Trony, in prison, the 
 head of Gunther, his accomplice in 
 the assassination of her husband. 
 
 1808 Cardinal Beaufort terrified by 
 the supposed Apparition of Glouces- 
 ter. Vide Hen. VI. Part ii. act iii. 
 sc. 3. 
 
 1809 Romeo contemplating Juliet 
 in the Monument. Vide Shakspeare. 
 The Encounter of Romeo and Paris, 
 in the Monument of the Capulcts. 
 Ditto. 
 
 1810 Hercules, to deliver Theseus, 
 assails and wounds Pluto on his 
 throne. Vide Iliad, B. 5. v. 485. 
 
 1811 Macbeth consulting the Vision 
 of the Armed Head. Vide Shak- 
 speare. 
 
 Sarpedon slain in Battle, carried 
 home by Sleep and Death. Vide Iliad, 
 B. 17. v. 68-2. 
 
 Richard III. starting from the Ap- 
 parition of those whom he had assassi- 
 nated. Vide Shakspeare. 
 
 Dion seeing a Female Spectre over- 
 turn his Altars and sweep his Hall. 
 Vide Plutarch's Life of Dion. 
 
 1812 Lady Macbeth seizes the 
 daggers. A sketch for a large picture. 
 The Witch and the Mandrake. Vide 
 Ben Jonson. 
 
 Eros reviving Psyche. Apuleius. 
 Ulysses addressing the Shade of 
 Ajax in Tartarus. 
 
 1814 Sigelind, Sifrid's mother, 
 roused by the Contest of the Good 
 and Evil Genius about her Infant 
 Son. Vide Lietder Niebelungen, XI. 
 
 Queen Mab 
 
 " She gallops night by night through 
 lover's brains," &c. 
 
 Vide Romeo and Juliet. 
 Criemhild mourning orer Sivril. 
 Vide Liet der Niebelungen, XVII. 
 
 1817 Perseus starting from the 
 Cave of the Gorgons. Hesiod's Shield 
 of Hercules. 
 
 Theodore in the Haunted Wood, 
 deterred from rescuing a Female 
 chased by an Infernal Knight. Vide 
 Boccaccio's Decameron. 
 
 Criemhild throwing herself on the 
 Body of Sivril, assassinated by Trony. 
 Das Niebelungen lied. 
 
 Sivril, secretly married to Criem- 
 hild, surprised by Trony, on his first 
 interview with her, after the victory 
 over the Saxons. Das Niebelungen 
 lied. 
 
 1818 Dante in his descent to Hell, 
 discovers amidst the flight of hapless 
 lovers, whirled about in a hurricane, 
 the forms of Paolo and Francesca of 
 Rimini. Vide Inferno, Cant. 8. 
 A Scene of the Deluge. 
 1820 An Incantation. See the 
 Pharmaceutria of Theocrites. 
 
 Criemhild, the widow of Siegfried 
 the Swift, exposes his body, assisted 
 by Sigmond his father, King of Bel- 
 gium, in the minster at Worms, and 
 swearing to his assassination, chal- 
 lenges Hagen, Lord of Trony, and 
 Gunther, King of Burgundy, his 
 brother, to approach the corpse, and 
 on the wounds beginning to flow,
 
 FUL 
 
 181 
 
 charges them with the Murder. Lied 
 der Nibelunge. Aventure XVII. 
 
 4085, &C. 
 
 Ariadne, Theseus, and the Minotaur, 
 in the Labyrinth. Vide Virg. /En. 6. 
 
 1821 Amphiaraus, a chief of the 
 Argolic League against Thebes, en- 
 dowed with prescience, to avoid his 
 fate withdrew to a secret place known 
 only to Eriphyle his wife, which she, 
 seduced by the presents of Polynices, 
 disclosed : thus betrayed, he on de- 
 parting commanded Alcmaeon his 
 son, on being informed of liis death, 
 to destroy his mother. Eriphyle fell 
 in the hand of her son, who fled, 
 pursued by the Furies. 
 
 Jealoosy. Sketch. 
 
 Prometheus delivered by Hercules. 
 
 Drawing. 
 
 1823 The Dawn. 
 
 " Under the opening eye-lids of the 
 morn : 
 
 What time the gray-fly winds his 
 sultry horn." 
 
 Vide Milton's Lycidas. 
 
 1824 Amoret deliveied by Brito- 
 
 mart from the spell of Busyrane. 
 
 Vide Fairy Queen. 
 
 1825 C 
 
 1 mu "-. te ? Posthumou 
 
 sych r tcn - 5 ** 
 
 Ps. 
 
 Total 69. 
 
 For by much the larger and more 
 interesting portion of the facts con- 
 tained in this memoir, we have been 
 indebted to the kind communications 
 of several of Mr. Fuseli's intimate 
 friends. We have also availed our- 
 selvea of the biographical notices 
 which have appeared in the Monthly 
 Mirror, the European, Gentleman's, 
 and Imperial Magazines- 
 
 FULLER (Isaac), an English 
 historical painter, who died in 1676. 
 He went to France when young, and 
 studied under Perrier ; who being 
 much employed in drawing designs 
 after antique statues, afforded Fuller 
 an opportunity of copying them ; 
 and probably gave him a fondness 
 for expressing the muscular parts 
 with more hardness than he should 
 have done in his compositions, imi- 
 tating rather the strength than the 
 grace of the originals. His compo- 
 sition of historical subjects is mean, 
 his invention and disposition indif. 
 
 ferent, and his colouring raw and 
 unlike nature; though in portrait- 
 painting he had a bold and masterly 
 pencil. In the chapel of All Souls' 
 College, at Oxford, there is a Resur- 
 rection, painted by this master, of 
 which several parts are accounted to 
 have some degree of merit; and in 
 Wadham College, in the same Uni- 
 versity, is an historical picture, which 
 by many is esteemed a good perform- 
 ance. De Piles, Pilk. 
 
 FURINI (Francisco), a Florentine 
 painter, born in 1604, and died in 
 1646, aged 42. He received his 
 first instructions from his father, 
 who was a painter of no contempti- 
 ble talents; but he was farther im- 
 proved by Passignano and Roselli, 
 till at last he went to Rome. While 
 he continued there, he pursued his 
 studies with such diligence, that he 
 acquired a fine taste of design, and 
 associated with that eminent artist 
 Giovanni di San Giovanni. He was 
 fond of designing naked figures, as 
 in those he shewed the utmost deli- 
 cacy ; and he chose to paint those 
 subjects in which he could introduce 
 them with elegance and propriety : 
 such as Adam and Eve, Lot and his 
 daughters, Noah's drunkenness, and 
 such like ; or similar subjects from 
 poetical history, as the death of 
 Adonis, Diana and her Nymphs 
 Bathing, the Judgment of Paris, 
 
 &c Pilk. 
 
 FURNIUS (Peter), a Flemish 
 designer and engraver, who resided 
 at Antwerp, about the year 1570. 
 He was a contemporary of the Galles 
 and the Sadelers, who engraved 
 some plates from his designs. His 
 style of engraving bears a near re- 
 semblance to that of those artists. 
 Though he drew the figure correct- 
 ly, in attempting to imitate the 
 great style of Michel Angelo Buo- 
 narotti, he fell into affectation and 
 extravatrr.nce. He worked entirely
 
 182 
 
 with the graver in a slight feeble 
 
 manner Strutt. 
 
 FYTT (John), a Flemish painter, 
 who flourished ahout 1625. This 
 artist was an excellent painter of all 
 kinds of animals, to which he gave a 
 natural, bold, and elegant expres- 
 sion. Nature seems to have been 
 his constant study, and he imi- 
 tated her with the utmost truth and 
 exactness. He delighted much in 
 painting live and dead game, wild 
 boars, hares, dogs, fruit, flowers, and 
 birds, particularly partridges ; which 
 he described with surprising truth, 
 nature, and strength. He was one 
 of the best artists of his time, and 
 frequently painted in conjunction 
 
 with Rubens and Jordaens; and 
 whatever subject he chose to repre- 
 sent, was always designed and finish- 
 ed in a masterly manner. He gave 
 uncommon freshness to his fruits 
 and flowers ; and in objects of the 
 animal kind, he described even the 
 hairs of the animals, .and the plu- 
 mage of his fowls, with wonderful 
 spirit, exactness, and freedom of 
 pencil. His colouring is strong, 
 and his touch firm ; and in all the 
 pictures of this master we see a 
 wonderful freedom of hand, and a 
 manner of pencilling peculiar to him- 
 self, which easily distinguish the 
 works of Fytt from those of any 
 other master Houb. Pilk. 
 
 G 
 
 f* AAL (Barent), a Dutch lands- 
 ^-* cape painter, who flourished 
 about 1650. He was a disciple of 
 Philip AVouermaris, and by care- 
 fully studying the works of his mas- 
 ter, as well as by diligently practising 
 his precepts, he became a painter of 
 considerable distinction. He had a 
 good manner of pencilling, under- 
 stood the principles of perspective, 
 and managed his lights and shadows 
 in all his compositions with great 
 judgment. His figures and cattle 
 are generally well designed and well 
 disposed, and arc also tolerably cor- 
 rect. There is much freedom in his 
 trees, and many of his pictures are 
 touched with spirit, the skies clear 
 and pleasant, and his grounds well 
 broken. He associated in his work 
 with Isaac Koene, the landscape- 
 painter, for whom he always inserted 
 the figures ; and although he cannot 
 be accounted an artist of the first 
 class, yet his works have a great deal 
 of merit, and are much esteemed. 
 Pilk. 
 
 GABBIANI ( Antonio Domcnico), 
 an Italian historical and portrait 
 painter, born in 1652, and died in 
 1 726, aged 74. He was a disciple of 
 Subtermans and Vincenzo Dandiui, 
 and afterwards went to Rome, where 
 he studied under Giro Ferri. He 
 was a ready and correct designer, 
 and his colour, though sometimes 
 languid, is generally true, and well 
 united in the flesh tints. The 
 greatest flaw of his style lies in the 
 choice, hues, and execution of his 
 draperies. His best work in fresco, 
 is the vast cupola of Castello, which 
 is not wholly finished. His best al- 
 tar-piece is that of St. Filippo, in 
 the church of the fathers Dell 1 Ora- 
 torio. He was killed by the fall of 
 a scaffold as he was at work. Vas. 
 Pilk. 
 
 GABRIEL (James), a French 
 architect, born at Paris in 16C1, 
 and died in 1742, aged 81. He 
 was inspector-general of buildings, 
 and chief arclu'tccl and engineer, and
 
 183 
 
 had the order of St. Michael confer- 
 red upon him. Nouv. Diet. Hist. 
 GABRIELLO (Onofrio), an Ita- 
 lian painter, born at Messina in 1 6 1 6, 
 and died in 1706, aged 90. After 
 studying six years in his native city, 
 under Antonio Ricci, he went to 
 Rome, and entered the school of 
 Pietro da Cortona. He afterwards 
 visited Venice, in company with his 
 countryman Domenico Maroli. On 
 his return to Messina, he was much 
 employed for the churches, for pri- 
 vate collections, and in portraits. 
 He was in great repute when the 
 Revolution, which took place in 
 1674, ohliged him to quit Sicily, and 
 he settled at Padua, where he re- 
 sided several years, and was usually 
 called Onofrio Messina. Some of 
 his best works are in the church of 
 S. Francesco di Paolo, at Messina, 
 and in the Guida di Padona are 
 mentioned several of his pictures in 
 the public edifices and in private 
 collections, particularly in the Palaz- 
 zo Borromeo. Pilk. 
 
 GABRON (William), a Flemish 
 painter, born at Antwerp, in 162.5 ; 
 died in 1671, aged 46. He there 
 learned the rudiments of his art ; 
 but he received his principal im- 
 provement in Italy, particularly at 
 Rome, in which city he resided for 
 a considerable number of years. 
 This artist was much admired for 
 his delicate imitation of those ob- 
 jects which he painted after nature ; 
 snch as gold and silver vases, cups, 
 dishes, china, porcelain ware, fruit, 
 flowers, and insects; which he ex- 
 pressed with such truth, as to afford 
 the eye a very pleasing deception. 
 Pilk'. 
 
 GADDI (Gaddo), a Flemish his- 
 torical painter, born 1239, and died 
 1312, aged 73. He was one of the 
 first painters who imitated Cimabue ; 
 and was an expert artist in works of 
 Mosaic. Gaddi designed better than 
 
 all the other painters of his time, 
 and performed several great works 
 at Rome and other parts of Italy, 
 particularly in Mosaic. Pilk. 
 
 GADDI (Taddeo), an Italian 
 painter, born at Florence in 1300, 
 and died in 1 350, aged 50. He re- 
 ceived his first instructions from his 
 father, and was a disciple of Giotto. 
 Taddeo had a good genius, which he 
 strengthened by great application, 
 and acquired such a manner of 
 colouring as rendered him very much 
 superior to his master. The figures 
 of this ancient master were lively, 
 and his expression highly commend- 
 able, considering the early age in 
 which he painted ; his invention was 
 ingenious, and his designs were ex- 
 ecuted with great freedom and ease. 
 His best picture is, the passion of 
 our Saviour, which is preserved in 
 the church of the Holy Ghost, at 
 Arezzo. His son Agnolo was also 
 an excellent artist. Vas., Pilk. 
 
 GADDI (Agnolo), an Italian 
 painter, born at Florence in 1324, 
 and died in 1387, aged 63. He was 
 the son of Taddeo Gaddi, and re- 
 ceived instructions in the art from 
 his father, whose style he followed, 
 without alteration or improvement. 
 In the church of the monastery of 
 S. Parnerazio, at Florence, is a pic- 
 ture of the Virgin :md Infant, with 
 several saints, which was well com- 
 posed and coloured for the time ; and 
 in the church of the Conventual!, the 
 Finding of the True Cross. Pilk. 
 GAELEN (Alexander Van), a 
 Dutch historical painter, born in 
 1670, and died in 1728, aged 58. 
 He learned the art of painting under 
 the direction of John Van Huchten- 
 burg, who, besides his profession as 
 a painter, was also a considerable 
 picture merchant ; and Van Gaelen, 
 before these pictures were exposed 
 for sale, exerted himself in copying 
 such of them as were of the best
 
 184 
 
 GAI 
 
 class, and of greatest value. Yet 
 he did not content himself with ob- 
 serving their imitations of nature, 
 but studied nature itself, in other 
 countries as well as his own. His 
 subjects were usually representations 
 of the chase, huntings of the fox, 
 stag, or wild boar; and his animals 
 were extremely commended for 
 their action and spirit. His taste of 
 composition and design was formed 
 from the works of the many eminent 
 artists which he had studied ; and 
 he obtained so great a freedom of 
 hand, and such correctness of out- 
 line, that his pictures rose into very 
 high esteem. He came to England 
 when young, and his paintings pro- 
 cured him many marks of favour, as 
 his merit seemed to be very well 
 known in England. Van Gaelen 
 painted Queen Anne, drawn by eight 
 horses, attended by her guards; which 
 he executed with such great success, 
 that it contributed to the advance- 
 ment of his fortune and reputation. 
 He also was engaged to paint three 
 battle-pieces, representing engage- 
 ments between King Charles 1. 
 and Oliver Cromwell ; and a lai-ge 
 design of the decisive battle of the 
 Boyne, between the armies of King 
 William 111. and James II. Houb.. 
 PilA. 
 
 G AILLARD (Robert), a French 
 engraver, born at Paris in 1722. 
 We have by this artist a considera- 
 ble number of plates of portrait, his- 
 torical, and other subjects. He al- 
 so engraved landscapes, in a style 
 that does him great credit. The 
 following arc his best prints : Car- 
 dinal Etienne Rene' Potier de Ges- 
 vres; Christophc de Beaumont, 
 Archbishop of Paris ; Jean Joseph 
 Languet, Archbishop of Sens; and 
 the Queen of Sweden Strutt. 
 
 GAILLARD (Longjumeau), a 
 French amateur engraver, who etch- 
 ed several small plates for his amuse- 
 
 ment. Among others, a set of 
 views of the Antiquities of Aix. 
 They are dated 1750. Strutt. 
 
 GAINSBOROUGH (Thomas), 
 an English portrait and landscape 
 painter, born at Sudbury, in Suffolk, 
 1727, and died in 1788, aged 61. 
 He was self-taught, nature was his 
 teacher, and the woods of Suffolk 
 his academy. Here he would pass 
 in solitude his mornings, in making 
 a sketch of an antiquated tree, a 
 marshy brook, a few cattle, a shep- 
 herd and his flock, or any other ac- 
 cidental object that presented itself. 
 From delineation he proceeded to 
 colouring; and after painting several 
 landscapes, from ten to twelve years 
 of age, he quitted Sudbury, and 
 came to London, where he com- 
 menced portrait painter. His por- 
 traits will pass to posterity with a 
 reputation equal to those ofVandyck; 
 and his landscapes will establish hi* 
 name on the record of the fine arts 
 with honours such as never before 
 attended a native of this country. 
 He painted his subjects with a faith- 
 ful adherence to nature; and it is 
 to be remarked, that they approach 
 more the landscapes of Rubens than 
 to those of any other master. His 
 trees, fore-ground, and figures, have 
 much force and spirit : and we may 
 add, that he united the brilliancy of 
 Claude, and the simplicity of Ruys- 
 dael, to his romantic scenes. While 
 we lament him as an artist, let us 
 not pass over those virtues which 
 were an honour to human nature ; 
 that generous heart, whose strongest 
 propensities were to relieve the 
 genuine claims of poverty. If he 
 selected for the exercise of his pencil 
 an infant from a cottage, all the 
 tenants of the humble roof generally 
 participated in the profits of the 
 picture ; and some of them fre- 
 quently found in his habitation a 
 permanent abode. His liberality
 
 185 
 
 was not confined to this alone; needy 
 relatives and unfortunate friends 
 were further incumbrances on a 
 spirit that could not deny ; and 
 owing to this generosity of temper, 
 that affluence was not left to his 
 family which so much merit might 
 promise, and such real worth deserve. 
 Europ. Mag., Pilk. 
 
 GALANTINI (Hipolito), an Ita- 
 lian historical and miniature painter, 
 bom at Genoa in 16'27, and died in 
 1706, aged 79. He was instructed 
 in the art of painting in miniature 
 by Stefaneschi; in which style he 
 became very eminent, and showed 
 an equal degree of merit in his 
 larger compositions. He was called 
 Cappuccino, from his having entered 
 into orders among the Capuchins at 
 Florence ; by undertaking which pro- 
 fession, he was obliged to travel into 
 Asia as a missionary, and on that 
 account was called Prete Genoese. 
 On his return to Europe, happening 
 to pass through Paris, he was known 
 to be a famous miniature painter, 
 and was introduced to the King of 
 France, who requested Hipolito to 
 paint several pictures for him ; and 
 from that moment he received many 
 extraordinary marks of favour. His 
 style was agreeable, his colouring 
 very delicate, and his expression is 
 exact and full of life. In the Duke's 
 palace at Florence, there is an ad- 
 mirable picture by this master, in 
 which the figures are only half- 
 length, but as large as life. The 
 subject is the Payment of the Tribute 
 Money ; it is accounted one of the 
 most capital performances of Galan- 
 tini, and is executed with uncommon 
 
 freedom and neatness of pencil 
 
 Fas., Pilk. 
 
 GALETTI (Filippo Maria), an 
 Italian portrait painter, born at Flo- 
 rence in 1664, and died in 174'2, 
 aged 78. He was a disciple of Ciro 
 Fcrri, aud became excellent in those 
 
 branches of art which he usually 
 practised. He was employed by the 
 Grand Duke, and gained universal 
 commendation for the neatness of 
 his finishing, and the beauty of his 
 colour Pilk. 
 
 GALIMARD (Claude), a French 
 engraver, born at Troys, in Cham- 
 pagne, in 1729. He passed some 
 time at Rome ; and on his return to 
 France became a member of the 
 academy at Paris. He engraved 
 several plates after de Troy, Sub- 
 leyrus, and Sebastian Bourdon. He 
 also engraved a number of orna- 
 ments for books, of which fourteen 
 frontispieces and vignettes, after 
 Cochin the younger, are particularly 
 described by M. de Heincken. 
 Strutt. 
 
 GALIZIA (Fede). This lady 
 was a native of Trento, in the Mi- 
 lanese, and flourished about the year 
 1616. She was the daughter of 
 A. Galizia, a miniature painter, resi- 
 dent at Milan, from whom she re- 
 ceived her instruction in the art. 
 She painted history and landscapes 
 in a pleasing and finished style, re- 
 sembling that of the Bolognese 
 sehool. One of her best historical 
 pictures is Christ appearing to Mag- 
 dalen in the form of the Gardener, 
 in the Chiesa della Magdaleiu at 
 Milan Strutt. 
 
 GALLE (Philip), an eminent 
 Dutch engraver, born at Haerlem 
 about 1.537. He was the origin of 
 a family of artists, who became con- 
 spicuous in the art of engraving. 
 Philip Galle established himself at 
 Antwerp as an engraver and print- 
 seller. He possessed considerable 
 capacity ; his design was- not in- 
 correct, and his command of the 
 graver shows considerable facility, 
 though, like other engravers of his 
 time, there is a want of harmony 
 and effect in his plates. The num- 
 ber of liis prints is considerable.- 
 Strutt. R 3
 
 186 
 
 GALLE (Theodore). Ho was 
 the elder son of the foregoing artist, 
 born at Antwerp about the year 
 1560, and was instructed in the use 
 of the graver by his father. He 
 afterwards went to Rome, where he 
 improved his style of drawing by 
 studying the antique, and engraved 
 several plates of the great masters. 
 His plates are more neatly finished 
 than those of his father ; but there 
 is still a degree of stiffness, and a 
 want of effect in the management of 
 the light and shadow Strutt. 
 
 GALLE (Cornelius the Elder). 
 This artist was the younger son of 
 Philip Galle, bom at Antwerp about 
 1570, and was also instructed in 
 engraving by his father. He fol- 
 lowed the example of his brother in 
 visiting Rome, where he resided 
 several years, and acquired a correct- 
 ness of design, and a freedom and 
 facility of execution, which arc dis- 
 cernible in his plates, in which he 
 greatly surpassed his father and bro- 
 ther. After engraving several plates 
 at Rome, from the Italian masters, 
 lie returned to Antwerp, where he 
 carried on the business of a print- 
 seller, and engraved many plates, 
 after the works of his countrymen 
 and his own designs. Previous to 
 his going to Italy, he engraved some 
 plates in the dry stiff style of his 
 father. Strutt. 
 
 GALLE (Cornelius the Younger). 
 He was the son of the preceding 
 artist, born at Antwerp about the 
 year 1600, and was instructed in the 
 art by his father. It does not appear 
 that he had the advantage of study- 
 ing in Italy, which may account for 
 his drawing being less correct than 
 that of his father or his uncle. He 
 worked entirely with the graver; 
 and though he did not equal Cor- 
 nelius (Jalle the Elder in the free- 
 dom and clearness of his i-tylc, his 
 plates possess considerable merit, 
 
 particularly his portraits, which are, 
 perhaps, the best of his works. 
 Strutt. 
 
 GALLOCHE (Lewis), a French 
 historical painter, born in 1670, and 
 died 1761, aged 91. He was a dis- 
 ciple of Boullogne, and the master 
 of Lc Moine. Galloche was ap- 
 pointed recorder and chancellor of 
 theRoyal Academy in 1761 D'Ar- 
 i genville. 
 
 GAMBARA (Lattanzio), an Ita- 
 i lian painter, born at Brescia in 1 542, 
 j and was killed by a fall from a 
 i ladder in 1574, aged 32. He was 
 | the son of a tailor, driven by necessity 
 ! from his native city, who had taken 
 j refuge at Cremona, and supported 
 himself and son in a scanty sub- 
 sistence by the exercise of his trade, 
 which he destined him to follow. 
 I The disposition of the boy inclined 
 ; him to a different pursuit, and lie 
 j employed all his leisure moments in 
 sketching, for which he was not un- 
 | frequently severely chastised by his 
 : father. These quarrels, and their 
 cause, came to the knowledge of 
 Antonio Campi, a painter of Cre- 
 mona, who interested himself in 
 favour of the youth ; and, on ex- 
 amining his drawings, found they 
 discovered a lively and decided 
 genius, and prevailed on his father 
 to intrust him to his care. He stu- 
 died in the school of the Campi for 
 six years ; and when he was eighteen 
 years of age, he was placed under 
 the tuition of Girolamo Romanino, 
 and became his favourite disciple. 
 He entertained a high opinion of his 
 talents, and ultimately gave him his 
 daughter in marriage. He surpassed 
 his father-in-law, both in the cor- 
 rectness of his designs and in the 
 grandeur of his compositions. To 
 the great principles he had acquired 
 under the Campi he added the 
 charm of Venetian colouring, in 
 which he approached the rich tones
 
 187 
 
 of Pardenone. Select in the choice 
 of the most beautiful forms, they 
 are always gracefully varied, accord- 
 ing to his subject. His attitudes 
 
 GARAMOND, a French en- 
 graver and letter founder, born at 
 Paris in 1506, and died in 1561, 
 aged 55. This artist was much 
 
 are spirited and appropriate, even in ! engaged in some engravings for the 
 the most arduous difficulties of fore- \ works of the celebrated Italian poet, 
 shortening, and the relief of his ] Ariosto. He was the first who ba- 
 figures deludes the eye. Such are ! nished the gothic or black letter 
 the characteristics attributed by printing, for which he substituted 
 
 Lanzi to this distinguished painter. 
 In the Corso de Ramai at Brescia, 
 are three fine fresco paintings by 
 him, of subjects from the fable ; but 
 
 the Roman letter. Moreri. 
 
 GARBIERI (Lorenzo), an Italian 
 painter, born at Bologna in 1590, 
 and died in 1654, aged 64. He was 
 
 these are less surprising than his ad- ' a disciple in the school of Ludovico 
 mirable works in the cloisters of the j Caracci, whose taste of design he 
 Benedictine Fathers of S. Eufemia ' very studiously endeavoured to imi- 
 at Brescia. They represent Moses ' tate. Being of a grave and melan- 
 and the Brazen serpent ; Cain slay- | choly turn of mind, it influenced 
 ing Abel ; Sampson and Dalilah ; him to choose those kind of subjects 
 Judith with the Head of Holofcrnes ; that gave the mind of the spectator 
 Jael and Sisera; and a Deposition ! a similar turn ; such as pestilences, 
 from the Cross. The most studied martyrdoms, &c. He had a hold 
 of his works, are his fresco in the j manner of designing, and a great 
 Dome at Parma, representing sub- energy of colour; nor were his 
 jects from the Life of our Saviour, figures without a degree of grace, 
 which captivate even in the neigh- whenever his subjects required it. 
 bourhood of Correggio. Of his oil The principal works of this master 
 pictures, the most admired are the i are at St. Michael, in Bosco, and 
 Birth of the Virgin, in the church \ St. Antonio, at Milan, where three 
 of S. Faustino and S. Giovata at pictures of his have been mistaken 
 Brescia, and a Pieta, in S. Pietro at for the works of the Caracci Pilk. 
 Cremona Lanzi, D'Argenville. GARBO (Rafaellino Del), an 
 GANDY (James), a Dutch por- : Italian historical painter, born at 
 trait painter, born about the year | Florence in 1476, and died in 1534, 
 lo'lO. He was a disciple of Vandyck, j aged 58. He learned the rudiments 
 and his works are a sufficient proof j of the art from Filippo Lippi, and 
 of the great improvement he made gave such proof of genius in his early 
 under that great master. The Duke I attempts, that there was the highest 
 
 !if Onnond having seen some of 
 Gandy's paintings, prevailed upon 
 him to visit Ireland. There are 
 several portraits painted by him, of 
 
 expectation of his being eminent in 
 more advanced age ; for his designs 
 were executed with unusual freedom 
 and spirit, and he soon appeared 
 
 ublemcn and gentlemen of fortune, I superior to his instructor. In his 
 in Ireland, which are very little in- i best time, he painted the subject of 
 ferior to Vandyck's, either for ex- { the Resurrection of Christ, which 
 pression, colouring, or dignity; and was greatly admired; the figures 
 several of his copies after Vandyck, j were well designed, the characters 
 which were in the Onnond collec- ' of the soldiers judiciously marked, 
 tion at Kilkenny, were sold for ori- ' the airs of the head were graceful, 
 prial paintings of V:md\ ck Pilk. and the whole composition was full
 
 188 
 
 of spirit ; but he afterwards altered 
 so much for the worse, that all his 
 latter productions were the objects 
 of contempt and ridicule; nor did 
 they seem the work of the same 
 master. Before his death he lost 
 all the reputation which he had 
 deservedly obtained by his more 
 early performances, and he died in 
 poverty and disesteem. Fa*., Pilh. 
 
 GARNIER (Noel), an ancient 
 French engraver, who flourished 
 about the year 15(iO. He engraved 
 some wooden cuts, and is said to have 
 been one of the earliest artists that 
 made use of the graver in France. 
 His plates are very rudely executed, 
 and appear to have been the pro- 
 ductions of a goldsmith. He engraved 
 some grotesque ornaments, and a set 
 of forty-eight figures, representing 
 the Arts, Sciences, Trades, &c. There 
 is also a plate by him of several 
 naked men fighting, bearing some 
 resemblance to Sebald Beham, though 
 very inferior Strutt. 
 
 GARNIER (Anthony), a French 
 engraver, who flourished at Paris 
 about the year 1650. He etched 
 his plates in a bold style, and finished 
 them with the graver. Though not 
 executed with much delicacy, they 
 are not destitute of merit. He en- 
 graved some of the paintings by 
 Primaticcio, at Fontainblcau, and a 
 set of twelve plates, after the pic- 
 tures by the same painter, in the 
 chapel de Fleury. He also engraved 
 some plates after N. Poussin and 
 M. Angelo Caravaggio Ibid. 
 
 GARRAND (Mark), a Flemish 
 painter, born at Bruges in 1561, and 
 died in 1635, aged 74. He was 
 principal painter to Queen Elizabeth, 
 and also to Anne, consort to James I. 
 De Piles. 
 
 GARZI (Lodovico), an Italian 
 painter, born at Rome in 1640, and 
 died in 1721, aged 81. He was a 
 disciple of Andrea Sacchi, and in 
 particular parts of his art possessed 
 
 a great deal of the merit of his 
 master. The airs of his heads had 
 grace and elegance, not inferior to 
 those of Carlo Maratti, to whom he 
 was a contemporary, and he was very 
 deservedly placed in competition 
 with that esteemed master, as the 
 style and taste of Garzi was so very 
 similar to that of Carlo, that the 
 works of the former are easily mis- 
 taken for those of the latter. At 
 the age of 80 he painted the dome 
 of a church, by order of Clement XL, 
 which he deemed his best work 
 Pilk. 
 
 GARZONI (Giovanni). This 
 lady was a native of Ascoli, but 
 resided chiefly at Rome, where she 
 distinguished herself as a paintresg 
 of flowers, and portraits in miniature. 
 She flourished about the year 1630. 
 At Florence she painted the portraits 
 of some of the illustrious personages 
 of the house of Medici, and some of 
 the nobility. She died about the 
 year 1630, and bequeathed all her 
 property, which was considerable, to 
 the Academy of St. Luke, where a 
 marble monument is erected to her 
 memory. Vasari. 
 
 GASCAR (Henry), a French 
 portrait painter, who came to Eng- 
 land about the latter end of the 
 reign of Charles II. He was pa- 
 tronised by the Duchess of Ports- 
 mouth ; and in compliment to her, 
 was much employed by the nobility 
 and gentry. His best performance 
 was a half-length at Lord Pomfret's, 
 of Philip Earl of Pembroke, which 
 he drew by stealth, by order of his 
 patroness, whose sister Ixml Pem- 
 broke had married Walpole. 
 
 GATTI (Bernard, called Sojaro), 
 an Italian painter, who flourished in 
 the sixteenth century. He was the 
 ablest disciple of Correggio, and ap- 
 proached nearer to the great style of 
 his instructor than any of his pupils. 
 In his works he proves how nearly 
 the beauties of that admirable painter
 
 189 
 
 may be imitated, without the servility 
 of a copyist. Parma, Piacenza, and 
 Cremona, are rich in his works. His 
 Repose, in the church of S. Sigis- 
 rnondo, breathes the very spirit of 
 Correggio; his affecting sweetness 
 and grace, the expressive sensibility 
 of his characters, the surprising illu- 
 sion of his relief, are discernible in 
 this celebrated picture. Similar cha- 
 racteristics distinguish his Nativity, 
 in S. Pietro, at Cremona : and per- 
 haps above all, his admired Pieta, 
 in the church of La Magdalena, at 
 Parma. He succeeded Pardenone 
 in the works left unfinished by that 
 master, in the tribune of S. Maria di 
 Campagna, at Piacenza; where, ac- 
 cording to Vasari, the whole appears 
 to be by the same hand. One of his 
 most considerable works is the Cu- 
 pola della Steccata, at Parma, which 
 Lanzi considers an extraordinary 
 performance in every part, in which 
 the Madonna is of the most capti- 
 vating beauty Vasari, Lanzi. 
 
 GAUD (Henry), a Dutch painter 
 and enirraver, born at Utrecht in 
 1570, and died in 1639, aged 69. 
 He travelled to Rome at an early 
 age, and contracted an intimate 
 friendship with that excellent artist, 
 whose manner of pencilling, design- 
 ing, and colouring, he made the 
 models for forming his style. The 
 pictures which Gaud himself painted 
 were neatly and delicately touched, 
 in colour and pencil resembling 
 Kl*hcimcr; but they were in no 
 degree equal to the paintings of that 
 admirable master; nor would they 
 admit of even being compared with 
 them. He engraved seven pieces of 
 singular beauty, from pictures by 
 Elsheimer. De Piks, Pilk. 
 
 GAULLI (Giovanni Battista), 
 called BACCICI, an Italian histo- 
 rical and portrait painter, born at 
 Genoa in 1639, and died in 1709, 
 aged 70. He was taken at a very 
 
 early age to Rome, in the train of 
 the Genoese envoy ; and being acci- 
 dentally introduced to Bernini, and 
 Mario Nuzzi da Fieri, they not only 
 directed him in obtaining a know- 
 ledge in his art, but promoted him 
 by their recommendation, and laid 
 the foundation of that fortune and 
 reputation at which he afterwards 
 arrived. He became excellent in 
 | portrait painting, though his genius 
 and talents were much better adapted 
 i to history ; but he was so eagerly 
 ! solicited to paint portraits, that he 
 i finished an extraordinary number of 
 j those subjects, among which are the 
 portraits of five popes, and all the 
 cardinals of his time. His invention 
 1 was good, his tone of colour lively 
 I and agreeable ; and his touch was 
 : spirited. He understood the art of 
 foreshortening his figures to a won- 
 derful degree ; and gave them such 
 1 force, that they seem to come forth 
 ' from the ceilings which he painted. 
 I Those works which he finished in 
 | the angles of the dome of St. Agnes, 
 | in the Palazzo Navona, had such 
 1 strength of colour, that they made 
 i the colouring of Ciro Ferri look fee- 
 1 ble ; and it is reported the death of 
 that great artist was occasioned 
 through chagrin, on seeing the effect 
 of Gaulli's performances so far su- 
 perior to his own. However, though 
 he had great merit in many parts of 
 his art, it must be confessed that lie 
 sometimes is incorrect, and heavy, 
 and his draperies have too much of a 
 manner in their folds Fas., Pilk. 
 G AULTIER (Leonard), a French 
 engraver, who flourished about the 
 year 1610. We have by him several 
 highly finished plates, in which he 
 appears to have imitated the style of 
 Crispin de Passe. They are exe- 
 cuted entirely with the graver, with 
 great precision, but in a stiff formal 
 manner. He must have been very 
 laborious, as the Abbe de Marolles
 
 GAT 
 
 190 
 
 GEM 
 
 possessed upwards of eight hundred 
 prints by him. They consist of por- 
 traits, and various subjects. Strutt. 
 
 GAYWOOD (R.), an English 
 engraver, who died about 171 1. He 
 engraved the couchant Venus of 
 Titian, with a Spaniard Playing on 
 an Organ; a fine picture of King 
 Charles's collection, and since of 
 Lord Cholmondely's. The other 
 works of Gaywood's are portraits of 
 Mary Queen of Scots, with a cross 
 in her hand; William Drummond 
 of Hawthornden, the Scottish histo- 
 rian ; Sir Bulstrode Whitelock, Sir 
 George Cook ; William Fairfax, with 
 six English verses ; Holbein ; James 
 Hodder, writing master ; William 
 Leybourn ; Marguerite Lemon, Van- 
 dyck's mistress, with Frencli verses ; 
 Countess of Portland ; John Play- 
 ford Cuthbert Sydenham, 1654; 
 Lady Eleanor Temple; Charles (II.) 
 King of Scots ; Lipsius; Mahomet ; 
 Doctor Faustus ; and a head of 
 Christina, for Fowler's Troubles of 
 Sweden and Poland. 
 
 GEEL (John Van), a Dutch por- 
 trait painter. Houbraken describes 
 a picture of Van Gcel, in which he 
 has represented a woman sitting with 
 a child in her lap. The figures in 
 that design are very judiciously dis- 
 posed ; and the drapery, which is of 
 yellow satin, falls in easy, natural 
 folds ; it is painted with a thin, 
 delicate colour; and the touch is 
 light, neat, and spirited. The pic- 
 ture is in every respect so like 
 Metzu, that It is generally taken 
 for his work. Houbraken makes no 
 mention of the birth or death of this 
 master Hovb. 
 
 GELDER (Arnold dc), a Dutch 
 painter of history, still-life, &c., born 
 at Dort, in 1645, and died in 1727, 
 aged 82. He learned the rudiments 
 of the art in the school of Samuel 
 Van Hoogstraten ; but afterwards 
 went to Amsterdam and became a 
 
 disciple of Rembrandt, under whom 
 he made so great a proficiency, that 
 he approached near to the merit of 
 that celebrated artist. He spent 
 two years under the direction of 
 Rembrandt ; but he accomplished 
 himself in his art by a curious and 
 1 attentive study of nature. In imi- 
 tation of his master, he also had 
 1 a repository of such objects of still 
 life as he might at any time have 
 ' occasion to paint ; as armour, fire- 
 arms, spears, and old draperies ; _and 
 1 the walls of his room were covered 
 with stuffs, silks, or ensigns, tittered 
 and whole ; from which antique 
 stores he dressed his figures, and 
 furnished the back grounds of his 
 ! pictures. Among his principal works 
 are mentioned the last scene of Da- 
 vid's life, when Bathsheba requests 
 him to make Solomon his successor ; 
 and Jacob the Patriarch blessing his 
 Children. His last work was tho 
 Sufferings of Christ, in twenty-two 
 ; pieces, which Houbraken commends 
 j for having a true and strong expres- 
 i sion, a surprising variety of figures, 
 ' and an excellent chiaro-scuro. 
 Houb. Pilk. 
 
 GELDROP,called GUALDKOP 
 (Gortzius), a Flemish painter, born 
 ' at Louvain in 1 553, and died in 
 i 1618, aged 65. He was a disciple of 
 Franciscus Franks, but that master 
 dying, he became the disciple of 
 Francis Pourbus. He was princi- 
 pally employed in painting portraits, 
 in which style he received great 
 encouragement, and was esteemed 
 one of the best artists of his time. 
 At Cologne there is a Dana* of his 
 design, which is much praised ; and 
 two heads, one of Christ, and the 
 other of the Virgin, which by some 
 connoisseurs have been esteemed 
 little inferior to Guido Descamps, 
 Pilk. 
 
 GEMIGNANO (Vicentio de 
 St.), an Italian painter, born in
 
 191 GEN 
 
 Tuscany in 1490, and died in 1530, 
 aged 40. He was a disciple and 
 
 He first studied under Luca Signo- 
 relli, of Cortona; and afterwards 
 
 imitator of Raffaelle. He painted I under Pietro Peragino, at the same 
 some fine pictures for the churches time that Raffaelle was under that 
 at Rome Pilk. master ; and that intercourse laid the 
 
 GEMIGNANO (Ciacinto), an foundation of a most cordial friend- 
 Italian historical painter, born at j ship between Raffaelle and Genga, 
 Pistoia in 1611, and died in 1681, ] which was never impaired. As he 
 aged 70. He travelled to Rome, hod made perspective and architec- 
 and placed himself as a disciple with ture his peculiar study, he excelled 
 Pietro da Cortona ; under whom he in both ; and was employed by the 
 proved an historical painter of singu- Duke of Urbino to paint the scenery 
 lar merit. He continued at Rome of his theatre, which Genga executed 
 for some years, and finished several in an admirable manner, to his own 
 fine compositions for the churches honour and the satisfaction of the 
 and convents of that city Pilk. \ duke ; and his extraordinary abilities 
 
 GEMINUS, or GEMINIE (Tho- i in the several branches of his art 
 mas). Tliis old English artist was procured him ample employment at 
 an engraver as well as a painter, and Rome and Florence (as well as at 
 executed several plates to ornament j Urbino), where his performances 
 
 his publications. In the year 1545, were held in great esteem Pilk. 
 
 he published a translation of Vesa- GENNARI (Benedetto), an Italian 
 lius's Anatomy, which was first historical and portrait painter, born 
 printed at Padua in 1542, with in 1633, and died in 1715, aged 82. 
 wooden cuts. Geminus copied He painted, jointly with his brother 
 them on copper, and the book was Cesare, in several cities of Italy. He 
 dedicated to Henry VIII. These visited England during the reign of 
 plates, according to Ames, were some Charles II., and painted the portrait 
 of the first rolling-press printing of that prince, and the principal 
 in England. He afterwards pub- noblemen of his court. He was ap- 
 lished another translation of the same pointed painter to James II. ; but at 
 work, by Nicholas Udal, 1552, dedi- his expulsion returned to Italy. His 
 cated to Edward VI. Thomas Ge- j historic works are, a St. Leopardo, 
 minus lived in Blackfriars, where he , in the dome of Osimo ; and a 
 published a Prognostication, relating St. Zaccaria, at Forli Walpole, 
 to the weather, The Phenomena of ; Pilk. 
 
 tke Heavens, &c., with a number of I GENOELS( Abraham), a Flemish 
 plates, engraved by himself. Accord- | landscape and portrait painter, born 
 
 ing to Vertue, he published another 
 work on Midwifery, with copper cuts, 
 by himself. Walpole. 
 
 GENDKE (Nicholas le), an emi- 
 nent sculptor, born at Paris in 1518, 
 and died in 1570, aged 52. He 
 executed several tine pieces of sculp- 
 ture, particularly a fine statue of 
 Henry IV. Moreri, D'AryenviHe. 
 
 GENGA (Girolamo), an Italian 
 
 at Antwerp in 1640. He was 
 disciple of Bakkereel and Firelans. 
 He visited France, and was employ- 
 ed by Le Brun, to paint the land- 
 scapes in his battles of Alexander. 
 He afterwards went to Rome, where 
 he painted the portrait of Cardinal 
 Rospigliosi, though little can be said 
 in commendation of his portraits in 
 general. In landscapes he had a 
 
 historical painter, born at Urbino in boldness of design, and vigour of 
 1476, and died in J5.il, aged 75. colour, with a truth of imitation
 
 GEN 
 
 192 
 
 GER 
 
 that never deviated into manner 
 Pilk. 
 
 GENTSCH (Andrew), a Ger- 
 man engraver, who resided at Augs- 
 burg, and flourished about the year 
 1616. He engraved several small 
 copper plates of grotesque ornaments, 
 some of which are dated in 1616. 
 He usually marked his plates with 
 the same cipher as Albert Alde- 
 grever; but their works are not 
 difficult to distinguish, by the inferi- 
 ority of those of Gcntsch, and the 
 difference in the date. Strtitt. 
 
 GENTILESCHI (Onazio), an 
 Italian historical and landscape paint- 
 er, born at Pisa in 1563, and died 
 in London in 1647, aged 84. He 
 was a disciple of his half-brother, 
 Aurelio Lomi, and adopted the name 
 of Gentileschi, from his maternal 
 uncle. He visited Rome, and fur- 
 nished the landscapes of Agostino 
 Tassi with figures. Upon the invi- 
 tation of Charles I. he came to Eng- 
 land, and was well received by 
 that monarch, who appointed him 
 lodgings in his court. He was em- 
 ployed to paint the ceilings of the 
 palaces at Greenwich, and York- 
 house. His principal paintings in 
 England were, a Madonna, a Mag- 
 dalen, and Lot and his two daugh- 
 ter- De Piles, Pilk. 
 
 GENTILESCHI (Artemisia), an 
 historical and portrait paintress, who 
 died in 1642. She resided some 
 years with her father in England, 
 where she painted the portraits of 
 some of the royal family, and many 
 of the nobility of England ; but 
 passed the last years of her life in 
 Italy. She was inferior to her father 
 in history, but excelled him in por- 
 traits. Two of her historical pic- 
 tures are at Florence, one in the 
 Ducal gallery, the other in the pos- 
 session of Averardo de Medici : it 
 represents Judith killing Holofernes ; 
 a picture of deep impasto, of a tone 
 
 and evidence that strikes with ter- 
 ror; the other is the Temptation 
 of Susanna, a work of much suavity 
 from the choice of place, the grace of 
 the principal figure, and the dress of 
 the rest. Walpole, De Piles,Pilk. 
 
 GERBIER (Sir Balthasar), a 
 Flemish painter, born at Antwerp, 
 in 1592, and died in 1661, aged 69. 
 He came to England by the invita- 
 tion of Charles I. who expressed a 
 great esteem for his works ; and at 
 the recommendation of the Duke 
 of Buckingham, conferred on him 
 the honour of knighthood, and ap- 
 pointed him his resident at Brussels ; 
 which office he discharged with cre- 
 dit and probity De Piles, Pilk. 
 
 GERMAIN (Thomas), a French 
 sculptor, born at Paris in 1674, and 
 died in 1748, aged 74. His father 
 was goldsmith to the king, and a 
 man of great ingenuity. Germain 
 resided for several years at Rome, 
 where he worked as a goldsmith, 
 and exercised himself in drawing. 
 He also performed many fine sculp- 
 tures in metal, and on his return to 
 Paris became famous in that line. 
 Plate wrought by him fetched very 
 high prices. He was likewise skilled 
 in architecture. Moreri. 
 
 GERMYN (Simon), a Dutch 
 landscape painter, born at Dort in 
 1650, and died in 1719, aged 69. 
 He was a disciple of Godfery Schalc- 
 ken, and afterwards of Ludowick 
 Smits, called Hartcamp, of whom he 
 learned a peculiar method of paint- 
 ing fruit. But not finding that 
 branch of the art favourably re- 
 ceived, owing, as Houbraken says, 
 to his method of blending and tor- 
 turing his colours, he applied himself 
 entirely to the painting of land- 
 scapes, which he practised as long as 
 he lived Houb. Pilk. 
 
 GERRARD (of Haerlem), a 
 Dutch historical painter, born at 
 Haerlem, and, according to Houbra-
 
 193 
 
 ken, died at the early age of 28. 
 He was a disciple of Albert Van 
 Ouwater, one of the first after John 
 Van Eyck, who painted in oil ; and 
 when he had painted under that 
 master for a short time, he showed 
 such freedom of hand, so firm an 
 outline, and such an expeditious 
 manner of colouring, that his master 
 used to say he was born a painter. 
 In many parts of his profession he 
 was equal to his master ; but in de- 
 sign, expression, and the disposition 
 of his subjects, he was far superior. 
 He understood perspective extreme- 
 ly well, and was considered by his 
 contemporaries, as one of the best 
 painters of his time. He painted 
 for the church of St. John, at 
 Haerlem, a Descent from the Cross, 
 which was esteemed an exquisite 
 performance. The expression of 
 the different passions in the counten- 
 ances of the Virgin and the Apostles 
 is admirable ; and the whole is sur- 
 prisingly beautiful. Albert Durer, 
 who went to Haerlem to see the 
 works of Gerrard, said, that he must 
 have been a remarkable favourite 
 of nature, who could so early arrive 
 at so great a degree of perfection. 
 Houb. Pilk. 
 
 GERARD called GERRARDS, 
 (Pieters/ Van Zyl), a Dutch por- 
 trait painter, born at Amsterdam in 
 1607, and died in 1667, aged 60. 
 He learned the art of painting in his 
 own country, but came to England 
 to practise it ; and happened to live 
 in the same house with Vandyck, 
 with whom he cultivated an intimate 
 friendship. By attentively observ- 
 ing the penciling of that inimita- 
 ble master, he studiously laboured 
 to imitate his manner of handling 
 and colouring ; and proved so happy 
 in his endeavours, that, after the 
 death of Vandyck, he returned to 
 Amsterdam, and rose to such high 
 reputation, that he was distinguished 
 
 by the name of the second Vandyck. 
 His most usual subjects were por- 
 traits, which he generally designed 
 in the historical style, after the man- 
 ner of conversations ; and he always 
 gave his figures such draperies as 
 were suitable to the modes of the 
 times. The hands of his women 
 are particularly excellent, as well 
 for the roundness and first outline, 
 as for the delicacy of the colouring, 
 a circumstance which is peculiarly 
 observable in the works of Vandyck. 
 One of the best pictures of this 
 master, is the Prodigal Son, which 
 ! has a sensible and strong expression, 
 and is also excellently coloured 
 ! Houb. Pilk. 
 
 GESSNER (Solomon). This 
 celebrated personage is well known 
 to the literary world by his poem of 
 the " Death of Abel," and his other 
 poetical works. He claims our no- 
 tice here as a designer and engraver. 
 He etched several plates of vignettes 
 1 and other ornaments for his Death 
 ' of Abel and his Pastorals. We 
 have besides by him several land- 
 scapes, executed in a very pleasing 
 and finished style, of which the fol- 
 lowing are the principal : A set of 
 ten landscapes, dedicated to M. 
 I Watelet, 1764; twelve pastoral 
 | landscapes, 1767, 1768 ; ten land- 
 scapes, with mythological figures, 
 
 1769, 1771 Strutt. 
 
 GHERARDI, called DOCENO 
 (Christoforo), an Italian historical 
 and landscape painter, born at Flo- 
 rence in 1500, and died in 1556, 
 aged 56. He showed an attach- 
 ment from his earliest infancy to 
 drawing and designing; and without 
 any other assistance than what he 
 received from nature, he had, at the 
 age of sixteen, made such a progress 
 in painting and designing different 
 subjects, and also showed somewhat 
 so graceful in his manner, that he 
 was considered as a prodigy. Some
 
 194 
 
 of his performances happening to 
 full under the observation of Raf- 
 faelle dal Colle, that artist was so 
 much pleased and surprised with the 
 taste and execution of them, that 
 he took Christoforo under his own 
 care, admitted him as one of his own 
 disciples, and directed his hand and 
 judgment, till he hecame a very 
 eminent master. He spent some 
 years in the army, but left the mili- 
 tary life to devote himself to paint- 
 ing ; and became an universal artist, 
 in not only designing historical fi- 
 gures, but also landscapes, birds, 
 fishes, and particularly excelled in 
 grotesque. He finished a great 
 number of works at Rome, Naples, 
 and Florence; and, in conjunction 
 with Giorgio Vasari, or rather under 
 him, executed a great many designs 
 in fresco as well as in oil Vasari, 
 Pilk. 
 
 GHEYN or GHEIN (James 
 the Elder), a Flemish designer and 
 engraver, born at Antwerp about the 
 year 1565. He was instructed in 
 drawing by his father, who was a 
 glass-painter, and learned engraving 
 under Henry Goltzius. He imi- 
 tated the style of that master, and his 
 plates evince a great command of 
 the graver. They are executed in a 
 bold free style, and his design is cor- 
 rect and not without taste. He en- 
 graved a great number of plates, 
 both from his own designs, and after 
 other masters, and his prints are 
 highly esteemed. Sfrutt. 
 
 GHEYN or GHEIN (James 
 the Younger). He was of the 
 same family as the preceding artist, 
 but it is not ascertained whether he 
 was his son or nephew. At an early 
 age he visited Italy, and studied un- 
 der A. Teinpesta. In conjunction 
 with Cornelius Bool, he executed 
 eight plates for La Vie de Charles 
 V., from designs by Tcmpcbta. 
 
 Stnttt. 
 
 G HEZZI (Pier Leone), an Italian 
 historical painter, born at Rome in 
 1674, and died in 1755, aged 81. 
 He was appointed by the Pope to 
 adorn the castle of Gandolpho, und 
 other places. Francis I. Duke of 
 Panna, conferred on him the honour 
 
 of knighthood IPArgenviUe, 
 
 Adams. 
 
 GIBBONS (Grinling), an emi- 
 nent sculptor, who died in 1721. 
 He was the son of a Dutchman who 
 settled in England in the seven- 
 teenth century. Charles II. em- 
 ployed him in ornamenting several 
 of his palaces, and gave him a situa- 
 tion under the board of works. Ho 
 carved the foliage in the chapel at 
 Windsor, the choir of St. Paul's ca- 
 thedral, and the admirable font in 
 St. James's church,\Vestminster ; but 
 his principal performance is said to 
 be at Petworth Walpole's Anec- 
 dotes of Painting. 
 
 GIBBS (James), a celebrated 
 Scotch architect, born at Aberdeen 
 in 1683, and died in 1754, aged 71. 
 He designed the churches of St. 
 Martin's in the Fields, and St. 
 Mary-le-strand, London ; and the 
 New church at Derby ; the Senate 
 House, and the new improvements 
 of King's College, Cambridge, and 
 other works. Gen. Biog. Diet. 
 
 GIBSON (Richard), called the 
 DWARF, an English painter, born in 
 1615, and died in 1690, aged 75. 
 He was a disciple of Francis de 
 Cleyne, and perfected himself by 
 copying the works of Sir Peter Lely, 
 whose manner he imitated. In liis 
 youth he was page to a lady at Mort- 
 Lake, who, perceiving his taste for 
 painting, put him under De CleyM 
 for instruction. He was afterwards 
 page to Charles I., and when he 
 married Mrs. Anne Shepherd, who 
 was also a dwarf, the king honoured 
 the wedding with his presence, and 
 gave away the bride. They were of
 
 195 
 
 equal stature, each measuring three 
 feet ten inches. They had nine 
 children, five of 'whom arrived at 
 years of maturity, and were of the 
 usual stature. It is reported by 
 some writers, that a picture of this 
 master's hand, representing the Good 
 Shepherd, being shown to Charles 
 II., was so much admired by that 
 monarch, that it occasioned the 
 death of Vander Dort, the painter. 
 He drew the portrait of Oliver 
 Cromwell several times ; and had the 
 honour of instructing Queen Mary, 
 when princess of Orange, and prin- 
 cess Anne, (afterwards Queen of 
 
 England), in drawing Walpole, 
 
 De Piles. 
 
 GIBSON (William), an English 
 historical painter, born in 1644, and 
 died in 1702, aged 58. He was 
 nephew of the preceding, and was 
 instructed in the art of painting by 
 his uncle, and afterwards by Sir 
 Peter Lely, whose works he copied. 
 _ Walpole, De Piles. 
 
 GILLEMANS (Antonio), a Fle- 
 mish painter, born at Antwerp about 
 1(572. His subjects were fruits of 
 various kinds, particularly grapes, 
 which he always painted in a small 
 size, but with a great deal of truth, 
 and often with much roundness 
 and relief. He had a free and 
 spirited touch, his objects were well 
 grouped, and his colouring was fre- 
 quently very natural and lively ; but 
 being of a smaller dimension than 
 what the eye is accustomed to see in 
 nature, his pictures have not an 
 effect equal to the neatness of his 
 handling Pilk. 
 
 GILLOT (Claude), a French 
 painter and engraver, born at Lan- 
 gres in 1673. He was sent to 
 Paris when young, and became a 
 scholar of J. B. Corneille. He 
 chiefly excelled in designing fauns, 
 satyrs, and grotesques, in which he 
 acquired some reputation, and was 
 
 received into the Academy at Paris 
 in 1715. Anthony Watteau was 
 his scholar, and greatly surpassed 
 him. His works, as a painter, are 
 little regarded ; but he has left us a 
 considerable number of etchings 
 from his own designs, which are 
 executed in a bold free style, and 
 sufficiently finished. Including the 
 plates he engraved for Les Fables 
 de la Mothe-Houdard. M. Ger- 
 saint makes his prints amount to 
 nearly one hundred and eighty.. 
 Strutt. 
 
 GILPIN (Sawrey), an English 
 painter, born at Carlisle in 1733. 
 He was the son of a captain in the 
 army, who had a knowledge of 
 drawing, and from whom he re- 
 ceived some instructions in the first 
 rudiments of design. On his arrival 
 in London, he was for some time 
 under a ship painter. His genius, 
 however, led him to designing ani- 
 mals, and some of his sketches 
 having been shown to the late Duke 
 of Cumberland, at that time cele- 
 brated on the turf, he took him 
 under his patronage, and employ- 
 ed him in painting the portraits 
 of his favourite horses, and other 
 subjects, at Newmarket, in which he 
 discovered uncommon ability. He 
 was one of the most correct and 
 spirited drawers of horses that the 
 art has produced; and that he pos- 
 sessed powers of a superior cast, 
 which would have enabled him to 
 have distinguished himself in the 
 more elevated walk of historical 
 painting, is evident in his pictures 
 of the Election of Darius, and the 
 Triumph of Camillus. Barry's 
 Edit, of Pilkington. 
 
 GIOCONDO (Fra. Giovanni), 
 an Italian architect, born at Verona, 
 in 1472, and died in 1521, aged 49. 
 He taught the principles of archi- 
 tecture and had Julius Caesar Sca- 
 liger for a pupil. He built several 
 s2
 
 196 
 
 palaces and bridges in France and 
 Italy, and was versed in theology, 
 mathematics, and antiquities. He 
 published an edition of Vitruvius, 
 and another of Caesar's Commenta- 
 ries. Tiraboschi . 
 
 GIORDANO (Luca), an Italian 
 historical painter, born at Naples 
 in 1629, and died in 1705, aged 76. 
 He was a disciple of Giuseppe de 
 Ribera, called Spagnolctto ; but af- 
 terwards studied under Pietro da 
 Cortona. When he quitted the 
 school of the latter, he went to 
 Lombardy to study Correggio, and 
 afterwards to Venice, to improve 
 himself by the colouring and com- 
 positions of the best Venetian mas- 
 ters. He had a fruitful and fine 
 imagination, and a most surprising 
 readiness and freedom of hand ; his 
 tone of colouring is agreeable, and 
 his design, when he chose, correct. 
 In one of the galleries of the Mar- 
 quis Peralta, at Milan, are to be 
 seen several heads by Giordano, in 
 the different manners of the Italian 
 masters. They are extremely fine, 
 and one in particular of St. Gregory, 
 in the manner of Guido. The 
 grand altar-piece, in the church of 
 the Ascension, at Naples, is one of 
 the best performances of Giordano : 
 it represents the Battle of the Angels, 
 and Fall of Lucifer; St. Michael 
 stands in a noble attitude, with his 
 feet upon Lucifer, both figures being 
 supported by the air ; two of the evil 
 spirits seem loaded with the throne 
 of that prince, which is tumbling 
 along with them towards the abyss, 
 and there arc a multitude of figures 
 below which appear already driven 
 into punishment. The colouring of 
 this picture is in the style of Rubens, 
 fresh and brilliant, and has a most 
 striking effect, by the brightness of 
 the colours. There are likewise in 
 the Palazza Durazzo, at Genoa, a 
 Dying Seneca in the Bath ; the Mar- 
 
 tyrdom of a Saint, and the Contest 
 between Perseus and Demetrous, 
 which justify all the honours and 
 riches bestowed by monarchs on this 
 great painter. Fas., Pilk. 
 
 GIOTTO (Ambrose), a cele- 
 brated ancient Italian painter and 
 sculptor, born at Vespignano, a vil- 
 lage near Florence, in!276, and died 
 in 1336, aged 60. He was a dis- 
 ciple of Cimabuc, but soon became 
 superior to his master, and arrived 
 at a degree of art, which, in grace at 
 least, was not excelled before Ma- 
 saccio. The following anecdote is 
 related of this artist, upon the au- 
 thority of De Piles. Pope Benedict 
 IX., having a desire to try the ca- 
 pacity of the Florentine painters, 
 sent a person to Florence to procure 
 him a design from each of them. 
 The messenger .addressed himself 
 to Giotto; the latter drew a perfect 
 circle on paper, with the point of 
 his pencil, and one stroke of his 
 hand ; " There," says he, " carry 
 it to the Pope, and tell him you 
 saw me do it." The man replied, 
 " I asked for a design!" "Go, Sir," 
 answered the artist ; " I tell you his 
 Holiness asks nothing else of me." 
 Upon this the Pope gave his design 
 the preference, and sent for him to 
 Rome, where he painted the cele- 
 brated Mosaic of the Navicella, or 
 the boat of St. Peter, in the por- 
 tico of that Basilica at Rome, which 
 has been distinguished by the Italian 
 painters as " Giotto's vessel." He 
 likewise executed several fine works 
 at Rome, Florence, Pisa, Naples, 
 and other cities of Italy. I)e Piles, 
 Vasari, Pilk. 
 
 GIRARDON (Francis), a cele- 
 brated French sculptor and archi- 
 tect, born at Troyes in 1628, and 
 died in 1715, aged 87. After stu- 
 dying under Anguier, he was sent 
 to Rome by Louis XIV., to perfect 
 himself in his art, arid he succeeded
 
 GIR 197 
 
 Le Bran as inspector-general of 
 sculpture. His chief -works are the 
 Mausoleum of Cardinal Richelieu, 
 in the church of the Sorhonne ; the 
 Equestrian Statue of Lewis XIV., 
 and the Rape of Proserpine, in the 
 gardens of Versailles. D'Argen- 
 ville, Mbreri. 
 
 GIRTIN (Thomas), an English 
 landscape painter, horn in 1 775, and 
 died in 1802, aged 27. So great 
 was his attachment to his profession, 
 that he worked at it till within a few 
 days of his death, though labouring 
 under a painful asthma. He drew 
 landscapes from nature in -water- 
 colours, and some in oil. The Pa- 
 noramic View of London, -which wag 
 exhibited, and his Views of Paris, 
 arc admirable representations. Prints 
 of the latter have been published. 
 They were dedicated to Lord Essex, 
 who purchased the originals Ed- 
 wards, Monthly Mag. Feb. 1803. 
 
 GIUSTI (Antonio), an Italian 
 historical and landscape painter, born 
 at Florence in 1624, and died in 1705, 
 aged 81. He excelled in history, 
 animals, and landscapes. Pilk. 
 
 G1ULANO (di Majano), a Flo- 
 rentine sculptor and architect, born 
 in 1377, and died in 1447, aged 70. 
 He constructed the magnificent pa- 
 lace of Poggio Reale, and other edi- 
 fices at Naples. He was also em- 
 ployed at Rome by Paul II . 
 Moreri. 
 
 GLAUBER, called POLIDORE 
 (John), a celebrated Dntch land- 
 scape painter, born at Utrecht in 
 1646, and died in 1726, aged 80. 
 He was a disciple of Nicholas Ber- 
 chcm, under whom he made a very 
 rapid progress. Having determined 
 upon visiting Rome, he took along 
 with him a younger brother, who 
 was only fifteen years of age. In 
 his route he stopped at Paris, and 
 stuid one year with Picart, a flower- 
 painter ; and at Lyons he spent two 
 
 years with Adrian Vander Cabel ; 
 nor would he have quitted the latter 
 for some years longer, if the great 
 concourse of people who were going 
 to the jubilee had not tempted him 
 directly to Rome. In that city he 
 studied for two years, not neglecting 
 any thing that might conduce to his 
 improvement ; and continued for 
 some time at Venice, to perfect him- 
 self in colouring. At his return to 
 his own country, he settled at Am- 
 sterdam, and lodged with Gerard 
 Lairesse ; and those two artists hav- 
 ing the same love for their profession, 
 the same elevation of sentiment, 
 and a similarity of taste, became 
 united in the firmest bonds of friend- 
 ship; and there are beautiful land- 
 scapes of Glauber's, painted at that 
 time, which are enriched with elegant 
 figures by Lairesse. Glauber is one 
 of the most select landscape painters 
 among the Flemings : his taste 
 and manner are entirely of the Italian 
 school ; his scenes are generally 
 taken from the lovely views in the 
 neighbourhood of Rome, and some- 
 times from situations near the Alps. 
 His colouring is warm, true, and 
 excellent ; his invention fertile, and 
 his pictures exquisitely finished. 
 His touch is so particularly neat, 
 that every distinct species of trees 
 or plants may be distinguished by 
 the exactness of the leafing ; and by 
 a happy management of the aerial 
 perspective, his distances recede in 
 a natural and pleasing manner. His 
 pictures usually bear a considerable 
 price, particularly those which have 
 the additional merit of Lairesse's 
 figures Houb. Pilk. 
 
 GLAUBER (Gotlief John), a 
 Dutch landscape painter, born at 
 Utrecht in 1656, and died in 1703, 
 aged 47. He was the brother and 
 disciple of John Glauber, and after- 
 wards of Jacob Knuyf, at Paris. He 
 travelled with his brother to Rome,
 
 198 
 
 and resided there for two years, and 
 afterwards visited Venice ; at his re- 
 turn to Holland, his works were 
 soon noticed, and much admired, as 
 well for their taste of design as the 
 excellence of their colouring; and 
 his pictures are very often mistaken 
 for those of his brother. Although 
 this painter had a neat touch, and a 
 delicate pencil, when he employed 
 himself op cabinet pictures ; yet he 
 showed sitooble freedom of hand, 
 and a touch full of spirit, in those 
 large works which he executed in 
 grand halls and saloons. One of his 
 capital landscapes was in the palace 
 of the prince of Orange, at Soesdyck ; 
 which is exquisitely designed and 
 finished, the figures being painted by 
 Lairesse. Houb., Pilk. 
 
 GLAUBER (Diana), a Dutch 
 portrait paintrcss, born at Utrecht 
 in 1650. She was the sister of 
 John and Gotlief Glauber ; she 
 principally painted portraits, and in 
 that style rose to a degree of dis- 
 tinction. She was some years before 
 her death accidentally deprived of 
 her eye-sight Ibid. 
 
 GLEN (John), a German engra- 
 ver in wood, bom at Liege in the 
 middle of the sixteenth century. 
 He published a work on ancient and 
 modem dresses, illustrated with 
 figures of his own engraving. Gen. 
 JBiog. Diet. 
 
 GLOVER (George), an English 
 engraver, who flourished about the 
 year 1 637. He worked chiefly for 
 the booksellers, and engraved several 
 portraits of distinguished persons, 
 which are interesting to English 
 history. They are executed in a 
 bold open style, though without 
 much taste. He also engraved fron- 
 tispieces and emblematical subjects, 
 but his portraits are the best of his 
 works. Walpole. 
 
 GOAR (Van), an old German 
 engraver on wood, who was employed 
 ch icfly by the booksellers. Although 
 
 the subjects lie was engaged in are 
 little interesting in themselves, being 
 principally frontispieces and book 
 ornaments, yet his cuts are executed 
 with so much spirit, and in so mas- 
 terly a style, that his prints are much 
 esteemed. He flourished about 
 1516 Strutt. 
 
 GODDARD (John), an English 
 engraver, who flourished about the 
 year 1651. He engraved some 
 frontispieces, maps, and other sub- 
 jects, for the booksellers. One of 
 his best prints is the portrait of Mar- 
 tin Billingsley, a writing master, in 
 an oval border, dated 1651, with 
 four English verses. It is prefixed 
 to his copy-book. Mr. Strutt men- 
 tions a small upright print of a woman 
 standing, under which is inscribed 
 Vertura, and another its com- 
 panion. Strutt. 
 
 GODEWYCK (Margaret), a 
 Dutch landscape paintress, born at 
 Dort in 1627, and died in 1677, 
 aged 50. She was instructed in the 
 principles of painting by Nicholas 
 Maas. She acquired a fine taste for 
 painting landscapes, which she inge- 
 niously diversified with views of 
 rivers, cascades, villages, groves, and 
 distant hills, that rendered her 
 compositions very pleasing. She 
 likewise worked flowers in em- 
 broidery to the greatest perfection 
 
 Houb. 
 
 GOES (Hugo Vander), a Flemish 
 painter, born at Bruges, and flou- 
 rished about the beginning of the 
 sixteenth century. He was a dis- 
 ciple of John Van Eyck, and seve- 
 ral fine works by him are still pre- 
 served at Bruges ; particularly a 
 picture of Abigail and her maids in 
 
 the presence of David Sandrart, 
 
 Houb. 
 
 GOLTZIUS (Hubert), a Flemish 
 painter, bom at Venlo in 1520, and 
 died in 1583, aged 63. He was a 
 disciple of Lambert Lombard ; but 
 having copied several designs from
 
 199 
 
 the antique, under the direction of 
 bis master, it inspired him with an 
 ami lit ion to study after the originals; 
 and for that purpose he travelled to 
 Home, where he resided for a con- 
 siderable time. He was an excellent 
 judge of the antiques, which enabled 
 him to investigate many curiosities 
 in coins and medals, which he after- 
 wards learnedly digested, and pub- 
 lished with learned annotations. At 
 Antwerp, he painted the History of 
 Jason ; but his pictures are extremely 
 rare, though he painted a great num- 
 ber Sandrart, Pilk. 
 
 GOLTZIUS (Henry), a Flemish 
 engraver and painter. This distin- 
 guished artist was born at Mulbrecht, 
 in the duchy of Juliers, in 1558. 
 His father was an eminent glass 
 jainter, who instructed him in the 
 first principles of the art, and he was 
 taught engraving by Theodore Cuern- 
 hert. His progress was such, that 
 he soon suqassed his master, who 
 employed him to engrave some 
 plates, and he executed several for 
 Philip Galle. He afterwards tra- 
 velled through Germany to Italy, 
 where his studies were particularly 
 directed to the works of Michel An- 
 gelo, Raffaelle, and Polidoro da Ca- 
 ravaggio. A too vehement desire 
 to imitate the sublime style of Buo- 
 narotti, led him frequently into an 
 outrageous and extravagant design, 
 which is not always compensated by 
 the extraordinary excellence of his 
 graver. He was perfectly master of 
 the anatomy of the human figure, 
 and drew the extremities with the 
 greatest precision. His compositions 
 are often eccentric, and the attitudes 
 and movement of his figures strained 
 and unnatural ; but these defects are 
 greatly recompensed by the uncom- 
 mon beauty and freedom of his exe- 
 cution. His style is sometimes 
 extremely neat and highly finished; 
 at others, it is surprisingly bold, 
 
 clear, and masterly. Nature seems 
 to have endowed him with a faculty 
 of appropriating his manner to the 
 particular object he had to represent. 
 During his residence at Rome, he 
 engraved several plates after Raffaelle, 
 Polidoro, and others ; and on his re- 
 turn to Holland he settled at Haer- 
 lem, where he engraved several 
 plates from the principal Flemish 
 and Dutch masters. He imitated 
 with the greatest success the style of 
 Albert Durer, Lucas of Leyden, and 
 the other admired old masters, which 
 he has proved by a set of six large 
 plates, called The Masterpieces of 
 Goltzius, as showing how perfectly 
 he could imitate the particular man- 
 ner of those artists whose works were 
 held in higher estimation than his. 
 Henry Goltzius had reached his 
 forty-second year when he com- 
 menced painting. His first picture 
 represented the Crucifixion, with the 
 Virgin Mary and St. John ; and it is 
 commended by Van Mander for the 
 excellence of the colouring and the 
 boldness of the design. Goltzius is 
 much more distinguished as an en- 
 graver than a painter Strutt. 
 
 GOMEZ (Vicente Salvador), a 
 Spanish painter, born at Valentia 
 about the year 1645. He was a 
 scholar of Jacinto de Espionoso, and 
 discovered such extraordinary juve- 
 nile powers, that before he was 
 fifteen years of age, he executed 
 some considerable works in fresco, 
 of subjects from the Life of St. Ig- 
 natius, which equally satisfied and 
 surprised his employers. His talents 
 were not confined to historical paint- 
 ing; he was equally successful in 
 landscapes, animals, and architec- 
 tural views. He is said to have been 
 the founder of an academy of artists 
 at Valencia. Cumberland. 
 
 GOMEZ (Sebastiano, called El 
 
 Mulata DC Murillo). This cxtra- 
 
 ' ordinary- personage was a Mulatto
 
 200 
 
 servant of Murillo. From the op- 
 portunities he had of witnessing the 
 exercise of the admirable talents of 
 his master, he conceived an affection 
 for the art, and passed his leisure 
 time in humble efforts to acquire 
 some proficiency in it, and his en- 
 deavours were by no means fruitless. 
 After the death of Murillo, in 1685, 
 he painted some pictures for the 
 churches and convents at Seville. 
 In the portico of the convent of the 
 Mercenaries Descalzos, there is a 
 painting by him of the Virgin and 
 Infant Christ ; and at the Capuchins, 
 our Saviour bound to the Pillar. 
 There are several other works by 
 him at Seville Cumberland. 
 
 GONZALEZ (Bartolomeo), a 
 Spanish painter, born at Valladolid 
 in 1564, and died in 1627, aged 63. 
 He visited Madrid when young, and 
 became a scholar of Patricio Caxes. 
 He painted history and portraits, and 
 was employed by Philip III. to paint 
 the portraits of different branches of 
 the Austrian family, for the palace 
 of the Pardo. On the death of 
 Castello, he was made painter to the 
 King. There are many of his works 
 in the Escurial, at Valladolid, and 
 at Burgos. Of his historical works, 
 the principal are, the Angels in the 
 church of the Augustines at Madrid ; 
 and an allegorical subject represent- 
 ing the Arts, in the royal collection. 
 Cu mberland. 
 
 GOOL (John Van), a Dutch 
 painter, born at the Hague in 1685. 
 He wrote a history of the lives and 
 works of the Dutch and Flemish 
 painters. Huub. 
 
 GOUDT (Henry, Count de). 
 This distinguished amateur artist was 
 of a noble family of Holland, and a 
 Count of the Palatinate. He was 
 born at Utrecht in 1585. A passion- 
 ate inclination for the art, led him to 
 an early application to drawing, and 
 when he was young he went to Home 
 
 in search of improvement. Arrived 
 in that capital, he was one of the 
 most assiduous students of his time, 
 and daily frequented the academy, 
 to design after the model. He con- 
 tracted an intimacy with Adam El- 
 sheimer ; and, as is noticed in the 
 life of that painter, he became his 
 most liberal benefactor. He pur- 
 chased some of the most finished 
 works by Elsheimer, which he has 
 engraved in a style peculiar to him- 
 self, which is perhaps better adapted 
 to express the polished finishing, and 
 the admirable effect of chiaro-scurao 
 of the originals, than any other that 
 could have been adopted. Ilia 
 plates are wrought entirely with the 
 graver, and their extraordinary effect 
 is produced, not in the usual mode 
 of deepening and strengthening the 
 stroke, but by delicately crossing 
 and re-crossing them several times in 
 the shadows. Though his plates are 
 finished with the most extraordinary 
 precision, there appears a surprisingly 
 free and dexterous handling of the 
 graver. There is a fine expression 
 in the heads, and his figures are cor- 
 rectly drawn. The following are 
 the seven prints by him after Adam 
 Elslteimer: 
 
 1. Ceres drinking from a pitcher. 
 An old woman appears holding a can- 
 dle at the door of a cottage, and a boy 
 naked standing by her, is laughing 
 and pointing at the goddess, for which 
 contempt he was metamorphosed into 
 a frog. The powerful and striking 1 
 effect of this engraving cannot be pro- 
 perly described. This print was well 
 copied by Hollar, who, with the point 
 only, has given us all the effect, 
 though not the neatness, of the ori- 
 ginal. It is distinguished by the name 
 of the Sorcery. 
 
 3. The Flight into Egypt; a night 
 scene, in which the moon and the 
 stars are introduced with great success. 
 
 3. The Angel with Tobit; who is 
 drawing a fish by his side. The back 
 ground is a landscape ; the weeds in 
 the fore ground, and the brandies 
 of the trees in front, as well as the
 
 GOU 
 
 201 
 
 foliage and weeds hanging from them, 
 are beautifully expressed. He fails 
 most in those parts where the graver 
 alone is by no means equal to the un- 
 dertaking, namely, the distant woods 
 and assemblage of trees, which gra- 
 duate one from the other, and requires 
 freedom of determination, which the 
 point only can give ; \hen executed 
 with the graver, they always appear 
 flat and heavy. 
 
 4. The Angel with Tobit crossing a 
 stream of water ; Tobit holds the fish 
 under his arm. The back-ground is 
 a landscape. Hollar has copied this 
 print with much success. 
 
 5. Baucis and Philemon entertain- 
 ing Jupiter and Mercury; a small 
 plate, nearly square. 
 
 6. Aurora representing the Daion of 
 Day ; a small landscape. The effect 
 is very beautiful. 
 
 /. The Beheading of St. John in 
 Prison ; a very small oval print, which 
 is by far the scarcest. Strutt. 
 
 GOUJON, orGOUGEON (John), 
 a French sculptor and architect in 
 the reign of Francis I. lie was also 
 a good medalist, and his works of 
 this kind are scarce and valuable. 
 Being a protestant, lie was shot in 
 the massacre of St. Bartholomew, 
 1 572 D' Argenvitte. 
 
 GOUPY (Joseph), a French art- 
 ist, celebrated for painting in water- 
 colours, and for excellence in copy- 
 ing the works of others. lie died 
 in 1747. Gen. Biog. Diet. 
 
 GO YEN (John Van), a celebrated 
 Dutch landscape-painter, born at 
 Leyden in 1596, and died in 1656, 
 aged 60. He was a disciple of Isaac 
 Nicholas, and afterwards successive- 
 ly became the disciple of William 
 Gcrretsen, and of Esaias Vander- 
 velde, the most celebrated landscape- 
 painter of his time. Van Goyen 
 very soon rose into great esteem, 
 and his works are more universally 
 spread through all Europe, than the 
 works of any other master. He was 
 fond of sketching the views of vil- 
 lages and towns situated on the banks 
 of rivers or canals of the sea-ports 
 in the Low-Countries ; and sonic- 
 
 times of inland villages, where the 
 scenes appeared to him pleasing or 
 picturesque. Those he afterwards 
 used as subjects for his future land- 
 scapes, enriching them with cattle, 
 boats, and figures in character, just 
 as the liveliness of his imagination 
 directed. His style of painting was 
 natural, and his subjects were sea- 
 pieces, or landscapes, with views of 
 rivers, enlivened with figures of 
 peasants either ferrying over cattle, 
 drawing their nets in still water, or 
 going to, or returning from market. 
 Sometimes he represented huts of 
 boors on the banks of rivers, with 
 overhanging trees, and a beautiful 
 reflection of their branches from the 
 transparent surface of the waters. 
 His best works are valued so highly 
 in most parts of Europe, and espe- 
 cially in the Low-Countries, that 
 they deservedly afford large prices, 
 being ranked in Holland with the 
 pictures of Teniers. Houb. Pilk. 
 
 GRAAT, or GRAET (Barent), 
 a Dutch historical and landscape- 
 painter, born at Amsterdam in 1628, 
 and died in 1709, aged 81. He re- 
 ceived his first instructions in the 
 art from his uncle, known by the 
 name of Master John. He preferred 
 the manner of Bamboccio to all 
 others, and studied the style of that 
 master, in regard to his animals, 
 trees, and rural scenery, with such 
 accuracy, that his paintings frequently 
 passed for the works of Bamboccio. 
 And it is related by Houbraken and 
 Weyerman, that a picture of this 
 master was publicly bought, and al- 
 lowed by all the connoisseurs to be 
 indisputably of Bamboccio's hand, 
 till, some years after, an inscription 
 was discovered in one corner of it 
 " B. Graet fecit." He formed an 
 academy, in the manner of the Royal 
 Academy at Paris, for fifteen years, 
 to which the best artists of his time 
 resorted, to study after the naked,
 
 GRA 
 
 202 
 
 from living models ; by which means 
 he considerably improved the taste 
 as well as the skill of his contempo- 
 raries. One of his best pictures, is 
 the History of David and Bathsheba, 
 and his most distinguished disciple was 
 John Hcndrick Roos. Houb. Pilk. 
 
 GRAAW or Grauw (Henry), a 
 Dutch historical painter, born at 
 Hoorn, in North Holland, in 1627, 
 and died in 1 682, aged 55. He re- 
 ceived his firstinstructions from Peter 
 Orebber, but afterwards became a dis- 
 ciple of Jacob Van Campen,with whom 
 he continued eight years, and gained 
 so much credit by his improvement 
 in painting, that Prince Maurice, of 
 Nassau, engaged him to paint seve- 
 ral ceilings in the palace near the 
 Hague. Not satisfied with the know- 
 ledge which he had hitherto acquired, 
 and to refine his taste, by designing 
 and copying the works of the great 
 masters, and the antiques, he travelled 
 to Rome, where he studied three years, 
 He at length succeeded so well, by 
 industry and an apt genius, that Nicolo 
 Poussin, looking over some of the 
 studies of Oraaw, declared he never 
 saw a Fleming of whom he had 
 higher expectations, or any one of 
 more promising talents. On his re- 
 turn from Italy, he lived alternately 
 at Amsterdam and Utrecht, enriched 
 by his works, and exceedingly ad- 
 mired. He had a fine invention, his 
 manner of composing was grand, and 
 his dispositions showed much taste 
 and judgment. His draperies were 
 large, his colouring good, his design 
 correct ; and he particularly excelled 
 in naked figures, in which his choice 
 was elegant, and the contours grace- 
 ful. He left very few pictures ; but 
 what he finished will serve to esta- 
 blish his reputation as an eminent 
 master. Houb., Pilk. 
 
 GRAND (Lc), a French engra- 
 ver, who resided at Paris about the 
 year 1760. He was chiefly em- 
 
 | ployed in vignettes and decorations 
 j of books, many of which were after 
 i the designs of Gravelot, Eiscn, and 
 i others. He engraved a set of plates 
 1 for an edition of Ovid's Metamor- 
 phoses, published at Paris. He also 
 executed some large plates of ruins, 
 neatly executed, but with little taste. 
 Strutt. 
 
 GRANDHOMME (James), a 
 German engraver, born at Heidel- 
 berg, and flourished about the year 
 1600. He is supposed to have been 
 a pupil of Theodore de Bry. We 
 have several plates by him, engraved 
 in a neat stiff style. His best prints 
 are his portraits, which possess con- 
 siderable merit. He worked chiefly 
 with the graver. Strutt. 
 
 GRAVELOT (Henry), a French 
 engraver, who died about 1703. 
 This artist was not much known as 
 an engraver, but was an excellent 
 draughtsman, and drew designs for 
 ornaments in great taste ; he was a 
 , faithful copyist of ancient buildings, 
 ; tombs, and prospects, for which he 
 | was constantly employed by the 
 artists in London. He drew the 
 ! monuments of the kings for Vertue, 
 \ and gave the designs, where inven- 
 tion was necessary, for Pine's plates 
 of the tapestry in the House of 
 Lords. He had been in Canada as 
 secretary to the governor, but the 
 climate disagreeing with him, he re- 
 turned to France, whence he was 
 invited over by Du Bosc. He was 
 for some time employed in Glouces- 
 tershire, drawing churches and anti- 
 quities. He engraved the prints to 
 Sir Thomas Hanmer's edition of 
 Shakspeare, and many of them he 
 designed ; but it was his large print 
 of Kirkstal-abbey, which shows how 
 able an engraver he was. 
 
 GREBBER (Peter), a Dutch 
 painter, born at Haerlem, about 
 1590. He was a disciple of Henry 
 Goltzius, and became an artist of
 
 GRE 
 
 203 
 
 father's concurrence, became a pupil 
 to an obscure line, engraver at 
 Worcester. His progress in that 
 branch of engraving not succeeding 
 
 considerable esteem in his native 
 city, where many of his performances 
 are to be seen, and are still very 
 much admired. It is not certain 
 whether this artist had ever been in 
 Italy, but from his taste of design, 
 it appears that he must have been 
 
 conversant with excellent models 
 
 Houb. Pilk. 
 
 GREEF (Jerome), a German 
 engraver, born at Franckfort, about 
 the year 1500. He is supposed to 
 have been a pupil of Albert Durer, 
 but this conjecture probably arose 
 from his having copied some of the 
 wooden cuts of that artist with great 
 exactness. He copied from Albert 
 Durer wooden cuts of the Apoca- 
 lypse of St. John, the same size as 
 the original, very finely executed. 
 Strutt. 
 
 GREEN (John), an English en- 
 graver, who died about 1760. This 
 artist made great proficiency in 
 graving landscapes, &c., and exe- 
 cuted the following heads : Thomas 
 Rowney; Thomas Shaw, D. D. ; 
 W. Derham, D. D. He engraved 
 the plates for Borlase's Natural 
 History of Cornwall, and many of 
 the seats of the nobility and gentry 
 hi that work. Green was employed 
 by the University of Oxford, and 
 continued their almanacs for several 
 years. Walpole. 
 
 GREEN (Valentine). This cele- 
 brated artist and engraver was born 
 in Warwickshire in 1739, and died 
 in 1813, aged 74. He was intended 
 by his father for the profession of the 
 law, for which purpose he was placed 
 under a respectable practitioner, at 
 Eresham, in Worcestershire, with 
 whom he passed two years ; but 
 having a taste for drawing, he aban- 
 doned his office, and, without his 
 
 to his wishes, he came to London ii 
 1765, where he turned his thoughts 
 to scraping in mezzotinto, and with- 
 out the aid of an instructor, arrived 
 at a perfection which has seldom 
 been equalled. Mr. Green partici- 
 pates with M'Ardell and Earldom, 
 the merit of being the first artists 
 who gave consequence and variety to 
 the particular mode of engraving to 
 which they devoted themselves ; and 
 it is due to Mr. Green to remark, 
 that his celebrated prints of Hanni- 
 bal and Regulus, after the pictures 
 by Mr. West, in the Roy collection, 
 were the first plates of equal magni- 
 tude and importance that had appear- 
 ed. These were succeeded by several 
 others of similar consideration, which 
 will ever rank among the ablest 
 and most energetic efforts of mezzo- 
 tinto. This indefatigable artist, by 
 his unremitting exertion during a 
 period of upwards of forty years, 
 has produced nearly four hundred 
 plates, engraved from the most cele- 
 brated painters, ancient and modern. 
 In 17 89, Mr. Green obtained a patent 
 from the Duke of Bavaria of the ex- 
 clusive privilege of engraving and 
 publishing prints from the pictures 
 in the Dusseldorf Gallery; and in 
 the year 1795,had published twenty- 
 two prints of that collection. This 
 enterprise promised to remunerate 
 him amply for so spirited an under- 
 taking, but unfortunately, during the 
 siege of that city by the French, in 
 1798, the castle and gallery were 
 laid in ruins, and a very valuable 
 property belonging to him was de- 
 stroyed. Other speculations, flatter- 
 ing in their outset, were lost to him 
 by the overwhelming eruption of the 
 French Revolution, of which Mr. 
 Green thus became one of the innu- 
 merable victims In 1767, he was 
 elected a member of the incorporated 
 society of artists of Great Britain ; 
 and in 1774, one of the six associated
 
 GRE 
 
 204 
 
 engravers of the Royal Academy. On 
 the foundation of the British Institu- 
 tion, he was appointed Keeper ; and 
 it will be allowed that his zealous 
 exertions to promote the purposes of 
 the establishment, and the urbanity 
 of his manners to the public and the 
 artists, were exemplary. Strutt, 
 Bryan. 
 
 The limits of our work preclude us 
 from giving a more enlarged account I 
 of this esteemed artist's works. 
 
 GREENBURY ( ), an Eng- J 
 
 lish copyist, who died about 1670. ; 
 He copied two pictures of Albert 
 Durer,from the collection of Charles 
 I., which were much admired. 
 
 GREENHILL (John), an English 
 historical and portrait-painter, born 
 at Salisbury in 1649, and died in 
 1669, aged 20. He was a disciple 
 of Sir Peter Lcly, whose style of 
 painting he imitated successfully, in ! 
 crayons as well as in oil. He was 
 accounted very little inferior to his 
 master, and probably would have 
 stood in competition with him, if 
 Sir Peter would have allowed him 
 free access to his painting-room and 
 permitted him to see the method of 
 using his colours, and his manner of 
 penciling. But by the most authen- 
 tic accounts, Lely grew jealous of 
 the abilities of Greenhill, and consi- 
 dered him as a rival ; and except one 
 time when he stood at his master's 
 back, while he was painting the por- 
 trait of Mrs. Greenhill, he never 
 was permitted to see him paint. He 
 had much natural capacity, and copied 
 the picture which Vandyck painted 
 of Killigrew, with a dog, so extremely 
 well, that it was mistaken for the 
 original ; and his portraits in crayons 
 were much admired. At first he 
 was very industrious, but afterwards 
 he gave himself up to an irregular 
 and dissolute course of life, and died 
 by an accidental fall, as he returned 
 
 from the tavern, in the bloom of 
 his years. De Piles, Pilk. 
 
 GREUTER (Matthew), a Ger- 
 man engraver, born at Strasburg 
 about the year 1564. After receiv- 
 ing some instructions in his native 
 city, he travelled to Italy, by way 
 of Lyons and Avignon, in both 
 which cities he was some time em- 
 ployed. He resided chiefly at Rome, 
 where he engraved several plates 
 executed in a very neat style, though 
 his designs are generally incorrect. 
 Some of his plates are wrought en- 
 tirely with the graver, and the others 
 are etched, and finished with the 
 graver in a lighter style Strutt. 
 
 GREUTER(John Frederick). He 
 was son of the preceding artist, born 
 at Rome, about the year 1600, and 
 was instructed by his father. Wo 
 have by him a variety of plates ex- 
 ecuted with the graver, in a clear 
 neat style. He engraved the plates 
 for the Flora of P. Ferrari. Ibid. 
 
 GRIBELIN (Simon), a French 
 engraver, born at Blois in 1651, 
 and died in England in 1733, aged 
 72. He came to England in 1680, 
 but it was twenty years before he 
 was noticed. The work that first 
 raised his reputation, was the Tent 
 of Darius, published in 1707. This 
 was followed by a set of the Car- 
 toons ; their success was very great, 
 having never been completely en- 
 graved before. He afterwards pub- 
 lished six historical pieces, from pic- 
 tures in the collection at Kensing- 
 ton, and the ceiling of the banquct- 
 ing-house ; but none of his plates 
 gave any idea of the style of the 
 masters they copied. Ho executed 
 a great number of small plates on 
 gold, silver, and copper, chiefly for 
 books. Gribelin engraved the fol- 
 lowing portraits : Duke Schomberg; 
 Sir William Dawes ; and a small 
 whole length of the Earl of Shaftes- 
 bury. Walpole.
 
 205 
 
 GRIFFIER, called the Old 
 (John), a Dutch landscape-painter, 
 born at Amsterdam in 1645, and 
 died in 1718, aged 73. He was the 
 disciple of Roland Roghman, whose 
 dark manner he quitted, to imitate 
 the fresher tones of A. Vandervelde 
 and Lingelbach. He went to Eng- 
 land and settled in London. His 
 subjects were ruins, or views en- 
 riched with figures, cattle, boats, 
 c., which he designed and placed 
 well. His imitations of Rembrandt, 
 Poelemburg, Ruysdael, and Teniers, 
 have often been taken for originals. 
 
 Pitt. 
 
 GRIMALDI, called IL BOLOG- 
 NESE (G:o. Francesco), an Italian 
 painter, born at Bologna in 160C, 
 and died in 1680, aged 74. He was 
 a disciple of Agostino Caracci ; and 
 afterwards travelled to Rome, where 
 he resided several years. Upon the 
 invitation of Cardinal Mazarine, he 
 visited France, and was employed by 
 Louis XIV. He principally painted 
 landscapes, though he designed 
 figures well, was a good architect, 
 and understood perspective. He 
 was employed by Innocent X. in 
 concurrence with other painters, in 
 the Vatican. The gallery at Colonna 
 possesses many of his views, which 
 remained chiefly in Italy; less known 
 on this side of the Alps, than those 
 of 1'oussin and Claude D 1 Argen- 
 ville, Pilk. 
 
 GRIMANI (Hubert), a Dutch 
 painter, whose real name was Hu- 
 bert Jacobs?., born at Delft in 1599, 
 and died in 1629, aged 30. He was 
 taught the rudiments of painting in 
 his own country, and afterwards 
 travelled to Venice, where he stu- 
 died the best masters of that cele- 
 brated school. He afterwards af- 
 forded so many proofs of singular 
 merit, that he was taken into the 
 family of the Doge Grimani, and 
 assumed the name of his patron, 
 
 which his family retained ever after. 
 Grimani was particularly attached to 
 the painting of portraits; and re- 
 ceived geat encouragement in that 
 branch of his art ; but having fre- 
 quent opportunities of painting the 
 portraits of several distinguished no- 
 bleinen, who were impatient of sit- 
 ting a competent time, to admit of 
 his finishing their pictures equal to 
 the artist's inclination or ability, he 
 gradually habituated himself to a 
 more expeditious manner of paint- 
 ing. For which reason his latter 
 works are in no degree comparable 
 with those of his earlier time Pilk. 
 
 GRIMMER (Jacob), a Flemish 
 painter, born at Antwerp in 1510, 
 and died in 1546, aged 36. He was 
 a disciple of Matthew Kock, and 
 afterwards of Christian Queburg. 
 Landscape was his favourite pursuit, 
 and to qualify himself more effec- 
 tually for that branch of the art, he 
 applied himself dilligently to study 
 i nature, till he was able to imitate it 
 with success. His distances and his 
 skies were admirably coloured, his 
 trees touched with spirit and free- 
 dom, and his buildings were well 
 chosen. He had a ready manner of 
 finishing, and the whole together 
 had a natural and pleasing effect 
 Pilk. 
 
 GROSS (Peter le), a French 
 sculptor, born at Paris in 1 666, and 
 died in Rome in 1719, aged 53. His 
 works possess great simplicity and 
 taste ; particularly some fine figures 
 from the antique which adorn the 
 Vatican, and the bridge of St. An- 
 gelo. Nouv. Diet. Hist. 
 
 GUARINI (Guarino), a celebrat- 
 ed Italian architect, born at Modena 
 in 1624, and died in 1683. He built 
 several noble edifices at, Rome, 
 
 Naples, Pisa, &c JD' ArgenviUe, 
 
 Moreri. 
 
 GUELPHI (Signer), an Italian 
 sculptor, who died about 1 742. He
 
 CUE 
 
 206 
 
 was invited to England by Lord 
 Burlington, for whom he did many 
 works in London, and at Chiswick. 
 He was some time employed in re- 
 pairing the antiques at Lord Porn- 
 fret's, at Easton Neston, now at 
 Oxford. His tomb of Mr. Craggs in 
 Westminster Abbey, is graceful and 
 simple. After a residence here of 
 twenty years, he returned to his 
 native city, Bologna. Walpole. 
 
 GUERNIER(Lewisdu),a French 
 engraver, born at Paris in 1677, and 
 died in London in 1716, aged 39. 
 He was instructed in the art by L. 
 dc Chastillon, and came to England 
 in 1708, though with very moderate 
 talents. His chief business was en- 
 graving frontispieces for plays, and 
 other publications. He assisted Du 
 Bosc in engraving the plates of the 
 battles of the Duke of Marlborough. 
 At the request of Lord Halifax, he 
 executed a large plate of Lot and his 
 daughters, after Michel Anyelo 
 Caravaggio. There are also two 
 portraits of James Douglas, Duke of 
 Queensbury, and his Duchess, after 
 Kneller ; they are rare Strutt. 
 
 CUEVARA(DonJuan),aSpanish 
 historical painter, born at Malaga, 
 1631, and died in 1698, aged 67. 
 He was the son of a captain of the 
 Guards of the Viceroy of Aragon, 
 under whose protection he was placed 
 as a disciple of Miguel Manriquc, a 
 Fleming who had been educated in 
 the school of Rubens. He after- 
 wards studied at Madrid, under 
 Alouzo Cano. With the instruction 
 of these masters he became a very 
 reputable artist, and adopted a style 
 that partook of the character of both. 
 To the grandeur and correctness of 
 Alonzo Cano, he united the splendid 
 and brilliant colouring of the head 
 of the Flemish School. His prin- 
 cipal works arc at Malaga, Grenada, 
 and Cordova. In the church do la 
 Charidad, at Malaga, is a fine picture 
 
 of the Triumph of the Cross ; and in 
 the Cathedral, the Ascension of our 
 Saviour, and the Assumption of the 
 Virgin. At Cordova, in the clois- 
 ter of the Augustines, there are some 
 pictures of the Life of the Founder 
 of the Order. Cumberland's Anec- 
 dotes of Spanish Painters. 
 
 GUIDI (Raphael), an Italian en- 
 graver, born at Florence about 1540. 
 From his style, it is probable that he 
 was instructed in the art by Corne- 
 lius de Cort, or Agostino Caracci. 
 His "prints are executed entirely with 
 the graver, which he handled in a 
 masterly manner. His design is 
 tasteful and correct, and though he 
 is inferior to Agostino, his prints 
 possess reat merit. Strutt. 
 
 GUIDO (Ascanius), an Italian 
 engraver, who flourished about the 
 year 1567. There is a print by him 
 of the Last Judgment, after Michel 
 Angela Buonarotti, rather smaller 
 than the plate engraved by Martin 
 Rotu, and is not much inferior to it 
 in merit. It is dated 1567, by which 
 it appears to have been executed two 
 years previous to that by Rota. 
 Strutt. 
 
 GUIDOTTI (Paul), an Italian 
 painter, sculptor, and architect, born 
 at Lucca in 1569, and died in 1629, 
 aged 60. He made wings, with 
 which he imagined he could fly ; but 
 in making the attempt at Lucca, ho 
 fell, and received great injury. 
 Z>' Argenville, Nouv. Diet. Hist. 
 
 GUNDULPHUS ( ), a cele- 
 brated architect, who flourished in 
 England about the eleventh century. 
 Vertue says, it was this artist who 
 built the Tower of London, together 
 with the cathedral of Rochester. 
 
 GYZEN (Peter), a Flemish land- 
 scape painter, born at Antwerp about 
 1636. He was a disciple of John. 
 Breughel, whose manner he indus- 
 triously imitated. His subjects were 
 views of villages, on the banks of
 
 207 
 
 rivers, especially views of the Rhine, 
 in the style of Sachtleven; and he 
 adorned his landscapes with figures, 
 well designed, and neatly pencilled. 
 In his larger pictures he was not so 
 
 happy as in those of a small size, like 
 his master ; which occasioned the 
 latter to be abundantly more esteem- 
 ed, as they were touched with spirit, 
 and without dryness Houb., Pilk. 
 
 H 
 
 HAANSBERGEN (John Van), 
 a Dutch portrait painter, born 
 at Utrechtin 1642, and died in 1705, 
 aged 63. He was a disciple of Cor- 
 nelius Poelemburg, whose manner 
 he adopted. He proved the best 
 copyist of his master; showed the 
 same taste of landscape, figures, 
 kick-grounds, and ornaments ; and 
 his works were frequently taken by 
 good judges for those of Poelemburg. 
 However, his productions were not 
 held in the same esteem ; for although 
 there appeared a strong resemblance 
 in their compositions, yet he was ac- 
 counted inferior to his master in cor- 
 rectness of drawing, in the delicacy 
 of his figures, and in the neatness of 
 his touch. And for that reason, he 
 was advised by his friends to under- 
 take portrait painting, for which he 
 appeared to be extremely well quali- 
 fied ; and therefore he applied him- 
 self entirely to that branch, and his 
 success was answerable to the most 
 sanguine expectations. His designs 
 were taken from true as well as fabu- 
 lous histories, and he always finished 
 them with neatness and care. Houb., 
 Pilk. 
 
 HABERT (Nicholas), a French 
 engraver, born at Paris about the 
 year 1650. He was much employed 
 for the booksellers, and engraved 
 several portraits of literary charac- 
 ters, and other celebrated persons, in 
 a neat style. Among others, he en- 
 graved the following : James II. 
 
 after Kneller ; Maria Louisa of Or- 
 leans, after Champagne ; Louis 
 Maimbourg, a celebrated Jesuit, 
 after his own design ; John Milton ; 
 John Dun, called Scotus : Old Parr, 
 1715. Strutt. 
 
 HACKAERT (John), a Dutch 
 landscape painter, born at Amster- 
 dam about 1635. The scenes which 
 this artist chose for his subjects were 
 broken grounds, with caverns, and 
 grottos, and mountainous views, 
 which he designed after nature ; 
 and to furnish himself with such ob- 
 jects as had an agreeable wildness, he 
 travelled through the most romantic 
 scenes of Germany and Switzerland, 
 and sketched every thing that pleased 
 his particular taste, or that could be 
 introduced into his future composi- 
 tions. Hackaert was not very ex- 
 pert at designing figures, and there- 
 fore, on his return to Holland, he 
 associated with Adrian Vandervelde, 
 who generally painted the figures for 
 him ; and by that means the pictures 
 of this master acquired a considera- 
 ble addition to their value. Houb., 
 Pilk. 
 
 HACKERT (James Philip), a 
 Prussian painter and engraver, born 
 at Prentzlaw about 1734. He wag 
 the son of a portrait painter, who 
 sent him to Berlin, where he studied 
 landscape painting under N. B. Le 
 Sueur. He afterwards travelled to 
 Sweden, and made several drawings 
 of views in that country, which ho
 
 '208 
 
 has etched. In 1766 ho went to 
 Italy, and resided some years at 
 Rome, where lie painted views of 
 the environs of that city, which were 
 much admired, and he met with 
 great encouragement. The king of 
 Naples invited him to his court, ap- 
 pointed him his principal painter, 
 with a liberal pension ; and he re- 
 mained in his service many years 
 Hackert has etched a variety of 
 plates from his own designs, which 
 are executed with great fire and spi- 
 rit Strutl. 
 
 HACKERT (George). He was 
 the younger brother and pupil of the 
 preceding artist, bom at Prentzlaw in 
 1744 In 1786 he established him- 
 self at Naples as a printseller and 
 engraver. He has engraved several 
 plates of landscapes and views, chiefly 
 from the designs of James Philip 
 Hackert. Ibid. 
 
 HAELWEGH (A.), a Flemish 
 engraver, born about the year 1 670. 
 He was employed chiefly by the 
 booksellers, for whom he engraved 
 several portraits and frontispieces. 
 
 HAFTEN (Nicholas Van), a 
 Dutch engraver who flourished about 
 the year 1700. He etched and en- 
 graved in me/zotinto. There are 
 several plates by him of ludicrous 
 subjects, very indifferently executed ; 
 among which is a Dutch Burgomas- 
 ter toying with his kitchen-maid. 
 Struft. 
 
 HAGEN (John Van), a Flemish 
 painter, who flourished about 1660. 
 The works of this master principally 
 consist of views and scenes which 
 he sketched after nature, in the 
 neighbourhood of Cleves and Ni- 
 meguen. His manner was pleasing, 
 and his colour natural ; but there is 
 one circumstance which lessens the 
 value of the works of this master 
 exceedingly, and that is the fading 
 of the blues and greens of his pic- 
 tures, by some defects in the colours, 
 and by too freely using sphaltum ; 
 for by that means they are turned 
 black, and are now very remote from 
 the original tint. Houb., Pilk. 
 
 HAID (John Jacob), a German 
 portrait painter, and engraver in inez- 
 
 He resided some time at Copenhagen, ! zotinto, born in the Duchy of Wur- 
 wherc he engraved some portraits of j temhurg in 1703. He went young 
 
 distinguished Danish personages. 
 Strutt. 
 
 H AERLEM (Theodore), a Dutch 
 
 to Augsbourg, where he became a 
 pupil of Ridingcr. He painted por- 
 traits with success, and distinguished 
 
 historical painter, born at Haerlem j himself by the plates he scraped of 
 in 1410, and died in 1470, aged 60. j the portraits of the illustrious per- 
 
 He was a painter of great merit for 
 the time in which he flourished, of 
 which he has left a competent proof 
 in a picture of his painting at 
 Utrecht. It is less hard and dry 
 than most of the works of his con- 
 temporary artists, and very highly 
 laboured in the finishing. The pic- 
 ture is an altar-piece, with two fold- 
 
 sonages of Germany, which, with 
 their lives, written by Jacob Brucker, 
 was published in a large folio volume, 
 containing a hundred prints, at Augs- 
 bourg, in 1741 Strutt. 
 
 HAID (John Gottfried). He was 
 the son of the preceding artist, born 
 at Augsbourg in 1730, and was in- 
 structed by his father. He came to 
 England when he was young, and 
 
 engraved some plates for Mr. Boy- 
 
 ing-doors, as was customary at 
 
 that time : on the inside appears 
 
 the representation of Christ, and j dell, which are executed in a very 
 
 on the doors the figures of St. Peter respectable style. He also executed 
 
 and St. Paul, as lanre as life. f/oub., several plates after his return to 
 
 Pilk.
 
 209 
 
 Germany, which possess great merit. 
 Strutt. 
 
 HAINZELMAN (Elias), a Ger- 
 man engraver, born at Augsbourg in 
 1640. After learning the first prin- 
 ciples of design in his native city, he 
 went to Paris, where he became a 
 pupil of Francis Poilly, whose man- 
 ner he followed with great success. 
 Although not very correct in his 
 design, his prints possess great merit, 
 particularly his portraits. Strutt. 
 
 HAINZELMAN (John), the bro- 
 ther of the foregoing artist, was born 
 at Augsbourg in 1641. He accom- 
 panied his brother to Paris, and was 
 also instructed in engraving by Fran- 
 cis Poilly. He engraved a variety 
 of subjects, from various masters, 
 and a number of portraits, which 
 he designed from the life, in which 
 his design is more correct than that 
 of Elias. Ibid. 
 
 HALBECK (John), a Danish 
 engraver, who flourished about the 
 year 1618. Among other plates, he 
 engraved a set of grotesque orna- 
 ments, and a large plate of the Heads 
 of the Emperors, from Julius Caesar 
 
 to Pwdinand II Ibid. 
 
 HALL (Charles), an English 
 engraver, born about the year 1720. 
 He was brought up a letter engraver; 
 but he soon aspired to a more 
 respectable branch of the art, and he 
 was much employed in engraving 
 portraits, coins, medals, and other 
 antiquities. His portraits are his 
 best works ; and, independent of the 
 merit of their execution, they are 
 faithful representations of the ori- 
 ginals from which they are taken. 
 The following are his best produc- 
 tions : Thomas Howard, when earl 
 of Surrey, who gained the victory 
 at Flodden Field ; Henry Fitzallen, 
 Karl of Arundel ; Catherine Mar- 
 chioness of Pembroke ; Mary Sidney, 
 Countess of Pembroke ; Sir George 
 Barnes, lord mayor of London ; 
 
 William Hervey, herald ; Thomas 
 Goodrich, Bishop of Ely, lord chan- 
 cellor Strutt. 
 
 HALL (John), an English en- 
 graver, born about the year 1740. 
 He engraved several plates for the 
 collection of Mr. Boydell. They 
 are chiefly executed with the graver, 
 in a clear, bold style, and possess 
 great merit. Ibid. 
 
 HALLE (Claude), a French 
 painter, born at Paris in 1651, and 
 died in 1736, aged 85. He was 
 the son of Daniel Halle, an historical 
 painter, who taught him the rudi- 
 ments of the art. In 1680 he 
 painted a large picture of Christ 
 driving the Money-changers out of 
 the Temple, for the church of 
 Notre Dame, which gained him con- 
 siderable reputation; and in 1682, 
 he was made a member of the Royal 
 Academy at Paris. In the same 
 church is one of his best productions, 
 representing the Annunciation. There 
 are several other pictures by him in 
 the churches at Paris. His colour- 
 ing is agreeable, but not vigorous ; 
 and his design, though not incorrect, 
 is mannered and constrained Pilk. 
 
 HALLE (Noel), he was the son 
 and scholar of the preceding artist, 
 born at Paris in 1701, and died in 
 1781, aged 80. According to M. 
 Watelot, he was one of those artists 
 who had few defects, but to whom 
 nature had refused the fire and in- 
 spiration so essential to reach an 
 elevated rank in the art. His best 
 performance is the picture he painted 
 for the church of St. Louis at Ver- 
 sailles. He executed a few etchings 
 from his own designs, among which 
 j are, Antiochus thrown from his 
 Chariot, and the companion. Pilk. 
 
 HALS (Francis), a celebrated 
 portrait painter, born at Mechlin in 
 1584, and died in 1666, aged 82, 
 He was a disciple of Charles Van 
 Mander. Hals had a lively and 
 T 3
 
 210 
 
 HAH 
 
 prompt turn, and applied himself 
 diligently to the study of nature, as 
 well as to explore the true principles 
 of his art, in respect of colouring 
 and pencilling, till he so effectually 
 confirmed his hand and judgment, 
 that lie hecame an admirable painter 
 of portraits. No artist of his time 
 was superior to him, except Van- 
 dyck, in that branch of his profes- 
 sion ; and but very few painters 
 could be admitted into competition 
 with him. He painted in a beautiful 
 manner, and gave his portraits a 
 strong resemblance, a lively expres- 
 sion, and a true character. His 
 colouring was extremely good and 
 natural ; and he mixed his tints in a 
 peculiar manner, so as to give a sur- 
 prising force to his pictures, by the 
 freedom and boldness of his pencil. 
 Vandyck had conceived so high an 
 opinion of the merits of Hals, by 
 having examined several of his per- 
 formances, that he went to Haer- 
 lem, where that artist lived, with 
 no other intention than to pay him 
 a visit ; and introduced himself as a 
 gentleman on his travels, who wished 
 to have his portrait painted, and yet 
 had but two hours to spare for that 
 purpose. Hals, who was hurried away 
 from the tavern, took the first can- 
 vas that lay in his reach, and sat 
 down to his work in a very expe- 
 ditious manner. In a short time he 
 proceeded so far, that he desired 
 Vandyck to look at what he had 
 done ; and that artist not only 
 seemed to be much pleased, hut 
 told Hals that such work seemed to 
 him so very easy, he was persuaded 
 he could do it himself. Imme- 
 diately he took the palette and pen- 
 cils, made Franck Hals sit down, 
 and spent a quarter of an hour in 
 painting his portrait; but the mo- 
 ment Hals cast his eyes on it, he 
 cried out in astonishment, that no 
 hand except that of Vandyck could 
 
 work so wonderfully, and he em- 
 braced him with a degree of trans- 
 port not to be described. Vandyck 
 endeavoured to prevail on him to 
 go as his associate to England, and 
 engaged to enrich him ; but Hals 
 
 . declined that honourable proposal, 
 and told him, that his happiness 
 consisted solely in the enjoyment of 
 his friends and his bottle, and while 
 he possessed those, he was fully 
 content with his condition and his 
 country. Those celebrated artists 
 quitted each other with mutual 
 
 ; regret, and Vandyck used to say, 
 that Hals would have been the best 
 in hia profession if he had given 
 
 '. more tenderness to his colours ; for, 
 as to his pencil, he knew not one 
 
 ; who was so perfectly master of it 
 
 ; Houb., Sandrart., Pilk. 
 
 HALS (Dirk), a Flemish painter, 
 
 ! and brother of the preceding, bom 
 
 i at Mechlin in 1589, and died in 
 
 I 1656, aged 67. He was a disciple of 
 Abraham Bloemart, under whose 
 direction he principally practised the 
 painting of animals; but when ho 
 quitted that master, he chose for 
 his general subjects, drolls, conver- 
 sations, feasts, or merry-makings, 
 
 , which he designed with a great deal 
 of low humour and spirit; but he 
 was in no degree comparable with his 
 brother, either in correctness, colour- 
 ing, or excellence of handling. 
 Houb., Pilk. 
 
 HAMILTON (Gavin). This 
 gentleman was descended from an 
 ancient Scotch family, and visited 
 Italy at an early age. He has dis- 
 tinguished himself more by his ardour 
 in promoting the fine arts, than as. 
 a painter; in collecting antiquities 
 and advancing the interests of science. 
 His best paintings are, Achilles grasp- 
 ing the dead body of Patroclus, and 
 rejecting the consolation of the 
 Grecian Chiefs ; Achilles dismissing 
 Briseis; and Hector tied to his
 
 211 
 
 Chariot. He died about 1775 
 Gen. Biotj. Diet. 
 
 HAMILTON (William), an his- 
 torical painter, born in 1751, and 
 died in 1801, aged 50. When he 
 was very young, lie accompanied 
 A. Zucchi to Italy. After a resi- 
 dence of some years at Rome, he 
 returned to England, and soon dis- 
 tinguished himself by the readiness 
 of his invention, the suavity of his 
 style, and the charm of his colouring. 
 He practised in manv different ways, 
 mostly history, and frequently ara- 
 besque, in which latter kind he 
 executed some decorations at the seat 
 of the late earl of Bute, at High 
 Cliff, Hampshire. He sometimes 
 painted portraits, but his manner was 
 not well adapted to that branch ; yet 
 his portrait of Mrs. Siddons, in the 
 character of Lady Randolph (in the 
 possession of the late Samuel Whit- 
 bread, Esq. ), was allowed to have great 
 merit. He was much employed by 
 the late alderman Boydell, for his 
 Shakspeare, and by Mr. Macklin, 
 for his edition of the Bible, and of 
 the Poets. In the former, his Woman 
 of Samaria deserves much praise. 
 One of his best works was a picture 
 of the Queen of Sheba entertained 
 at a banquet by Solomon, a design 
 for a window in Arundel Castle. 
 His manner of painting was light, 
 airy, and pleasant, and he excelled 
 in ornaments, to which he gave a 
 propriety, richness, and classic air. 
 His coloured drawings imitate the 
 fulness of his oil-paintings, with more 
 freshness, and are finished with taste. 
 Gen. Bioq. Diet. 
 
 HANNEMAN (John), a Dutch 
 portrait painter, born at the Hague 
 in 1611, and died in 1680, aged (J.9. 
 He was a disciple of Hubert Rave- 
 stein, and formed his taste and 
 manner of pencilling by studying 
 and copying the works of Vamlyck. 
 Several of Hanncman's copies after 
 
 that celebrated painter's works showed 
 such exactness, and at the same time 
 such a freedom of hand, that they 
 were frequently mistaken for origi- 
 nals. Though he was usually em- 
 ployed in portrait painting, yet he 
 sometimes designed historical and 
 allegorical subjects. Of the latter 
 kind there is a large picture in the 
 hall of the States of Holland, repre- 
 senting Peace, under the figure of a 
 beautiful woman seated on a throne 
 holding a dove on her knees, and 
 frowned with wreaths of laurel by 
 two Genii. The composition is rich, 
 and it is painted with a great deal of 
 force ; the carnations approaching 
 very near to the tints of Vandyck. 
 Houb., Pilk., De Piles. 
 
 HARDIME (Peter), a Flemish 
 painter, born at Antwerp in 1678, 
 and died in 1748, aged 70. He 
 received the first instructions in the 
 art of his brother Simon, who was 
 a flower painter. He imitated the 
 manner of his brother, but was much 
 superior to him in talents, and ex- 
 celled him to a very great degree, 
 though he withdrew himself from 
 his direction when he was only nine- 
 teen years of age, and at that early 
 age commenced business in his pro- 
 fession. He fixed upon the Hague 
 for his place of residence, and was 
 much employed by the principal 
 persons in that city ; which so much 
 increased his reputation, that his 
 works were soon distributed through 
 all the Low Countries. He painted 
 for the monastery of the Bernar- 
 dines, near Antwerp, in the year 
 1718, four large designs, represent- 
 ing the Four Seasons, in which he 
 introduced all the fruits and flowers 
 peculiar to each. The objects are 
 well grouped, the fruits and flowers 
 are fine imitations of nature, freely 
 handled, with an agreeable tone of 
 colouring, and arc well finished. 
 Houb. Pilk.
 
 212 
 
 HARLOW (George Henry), an 
 English historical and portrait paint- 
 er, born 1787, and died in 1 81 9, aged 
 32. " His father," says his biogra- 
 pher, " was a merchant, who had lived 
 many years in the East ; his widow, 
 young, wealthy, and handsome, gave 
 all her thoughts to her husband's 
 memory, and the education of her 
 children ; and his only son, as might 
 be expected, had a large share of her 
 solicitude. He attended the classi- 
 cal seminary of Dr. Barlow, in Soho 
 Square; then that of Roy, in Bur- 
 lington-street, and was also some time 
 in Westminster school. The learn- 
 ing of the youth could not be other- 
 wise than moderate who left school 
 at sixteen, and whose mind even be- 
 fore that early date had been much 
 occupied with other studies. 
 
 " The love of painting came on 
 Harlow early ; and living as he did 
 in the midst of exhibitions and gal- 
 leries, his mind was already disci- 
 plined to a greater extent than he 
 was aware of when he took the pen- 
 cil in hand. The attempts of Harlow 
 were so promising that his mother, 
 having confirmed her own opinion 
 by the examination of friends, re- 
 solved that he should devote himself 
 to art; and with more eagerness 
 than taste, put him under the care 
 of Henry de Cort, a landscape paint- 
 er from Antwerp, of humble abilities 
 and supreme conceit, who undertook 
 to teach him the secrets of the pro- 
 fession. In such a school nothing 
 but enthusiasm such as Harlow's 
 could have prospered : he acquired 
 knowledge sufficient to see that he 
 was wasting his time; and under- 
 taking now to judge for himself, 
 sought instruction in the studio of 
 Drummond the portrait painter. 
 ' Here,' says one of his biographers, 
 1 he pursued his art with an ardour 
 from which even amusements could 
 not seduce him.' " 
 
 By the interposition of the du- 
 chess of Devonshire, he was placed 
 under the care of Lawrence. " His 
 admission to the painting rooms of 
 his new master," says one of his 
 biographers, " was coupled with con- 
 ditions, which sound strangely in 
 ears unacquainted with the practice 
 of artists. He paid one hundred, 
 guineas yearly as a pupil ; and for 
 this Harlow was to have free access 
 to Sir Thomas's house at nine 
 o'clock in the morning, with leave to 
 copy his pictures till four o'clock in 
 the afternoon, but to receive no in- 
 struction of any kind." " Sir Tho- 
 mas," says Smith, " being highly 
 pleased with his productions, em- 
 ployed him to prepare some of his 
 pictures in the dead colouring, and 
 to advance copies." 
 
 " In the studio of Lawrence he 
 continued only eighteen months; 
 yet it is generally allowed that he 
 entered more largely into the style 
 and character of his master's per 
 formances than any other of his 
 pupils. His success must be attri- 
 buted wholly to himself; for Law- 
 rence, though he employed him in 
 forwarding portraits, never conde- 
 scended to instruct him farther than 
 how to accomplish the drudgery on 
 hand. Harlow was too proud to 
 relish long the mechanical labours 
 to which he was thus subjected ; nor 
 did he like the cold measured gra- 
 ciousness of Lawrence ; in short, as 
 he acquired mastery over his art, his 
 vanity whispered that he had been 
 long enough under the control of 
 one who, he imagined, did not very 
 far excel himself in the genius of 
 the profession. The pupil quar- 
 relled with Lawrence, and, resolved 
 to be master of his own movements 
 in future, commenced working for 
 himself. 
 
 " The youthful aspirant who de- 
 spised all regular studies, and who
 
 HAR 
 
 213 
 
 quarrelled with Lawrence, was not 
 likely to be a successful candidate 
 for the honours of the Royal Society. 
 Accordingly, on his offering himself 
 for the rank of associate, there was 
 but one vote in his favour; and 
 when Fuseli was accused of having 
 bestowed the solitary suffrage, he 
 vindicated himself by saying, ' I 
 voted for talent not for the man !' 
 This repulse and a rude one it was 
 exasperated Harlow he resolved 
 to prove to the world that they had 
 wronged a man of genius." 
 
 The first works of Harlow were of 
 an historical nature ; " Bolingbroke's 
 Entry into London," and " The 
 quarrel between Queen Elizabeth 
 and the Earl of Essex." The failure 
 of his hopes of fame from these in- 
 duced him to paint portraits; and as 
 he had considerable facility of hand, 
 skill in drawing, and generally caught 
 the proper peculiarity of character, 
 he soon found many sitters. His 
 first exhibited production was a draw- 
 ing of his mother. She had lived to 
 see her son become eminent, and 
 died when he was twenty-two years 
 old ; he loved her memory, and ever 
 mentioned her name with tender- 
 ness. But the work which first 
 caught the public attention was the 
 " Hubert and Prince Arthur," paint- 
 ed for Mr. Leader, at the price of 
 one hundred guineas. Among his 
 portraits, those of the cynical North- 
 cote and the selfish Nollekens have 
 been much commended. Of the 
 former there is a fine engraving by 
 Lewis ; the latter is in the drawing- 
 room of the Duke of St. Alban's. 
 
 In his portraits he was particularly 
 correct, and gave the character as 
 well as features with fidelity and 
 spirit. The admirable arrangement 
 and powerful effect with which he 
 represented the scene from Henry 
 VIII., in which Mrs. Siddons is the 
 heroine, und all the Kemble family 
 
 are introduced, is a masterly proof 
 of his taste, judgment, and skill, as 
 an historical painter. He passionately 
 loved his art, and was so rapid in im- 
 provement, that his powerful com- 
 petitors might have had reason to be 
 alarmed at his progress. His por- 
 traits of the venerable President of 
 the Royal Academy, of Northcote, 
 Fuseli, and other members of that 
 institution, are also excellent speci- 
 mens of the skill and fidelity of his 
 pencil. He was not only judicious 
 in design, but correct as well as 
 vivid in colouring ; and, considering 
 his youth and the rapidity of his pro- 
 gress, it may be fairly said, that his 
 untimely death is a severe loss to 
 the arts of this country. As a copy- 
 ist also he was entitled to high 
 praise. His copy of a picture of 
 Rubens some time since, might be 
 taken for the original ; and his copy 
 of Raffaelle's famous picture of " The 
 Transfiguration" which he lately 
 painted, in Italy, with astonishing 
 rapidity, was highly admired at 
 Rome, where the original might be 
 compared with it. He had collected 
 many valuable remains of antiquity 
 in his travels, and his drawing book 
 of portraits of distinguished living 
 characters, must be deemed a very 
 interesting and valuable work. 
 Gent. Mag., A. Cunningham, Gen. 
 Biofl. Diet. 
 
 HARP (Van). Although the 
 works of this estimable painter are 
 so generally known and admired, he 
 has escaped the notice of every writer 
 of art. He is supposed to have been 
 brought up in the school of Rubens, 
 whose vigorous touch and brilliancy 
 of colour he nearly approached. He 
 copied some of the large works of 
 that admirable painter on a small 
 scale ; and his pictures of that de- 
 scription are frequently taken for 
 the production of Rubens. His 
 most esteemed pictures are those of
 
 HAR 
 
 214 
 
 his own composition; representing 
 the interior of Flemish farm-houses, 
 with peasants regaling. His figures 
 are boldly designed, his colouring 
 clear and harmonious, and his pencil 
 flowing and facile. The works of 
 Van Harp are deservedly placed in 
 the choicest collections. Bryan. 
 
 HARRISON (Stephen), an Eng- 
 lish architect and joiner, who flou- 
 rished in the reign of James I. This 
 artist was selected to prepare the 
 triumphal arches erected in London 
 for the reception of James I. 
 
 HAUSSARD (John), a French 
 engraver, born at Paris about the 
 year 1700. He imitated with suc- 
 cess the style of Benoit Audran. 
 His drawing is generally correct, and 
 many of his plates are executed in a 
 clear neat style. His best prints arc 
 those he engraved for the Crozat 
 collection Strutt. 
 
 HAWKER (Edward), an English 
 portrait painter, who died about 1 723. 
 He painted a whole length of the 
 Duke of Grafton, from which there 
 is a print, and a head of Sir Dudley 
 North. 
 
 HAWKSMORE (Nicholas), an 
 English architect, born in 1G68, and 
 died in 1736, aged 68. At the age 
 of eighteen he became a disciple of 
 Sir Christopher Wren, under whom, 
 during his life, and on his own ac- 
 count after his master's death, he was 
 concerned in erecting many public 
 edifices. So early as Charles's reign 
 he was supervisor of the palace at 
 Winchester, and under the same emi- 
 nent architect assisted in conducting 
 the works at St. Paul's to their con- 
 clusion. He was deputy-surveyor at 
 the building of Chelsea College, and 
 clerk of the works at Greenwich, 
 and was continued in the same post 
 by King William, Queen Anne, and 
 George I. at Kensington, Whitehall, 
 and St. James's ; and under the lat- 
 ter Prince was first surveyor of all 
 
 the new churches and of Westmin- 
 ster-Abbey, from the death of Sir 
 Christopher Wren. He likewise de- 
 signed several of the temples that 
 were erected in pursuance of the sta- 
 tute of Queen Anne, for raising fifty 
 new churches ; their names are St. 
 Mary Woolnoth, in Lombard-street; 
 Christ-church, Spital-fields ; St. 
 George, Middlesex ; St. Anne, Lime- 
 house; and St. George, Bloomsbury ; 
 the steeple of which is a master-stroke 
 of absurdity, consisting of an obelisk, 
 crowned with the statue of King 
 George I. and hugged by the royal 
 supporters. He also rebuilt some 
 part of All Souls college, Oxford, 
 the two towers over the gate of which 
 are copies of his own steeple of St. 
 Anne, Limchouse. He built several 
 considerable houses for various per- 
 sons, particularly Easton-Neston, in 
 Northamptonshire; restored a defect 
 in the minster of Beverly, by a ma- 
 chine of his own invention ; repaired 
 in a judicious manner the west end 
 of Westminster Abbey ; and gave a 
 design for the Ratcliffe library, at 
 Oxford. His knowledge in every 
 science connected with his art ia 
 much commended, and his character 
 remains unblemished Walnoie. 
 
 HAYLS (John), an English por- 
 trait painter, who died about 1679. 
 His best pictures are, a portrait of 
 Colonel John Russel, son of the 
 Duke of Bedford ; and another of 
 Lady Diana, the daughter of the 
 first duke of that house Walpole. 
 
 HAYMAX (Francis), an English 
 painter, horn in Devonshire in 1708, 
 and died in 1776, aged 68. He was 
 a scholar of Brown, and owed his 
 reputation to the pictures he painted 
 for Vauxhall, which recommended 
 him to much practice in giving de- 
 signs for prints to books. He was 
 remarkable for the long noses and 
 shambling legs of his figures. In his 
 pictures his colouring was raw, nor
 
 HEC 
 
 215 
 
 in any light did he attain excellence. 
 Pilk. 
 
 HECK (John Van), a painter of 
 landscapes, fruit, flowers, &c., born 
 at the village of Quarcmonde, near 
 Oudenarde, about the year 1625. 
 He visited Rome at an early age, 
 where the Duke of Bracciano became 
 his patron, and engaged him for a 
 considerable time in his service. He 
 soon arrived at such reputation, that 
 most of the cardinals and princes at 
 Borne were solicitous to procure some 
 of his paintings. He not only paint- 
 ed flowers and fruit in a good style, 
 and finished them with neatness, but 
 also landscapes, designed after the 
 beautiful scenes in the neighbourhood 
 of Rome. He likewise painted vases 
 of silver, agate, porphyry, marble, or 
 bronze, after the antique ; and other 
 subjects of still life, in which he 
 showed an agreeable choice, and good 
 composition. He spent the latter 
 part of his life at Antwerp, where he 
 was highly esteemed. Houb. Pilk. 
 
 HECK (Nicholas Vander),a Dutch 
 historical and landscape painter, born 
 about 1580. He was a disciple of 
 John Naeghel, at the Hague, and 
 distinguished himself as a good com- 
 poser of historical subjects ; but his 
 greatest excellence was seen iu his 
 landscapes. His manner of penciling 
 was strong and firm, his colouring 
 natural and lively; and his know- 
 ledge of the chiaro-scuro enabled him 
 to give his picture a bold and striking 
 effect. Three of his best compositions 
 are preserved in the town-house at 
 Alkmoer. In the first is represented 
 the Beheading of the Bailiff of South 
 Holland, by order of Count William 
 the Good, for au act of oppression 
 exerted against a poor peasant ; the 
 subject of the second is the Punish- 
 ment of an unjust Judge, who was 
 flayed alive by order of Cambyses ; 
 and the third is the Judgment of 
 Solomon. Houb., Van Mander, 
 Pilk. 
 
 HEEDE (Vigor Van), a Flemish 
 painter, born at Fumes in 1659, and 
 died in 1708, aged 49. He travel- 
 led to Rome at an early age, and per- 
 fected himself in the knowledge of 
 his profession. After his return to 
 his own country, he was invited by 
 the Emperor of Germany to Vienna, 
 and executed some fine pieces for 
 that prince; as well as for several 
 other princes of Germany, who ex- 
 pressed a strong desire to detain him 
 at their courts. In the church of St. 
 Walburg, at Fumes, there is a capi- 
 tal picture of this master, represent- 
 ing the Martyrdom of a Saint. It 
 is designed in the manner of Lairesse, 
 full of spirit in the composition, with 
 a tone of colouring that is very natu- 
 ral; and through the whole the 
 chiaro-scuro is judiciously observed. 
 His works are very rarely to be met 
 with, even at Furnes, where he lived 
 a great many years; from whence 
 it is concluded, that they were pur- 
 chased by strangers, who knew how 
 to prize his merit better than his own 
 countrymen. His brother William, 
 who was an excellent painter, died 
 in 1728, aged 68. Houb., Pilk. 
 
 HEEM DE (John David), a 
 Dutch painter of fruit, flowers, and 
 still-life, born at Utrecht in 1600, 
 and died in 1674, aged 74. He 
 was instructed in the art of painting 
 by his father, David de Heem, a 
 good painter of fruit and flowers, 
 who much improved the taste of his 
 son for these subjects, and had the 
 satisfaction to see himself greatly 
 surpassed by him. The subjects in 
 which he excelled, were fruit, flowers, 
 vases of gold and silver richly em- 
 bossed, musical instruments, Turkey 
 carpets, and such like objects of still 
 life. He studied nature minutely, 
 and might justly be said rather to 
 have embellished than to have imi- 
 tated nature; every thing that he 
 painted being not only truly but ele-
 
 216 
 
 HEL 
 
 gantly exact. A peculiar transpa- 
 rence of colouring distinguishes his 
 pictures from those of most others, 
 but particularly when he represents 
 transparent bodies, such as crystal, 
 glass, or gems; nor can a judicious 
 eye consider the union, harmony, or 
 freshness of his tints, without admi- 
 ration. His works are very scarce, 
 and are eagerly bought at high prices. 
 Houb., Pilk. 
 
 HEEKE DE (Lucas), a Dutch 
 painter, born at Ghent in 1534, and 
 died in 1 .584, aged 50. He was the 
 son of John de Heere, the best sta- 
 tuary of his time, and Anne Smyters, 
 who had the reputation of being a 
 most surprising paintress of land- 
 scapes in miniature. From such 
 parents De Heere had a fair prospect 
 of gaining every necessary part of 
 instruction ; and having under their 
 direction learned to design and handle 
 the pencil with ease and freedom, he j 
 was placed as a disciple with Francis 
 Floris. With that master he im- 
 proved so expeditiously, as to become 
 in some respects his equal, but in 
 composition and invention his supe- 
 rior. On quitting the school of 
 Floris, he travelled to France, where 
 he was employed for some years by 
 the queen-mother, in drawing designs 
 for tapestry : and while he continued 
 at Fontainbleau, he studied after the 
 antique statues preserved in that 
 palace, though he never made a happy 
 use of that study in his subsequent 
 compositions, as might have been 
 expected from his talents. At his 
 return to his native city, he painted 
 a great number of portraits with 
 applause, and he was remarkable for 
 having so retentive a memory, that 
 if he saw any person but once, he 
 could paint their likeness so strong 
 as if he had his model before his eye. 
 On the shutters of the altar-piece in 
 the church of St. Peter at Ghent, he 
 painted the Descent of the Holy 
 
 Ghost on the Apostles, in which the 
 draperies are extremely admired ; 
 and, in the church of St. John, he 
 painted an altar-piece representing 
 the Resurrection. The manner of 
 this artist was stiff, resembling that 
 of his master; but in the colouring 
 of the hands of his portraits, there 
 is a great appearance of nature and 
 clearness. He resided for several 
 years in England, where many of 
 his portraits of the English nobility 
 are preserved, and they are highly 
 esteemed. Van Mander, Houb. 
 
 HEFELE ( ), a German 
 
 painter of landscapes, flowers, and 
 insects, who died about 1719. He 
 came over with KingWilliam's Dutch 
 troops, and after obtaining his dis- 
 charge, settled in England. He chief- 
 ly painted in water-colours; but pos- 
 sessed little knowledge of the chiaro- 
 scuro. He sold a few of his works 
 to collectors, and the rest, being very 
 poor, to printsellers. 
 
 HEIL (Daniel Van), a Flemish 
 painter, born at Brussels about 1804. 
 As a painter of landscapes he had a 
 great reputation ; but he discontinued 
 that manner, being more pleased with 
 subjects which excited pity and terror, 
 1 such as conflagrations of cities, vil- 
 lages, or palaces ; and those he repre- 
 sented with abundance of truth, and 
 often with great exactness. Among 
 his capital performances are men- 
 tioned, the Destruction of Troy, the 
 Burning of Sodom, and an excellent 
 winter-piece, which is in the collec- 
 tion of Prince Charles of Lorraine. 
 His touch was light, with a natural 
 tone of colouring, and a very great 
 variety in the scenes of his land- 
 scapes. Van Mander, Pilk. 
 
 HELMONT (Segres Jacques 
 Van), a Flemish historical painter, 
 born at Antwerp in 1684, and died 
 in 1727, aged 43. He was the son 
 and disciple of Matthew Van Hel- 
 mont ; but being deprived of his
 
 217 
 
 father at an early age, he was chiefly 
 indebted for his progress to his own 
 exertions and perseverance. His 
 compositions were in the grand style; 
 his colouring is true, and his design 
 correct ; and he is considered among 
 the Flemish artists as a painter of 
 distinction. The great altar-piece in 
 the church of the Carmelites, at 
 Brussels, was of Van Helmont's 
 composition ; the subject is Elijah 
 sacrificing before the Priests of Baal. 
 Houb., Pilk. 
 
 HELST (Bartholomew Vander), 
 a Dutch portrait painter, born at 
 Haerlem in 1(513, and died in 1670, 
 aged 57. He sometimes employed 
 his pencil on historical subjects, and 
 the landscapes which he introduced 
 in those compositions arc always in 
 a good taste, and designed with a 
 great deal of truth and nature. But 
 his chief merit consists in portraits, 
 which he designed in an agreeable 
 style, with a light free touch, and a 
 mellow pencil ; with broad draperies, 
 and beautiful colouring. The best 
 picture of this master is in the Cham- 
 ber of Justice, in the town-house of 
 Amsterdam ; it represents the prin- 
 cipal officers of the trained bands as 
 large as life. The carnations, the 
 attitudes, and the draperies, are finely 
 designed and executed ; the local co- 
 lours are good, and the ornaments, 
 with the vases of gold and silver, are 
 delightfully finished, and imitated to 
 great perfection. Houb., Pilk. 
 
 HEMS KERCH (Martin), a Dutch 
 historical painter, born in 1498, and 
 died in 1.574, aged 76. He first 
 learned design from John Lucas, and 
 afterwards became a disciple of John 
 Schoreel. After quitting the school 
 of Schoreel, he iuiiuited the manner 
 of that painter entirely, and finished 
 a picture for the chapel of the artists 
 at Haerlem, representing St. Luke 
 painting the portrait of the Virgin, 
 whic was so exactlv in the stvle of 
 
 I Schoreel, that it seemed impossible 
 jto determine whether it had not 
 ! really been executed by that master. 
 | Though he had sufficient employment 
 , in his own country to detain him 
 there, yet he was desirous of visiting 
 I Rome ; and, having procured letters 
 of recommendation, he travelled thi- 
 ther, and met with a favourable and 
 honourable reception. He applied 
 himself to study the antique, and 
 I the works of Michel Angelo ; and 
 | copied many of the superb ruins in 
 j the environs of Rome, intending 
 ; those designs for the ornament of his 
 future compositions. After a resi- 
 dence of three years at Rome, he 
 returned to his native country, and 
 changed his manner of designing ; 
 though his early manner after Scho- 
 j reel was preferred to his latter. 
 ! 7/oi/A., Pilk. 
 
 HEMSKERCK, called the OLD 
 (Egbert). It seems extraordinary 
 that no circumstance relative to the 
 time in which this great painter flou- 
 rished, or the school in which he was 
 taught, should be taken notice of by 
 any of the writers on the subject of 
 painting; though, perhaps, through 
 all Euro]>e, no painter is more uni- 
 versally known, and few had more 
 admirers. He designed and drew cor- 
 rectly, his colour is extremely natu- 
 ral and transparent, and his pictures 
 have a strong effect, from his accu- 
 rate management of the chiaro-scuro. 
 His touch is free, firm, and full of 
 spirit, and his expres^on is admira- 
 ble. Some of his pictures appear 
 rather too dark, particularly in the 
 back-grounds ; though perhaps that 
 defect might have been occasioned 
 by the colours having changed from 
 their original tint, or perhaps from 
 the severe treatment of unskilful 
 cleaners and varnishers. But his 
 genuine works, when entire, and 
 well preserved, have a clearness and 
 force equal to any of the Flemish
 
 218 
 
 artists. The great reputation of 
 Hcmskcrck hath excited so great a 
 number of painters, either to imi- 
 tate his manner, or to copy his works, 
 that abundance of pictures are sold 
 for his real performances, which are 
 a dishonour to his genius and pencil. 
 Pilk. 
 
 IIEMSKERCK, called the 
 YOUNG (Egbert), a Dutch painter 
 of drolls, witches, &c. born at Haerlem 
 in 1645, and died in 1704, aged 59. 
 He was a disciple of Peter Grebber; 
 but he imitated the manner of 
 Browyer and the elder Hemskerck. 
 He quitted Holland at an early age 
 to visit London, where he resided 
 for some years. He had abundance 
 of humour, and a very lively and 
 whimsical imagination, which caused 
 him to delight in composing the 
 most wild, fanciful, and uncommon 
 subjects ; such as the nocturnal in- 
 tercourse of witches, devils, and 
 spectres, temptations of St. An- 
 thony, and enchantments ; and those 
 subjects he executed with a free 
 pencil, and a spirited touch. His 
 drawing was tolerably correct, and 
 in some of his compositions extreme- 
 ly good ; his colouring was generally 
 commendable, though sometimes it 
 appears disagreeable by its foulness. 
 It was customary with him to intro- 
 duce his own portrait among the 
 drolls and conversations which he 
 designed ; and for that purpose he 
 had always a small looking-glass 
 placed near his easel. De Piles, 
 Pilk. 
 
 HENNY (Adrian). This artist 
 was one of the last painters who ar- 
 rived in the reign of Charles II. 
 Little is known of him, but that after 
 being two years in France, he adopted 
 the manner of Gaspar Poussin. He 
 painted much at Ey thorp, the seat of 
 Dormer, Lord Carnarvon, now of Sir 
 William Stanhope, and died there in 
 1710. 
 
 HERREGOUTS,the Old (Hen- 
 ry), a Flemish historical painter, 
 born at Mechlin about 1666. He 
 received his first instructions in his 
 art in his native city ; but he form- 
 ed his style of painting from study- 
 ing the works of the best masters, 
 and improving his knowledge by an 
 accurate study after nature. In all 
 his compositions he showed a fertile 
 invention ; his style of painting was 
 grand, his design full of spirit, and 
 his colouring agreeable. His figures 
 had expression and character, and 
 his draperies were easy and natural ; 
 lie painted with great freedom of 
 [>encil, and his touch was broad and 
 firm. His general subjects were 
 designed in a large si/e, and in some 
 of his compositions the figures were 
 abundantly larger than life. Most 
 of the churches at Bruges and Ant- 
 werp were adorned with the paint- 
 ings of this master ; but his best 
 performance is in the parish church 
 of St. Anne, at Bruges; the subject 
 is the Last Judgment ; and the 
 composition, as well as the execu- 
 tion, afford sufficient evidence of 
 the merit of this master. Houb. 
 
 HERREGOUTS, the Young, 
 ( ). He was a considerable ar- 
 tist, but much inferior to his father. 
 Several of his paintings are in the 
 churches of Bruges, and are highly 
 esteemed ; one of which is in the 
 church of theBare-footed Carmelites, 
 and represents the Presentation of 
 Christ in the Temple. Pilk. 
 
 HERRERA (Francisco, the El- 
 der), a Spanish painter and architect, 
 born at Seville, in 1576. He was 
 a scholar of Luis Fernandez, and 
 was one of the earliest artists of his 
 country who attempted to reform 
 the dry and tasteless style that had 
 prevailed before him. His colour- 
 ing was bold and clear, and he gave 
 great relief to hi* figures. Among 
 his most considerable works are his
 
 219 
 
 picture of the Last Judgment, in the 
 parochial church of San Bernardo at 
 Seville, ile also excelled in paint- 
 ing fairs, markets, and merry- 
 makings, which are much admired. 
 Cumberland. 
 
 HERRERA (Francisco, the 
 Younger), a Spanish painter, born 
 in 16'2'2, and died in 168.5, aged 
 (>3. He was the son of the fore- 
 going artist, and received his first 
 rudiments in the art from his father. | 
 After passing some time under his 
 father, he visited Rome, and applied | 
 himself with great assiduity in J 
 studying the beauties of antiquity, j 
 and the works of the most eminent 
 masters. A residence of six years | 
 in Italy rendered him one of the 
 most accomplished artists of his | 
 country ; and some time after his re- 
 turn to Seville, he was appointed 
 sub-director of the Academy, at its 
 institution in lb'60, of which Murillo 
 was president. Not brooking this 
 inferiority, he went to Madrid, 
 where his talents soon brought him 
 into public estimation. He was ap- i 
 pointed painter to Charles II. of! 
 Spain, and superintendent of the 
 royal works. His principal perfor- I 
 malices at Madrid are, the great | 
 altar-piece of the Bare-footed Car- 
 melites, representing San Hermen- 
 gildo ; the cupola of the Convent 
 of Coq>us Christi; St. Anne teach- 
 ing the Virgin to read. Herrera 
 the Younger also excelled in paint- 
 ing still-life, flowers, and fish ; and 
 for his peculiar talent in the last, was 
 called by the Italians il Spagnuolo 
 deiili Pesci. Cumberland. 
 
 HERTOCKS (A). Mr. Vertue 
 could find no particulars of this ar- 
 tist's country, birth, or death ; but 
 that he engraved the following works : 
 a frontispiece to the Icon Basilike, in 
 folio ; another to the complete col- 
 lection of Charles's works ; and that 
 to Mr. Evelyn's Sculptura, and se- 
 veral others. 
 
 IIEUSCH (William de), a land- 
 scape painter, born at Utrecht about 
 1638. He was a disciple of John 
 Both, whose manner he strictly ad- 
 hered to. He designed entirely af- 
 ter nature, and sketched the views 
 of the Rhine and the Tiber, of 
 Frescati and Trivoli, from which 
 he composed his landscapes, which 
 he enriched with excellent figures 
 and animals of different kinds, ele- 
 gantly designed, and finished with 
 neatness ; he generally chose for his 
 subjects huntings, harvest home, or 
 shepherds and villagers employed 
 in different occupations or amuse- 
 ments Houb., Pilk. 
 
 HEUSCH (Abraham de), a paint- 
 ter of plants, herbs, insects, &c. 
 born at Utrecht about 1650. His 
 favourite subjects were plants and 
 herbs of different kinds, insects, ser- 
 pents, reptiles, &, which he copied 
 from nature, with singular neatness 
 and truth. It was impossible to be- 
 hold such exactness of imitation, 
 and such exquisite finishing as ho 
 bestowed on his pictures, without 
 being astonished at his patience, as 
 well as the skill he showed in the 
 disposition of his objects. Few of 
 the works of this master are to be 
 seen, as he spent a good length of 
 time in giving them as much perfec- 
 tion as he could, and as he quitted 
 painting for a commission in the 
 navy Van Mander, Pilk. 
 
 HEY DEN (John Vander), a 
 Flemish painter of views of cities, 
 palaces, &c., born at Gorcum in 
 1637, and died in 1712, aged 7 .5. 
 He derived his knowledge of paint- 
 ing from a painter on glass of no 
 great note ; and his taste directed 
 him to the choice of such subjects as 
 are very rarely seen in such perfec- 
 tion as they have been represented 
 by his pencil. He painted views of 
 cities, churches, palaces, temples, 
 and country houses ; which he
 
 220 
 
 copied with all imaginable precision, ; 
 and added new beauties to them, by i 
 the landscapes, trees, and lovely dis- I 
 tances which he introduced with 
 great propriety and judgment. His 
 pictures are finished with inexpress- 
 ible neatness, and amazing patience ; 
 and he had one particularity, which 
 can scarcely be found in any other 
 master, that of painting his buildings 
 so minutely exact, as to admit of 
 counting the stones or bricks em- 
 ployed in their construction. Yet 
 the objects in his pictures form ad- 
 mirable masses of light and shadow ; 
 the chiaro-scuro is well understood ; 
 the perspective excellent ; and the 
 union and harmony are not injured 
 by the surprising care and delicacy 
 of the handling. Among other con- 
 siderable buildings, he painted a 
 view of the Royal Exchange and 
 Monument, at London ; the Town- 
 house, at Amsterdam ; the views of 
 Rome, Cologne, and Delft ; and 
 many churches and palaces, which 
 are filled with a multitude of figures, 
 all busy and in motion, and very 
 judiciously disposed ; all those figures 
 being painted by Adrian Vander- 
 velde, they add a still greater de- 
 cree of value to his pictures. Houb., 
 Pilk. 
 
 HIDALGO (Don Joseph Gar- 
 cia), a Spanish painter, born about 
 the year 16.56. He was probably a 
 native of Murcia, as he studied in 
 that city, under Matteo Gilarte, and 
 Nicholas de Villacis. After passing 
 some time under those masters he 
 went to Italy, and at Rome became 
 a scholar of Giacinto Brandi. The 
 climate of Italy proving obnoxious 
 to his health, he returned to Spain, 
 and in 1674 went to Madrid, and 
 was employed by Charles II. in a 
 scries of twenty-four pictures for the 
 cloisters of San Felipe el Real. In 
 1(>91, he published a work on art, 
 entitled Principias para estudiar 
 
 elNobilissimo Artedela Peintura. 
 Cumberland. 
 
 HIGHMORE (Joseph), an En- 
 glish historical painter, born at 
 London in 1092, and died in 1780, 
 aged 88. He was the nephew of 
 Serjeant Highmore, and was bred a 
 lawyer, but quitted that profession 
 for painting, which he exercised with 
 reputation amongst the successors 
 of Kneller, under whom he entered 
 into the academy ; and, residing at 
 first in the city, was much employed 
 in painting family pieces. He after- 
 wards removed to Lincoln's-Inn- 
 Fields, and painted the portraits of 
 the Knights of the Bath, at the re- 
 vival of that Order, for a series of 
 plates, which he first projected, and 
 which were engraved by Pine. He 
 also painted a set of pictures, the 
 subjects of which were taken from 
 Richardson's Pamela. At the insti- 
 tution of the Royal Academy, he 
 was chosen one of the professors. 
 His best performances are, Hagar 
 and Ishmael, at the Foundling Hos- 
 pital; the Finding of Moses ; and the 
 Good Samaritan. He was eminent 
 for his literary abilities, and pub- 
 lished a Critical Examination of the 
 two Paintings by Reubens on the 
 Ceiling of the Banqueting House at 
 Whitehall, &e. 4to. ; The Practice 
 of Perspective, on the Principles of 
 Dr. Brooke Taylor, 4to. ; Observa- 
 tions on a Pamphlet, entitled 
 Christianity not founded on Argu- 
 ment ; Essays, 2 vols 12mo. Gen. 
 Biog. Diet., Pilk. 
 
 HILLIARD (Nicholas \ an En- 
 glish historical and portrait painter, 
 born at Exeter in 1.547, and died in 
 1619, aged 72. He studied the 
 works of Hans Holbein, which to 
 him seemed preferable to all others. 
 But though he copied the neatness 
 of his model, he was incapable of 
 acquiring the force and nature 
 i which that great master impressed
 
 221 
 
 on all his smaller performances. 
 He could never arrive at any strength 
 of colouring ; his carnations were al- 
 ways pale, and void of any variety 
 of tints ; yet his pencilling was ex- 
 ceedingly neat, the jewels and orna- 
 ments of his portraits were expressed 
 with lines incredibly slender, and 
 even the hairs of the head and of 
 the beard were almost distinctly to 
 be counted. He painted the por- 
 trait of Mary, Queen of Scots, which 
 gained him universal applause ; and 
 Queen Elizabeth sat to him for her 
 portrait several times. De Piles, 
 Pilk. 
 
 HIRAM, an excellent architect, 
 who was sent by the King of Tyre 
 to Jerusalem, to superintend the 
 building of Solomon's Temple, 
 which he performed in an excellent 
 manner. Joscphun. 
 
 HIRE (Laurence de la), an emi- 
 nent French painter, was born at 
 Paris in 1606, and died in 16.56, 
 aged 50. He was the only artist of 
 his time in Prance who did not en- 
 deavour to imitate the manner of 
 Vouet ; though that which he as- 
 sumed was not at all superior, and he 
 continued a mannerist of an inferior 
 order. His landscapes were the 
 most pleasing of his works, and were 
 finished with great care, but he was 
 
 deficient in perspective D'Aryen- 
 
 tille, Vie des Peintres, Pilk. 
 
 1IOADLY (Sarah), an English 
 portrait paiutrcss, who died about 
 1743. She was a disciple of Mrs. 
 Beak 1 , and a [wintress of portraits by 
 profession ; when she had the hap- 
 piness to become the wife of Dr. 
 lloadly, afterwards Bishop of Win- 
 chester. Her portrait of Whiston 
 has been much admired. 
 
 HOBBIMA (M.), a Flemish 
 painter, born at Antwerp, or, accor- 
 ding to other writers, at Hamburgh, 
 about the year 1611. His pictures 
 in no way partake of the Flemis.li 
 
 school, as exhibited in the land- 
 scapes of Rubens, Wildenburg, and 
 Teniers ; but they perfectly assimi- 
 late with the works of Ruysdael, 
 and other painters of the young 
 school. Hobbima has not been 
 surpassed by any painter in this 
 country, in the pure and graceful 
 , tinting of his colour, in the full and 
 flowing richness of his painting, and 
 intelligent use of the chiaro-scuro. 
 In some of his larger pictures he 
 has introduced, with the happiest 
 effect, the brilliancy of the sunshine 
 bursting through the gloom of the 
 forest, and illuminating the whole 
 of his picture with a magical effect 
 of light and shadow that astonishes 
 and charms. His skies are lucid 
 and floating, and there is a dewy 
 brightness in his verdure that is ad- 
 mirable. The pictures of Hobbima 
 were for a long time unnoticed and 
 neglected ; but now obtain very high 
 prices. Pilk. 
 
 HODGES (William), an English 
 landscape painter, born in 1744, and 
 died in 1 797, aged 53. He was a 
 disciple of Wilson, the landscape 
 painter, and accepted the appoint- 
 ment of draughtsman in the second 
 voyage to the South Seas, under 
 Captain Cook ; from which he re- 
 turned after an absence of three 
 years, and painted some pictures for 
 the Admiralty, of scenes at Otaheite 
 and Uhetea. He went to the East In- 
 dies, under the patronage of Warren 
 Hastings. He was a member of 
 the Royal Academy. Edwards, 
 fuseli. 
 
 HOECK, or HOUR (John Van), 
 a Flemish painter, born at Antwerp 
 in 1600, and died in 1650, aged 50. 
 He was a disciple of Rubens. From 
 the school of Rubens he visited 
 Rome, and resided there for some 
 years. His merit soon procured him 
 the favour of the principal nobility 
 and cardinals, and his works were 
 r 2
 
 222 
 
 HOG 
 
 admired not only at Rome, but in 
 the other parts of Italy through 
 which he travelled. At the solici- 
 tation of the emperor Ferdinand II. 
 lie went to Vienua, where he painted 
 the portraits of the Imperial family, 
 and composed several historical pic- 
 tures. The portraits which he paint- 
 ed were remarkable for their resem- 
 blance, and are considered as not 
 much inferior to Vandyck ; and the 
 altar-piece which is preserved in the 
 church of Notre Dame, at Mechlin, 
 representing a Dead Christ, with 
 the figures of the Virgin, St. John, 
 and Mary Magdalen, beautifully 
 executed, sufficiently evinces his 
 strength in historical composition. 
 Pilk. 
 
 HOECK (Robert Van) , a Flemish 
 painter of battles, &c., born at An- 
 twerp about 1609. He went early 
 into the service of the King of Spain, 
 who entertained so high an esteem 
 for him, that he appointed him comp- 
 troller of the fortifications through- 
 out all Flanders. The pictures 
 which he painted were generally of 
 a small size, with abundance of 
 figures ; and he particularly excelled 
 in those subjects which admitted of 
 introducing the greatest number of 
 them, such as battles, plundering of 
 villages, the march of armies or en- 
 campments. His works are truly 
 estimable ; his design was exceedingly 
 correct, his touch had unusual neat- 
 ness, and his colouring was delicate. 
 Houb., Pilk. 
 
 HOEFNAGLE (George), a Fle- 
 mish engraver, who died in 1626. 
 This artist engraved a map of Bris- 
 tol about 1592, and a large plate of 
 Nonsuch. He was one of the engra- 
 vers employed by Ortelius. 
 
 HOET (Gerard), a Flemish 
 painter, born at Bommel in 1648, 
 and died in 1733, aged 85. He was 
 a disciple of Warnard Van Ryson, an 
 excellent painter, who had hern in 
 
 the school of Poelemburg. After 
 practising for some time at Cleves, 
 and Paris, he settled at Utrecht ; 
 and in that city and its neighbour- 
 hood displayed his abilities, in exe- 
 cuting several grand designs for ceil- 
 ings, saloons, and apartments, and 
 also in finishing a great number of 
 easel-pictures for cabinets. He had 
 a lively imagination, a ready inven- 
 tion, a talent for composition, and 
 correctness in the costume. His 
 
 I manner of painting was clean and 
 neat, and he was thoroughly master 
 
 , of the true principles of the chiaro- 
 
 ', scuro. His figures in general aro 
 designed with elegance ; his colouring 
 
 i is vivid, natural, and harmonious, 
 his touch is light and firm, and his 
 pictures have a great deal of transpa- 
 rence of colour. His best pictures 
 
 j are in the palace of Slangenberg, 
 
 ' and his eminent talents may be seen 
 in the grand staircase at Voorst, 
 
 ! in Holland, and also in England, 
 where several fine pictures of Hoet 
 are preserved, some of them in the 
 manner of Poelemburg, and others 
 in the style of Carel du Jardin. 
 Des., Houb., Pilk. 
 
 HOGARTH (William), a cele- 
 brated English painter, born at Lon- 
 don in 1698, and died in 1762, aged 
 64. This original genius was bound 
 an apprentice to Mr. Ellis Gamble, 
 a silversmith of eminence in Cran- 
 bourn-street, Leicester-fields. About 
 1 720 he set up for himself, and his 
 first employment was to engrave 
 coats of arms and shop-bills. He 
 next undertook to execute plates for 
 booksellers, the chief of which are 
 the plates to Hudibins. His first 
 performance as a painter was the re- 
 presentation of Wanstead assembly, 
 the portraits being taken from life. 
 In 1730 he married the daughter of 
 Sir James Thornhill, and shortly 
 after embellished the gardens of 
 Vatixhall with some excellent paint-
 
 HOG 223 HOG 
 
 ings, for which the proprietor com- > as Moliere : in his Marriage a-la- 
 plimented him with a perpetual ! mode there is even an intrigue 
 ticket of admission. In 1733 ap- ; carried on throughout the piece, 
 peared his Harlot's Progress, prints [ He is more true to character than 
 which stamped his reputation, and Congreve ; each personage is distinct 
 were followed by other moral histo- from the rest, acts in his sphere, and 
 lies, admirably executed. Soon after cannot be confounded with any 
 the treaty of Aix-la-Chapelle, he ' other of the dramatis person*, 
 went to France, and while at Calais j The alderman's footboy, in the last 
 began to draw a sketch of the gate print of the set I have mentioned, is 
 of the town, for which he was taken an ignorant rustic ; and if wit is 
 into custody, but was soon released, struck out from the characters in 
 This circumstance he ridiculed in which it is not expected, it is from 
 an excellent caricature. In 1753 their acting conformably to their situ- 
 he published his Analysis of Beauty, ation, and from the mode; of their 
 in 4to. Hogarth was very vain, and passions, not from their having the 
 thought himself the first painter of ; wit of fine gentlemen. Thus there 
 the age. Ho was also remarkably | is wit in the figure of the Alderman, 
 absent, of whicli the following is who, when his daughter is expiring 
 an instance : On setting up his car- in the agonies of poison, wears a face 
 riage he paid a visit to the Lord of solicitude, but it is to save her 
 Mayor, and having protracted his gold ring, which he is drawing 
 stay till a heavy shower came on, ' gently off her finger. The thought is 
 he was let out by a different door parallel to Moliere's, where the miser 
 from that by which he entered, and puts out one of the candles as he is 
 unmindful of his carriage, he set off talking. Moliere, inimitable as he 
 on foot, and got home dripping wet. has proved, brought a rude theatre 
 When Mrs. Hogarth asked him to perfection. Hogarth had no 
 where he had left his carriage, he model to follow and improve upon, 
 said he had forgot it. He was inter- , He created his art ; and used colours 
 red in the churchyard of Chiswick. instead of language. His place is 
 Life by Ireland. I between the Italians, whom we may 
 
 Thr following character of IIo- consider as epic poets and tragedians, 
 garth, by Walpole, the late Lord and the Flemish painters, who are 
 Orford, is no bad addition to ' writers of farce, and editors of bur- 
 the account of his life. \ lesque nature. They are the Tom 
 
 " Having despatched the herd of ' Browns of the mob. Hogarth re- 
 our painters in oil, I reserved to a j sembles Butler, but his subjects are 
 class by himself that great and ori- ! more universal; and amidst all his 
 ginal genius, Hogarth ; considering ! pleasantry, he observes the true end 
 him rather as a writer of comedy ; of comedy, reformation ; there is 
 with a pencil, than as a painter. If j always a moral to his pictures: 
 catching the manners and follies of ! sometimes he rose to tragedy, not in 
 an age living as they rise, if general | the catastrophe of kings and heroes, 
 satire on vices, and ridicule famili- | but in marking how vice conducts, 
 arised by strokes of nature, and insensibly and incidentally, to misery 
 heightened by wit, and the whole and shame. He warns against en- 
 animated by proper and just ex- couraging cruelty and idleness in 
 prcssions of the passions, be comedy, | young minds, and discerns how tho 
 Hogarth composed comedies as much different vices of the great and tiie
 
 224 
 
 vulgar lead by various paths to the 
 same unhappincss. The fine lady in 
 Marriage a-la-mode, and Tom Nero, 
 in the Four Stages of Cruelty, ter- 
 minate their story in blood; she 
 
 style, thoughts, or hints, that he 
 never succeeded when he designed 
 for the works of other men. I do 
 not speak of his early performances 
 at the time that he was engaged by 
 
 occasions her husband's murder ; he ! booksellers, and rose not above those 
 assassinates his mistress. How deli- ! they generally employ : but in his 
 cate and superior too is his satire, maturer age, when he had invented 
 when he intimates in the College of his art, and gave a few designs for 
 Physicians and Surgeons that preside some great authors, as Cervantes, 
 nta dissection, how the legal habitude j Gulliver, and even Hudibras, his 
 of viewing shocking scenes hardens compositions were tame, spiritless, 
 the human mind, and renders it un- void of humour, and never reached 
 feeling! The president maintains | the merits of the books they were 
 the dignity of insensibility over an l meant to illustrate. He could not 
 executed corpse, and considers it but j bend his talents to think after any 
 as the object of a lecture. In the body else. He could think like a 
 print of the Sleeping Judges, this great genius, rather than aftei one. 
 habitual indifference only excites our | I have a sketch in oil that he gave 
 laughter. It is to Hogarth's honour j me, which he intended to engrave : 
 that, in so many scenes of satire or it was done at the time that the 
 ridicule, it is obvious that ill nature House of Commons appointed a 
 did not guide his pencil. His end is ! committee to inquire into the cru- 
 always reformation, and his reproofs ; city exercised on prisoners in the 
 general ; except in the print of the Fleet, to extort money from them. 
 Times, and the two portraits of Mr. ' The scene is the committee ; on the 
 Wilks and Mr. Churchill that fol- ! table are the instruments of torture, 
 lowed, no man, amidst such a pro- I A prisoner in rags, half starved, ap- 
 fusion of characteristic faces, ever pears before them ; the poor man 
 pretended to discover or charge him has a good countenance, which adds 
 with the caricature of a real person ; to the interest. On the other hand 
 except of such notorious characters is the inhuman gaoler ; it is the very 
 as Chartres or mother Needham, and figure that Salvator Rosa would have 
 a few more who are acting officially [ drawn for lago, in the moment of 
 and suitably to their professions, j detection. Villany, fear, and con- 
 As he must have observed so care- science, are mixed in yellow and 
 
 fully the operations of the passions 
 on the countenance, it is even won- 
 derful that he never, though with- 
 
 livid on his countenance ; his lips 
 are contracted with tremor, his face 
 advances as eager to lie, his legs 
 
 out intention, delineated the features ( step back as thinking to make his 
 of any identical person. It is at the i escape ; one hand is thrust prccipi- 
 ttamc time a proof of his intimate | tately into his bosom, the fingers of 
 intuition into nature: but had he j the other are catching uncertainly at 
 been too severe, the humanity of i his button-holes. If this was a por- 
 
 cndeavouring to root out cruelty to 
 animals M'ould atone for many satires. 
 
 trait, it is the most speaking that 
 ever was drawn ; if it was not, it is 
 
 It is another proof that he drew all j still finer. It is seldom that his 
 his stores from nature and the force figures do not express the character 
 of his own genius, and was indebted he intended to give them ; when 
 neither to models nor books for hi* ! thcv wanted an illustration that
 
 225 
 
 colours could not bestow, collateral ] 
 circumstances, full of wit, supply 
 notes. The nobleman in Marriage . 
 ii-la-mode has a great air; the coro- ' 
 net on his crutches, and his pedigree ; 
 issuing out of the bowels of William 
 the Conqueror, add to his character. 
 In the Breakfast the old steward re- 
 flects for the spectator. Sometimes 
 a short label is an epigram, and is 
 never introduced without improving 
 the subject. Unfortunately some 
 circumstances that were temporary 
 will be lost to posterity, the fate of 
 all comic authors ; and if ever an 
 author wanted a commentary, that ; 
 none of his beauties might be lost, 
 it is Hogarth ; not from being ob- 
 scure, (for he never was that but in 
 two or three of his first prints, where 
 transient national follies, as lotteries, 
 Free-masonry, and the South Sea, 
 were his topic?,) but for the use of 
 foreigners, and from a multiplicity 
 of little incidents, not essential to, | 
 but always heightening the principal 
 action. Such is the spider's web : 
 extended over the poor's box in the j 
 parish church ; the blunders in archi- i 
 lecture in the nobleman's seat, seen i 
 through the window, in the first 
 print of Marriage a-la-inode ; and a 
 thousand in the Strollers dressing in 
 a Hani, which for imagination, with- 
 out any other end, I think the best 
 of all his works : as for useful and 
 deep satire, that on the Methodists 
 is the most sublime. The scenes of 
 Bedlam and the Gaming-house are 
 inimitable representations of our 
 serious follies or unavoidable woes ; 
 and the concern shown by the Lord 
 Mayor, when the companion of his 
 childhood is brought before him as a 
 criminal, is a touching picture, and 
 big with humane admonition and re- 
 flection. Another instance of this 
 author's genius is his not conde- 
 scending to explain his moral lessons 
 by the trite poverty of allegory. If 
 
 he had an emblematic thought, he 
 expressed it with wit, rather than 
 by symbol. Such is the harlot set- 
 ting fire to the world in the Rake's 
 Progress. Once, indeed, he descend- 
 ed to use an allegoric personage, and 
 was not happy in it ; in one of his 
 election prints, Britannia's chariot 
 breaks down, while the coachman 
 and footman are playing at cards on 
 the box. Sometimes too, to please 
 his vulgar customers, he stooped to 
 low images and national satire ; as 
 in the two prints of France and En- 
 gland, and that of the Gates of Calais. 
 The last indeed has great merit, 
 though the caricature is carried to 
 excess. In all these the painter's 
 purpose was to make his country- 
 men observe the ease and influence 
 of a free government, opposed to the 
 wants and woes of slaves. In Beer- 
 street the English butcher tossing a 
 Frenchman in the air with one hand, 
 is absolutely hyperbole ; and what 
 is worse, was an afterthought, not 
 being in the first edition. The Gin- 
 alley is much superior, horridly fine, 
 but disgusting. His Bartholomew 
 Fair is full of humour; the March to 
 Finchley, of nature ; the Enraged 
 Musician tends to farce. The Four 
 Parts of the Day, except the last, are 
 inferior to few of his works. The 
 Sleeping Congregation, the Lecture 
 on the Vacuum, the Laughing Au- 
 dience, the Consultation of Physi- 
 cians as a coat of arms, and the 
 Cockpit, are perfect in their several 
 kinds. The prints of Industry and 
 Idleness have more merit in the 
 intention than execution. Towards 
 his latter end he now and then re- 
 peated himself, but scldomer than 
 most great authors who executed so 
 much. It may appear singular, that 
 of an author whom I call comic, and 
 who is so celebrated for his humour, I 
 should speak in general in so serious 
 a style ; but it would be suppressing
 
 HOG 
 
 226 
 
 HOG 
 
 the merits of his heart to consider 
 him only as u promoter of laughter. 
 I think I have shown that his views 
 
 ing heproved no greater a master: his 
 force lay in expression, not in tints and 
 cliiaro-scuro. At first he worked for 
 
 were more generous and extensive, j booksellers, and designed jand en- 
 Mirth coloured his pictures, hut ! graved plates for several books ; and, 
 benevolence designed them. He j which is extraordinary, no symptoms 
 smiled like Socrates, that men might i of genius dawned in those plates. His 
 not be offended at his lectures, and j Iludibras was the first of his works 
 
 might learn to laugh at their own 
 follies. When his topics were harm- 
 less, all his touches were marked 
 with pleasantry and fun. He never 
 laughed, like Rabelais, at nonsense 
 that he imposed for wit ; but, like 
 Swift, combined incidents that divert 
 one from their unexpected encoun- 
 
 that marked him as a man above 
 the common ; yet what made him 
 then noticed, now surprises us to 
 find so little humour in an underta- 
 king so congenial to his talents. On 
 the success, however, of those plates 
 he commenced painter, a painter of 
 portraits ; the most ill-suited cra- 
 
 ter, and illustrate the tale he means ploymcnt imaginable to a man whose 
 to tell. Such arc the hens roosting turn certainly was not flattery, nor 
 on the upright waves in the scene of j his talent adapted to look on vanity 
 the Strollers, and the Devil's drink- without a sneer. Yet his facility in 
 ing porter on the Altar. The man- catching a likeness, and the method 
 ners or costume are more than ob- I he chose of painting families, and 
 served in every one of his works, conversations in small, then a no- 
 The very furniture of his rooms dc- ' velty, drew him prodigious business 
 scribe the characters of the persons for some time. It did not last, either 
 to whom they belong; a lesson that ! from his applying to the real bent of 
 might be of use to comic authors, his disposition, or from his customers 
 It was reserved to Hogarth to write ' apprehending that a satirist was too 
 a scene of furniture. The Rake's i formidable a confessor for the devo- 
 Levee-room, the Nobleman's Dining- ; tees of self-love. He had already 
 room, the Apartments of the Hus- j dropped a few of his smaller prints 
 band and Wife in Marriage a-la- I on some reigning follies ; but, as the 
 mode, the Alderman's Parlour, the [ dates are wanting on most of them, 
 Poet's Bedchamber, and many others, | I cannot ascertain which, though 
 are the history of the manners of the | those on the South Sea and Rabbit- 
 age. But, perhaps, too much has ! woman proved that he had early 
 been said of this great genius as an discovered his talent for ridicule, 
 author; it is time to speak of him as though he did not then think of 
 a painter, and to mention the cir- building his reputation or fortune on 
 cumstances of his life, in both which its powers. His Midnight Modern 
 I shall be more brief. His works | Conversation was the first work that 
 are his history ; as a painter he had showed his command of character ; 
 but slender merit. His apprentice- i but it was the Harlot's Progress, 
 ship was no sooner expired, than he published in 1729 or 1730, that 
 entered into the academy in Martin's ' established his fame. The pictures 
 T>ane, and studied drawing from the were scarcely finished, and no sootier 
 life, in which he never attained to exhibited to the public, and the sub- 
 great excellence. It was character, i scription opened, than above twelve 
 the passions, the soul, that his genius hundred names were entered on his 
 was given him to copy. In colour- book. The familiarity of the sub-
 
 227 
 
 jcct, and the propriety of the execu- 
 tion, made it tasted by all ranks of 
 people. Every engraver set himself 
 to copy it, and thousands of imita- 
 tions were dispersed all over the 
 kingdom. It was made into a panto- 
 mime, and performed on the stage. 
 The Rake's Progress, perhaps supe- 
 rior, had not so much success, for 
 want of novelty ; nor indeed is the 
 print of the Arrest equal in merit to 
 the others. The curtain was now 
 drawn aside, and his genius stood 
 displayed in its fullest lustre. From 
 time to timehe con tinned to give those 
 works that should be immortal, if 
 the nature of his art will allow it. 
 Even the receipts for his subscrip- 
 tion had wit in them. Many of his 
 plates he engraved himself; and 
 
 With the enthusiasm of a discoverer, 
 he cried, Eureka ! This was his 
 famous line of beauty, the ground- 
 work of his Analysis, a book that 
 has many sensible hints and obser- 
 vations, but that did not carry the 
 conviction, nor meet the universal 
 acquiescence he expected. As he 
 treated his contemporaries with 
 scorn, they triumphed over this 
 publication, and imitated him to ex- 
 pose him. Many wretched burlesque 
 prints came out to ridicule his sys- 
 tem. There was a better answer to 
 it in one of the two prints that he 
 gave to illustrate his hypothesis. In 
 the Ball, had he confined himself to 
 such outlines as compose awkardness 
 and deformity, he would have proved 
 half his assertion : but he has added 
 
 often expunged faces etched by his j two samples of grace, in a young lord 
 assistants, when they had not done and lady, that are strikingly stiff 
 
 justice to his ideas. Not content 
 with shining in a path untrodden 
 before, he was ambitious of distin- 
 guishing himself as a painter of 
 history. But not only his colouring 
 and drawing rendered him unequal 
 to the task ; the genius that had 
 entered so feelingly into the cala- 
 mities and crimes of familiar life, 
 deserted him in a walk that called 
 for dignity and grace. The bur- 
 lesque turn of his mind mixed itself 
 with the most serious subjects. In 
 his Danae the old nurse tries a coin 
 of the golden shower with her teeth, 
 to see if it is true gold : in the Pool 
 of Bethesda, a servant of a rich ulce- 
 rated lady beats back a poor man 
 that sought the same celestial re- 
 medy. Both circumstances are 
 justly thought, but rather too ludi- 
 crous. It is a much more capital 
 fault that Danae herself is a mere 
 nymph of Drurv. He seems to have 
 conceived no higher idea of beauty. 
 So little had he eyes to his own 
 deficiencies, that he believed he had 
 discovered the principle of grace. 
 
 and affected : they are a Bath Beau 
 and a County Beauty. But this was 
 the failing of a visionary. He fell 
 afterwards into a grosser mistake. 
 From a contempt of the ignorant 
 virtuosi of the age, and from indig- 
 nation at the impudent tricks of pic- 
 ture dealers, whom he saw continu- 
 ally recommending and vending vile 
 copies to bubble collectors, and from 
 having never studied, indeed having 
 seen few good pictures of the great 
 Italian masters, he persuaded him- 
 self that the praises bestowed on 
 these glorious works were nothing 
 but the effects of prejudice. He 
 talked this language till he believed 
 it ; and having heard it often assert- 
 ed, as is true, that time gives a mel- 
 lowness to colours and improves 
 them, he not only denied the propo- 
 sition, but maintained that pictures 
 only grew black and worse by age, 
 not distinguishing between the de- 
 grees in which the proposition might 
 be true or false. He went farther : 
 he determined to rival the ancients, 
 and, unfortunately, chose one of the
 
 228 
 
 first pictures in England as the object 
 of his competition. This was the 
 celebrated Sigismonda of Sir Luke 
 Schaub, now iu the possession of 
 the Duke of Newcastle, said to be 
 pointed by Correggio, probably by 
 Furnio, but no matter by whom. 
 It is impossible to see the picture 
 or read Dryden's inimitable tale, 
 and not feel that the same soul ani- 
 mated both. After many essays, 
 Hogarth at last produced his Sigis- 
 monda, but no more like Sigismonda, 
 than I to Hercules. Not to mention 
 the wretchedness of the colouring, it 
 was the representation of a maudlin 
 strumpet just turned out of keeping, 
 and with eyes red with rage and us- 
 quebaugh, tearing off the ornaments 
 her keeper had given her. To add 
 to the disgust raised by such vulgar 
 expression, her fingers were bloodied 
 by her lover's heart that lay before 
 her, like that of a sheep's for her din- 
 ner. None of the sober grief nor 
 dignity of suppressed anguish, no in- 
 voluntary tear, no settled meditation 
 on the fate she meant to meet, no 
 amorous warmth turned holy by de- 
 spair; in short, all was wanting that 
 should have been there, all was there 
 that such a story should have banish- 
 ed from a mind capable of conceiving 
 such complicated woe; woe so sternly 
 felt, and yet so tenderly. Hogarth's 
 performance was more ridiculous 
 than any thing he had ever ridiculed. 
 He set the price of 400/. on it, and 
 had it returned on his hands by the 
 person for whom it was painted. He 
 took subscriptions for a plate of it, 
 but had the sense at last to suppress 
 it, I make no more apology for this 
 account than for the encomiums I 
 have bestowed on him. Both are 
 dictated by truth, and are the history 
 of a great man's excellences and er- 
 rors. Milton, it is said, preferred 
 his Paradise Regained to his immor- 
 tal poem. The last memorable event 
 
 of our artist's life was his quarrel 
 with Mr. Wilks, in which, if Mr. 
 Hogarth did not commence direct 
 hostilities on the latter, he at least 
 obliquely gave the first offence, by 
 an attack on the friends and party 
 of that gentleman. This conduct 
 was the more surprising, as he had 
 all his life avoided dipping his pen- 
 cil in political contests, and had early 
 refused a very lucrative offer that 
 was made to engage him in a set of 
 prints against the head of a court- 
 party. Without entering into the 
 merits of the cause, I shall only 
 state the fact. In September, 1 7o'2, 
 Mr. Hogarth published his print of 
 the Times. It was answered by Mr. 
 Wilks in a severe North Briton. On 
 this the painter exhibited the carica- 
 ture of the writer. Mr. Churchill, 
 the poet, then engaged in the war, 
 and wrote his Epistle to Hogarth, 
 not the brightest of his works, and 
 in which the severest strokes fell on 
 a defect that the painter had neither 
 caused nor could amend his age; 
 and which, however, was neither 
 remarkable nor decrepit ; much less 
 had it impaired his talents, as ap- 
 peared by his having composed but 
 six months before one of his most 
 capital works, the Satire on the Me- 
 thodists. In revenge for this epistle, 
 Hogarth caricatured Churchill under 
 the form of a canonical bear, with a 
 club and a pot of porter ct vitula 
 tu ditjmis ft hie never did two 
 angry men of their abilities throw 
 mud with less dexterity. He sold 
 about twenty-four of his principal 
 pictures by auction in 1 745, Mr. 
 Vincent Bourne addressed a copy of 
 Latin hendccasyllablcs to him on his 
 chief pictures; and Roquetti, the 
 enameller, published a French ex- 
 planation, though a superficial one, 
 of many of his prints, which, it was 
 said, he had drawn up for the use of M . 
 Bellcisle, then a prisoner in England."
 
 229 
 
 HOGENBERG(Remigius). From 
 the name of this old engraver, Mr. 
 Strutt concludes that he was a native 
 of Germany. He was in England 
 as early as 1573, iu which year he 
 engraved the portrait of Matthew 
 Parker, Archbishop of Canterbury, 
 in whose service he appears to have 
 been retained. This portrait was 
 supposed, by Vertue, to have been 
 the first that was executed in Eng- 
 land; but this is rendered very dis- 
 putable, by the existence of a por- 
 trait of Mary I. by Francis Hogen- 
 berg, dated 1555, unless we are to 
 conclude this plate was not engraved 
 in England, or that the date alludes 
 to the era of her reign, rather than 
 the time of the engraver. Hogen- 
 berg worked entirely with the graver, 
 and the few prints that are known of 
 him are more sought after for their 
 extreme rarity than their merit. 
 Strutl. 
 
 HOLBEIN (Hans, Or John), a 
 Swiss historical and portrait painter, 
 bom in 1498, and died in 1554, aged 
 56. He was instructed in the art by 
 his father, John Holbein. In the 
 early part of his life he pursued his 
 studies with incessant assiduity ; and 
 being possessed of an elevated genius, 
 his progress was exceedingly rapid, 
 so that he soon became far superior 
 to his instructor. He excelled all 
 his contemporaries in portrait, and in 
 that style arrived at so high a degree 
 of perfection, that Zucchero, who 
 certainly was well qualified to judge 
 of his merit, did not hesitate to 
 compare his portraits with those of 
 Ratfat-lle and Titian. He painted 
 equally well in oil, water-colours, 
 and distemper, in large and iu mini- 
 ature ; but he had never practised 
 the art of painting in miniature till 
 he came to England, when he learn- 
 ed it from Lucas Cornells, though 
 lie afterwards carried it to its highest 
 perfection. In general he painted 
 f>n a green ground, but in his small 
 
 pictures he frequently painted on it 
 blue. The invention of Holbein 
 was fruitful, and often poetical ; his 
 execution was remarkably quick, and 
 application indefatigable. His pencil 
 was exceedingly dWicate ; his colour- 
 ing had a wonderful degree of force ; 
 lie finished his pictures with exqui- 
 site neatness ; and his carnations 
 were life itself. He visited London 
 at the request of Erasmus, who re- 
 commended him to Sir Thomas 
 More, and Sir Thomas immediately 
 employed him, showed him every 
 mark of respect and real friendship 
 entertained him at his own table, 
 allowed him an apartment in his 
 house, and detained him for three 
 years, in which time he painted the 
 portraits of his patron, and all the 
 family of Sir Thomas, as also several 
 portraits of his relations and friends, 
 which were hung up in a grand hall. 
 As soon as Henry VIII. beheld these 
 performances, he was so struck with 
 their beauty, life, and admirable 
 likeness, that he took Holbein into 
 his service, and favoured him highly 
 as long as he lived. It is observed 
 by most authors, that Holbein al- 
 ways painted with his left hand ; 
 though one writer objects against 
 that tradition, that in a portrait of 
 Holbein, painted by himself, which 
 was in the Anmdelian collection, he 
 is represented holding the pencil in 
 the right hand. Holbein painted 
 two compositions for the hall of the 
 Steel-yard company, admired for the 
 richness of the colouring, and the 
 strong character in the figures through 
 the whole. It is indeed to be la- 
 mented, that such a number of pic- 
 tures are positively asserted to be of 
 the hand of Holbein, which are a 
 dishonour to his pencil ; but any 
 judicious person, who hath observed 
 one genuine picture, will not easily 
 be imposed upon Houb., Pilk. 
 
 HOLDERNESS ( ), an 
 
 En^'lijh painter, who flourished in
 
 Ill'l. 
 
 230 
 
 HON 
 
 the reigii of Charles I. His best 
 picture was an Old Woman holding 
 a skull, which was in possession of 
 Villiers, Duke of Buckingham. 
 
 HOLE, or IIOLLE (William), 
 an English engraver, who flourished 
 in the reign of Charles I. He en- 
 graved an oval head of Michael 
 Drayton in 1613 ; it is a poor per- 
 formance ; and a head of Joannes 
 Florius, Italian master to Anne of 
 Denmark (see Ames, p. 68) ; a very 
 neat whole-length of Prince Henry, 
 for Drayton's Polyolbion. He also 
 published a copy-book, called the 
 Pen's Excellencie, by Martin Bil- 
 lingsley. The second edition with 
 the picture of the latter has 28 
 plates, 1618. 
 
 HOLLAR (Winceslaus), a cele- 
 brated engraver, born at Prague, in 
 Bohemia in 1607, and died in 1677, 
 aged 70. The Earl of Arundel be- 
 ing on an embassy to the Imperial 
 court, took him into his train, and 
 brought him to England. His first 
 performance here was a view of 
 Greenwich. After this he etched 
 a number of views and portraits. 
 In 1640 appeared his fine set of 
 figures in twenty-eight plates, called, 
 Ornatus Muliebris Anglicanus, con- 
 taining the dresses of English wo- 
 men of all degrees. In 1645 he 
 settled at Antwerp, where the Earl 
 of Arundel resided with his family. 
 While there, he etched many por- 
 traits and landscapes after Breughel, 
 Elsheimer, and Teniers. In 1652, 
 he returned to England, where he 
 continued laboriously employed till 
 his death. Life bt/Vertue. 
 
 HOLSTEIN (Cornelius), a Dutch 
 painter, born at Haerlem about 
 1653. He was the son and disciple 
 of Peter Holstein, a painter on 
 glass, by whose instruction he be- 
 came an artist of considerable emi- 
 nence. Among many applauded 
 pictures of this master, Houbmken 
 
 mentions one which he had an op- 
 portunity of examining; it repre- 
 sented the Triumph of Bacchus ; 
 and several naked figures, particu- 
 larly of boys, were introduced in 
 the design. He describes it as be- 
 ing well composed, correctly drawn, 
 and pleasingly coloured ; and al- 
 though a large sum had been paid 
 for it, yet even that large sum seem- 
 ed to be far short of its value. He 
 also mentions the ceiling of the 
 Treasury at Amsterdam, as being 
 exceedingly well designed and ex- 
 ecuted. Houb. 
 
 HONDEKOETER (Gilles), a 
 Dutch painter, born at Utrecht about 
 1583. He imitated the style of com- 
 position and manner of colouring of 
 Roland Savery, and David Vinck- 
 enbooms; and studied after nature 
 those views which he intended for his 
 landscapes, and in general made an 
 agreeable choice. The forms and 
 leafing of his trees are more in the 
 taste of Vinckenbooms than Savery ; 
 but they are well handled and finely 
 pencilled, though sometimes, perhaps, 
 they are a little too brown, or too 
 yellow. He painted different kinds 
 of fowls with singular truth and ex- 
 actness, and frequently filled his 
 small landscapes with no other objects, 
 but those he finished highly, and 
 with great transparency of colour. 
 Iloub., Pilk. 
 
 HONDEKOETER (Melchior),a 
 Dutch-painter, born at Utrecht in 
 1636, and died in 1695, aged 59. 
 He was a disciple of Gysbrecht, and 
 accustomed himself to paint several 
 sorts of birds ; but particularly he 
 was pleased to represent cocks, hens, 
 ducks, chickens, and peacocks ; 
 which he described in an elegant 
 variety of actions and attitudes. Af- 
 ter the death of his father, which 
 happened in 1653, he received some 
 instructions from his uncle, John 
 Baptist Weeninx ; but his principal
 
 231 
 
 and best instructor was nature, 
 which he studied with iutense ap- 
 plication, and that enabled him to 
 give every animal he painted such 
 truth, such a degree of force, expres- 
 sion, and life, as seemed to equal 
 nature itself; nor did any artist take 
 more pains to study every point that 
 might conduce to the perfection of 
 his art. His pencil was wonderfully 
 neat and delicate ; his touch light, 
 his colouring exceedingly natural, 
 lively, and remarkably transparent ; 
 and the feathers of his fowls were ex- 
 pressed with such a swelling softness, 
 as might readily and agreeably de- 
 ceive the eye of any spectator. It is 
 reported, that he trained a cock to 
 stand in any attitude he wanted to 
 describe, and that it was his custom 
 to place that creature near his easel ; 
 so that, at the motion of his hand, 
 the bird would fix itself in the proper 
 jtosture, and would continue in that 
 particular position, without the 
 smallest perceptible alteration, for 
 scveraV hours at a time. The land- 
 scapes which he introduces as the 
 back-grounds of his pictures, are 
 adopted with peculiar judgment and 
 skill, and admirably finished ; they 
 harmonise with his subject, and 
 always increase the force and the 
 beauty of his principal objects. 
 His touch was very singular in imi- 
 tating the natural plumage of the 
 fowls he painted ; which not only 
 produced a charming effect, but 
 also may prove serviceable to an in- 
 telligent observer to assist him in 
 determining which are the genuine 
 pictures of this master, and which 
 are impositions. The works of Hon- 
 dekoeter are justly in very great 
 request and estimation, and they 
 generally afford a large price ; almost 
 in proportion to their value. Van 
 Mander, Pilk. 
 
 HONDIUS (Abraham), a Dutch 
 painter, born at Rotterdam about 
 
 1638. He appears to have been an 
 universal master, painted with equal 
 readiness landscapes, animals of all 
 kinds, particularly dogs ; hunting of 
 wild animals, boars, deer, wolves, and 
 foxes, as also conversations and fowls ; 
 but his favourite subjects were hunt- 
 ings. His manner seems peculiar to 
 himself ; and it was bold and free ; 
 and, except Rubens and Snyders, few 
 masters have painted animals in a 
 greater style, or with more spirit. 
 There is certainly a great deal of fire 
 in his compositions ; but his colour- 
 ing is often extravagant, and his draw- 
 ing extremely incorrect. In general 
 his pencilling was harsh, and he de- 
 lighted in a fiery tint ; yet some of his 
 small pictures are very neatly finished. 
 There is a great inequality as to the 
 merit of the works of Hondius, some 
 of them being in every respect abun- 
 dantly superior to others ; but there 
 is scarce any master whose composi- 
 tions are so easily distinguishable 
 as those of Hondius, by certain par- 
 ticularities in his touch, his taste of 
 design, and his colouring. Hotib., 
 Pilk. 
 
 HONDIUS (Jodocus), a Dutch 
 engraver, born in 1563, and died in 
 1611, aged 48. He came to England 
 at the age of twenty, and exercised 
 various arts, as making mathematical 
 instruments, types for printing, and 
 engraving maps and charts. Among 
 the latter were Sir Francis Drake's 
 Voyages, the Holy Land, the Roman 
 Empire, and several others. His 
 Celestial and Terrestrial Globes, the 
 largest that had been published, 
 were much commended. Several of 
 Speed's maps were executed by his 
 hand, and he had a considerable 
 ' t share in the Atlas Major of Gerard 
 Mercator, which was finished by his 
 son Henry, and published at Am- 
 sterdam in 1636. Jodocus engraved 
 a small print of Thomas Cavendish, 
 the famous sailor : another of Queen
 
 202 
 
 Elizabeth ; a large sheet print of Sir engraver, who had a lively imagina- 
 Fraucis Drake, another smaller ; tion, though not much taste. His 
 and a head of Henry IV. of France, principal works are, plates for Bas- 
 
 HONDIUS (Henry), an English nage's History of the Old and New 
 engraver, who died ahout 1658. | Testament ; for the Egyptian Hie- 
 This artist finished several works roglyphics, published at Amsterdam 
 begun by his father, and engraved a 1735, folio; and for Fontaine's Fa- 
 print of William, Prince of Orange, bles. His performances are much 
 from a painting by Alexander sought for Strutt. 
 Cooper; a large head of Queen ; HOOGESTRAETEN (Dirk, or 
 Elizabeth, and a duplicate of one Theodore Van), a Flemish painter, 
 done at the Hague in 1632. In a born at Antwerp in 1.596, and died 
 set of heads published in 1608, are in 1640, aged 44. He was first bred 
 those of Sir Richard Spencer and Sir to the business of a goldsmith and 
 Ralph Winwood. j engraver ; but having by accident 
 
 HONTHORST (Win.), a Dutch gained the friendship of some Fle- 
 painter, born at Utrecht in 1604, mish painters, who instructed him 
 and died in 1 683, aged 79. He was in the rudiments of the art, he very 
 a disciple of Abraham Bloemart. The | soon became such an extraordinary 
 portraits which he painted were very i proficient, that he quitted his original 
 much esteemed, and in reality those ! profession, and devoted himself en- 
 
 were his most creditable perform- 
 ances ; for the historical subjects of 
 his hand, which generally were painted 
 
 tirely to painting. He acquired a 
 free manner of handling, and de- 
 signed his subjects in a good taste, 
 
 in a large size, are in no degree equal j distinguishing himself above many 
 to those of Gherard, either in respect of those artists who had from their 
 to the composition, the handling^or the infancy been regularly trained to the 
 colour, although they are frequently profession ; and as he made it his 
 sold for the works of that master constant practice to study after na- 
 
 Houb.,Pilk. 
 HONTHORST, 
 
 called GHE- 
 
 RARDO DALLE NOTTI (Ghe- 
 rard), a Dutch painter, born at 
 Utrecht in 1592, and died in 1660, 
 aged 68. He was a disciple of Abra- 
 ham Bloemart, and visited Rome at 
 an early age, where he imitated the 
 
 ture, the scenes of his landscapes, 
 and all the objects he chose to paint, 
 were represented with great truth 
 and exactness. Houb., PiUt. 
 
 HOOGESTRAETEN (Samuel 
 Van), a Dutch painter, born at Dort 
 in 1627, and died in 1678, aged 51. 
 He learned the first principles of the 
 
 style of Caravnggio ; with whose ; art from his Father Theodore Van 
 
 vivid tone and powerful masses of 
 light and shade he attempted to com- 
 bine correctness of outline, refinement 
 of forms, graceful attitudes, and that 
 
 Hoogcstraeten, who took all possible 
 care of his education ; and when by 
 study and practice he seemed quali- 
 fied for greater improvement, he was 
 
 dignity which ought to be the charac- j placed as a disciple with Rembrandt. 
 
 teristic of sacred subjects. Sandrart 
 mcntionsan unrivalled picture byhim, 
 the subject of which is, Christ brought 
 before Pilate, in which the light pro- 
 ceeding from the torches produced an 
 uncommon lustre. Sandrart, Pilk. 
 HOOGUE(Romaine de), a Dutch 
 
 For some time he retained the man- 
 ner of that master, particularly in his 
 portraits, and painted with success ; 
 but he disused it gradually, and 
 adopted another, from which he 
 never afterwards departed. He had 
 a spirit so emulous, that in whatto-
 
 lino 
 
 233 
 
 ever subjects lie saw others excel, 
 he was solicitous to contend with 
 them, and felt an ambition to arrive 
 at an equal degree of eminence in 
 every particular branch, whether it 
 was landscape, animals, architecture, 
 calms at sea, storms, fruit or flowers, 
 and each of these subjects he painted 
 with success. His portraits were re- 
 markable for good handling, for an 
 agreeable likeness, and a good tone 
 of colouring, as well as for retaining 
 their original strength and lustre for 
 a long time. The historical pictures 
 of his hand are well designed, but the 
 colour is crude, and betrays the 
 palette. Descamps, Pilk. 
 
 HOOGZAAT (John), a Dutch 
 painter, born at Amsterdam in 1654, 
 and died in 171*2, aged 58. He was j 
 placed as a disciple with Gerard j 
 Lairesse, and accounted one of the i 
 best of those artists who were formed ' 
 in that school. Lairesse was always i 
 profuse in his praise, and recom- 
 mended him to the favour of the 
 principal nobility, who soon afforded 
 him opportunities of establishing his 
 reputation. He was equally quail- 
 fied to paint in large or in small, 
 and in all his works showed a great 
 deal of spirit and a masterly execu- 
 tion. King William III. esteemed 
 him highly, and employed him to 
 adorn several apartments in his pa- 
 lace at Loo Honb., Pilk. 
 
 HOPFER (David), an old German 
 engraver, born at Nuremberg about 
 the year 1510. His subjects are not 
 well composed, and his design is stiff 
 and Gothic, but he handled the point 
 with great freedom and spirit, and 
 his plates are executed in a very 
 pleasing style. He chiefly excelled 
 in ornamental buildings and decora- 
 tions. David Hopfer was the eldest 
 of three brothers who worked in the 
 bame manner, but he was the ablest 
 mid the most industrious. 
 
 HOITNEU. (John), an emi- 
 
 nent English portrait painter, born 
 in 1759, and died in 1810, 
 aged 51. " There is a mystery 
 about his birth," says his biographer, 
 " which no one has ventured to ex- 
 plain; all that is known with cer- 
 tainty is, that his mother was one of 
 the German attendants at the Royal 
 Palace. She caused the child to be 
 carefully nursed, and well educated; 
 when he grew up, as his voice was 
 sweet and melodious, he was made 
 one of the choristers in the royal 
 chapel. Of the boyish studies of 
 Hoppner, little is known on which 
 we can rely. He availed himself of 
 the advantages held out by the 
 Royal Academy; and entering a 
 probationer with his chalk and paper, 
 ascended slowly and systematically 
 through all the steps required, till, 
 with paint on his palette, and a brush 
 in his hand, he contended for the 
 highest prizes of the institution. 
 With such success did he study, and 
 so fortunate was he in his sketches 
 and his early attempts, that before 
 his twenty-fourth year, he was look- 
 ed upon as one likely to become 
 great in landscape, and who already 
 painted heads in a way worthy of a 
 more established name. As soon as 
 it wa? safe, as a matter of taste, to 
 befriend him, he found patrons, and 
 powerful ones. Mrs. Jordan sat to 
 him, in the character of the Comic 
 Muse, supported by that 
 
 " Goddess fair as free, 
 In heaven yclep'd Euphrosyne ; 
 
 to whom the artist confided the 
 task of repelling the advances of a 
 satyr. We know not what might be 
 meant by this; but the work was 
 much liked. The fair dame sat 
 again as ' Hippolite.' Another was 
 a lady of quality shadowed forth un- 
 der the no nattering name of a 
 ' Bacchante ;' but as the colours 
 were glowing, and the face lovely, 
 x2
 
 HOP 
 
 234 
 
 the audacity of the name might be 
 forgiven. Then followed the por- 
 traits of the Duke of York, of his 
 Duchess, of the Prince of Wales, 
 and the Duke of Clarence, now 
 King William IV., with ladies of 
 quality and noblemen not a few, and 
 gentlemen without number. His 
 
 time (six years) over which the list 
 we have given of beauty extended, 
 he had the following male sitters : 
 1, The Bishop of Durham; 2, Bishop 
 of Carlisle ; 3, Duke of Grafton ; 4, 
 Lord Camden ; 5, Sir Arthur 
 Wellesley, now Duke of Welling- 
 ton ; 6, Sir William Scott ; 7, Right 
 
 time, however, was not as yet so Hon. H. B. Frerc; 8, Lord King; 
 wholly occupied with sitters as to 9, Right Hon. T. Grenville ; 10, 
 hinder him from continuing to work Lord Hawkesbury ; 11, Right Hon. 
 in what artists technically call the C. Long; 12, Sir Samuel Hood ; 13, 
 fancy way. A Sleeping Venus, I Earl of Essex ; 1 4, Sir Georgo 
 Youth and Age, and other produc- Beaumont ; 1 5, Earl Spencer ; 1 6, 
 tions, half natural, and half ideal, Earl St. Vincent ; 17, Earl of 
 belong to his early days. \ Chatham ; 18, Duke of Rutland ; 
 
 "All this, and much more, had i 19, Archbishop of York; 20, The 
 befallen him before his thirtieth i Prince of Wales. The Duke of 
 year; and as his colouring was rich, York's portrait was painted twice; 
 and his style of portraiture was cap- the Duke of Clarence's thrice; and 
 tivating to the vain side of human i the Prince of Wales's thrice." 
 nature, his commissions increased in " Hoppner was," says one of his 
 number, money poured in, and grew biographers, " one of the most emi- 
 and spread. Suffice it to say, that ! nent portrait painters since the 
 before he was forty years of age, he time of Reynolds. He might indeed 
 had been enabled to exhibit no less have merited the praise of being the 
 than fifteen ladies of quality, for so j first, if he had not been so close an 
 are they named in the catalogues ; a imitator of the style of that great 
 score of ladies of lower degree and ; master, as it related to the spirit and 
 noblemen unnumbered. The bare ' elegance of his touch, forcible effect 
 list of his exhibited portraits will of light and shade, picturesque back 
 show how and by whom he was sup- j grounds, graceful simplicity of atti- 
 ported: to twenty ladies of quality, i tude, and especially the richness and 
 who lent their looks but withheld harmony of colouring, in which he 
 their names, we may add the follow- j certainly excelled all his contempo- 
 ing : 1, The Countess of Clare ; raries. In some of his best coloured 
 2, The Hon. Miss Chetwynd; 3, works, such as the Nymph, in the 
 Lady Anne Lambton ; 4, Countess i possession of Sir John Leicester, the 
 
 of Oxford; 5, Hon. Mrs. Edward 
 Bouverie ; 6, Mrs. Whitbread ; 7, 
 Miss Grimstone ; 8, Lady Grenville ; 
 9, Lady Mildmay; 10, Lady E. 
 Bligh ; 1 1 , Mrs. Cholmondley ; 12, 
 Lady Mulgrave; 13, Hon. Miss 
 Mercer; 14, Mrs. Jerningham; 15, 
 Mrs. Manning ; 1 6, Miss St. Clair ; 
 17, Countess of Essex ; 18, Lady 
 Melbourne ; 1 9, The Countess of 
 
 Sutherland. 
 of the tncn. 
 
 He had his share too 
 In the period of the 
 
 vivacity, truth, and delicacy of the 
 various fleshy tints, have scarcely 
 been surpassed by any master. But, 
 if he could boast of displaying much 
 of the merit, he possessed the faults 
 of his prototype, especially that of 
 incorrect drawing of the human 
 figure ; a defect for which not even 
 the colouring of a Reubens, or Titian 
 himself, can ever atone." Gent, 
 
 g., A. Cunningham. 
 
 HORTEMEL8 (Frederick), a
 
 235 
 
 French engraver, born at Paris about , 
 the year 1(>'88. Some of his plates ! 
 are almost entirely executed with | 
 the graver, and have very little j 
 etching, but his best prints are those j 
 in which he has equally united the 
 point with the buna. These have a > 
 more than usual mellowness of effect, 
 and possess considerable merit. His 
 best plates were engraved for the 
 Crozat collection. Strutt. 
 
 IIOSKINS (John), an English : 
 portrait painter, who died about 
 ]6(>4. He was taught to paint por- ; 
 traits in oil, when he first applied 
 himself to study the art of painting, ' 
 and followed that manner for some 
 years ; but afterwards he practised 
 miniature, and in that way exceeded 
 any of his performances in oil. King 
 Charles, the Queen, and many of 
 the nobility sat to him ; and he had 
 the satisfaction to form two distin- 
 guished disciples, Alexander and 
 Samuel Cooper, the latter of whom 
 proved far superior to his master. 
 In the heads painted by Hoskins, 
 there is a great character of nature 
 and truth; but the carnations want 
 variety of tints, and appear too much 
 of a brick colour. However, Mr. 
 Wai pole (who is a competent judge) 
 mentions one work of Hoskius, 
 which, he says, may be accounted 
 perfect; it is a portrait of a man, 
 rather young, in which he thinks 
 the colouring equal to Oliver, and 
 the hair is touched with exquisite 
 freedom. It is in the possession of 
 Mr. Fanshaw Houb., Pilk. 
 
 HOUBRAKEN (Jacob), an em- 
 inent Dutch engraver, born at Dort 
 iu ld'98. He was the son of Arnold 
 Houbraken, but it was not known 
 by what master he was instructed 
 in engraving. He appears to have 
 formed his style by an attentive study 
 of the works of Montevil and Ede- 
 linck. He chiefly excelled in por- 
 traits, in which he was principally- 
 
 employed; and although his plates 
 are not equally excellent, many of 
 them have not been surpassed by 
 the most celebrated artists in that 
 branch. \Ve admire the softness 
 and delicacy of execution, which are 
 accompanied by correct drawing and 
 a fine taste. His heads do not yield 
 to those of Drevet in the beauty of 
 their finishing, and they surpass them 
 in the boldness of his stroke and the 
 brilliancy of colour. The number 
 of his portraits is very considerable, 
 and well known to the English col- 
 lectors. Strutt. 
 
 HOUBRAKEN (Arnold), a 
 Dutch painter and poet, born at 
 Dort in 1660. He wrote the Lives 
 of the Flemish and Dutch Painters, 
 printed in 1754, in 3 vols. 8vo. His 
 son Jacob was an able engraver v 
 and illustrated his father's works. 
 Nouv. Diet. Hist. 
 
 HOUSEMAN, or HUYSMAN 
 (Cornelius), a Flemish painter, born 
 at Antwerp in 1648, and died 1727, 
 aged 79. He lived mostly t Meck- 
 lin, and for that reason he is distin- 
 guished by the appellation of House- 
 man of Mecklin. He was placed, 
 with Caspar de Witt ; but while he 
 was under the direction of that mas- 
 ter, happening accidentally to see 
 some of the works of Artois, they 
 affected him to such a degree, that 
 he went directly to Brussels in search 
 of that painter, and became his dis- 
 ciple. No sooner had he commenced, 
 than he attracted the eyes, the at- 
 tention, and the approbation of the 
 best judges, and particularly of the 
 celebrated Vander Meulen, who was 
 at that time on his journey through 
 Flanders. For some years he re- 
 tained the manner of his master 
 Artois in all his compositions, and 
 with great success ; but afterwards 
 he. formed a manner peculiar to 
 himself, that was much superior. 
 Houseman h considered as one of
 
 HOD 
 
 236 
 
 HUB 
 
 the best among the Flemish painters 
 of landscape : his style is exactly in 
 the taste of the Italian school ; his 
 colouring is bold, and his touch free 
 and excellent, and in most of his 
 pictures he is fond of introducing a 
 strong warm mass of light, breaking 
 on some part of his foreground, 
 which is usually much enriched 
 with plants and herbage. He al- 
 ways painted the figures and animals 
 in his own landscapes, and designed 
 them well ; and frequently he was 
 employed by other artists to adorn 
 their landscapes with rattle and 
 figures; Minderhout, Achtschcllings, 
 and Artois, being of the number. 
 He also painted the landscapes in 
 the back-grounds of historical pic- 
 tures, for other artists of considerable 
 eminence. Houb., Pilk. 
 
 HOUSEMAN, or HUYSMAN 
 (James), a Flemish painter, bom at 
 Antwerp in 1656, and died 1696, 
 aged 40. He studied under Back- 
 creel, who had been a disciple of 
 Rubens, and afterwards became a 
 comj>etitor with Vandyck. But 
 Backerccl being persecuted by the 
 Jesuits, on account of some satirical 
 verses which he had written against 
 them, and obliged to fly from his 
 country, Houseman, left destitute, 
 went to England, and painted both 
 history and portrait successfully, 
 being accounted to rival Sir Peter 
 I^ely in the latter. Several of his 
 works arc still to be seen, which are 
 as highly finished, and coloured with 
 as much force as any of Sir Peter's. 
 In his own judgment he prefers the 
 portrait of Queen Catherine to all 
 his other performances ; but certainly 
 the most capital wovk of this master 
 was over the altar of the Queen's 
 Chapel, at St. James's, and some 
 Cupids of his painting have been 
 justly and extremely admired. 
 Hmib., Pilk. 
 
 HOWARD (Hugh), an English 
 
 portrait painter, born in 1675, and 
 died in 1737, aged 62. He dis- 
 covered an early genius for painting, 
 which he much improved by a jour- 
 ney he took to France and Italy, in 
 the train of Thomas, Earl of Pem- 
 broke. Upon his return be met with 
 considerable encouragement ; but 
 laving obtained a lucrative situation 
 at court, he discontinued the pro- 
 "cssion of painting. His best picture 
 s a copy from a drawing of Carlo 
 Maratti, a head of Padra Resta, the 
 collector, with his spectacles on, 
 uniing over a book of drawings. 
 
 HUBER (John Rudolph), aSwiss 
 painter, born at Basle, in Switzerland, 
 in 1668, and died in 1748, aged 80. 
 He learned the rudiments of the art 
 from Caspar Meyer, an indifferent 
 painter, but in a short time he sur- 
 passed his instructor, and placed 
 himself as a disciple with Joseph 
 Werner. At the age of nineteen he 
 went to Italy, and at Venice was 
 exceedingly caressed by Tempesta, 
 in whose landscapes he painted the 
 figures, as long as he continued in 
 that city. After a residence of six 
 years at Rome he returned to his 
 native city, where his merit soon 
 procured him every mark of distinc- 
 tion. His first remarkable wovk 
 was a family piece for the Marquis 
 of Baden Durlach, of a very large 
 size, by which he gained the greatest 
 applause, and his reputation waa 
 spread through all Germany. He 
 was also employed by the Duke of 
 Wirtemberg, who appointed Hubcr 
 his principal painter, and gave him 
 sufficient opportunity to exert him- 
 self in historical compositions for the 
 ceilings and walls of his grand apart- 
 ments, nor was there a prince in 
 Germany who did not seem solicitous 
 to possess some of Hulicr's perfor- 
 mances. It is remarked of him, that 
 he painted three thousand and wxty- 
 five portrait?, besides a great number
 
 HUD 237 
 
 of historical pictures, all of them father-in-law's capital collection, 
 finished by his own hand, unassisted Towards the end of his life he mar- 
 by any other artist; and by way of ried his second wife, Mrs. Fiennes, 
 distinction, he was called the Tinto- a gentlewoman with a good fortune, 
 
 ret of Switzerland. The colouring to whom he bequeathed his villa 
 
 of this master is bold and strong, his ; Pilk. 
 
 touch light, and he showed great HUGTENBURGH (John Van), 
 freedom and readiness of hand in all ' a Dutch battle painter, born at Haer- 
 liis best works. He designed cor- ! lem in 1646, and died in 1733, aged 
 rectly, having acquired that habit by ; 87. It is asserted by some writers 
 his studies at Rome, and his obser- that he received his first instruction 
 vation of nature ; and though he from his father, who was an artist 
 lived to the age of fourscore, yet his in good esteem, but it is allowed by 
 vigour subsisted to the last year of most that his intimate connection 
 
 his life Pilk. I with John Wyck was what chiefly 
 
 HUDSON (Thomas), an English contributed to give him an early 
 portrait painter, born in 1701, and fondness for the profession. Ho 
 died in 177-9, aged 78. This artist went to Italy, and from thence to 
 was the scholar and son-in-law of France, where he spent some time 
 Richardson, and enjoyed for many with Vander Meulen, at Paris, in 
 years the chief business of portrait which artist he had the happiness to 
 painting in the capital, after the find a friend and an instructor, who 
 favourite artists, his master and freely communicated to him what 
 Jarvis, were gone off the stage, he knew of the art. At his return 
 Though A T anloo first, and Liotard to Holland, his works very soon 
 afterwards, for a few years diverted raised him to the very highest rank 
 the torrent of fashion from the es- of credit, and recommended him to 
 tablished professor, still the country the particular favour of Prince Eu- 
 gentlemen were faithful to their gene, who employed him to paint all 
 compatriot, and were content with his battles and sieges. He was also 
 his honest similitudes, and with the engaged for some time in the service 
 fair tied wigs, blue velvet coats, and of the Elector Palatine, who testified 
 white satin waistcoats, which he the esteem he had for this artist by 
 bestowed liberally on his customers, ' presenting him with a chain of gold, 
 and which with complacency they ; and a medal. Hugtenburgh had an 
 beheld multiplied in Faber's mezzo- ' elegant taste of composition and de- 
 tintos. The better taste introduced sign ; he studied nature accurately, 
 by h'ir Joshua Reynolds put an end and by that means not only gave 
 to Hudson's reign, who had the great correctness to his figures and 
 good sense to resign the throne soon cattle, but the expression, action, 
 after finishing his capital work, the i motion, and attitude, that best suited 
 family piece of Charles Duke of every character and every object. 
 Marlborough. He retired to a small j The countenances of his figures are 
 villa he had built at Twickenham, j skilfully and properly diversified, 
 on a most beautiful point of the according to the different people 
 
 river, and where he furnished the 
 best room with a well chosen col- 
 lection of cabinet pictures and draw- 
 ings by great masters, having pur- 
 chased uianv of the latter from his 
 
 which his subjects required him to 
 represent : the features of a Turk, 
 a Sclavonian, or a Cossack, are dis- 
 tinguishable in his paintings from 
 those of other kingdoms as much as
 
 MIL 
 
 238 
 
 HUY 
 
 their draperies ; and one nation, in 
 his habits and air, might at first sight 
 be observed to differ, as it does in 
 nature, from the air and habits of 
 another. His pencil is very deli- 
 cate, his colouring remarkably trans- 
 jKirent, his keeping exceedingly good, 
 and by the aerial perspective, his 
 distances are as beautifully thrown 
 off as those of Wouvennans. His 
 skies are usually bright and clear, 
 but they are always well adapted, 
 and he managed the chiaro-scuro 
 with extraordinary skill, so that with 
 great justice he is accounted one of 
 the best battle-painters of the Low 
 Countries. Des., Sand., Pilk. 
 
 HULSBERG (Henry), a Dutch 
 engraver, who died in England 1729. 
 The following are the best works he 
 executed in England : A head of 
 Aaron Hill, for his history of the 
 Ottoman empire, folio, 1711 ; some 
 of the plates in the Vitruvius Britan- 
 nicus ; a large view of St. Peter's 
 church at Rome ; and prints of Sir 
 Bulstrode Whitelock, Robert War- 
 ren, A.M., imd Joseph Warder, a 
 physician. 
 
 HULST (Peter Vander), a Dutch 
 painter, bom at Dort in 1652, and 
 died in 1708, aged .56. He visited 
 Rome at an early age, where he was 
 attracted by the pictures of Morio 
 da Fieri, and applied himself to paint 
 flowers, insects, and reptiles. The 
 flowers which he chose to paint were j 
 of a wider sort than those of De j 
 Heem or Segers ; and among those 
 flowers he introduced toads and frogs, 
 and particularly lizards and serpents, ! 
 with insects of various kinds, all 
 of which he painted in perfection. 
 When he had spent some years in 
 Italy, he attempted to paint por- 
 traits, but without success. His 
 colouring is lively and agreeable, his 
 touch very free, and his manner of 
 design entirely after the taste of the 
 Italian school. Hovb., Pilk. 
 
 HURET (Gregory), a French 
 engraver, born at Lyons in 1610. 
 " This artist," says M. Watelet, 
 " merits, as a designer and engraver, 
 a better reputation than he enjoys. 
 His compositions are ingenious, his 
 heads expressive, and his' draperies 
 well cast. As an engraver, without 
 placing him in the rank of the great 
 burinists, he possessed sufficient com- 
 mand of the graver to accomplish 
 every essential effect." He executed 
 a variety of portraits and other sub- 
 jects Watelet. 
 
 HUTER (Simon), a German 
 artist, who flourished about the year 
 1560. He engraved very neatly on 
 wood, and executed several cuts from 
 the designs of Justus Amman. His 
 prints are by no means devoid of 
 merit. He executed, conjointly with 
 Virgilius Solis, part of a set of small 
 cuts for the History of the Bible. 
 Strutt. 
 
 HUYSUM, called the OLD (Jus- 
 tus Van), a Dutch painter of flowers, 
 &c. born at Amsterdam in 1 659, and 
 died in 1716, aged 57. He was a 
 disciple of Nicholas Berchem ; while 
 he was yet young, he gave early 
 promises of capacity, and it is to be 
 wished that he had always followed 
 the style and colouring of his mas- 
 ter. But it afterwards appeared, 
 that by an unaccountable levity of 
 temper, and through an ambition to 
 excel in several branches, such as 
 history, portrait, battles, sea-pieces, 
 and flowers, he succeeded eminently 
 in none, though best in the last; 
 and in that style had the honour to 
 instruct his son, John Van Huysum, 
 who proved an ornament to his pro- 
 fession, and almost above a possibility 
 of being equalled by any future artist. 
 He left three sons, who became 
 painters, and were very eminent 
 artists. Houb., Pilk. 
 
 HUYSUM, called the YOUNG 
 (J. Van), a celebrated Dutch painter
 
 239 
 
 of flowers, &c., born at Amsterdam in 
 1682, and died in 1749, aged 67. 
 This illustrious painter has surpassed 
 all who ever painted in that style, 
 and his works excite as much surprise 
 by their finishing, as they excite ad- 
 miration by their strict imitation of 
 nature. He was a disciple of Justus 
 Van Huysum, his father. He set 
 out in his profession with a most 
 commendable principle, not so much 
 to paint for the acquisition of money 
 as of fame ; and therefore he did not 
 aim at expedition, but at delicacy, 
 and if possible to arrive at perfection 
 in his art. Having attentively 
 studied the pictures of Mingon, and 
 all other artists of distinction, who 
 had painted in his own style, he tried 
 which manner would soonest lead 
 him to imitate the lightness and 
 singular beauties of each flower, 
 fruit, or plant, and then fixed on a 
 manner peculiar to himself, which 
 seems almost inimitable. He soon 
 received the most deserved applause 
 from the ablest judges of painting, 
 even those who furnished him with 
 the loveliest flowers confessing that 
 there were somewhat in his colouring 
 and pencilling that rendered every 
 object more beautiful, if possible, 
 than even nature itself. His pic- 
 tures are finished with inconceivable 
 truth ; for he painted every thing 
 after nature, and was so singularly 
 exact, as to watch even the hour of 
 the day in which his model appeared 
 in its greatest perfection. By the 
 judicious, he was accounted to paint 
 with greater freedom than Mingon 
 or Breughel, with more tenderness 
 and nature than Mono da Fiorio, 
 Michel Angelo di Campidoglio, or 
 Segers ; with more mellowness than 
 Do Hccm, and greater force of colour- 
 ing than Baptist. His reputation 
 rose at last so high, that he fixed 
 immoderate prices on his works ; 
 so that none but princes, or those of 
 
 princely fortunes, could pretend to 
 become purchasers. Six of his paint- 
 ings were sold, at a public sale in 
 Holland, for prices that were almost 
 incredible ; one of them, a flower- 
 piece, for fourteen hundred and fifty 
 guilders, and the smaller pictures 
 for nine hundred. The vast sums 
 which Van Huysum received for his 
 i works caused him to redouble his 
 efforts to excel ; no person was per- 
 i mitted to enter his room while he 
 < was painting, not even his brothers ; 
 ! and his method of mixing his tints, 
 ' and preserving the lustre of his 
 colours, was an impenetrable secret, 
 which he never would disclose. Yet 
 his conduct is certainly not to his 
 honour, but rather an argument of a 
 low mind, fearful of being equalled 
 or surpassed. From the same prin- 
 ciple he would never take any dis 
 ciple, except one lady, named Haver- 
 man, and he grew envious and jealous 
 even of her merit. It is universally 
 agreed, that he has excelled all who 
 have painted fruit and flowers before 
 him, by the confessed superiority of 
 his touch, by the delicacy of his pen- 
 cil, and by an amazing manner of 
 finishing, nor does it appear probable 
 that any future artist will ever be- 
 come his competitor. The care 
 which he took to purify his oils and 
 prepare his colours, and the various 
 experiments he made to discover the 
 most lasting and durable, is another 
 instance of his extraordinary care 
 and capacity. His cloths were pre- 
 pared with the greatest care, and 
 primed with white, with all possible 
 purity, to prevent his colours from 
 being obscured, as he laid them on 
 very lightly. He glazed all other 
 colours except the clear and trans- 
 parent, not omitting even the white 
 ones, till he found the exact tone of 
 the colour ; and over that he finished 
 the forms, the lights, the shadows, 
 and the reflections, which are all ex-
 
 240 
 
 ecuted with precision and warmth, 
 without dryness or negligence. The 
 greatest truth united with the great- 
 est brilliancy, and a velvet softness 
 on the surface of his objects, are 
 visible in every part of his composi- 
 tions : and as to his touch, it looks 
 like the pencil of nature. Whenever 
 he represented flowers placed in vases, 
 he always painted those vases after 
 some elegant model, and the bas- 
 relief is as exquisitely finished as any 
 of the other parts. Through the 
 whole he shows a delicate composi- 
 sition, a fine harmony, and a most 
 happy effect of light and shade. 
 Those pictures which he painted on 
 a clear ground are preferred to his 
 others, as having greater lustre, and 
 as they demanded more care and 
 exactness in the finishing ; yet there 
 are some on a darkish ground, in 
 which appear rather more force and 
 harmony. It is observed of him, 
 that in the grouping of his flowers, 
 he generally designed those which 
 were brightest in the centre, and 
 gradually decreased the force of his 
 colour from the centre to the extre- 
 
 mities. The birds' nests and then 
 eggs, the feathers, insects, and drops 
 of dew, are expressed with the utmost 
 truth, so as even to deceive the spec- 
 tator. And yet after all this merited 
 and just praise, it must be confessed, 
 that sometimes his fruits appear like 
 wax or ivory, without that peculiar 
 softness and warmth which is con- 
 stantly observable in nature. Be- 
 sides his merit as a flower painter, 
 he also painted landscapes with great 
 applause. They are well composed ; 
 and although he had never visited 
 Rome, he adorned his scenes with 
 the noble remains of ancient mag- 
 nificence which are in that city. His 
 pictures in that style are well colour- 
 ed, and every tree is distinguished 
 by a touch that is proper for the leaf- 
 ing. The grounds are well broken, 
 and disposed with taste and judg- 
 ment ; the figures are designed in 
 the manner of Lairesse, highly 
 finished, and touched with a great 
 deal of spirit ; and through the whole 
 composition the scene represents 
 Italy in the trees, the clouds, and 
 the skies. Houb., Sandrart, Pilk. 
 
 I & J 
 
 IMOLA (Innocenzio F. da), an 
 Italian painter, who flourished about 
 the year 1.500. In loOG he entered 
 the school of Francisco Francia, and 
 afterwards passed some years at Flo- 
 rence, under Mariotto Albertinelli. 
 His style partakes of that of II Frate 
 and Andrea del Sarto, whose works 
 he appears to have studied attentive- 
 ly. His pictures are numerous in 
 the churches of Bologna ; and in 
 some of them he approaches so near 
 to the beauty and simplicity of Raf- 
 faclle, that they appear to have been 
 painted from his designs. Such are 
 his fine frescoes in the chapter of St. 
 Michel e in Bosco, representing the 
 
 Four Evangelists, the Annunciation, 
 the Deatli of the Virgin, and the 
 Assumption. The principal altar- 
 piece, in the same church may be 
 ranked among his most admired pro- 
 ductions ; it represents the Virgin 
 and Infant in the clouds, and below 
 St. Michael, St. Peter, and St. Be- 
 nedict. It is designed entirely in 
 the taste of Raffaelle. Some of his 
 altar-pieces have small pictures under 
 them, which are extremely beauti- 
 ful, as in the church of S. Giacoino, 
 under his large painting of the Mar- 
 riage of S. Catherine, there is an 
 exquisite little picture of the Nati- 
 vity. In S. Mattco, is an altar-piece
 
 241 
 
 of the Virgin and Infant, with seve- 
 ral saints, and below five small pic- 
 tures, representing Christ appearing 
 to Magdalen in the Garden ; the Pre- 
 sentation in the Temple ; St. Petei 
 the Martyr ; the Nativity; and Christ 
 disputing with the Doctors- That 
 he was well skilled in architecture 
 he has shown, in his immense fresco 
 work in the dome at Faenza, and 
 at the Osservanti at Pesara, in which 
 his landscape and pers]>ective are 
 compared by Lanzi to Leonardo da 
 Vinci. He usually avoided those 
 subjects which called for crowded 
 compositions, or violence of attitudes, 
 as ill suited to his cast of mind, 
 which was remarkable for meekness 
 and placidity Lanzi, Vasari. 
 
 INGHEN (William Van), a 
 Dutch historical painter, born at 
 Utrecht about 1651. He was a 
 disciple of Anthony Grebber. He 
 afterwards went to Rome, and en- 
 tered the school of Carlo Maratti. 
 Inghen continued only one year in 
 that school ; yet by close study, and 
 the precepts of Maratti, he was ren- 
 dered capable of executing several 
 grand works in the churches of 
 Home, by the recommendation of 
 his master, who was so pleased with 
 the abilities of his pupil, that he did 
 him every friendly office in his 
 power. His drawing, which was 
 firm ; his design, which had a great 
 portion of elegance; and the pleasing 
 tone of his colouring, very soon 
 procured him the favour of the no- 
 bility, and of the most eminent 
 ecclesiastics, who employed him in 
 many of the convents and palaces ; 
 and at his return to Amsterdam, 
 where he followed his profession as 
 long as he lived, his works were 
 
 muchcoveted and admired Iloub., 
 
 Dfxcamps, Pilk. 
 
 INGOUF (Peter Charles), a 
 French engraver, born at Paris in 
 174G. Ho was a pupil of John 
 
 James Flipart, and engraved several 
 plates in the neat finished style of 
 that artist, which possess consider- 
 able merit. The following are by 
 him : the portrait of I. G. Willi ; 
 Four Heads of various characters; 
 La paix du Menage; La bonne Edu- 
 cation ; a Girl caressing a Dog ; The 
 Contented Mother, and The Discon- 
 tented Mother. Strutt. 
 
 INGOUF (Francis Robert), a 
 French engraver, born at Paris in 
 1747. He was the younger brother 
 of the preceding artist, and was also 
 instructed in engraving by John 
 James Flipart. He engraved seve- 
 ral plates of portraits, and various 
 subjects, executed in a finished and 
 agreeable style, very creditable to 
 his talents ; among which are the fol- 
 lowing : John James Flipart ; Si- 
 mon, printer ; Bust of 1. 1. Rousseau ; 
 Gerard Douw playing on the violin 
 to his bird ; Armand Jerome Bignon, 
 master of the ceremonies. Strutt. 
 
 INGRAM (John), an English 
 engraver, who flourished about the 
 year 1760. After learning the first 
 principles of engraving in his native 
 country, he went to Paris in 1755, 
 where he greatly improved his styla, 
 and engraved in a neat manner seve- 
 ral vignettes, and other ornaments of 
 books. He was afterwards employed 
 in engraving for the Academy of 
 Sciences, at the same time when 
 Basson published his Dictionary of 
 Engravers, in 17*>7. Strutt. 
 
 JACKSON (John Baptist), an 
 English engraver on wood, who 
 flourished about the year 1740. 
 Early in life he went fo Paris, and 
 worked some time for Papillon; but 
 not meeting with much encourage- 
 ment, he went to Venice, where he 
 executed several wooden cuts, in 
 imitation of the drawings of the great 
 ' luastcis, with considerable success. 
 I He also engraved several book orna- 
 ments and vignettes. Among hi*
 
 242 
 
 JAC 
 
 single prints is a Descent from the 
 Cross, after Rembrandt, executed in 
 a very spirited style ; but his princi- 
 pal work was a set of seventeen large 
 cuts in chiaro-scuro, published at 
 Venice by Gio. Bat. Pasquali, in 
 1745, entitled, Titiani Vicellii, 
 Pauli Caliari, Jacobi Robusti, p.t 
 Jacobi de Ponte, opera Selectio- 
 ra, a Joanne Baptista Jackson, 
 Anglo, ligno calato, et coloribus 
 adumbrata. 
 
 JACKSON (John, R. A.), an 
 eminent English portrait painter, 
 born at Lastington in Yorkshire, in 
 1778, and died in 1831, aged 53. 
 Very early in life he evinced a 
 capacity for pencilling a likeness, 
 and strengthening this faculty by 
 " noting down " the physiognomies 
 of many of his neighbours, old and 
 young He was, however, appren- 
 ticed to a business little congenial to 
 his graphic taste, that of a village 
 tailor. Whilst yet the term of his 
 indentures was uncxpired by nearly 
 two years, finding occasional oppor- 
 tunities of indulging his propensities 
 for the art, he had made some heads 
 in small, which exhibited a talent 
 much beyond what could be expected 
 from one entirely self-taught, with 
 no example of art to refer to in aid 
 of his ardent desire to improve. 
 These attempts fortunately being 
 seen by an intelligent neighbour, 
 though in the humble capacity of a 
 school-master, by his friendly exer- 
 tion they were shown to the family 
 of the late Karl of Mulgrave ; and 
 this fortuitous circumstance laid the 
 foundation of that auspicious career 
 which commenced on his becoming 
 the protege of that worthy noble- 
 man; who, with his Lordship's 
 brother, the Honourable General 
 Phipps, and others of that noble 
 family, were the constant patrons 
 and friends of the painter through 
 life. It wa owing to this circum- 
 
 stance that Jackson obtained the 
 countenance of the late Sir George 
 Beaumont, at whose instance, by a 
 subscription fund, the remainder of 
 his apprenticeship was purchased, 
 when he was happily placed in a state 
 of freedom to pursue the bent of his 
 inclinations for graphic study, with 
 means much more felicitous than 
 which usually attend native talent, 
 on its first embarking to explore the 
 wide ocean of taste. 
 
 In 1797, at nineteen years of age, 
 he ventured to offer himself as a 
 painter of portraits in miniature, at 
 York ; and during one of his itine- 
 rant excursions to Whitby, had the 
 honour of an introduction to the 
 notice of the late Earl of Carlisle. 
 At Castle Howard he had the great 
 advantage of studying a magnificent 
 collection of pictures, in itself an 
 excellent school, and he copied the 
 " Three Maries," by Annibale Ca- 
 racci, with considerable success. 
 
 In 1804, he came to London, and 
 in the following year became a stu- 
 dent at the Royal Academy, Sir 
 George Beaumont contributing prin- 
 cipally to his support. In 1807, he 
 was established as a portrait-painter; 
 and every succeeding year furnished 
 specimens of his abilities for the ex- 
 hibition at Somerset-House. Al- 
 though, from the field being occupied 
 by artists of long standing, it wag 
 long before he obtained much em- 
 ployment as a painter in oil, his 
 portraits in water-colours soon be- 
 came much admired, and were pro- 
 ductive of a handsome income. The 
 heads were tastefully drawn, the 
 resemblances faithfully correct ; and, 
 although carefully finished, wrought 
 with masterly effect. His practice 
 in this department was perhaps 
 greater than that of any other con- 
 temporary portrait-painter in small. 
 Most of the heads engraved in Ca- 
 dell's distinguished work, the "Por-
 
 243 
 
 traits of Illustrious Persons of the I 
 Eighteenth Century," were drawn i 
 by Jackson. 
 
 In 1816 he was elected an Asso- ; 
 date of the Royal Academy, and in 
 1818 a Royal Academician. In the ; 
 former year he accompanied the 
 Hon. Edmund Pliipps in a tour > 
 through Holland and Flanders; and 
 in 1819, in company with Mr. ' 
 Chantrey, the sculptor, he made the 
 tour of Italy, by way of Geneva, ' 
 Milan, Padua, Venice, Bologna, j 
 Florence, and Rome. At the im- j 
 perial city he was associated a mem- 
 ber of the Academy of St. Luke, j 
 and met with great attention from j 
 Canova, who sat to him for his 
 portrait, now in the possession of 
 Mr. Chantrey, and engraved in the ' 
 European Magazine for November 
 1822. One of his last exhibition; 
 pictures was a portrait of his intimate 
 friend Chantrey, which he painted 
 for Sir Robert Peel. His whole- 
 length of the Marquis of Chandos 
 was a picture of surpassing excel- 
 lence, as is another of the venerable 
 Earl Fitzwilliam. He painted for 
 that distinguished patron of the arts, 
 the late Lord Dover, as a series of 
 British artists, the heads of Thomas 
 Stothard, R. A., Henry Bone, R. A., 
 and the late John Flaxman, R. A.; 
 of the last of which the late Sir 
 Thomas Lawrence, at an exhibition 
 dinner, publicly declared that it was 
 " a great achievement of the English 
 school, and a picture of which Van- 
 dyck might have felt proud to own 
 himself the author." Sir Thomas 
 Lawrence had promised to sit to ! 
 Jackson the next in the list. 
 
 Mr. Jackson painted two portraits 
 of John Soane, Esq. R. A., one of 
 them in the costume of a Freemason; 
 and that of the Rev. Holwell Carr, 
 now among that gentleman's pictures 
 in the National Gallery; to these 
 may be added a fine half-length of 
 
 Mr. Ludgate, several members of the 
 family of SirW. Bagshaw, of the Oaks, 
 near Sheffield ; and a fine portrait 
 of Daniel Sykes, Esq. late M. P. for 
 Hull. 
 
 Mr. Jackson painted his own por- 
 trait several times ; the best likeness 
 is said to be that in the gallery of 
 the Earl of Carlisle, at Castle How- 
 ard. One was published in the 
 European Magazine for August, 
 1823. 
 
 As a portrait- painter Mr. Jackson 
 may be ranked between the fine 
 elegant detail of Lawrence, and the 
 vigorous generalities of Raeburn. 
 When thought and intelligence were 
 required, he readily supplied them ; 
 he rose and fell with his subject, 
 and may be considered as one of the 
 most honest of all the children of 
 flattery. He had an uncommon 
 readiness and skill of hand ; his 
 colouring was deep, clear, and splen- 
 did ; and in this he resembled Rey- 
 nolds more than any artist since his 
 day. Jackson's honours sat grace- 
 fully upon him, and he used his 
 power with great readiness and little 
 show. Amiable and liberal, he ab- 
 stained from the bitter bickerings of 
 his brethren in art ; and the young 
 student found him a wiling coun- 
 sellor. 
 
 Mr. Jackson was twice married. 
 By his first wife he had a daughter, 
 still living. After remaining a 
 widower for a few years, he married, 
 secondly, a daughter of James Ward, 
 Esq. R. A., by whom he had three 
 children, yet infants. We are in- 
 formed that Mr. H. Bulware is ex- 
 ecuting a bust, which it is his 
 intention to dispose of in casts, for 
 the benefit of the widow and family, 
 who, we regret to say, arc left in 
 reduced circumstances. Gen. Biog. 
 Diet., Gent. Mag. 
 
 JACOB (Louis), a French en- 
 graver, born at Lisieux in Normandy,
 
 JAC 
 
 244 
 
 in 1712. He went young to Paris, 
 and was first a pupil of Gerard 
 Scotin the younger. He was after- 
 wards instructed by John Audran. 
 His works are not numerous, nor ! 
 are they much esteemed. His 
 drawings are incorrect, and his j 
 heads want both character and ex- j 
 pression. . The following are his 
 principal pictures : Perseus and ( 
 Andromeda ; the Departure of the j 
 Israelites from Egypt; the Adora- ' 
 tion of the Shepherds ; Rebecca 
 meeting the Servant of Abraham 
 Strvtt. 
 
 JACOBSZ (Jurian), a Flemish 
 painter, born in 1610, and died in 
 1664, aged 54. He was a disciple 
 of Francis Snyders, and at first imi- 
 tated the style and manner of his 
 master, painting huntings of wild 
 animals with a great deal of success; i 
 but afterwards he devoted himself' 
 entirely to paint portraits and his- I 
 tory ; and in all the historical sub- | 
 jects of this master, the animals he i 
 introduced, and the manner of de- ' 
 signing and pencilling, show the spirit ; 
 and taste of Snyders. The history j 
 of Venus and Adonis, and some ; 
 other compositions of Jacobsz, are 
 exceedingly commended by the Fle- 
 mish writers Houb., Descamps, 
 
 Pilk. 
 
 JACOBUS (J.), an old German 
 engraver on wood, who flourished as 
 early as the year 1480. His prin- 
 cipal works were sixteen or eighteen 
 cuts of the Life of Christ, some 
 of which are signed with his name. 
 Papillon mentions a large upright 
 engraving by this artist; he says it 
 belonged to a set of prints repre- 
 senting the history of Rome, in al- 
 legorical figures, and adds, that it 
 was well executed. Strutt. 
 
 JAMESONE (George), an emi- 
 nent Scotch portrait painter, born 
 at Aberdeen in 1586, and died in 
 J 644, aged 58. He was the son of 
 
 Andrew Jamesone, a Scotch architect, 
 who flourished about the year 1 602. 
 This eminent artist was styled the 
 Vandyck of Scotland, to which 
 honourable title he had a double 
 pretension, not only from having 
 surpassed all his countrymen as a 
 portrait-painter, but from his pic- 
 tures being sometimes attributed to 
 that master. It is not known at 
 what time he went abroad, nor how 
 long he remained on the Continent; 
 but he resided some time at Ant- 
 werp, where he had the advantage 
 of studying in the school of Rubens, 
 at the same time when Vandyck was 
 also his disciple. On his return to 
 Scotland he was much employed in 
 painting portraits, botli in oil and in 
 miniature, and occasionally painted 
 both history and landscape. His 
 largest portraits were generally some- 
 what less than life. The excellency 
 of Jamesone consisted in delicacy 
 and softness, a clean and brilliant 
 colouring, without much shadow ; 
 principles he acquired in the great 
 school in which he was educated. 
 When Charles I. visited Scotland 
 in 1633, the magistrates of Edin- 
 burgh employed Jamesone to make 
 designs of the Scottish monarchs, 
 with which the king was so much 
 pleased, that, enquiring for the 
 artist, he sat to him, and presented 
 him with a diamond ring from his 
 finger. There are many of the 
 works of Jamesone in the mansions 
 of the nobility of Scotland ; but the 
 greatest collection of them is at Tay- 
 mouth, in the possession of the Earl 
 of Breadalbane. Though the works of 
 this estimable artist are little known 
 in England, his merit is highly 
 esteemed in his own country. Pilk. 
 JANSEN (Bernard), a" Flemish 
 architect, who flourished in the reign 
 of James I. Jansen was a professed 
 imitator of Dieterlinp, a celebrated 
 architect in the Netherlands, who
 
 245 
 
 JAN 
 
 wrote several books on architecture. 
 He built Audley-inn, near Walden, 
 in Essex, and the greater part of 
 Northumberland-house, except the 
 frontispiece, which Vertue discovered 
 to be the work of Gerard Christmas. 
 JANSSENS (Abraham), a Flemish \ 
 historical painter, born at Antwerp, ( 
 about 1.569. He was contemporary j 
 with Rubens, and also his competi- I 
 tor, and in many of the finest parts 
 of the art, was accounted not infe- 
 rior to that celebrated master. It 
 is reported, that having wasted his 
 time, and his substance, by a life of 
 dissipation and pleasure, and falling 
 into necessitous circumstances, which 
 he imputed more to ill-fortune 
 than to his own neglect of his busi- 
 ness, which was the real cause, he 
 grew envious of the grandeur in 
 vhich Rubens appeared, and impa- 
 tient at his merit and success, with 
 peevish insolence, challenged him 
 to paint a picture with him only for 
 fame, which he was wiling to sub- 
 mit to impartial judges. But Ru- 
 bens rejected the proposal, answering 
 with modesty, that he freely sub- 
 mitted to him, and the world would 
 certainly do justice to them both. 
 He was excellent in colouring, and 
 in that respect had no superior, 
 except Rubens ; his compositions 
 have the fire of the greatest masters ; 
 his design has taste and correctness ; 
 his pencil is flowing and decided ; 
 his draperies well cast and broad. 
 He delighted in subjects illuminated 
 by torch-light, and went from ex- 
 treme splendour to the deepest 
 darkness, without becoming opaque. 
 Antwerp. Ghent, and most of the 
 churches in Flanders, possess admi- 
 rable works of this master ; but his 
 master-piece is the Resurrection o' 
 Lnzarus in the gallery of the Elec- 
 tor Palatine. Sandrart, PUk. 
 
 .TANSSENS (Victor IIonorius),a 
 Flemish painter, born at Brussel 
 
 in 1664, and died in 1739, aged 75. 
 He was a disciple of one Volders, 
 under whose direction he continued 
 for seven years ; in which time he 
 gave many proofs of superior capa- 
 city. By applying himself industri- 
 ously to study and practice, he be- 
 came a good painter ; and was re- 
 ceived into the service of the Duke 
 of Holstein, with a pension of eight 
 mndred florins, in which station he 
 worked for four years. At length 
 e solicited his patron to permit him 
 o improve himself in Italy, that he 
 might render himself more worthy 
 if his favour ; and that benevolent 
 irince not only indulged him, but 
 also enabled him to pursue his 
 studies without uneasiness, by pre- 
 senting him with six hundred florins 
 at his setting out. On his arrival 
 at Rome, he attended particularly to 
 :he works of Raffaelle ; he designed 
 after the antiques, and sketched the 
 beautiful scenes round that city : 
 and in a short time his paintings 
 rose in esteem, and the principal 
 nobility of Rome were desirous to 
 employ him. He associated with 
 Tempesta, the celebrated landscape 
 painter, for several years, and paint- 
 ed the figures in the works of that 
 great master, as long as they resided 
 together. Janssens composed histo- 
 rical subjects, both in a small and 
 large size ; but he found the demand 
 for his small pictures so consider- 
 able, that he was induced to paint 
 most frequently in that size. He 
 chose Albano for his model ; and in 
 the style he formed, he was not 
 equalled by any of his contempo- 
 raries. When Janssens returned to 
 Brussels, his performances were as 
 much admired as they had before 
 been in Italy ; but having married, 
 and gradually become the father of 
 eleven children, he was compelled to 
 change his manner of painting in 
 Fmall. and to undertake onlv tho^e
 
 246 
 
 of the large kind, as being more 
 lucrative, more_ expeditious, and 
 also more agreeable to his incli- 
 nations. He adorned most of the 
 churches and palaces of his own 
 country with his compositions ; and 
 his extraordinary readiness of exe- 
 cution appears in the vast number 
 of pictures which he finished in 
 Brussels, and in the neighbouring 
 cities. The invention of this artist 
 was fruitful ; he designed correctly, 
 his pencil was free, and the airs of 
 his heads have beauty and elegance. 
 As to the difference between his 
 large and small paintings, it is ob- 
 served, that in correctness and taste 
 they had an equal degree of merit ; 
 but the colouring of the former 
 appears more law and cold than the 
 colouring of the latter; and it is 
 agreed, that, for small historical 
 pictures, he was preferable to all 
 the painters of his time Houb., 
 Pilk. 
 
 JANSSEN (Cornelius), a Dutch 
 portrait painter, who died about 
 1665. He visited England at an 
 early age, and was employed by 
 James I., whose portrait he painted 
 several times, as also of his children, 
 and the principal nobility of his 
 court. His style of colouring is 
 clear, lively, and natural ; his touch 
 is light, his pencil truly delicate ; his 
 pictures have a peculiar softness and 
 sweetness in the carnations, and they 
 are finished with remarkable neat- 
 ness. Jansscn had not the freedom 
 of hand, nor the grace of Vandyck ; 
 but in other respects he was ac- 
 counted his equal, and in the finish- 
 ing of his pictures superior. His 
 paintings are easily distinguished by 
 their smooth, clear, and delicate 
 tints, and by that character of truth 
 and nature with which they are 
 strongly marked. He generally 
 painted on board, and for the most 
 part his draperies are black ; pro- 
 
 bably because the opposition of that 
 tint made his flesh colours appear 
 more beautifully bright, especially in 
 his female figures; and the same 
 practice of black draperies may be 
 observed in many of the portraits of 
 Rubens and Vandyck, which seem 
 to add a roundness, relief, and live- 
 liness to his figures. Sandrart says 
 he used a quantity of ultrama- 
 rine in the black colours, as well as 
 in his carnations ; which may be 
 one great cause of their preserving 
 their original lustre even to this 
 day. He painted frequently in a 
 small size in oil, and often copied 
 his own works in that manner. His 
 fame began to be somewhat ob- 
 scured on the arrival of Vandyck in 
 England : and the civil war breaking 
 out some time after, induced him to 
 return to his own country, where his 
 paintings were held in the highest 
 estimation Sandrart, Pilk. 
 
 JARDIN (Karel du), a Dutch 
 landscape painter, born at Amster- 
 dam in 1640, and died in 1678, aged 
 38. He was a disciple of Nicholas 
 Bercheni, whose school he left to 
 finish his studies in Italy, where he 
 spent the greatest part of his life, 
 and died at Venice. Jardin, though 
 a protestant, was so greatly esteemed 
 by the Venetians, that they allowed 
 his remains to be interred in con- 
 secrated ground. It is observed, 
 that most of his pictures seem to 
 express the warmth of the sun, and 
 the light of mid-day. His pictures 
 arc not much encumbered ; a few 
 figures, some animals, and a little 
 landscape for the back grounds, ge- 
 nerally comprise the whole of his 
 compositions. Houb., Pilk. 
 
 JEAURAT (Edme), a French 
 engraver, born at Paris about the 
 year 1680. He was a pupil of Ber- 
 nard Picart. This artist possessed 
 the talent of expressing in his prints 
 the peculiar style of the painter
 
 247 
 
 from whose work he engraved. His 
 drawing is tolerably correct, and his 
 execution is bold and free, with a 
 fine effect of light and shadow. 
 The following are his principal 
 plates : The Portrait of Peter 
 Puget, called the Michel Angelo 
 of France ; the Meeting of David 
 and Abigail; Thetis plunging Achilles 
 into the Styx ; Telemachus in the 
 Island of Calypso ; the Triumph of 
 Mordecai ; Christ among the Doc- 
 tors ; Achilles discovered among the 
 Daughters of Lycomedus ; Pan and 
 Syrinx ; the Interview between Ja- 
 cob and Rachel ; the Repose in 
 Egypt ; and the Finding of Moses. 
 Strutt. 
 
 JEGHER (Christopher) a Ger- 
 man engraver on wood, born about 
 the year 1590. He chiefly resided 
 at Antwerp, where his merit recom- 
 mended him to the particular notice 
 of Rubens, who employed him to 
 execute several wooden cuts from 
 his designs, which he intended to 
 publish. They are cut in a bold 
 free style, with spirited strokes, in 
 imitation of the cross hatchings with 
 a pen, and produce a very powerful 
 effect. After the death of Rubens, 
 Jegher purchased the greater part of 
 his blocks, and republished the prints 
 on his own account. He also worked 
 after the designs of other masters ; 
 and among others, a Crucifixion, 
 after F. Erank, dated 1637. 
 Strutt. 
 
 JERVAS (Charles), an Irish 
 portrait painter, who died about 
 1740. He was a pupil of Sir God- 
 frey Kncller, and by the generosity 
 of a friend, he was enabled to visit 
 France and Italy, and at his return 
 obtained considerable employment, 
 more perhaps from the friendship of 
 Pope and other celebrated men, than 
 his own merit Gen. J3io</.I)ict. 
 
 JODE (Gerard de), a Flemish 
 engraver and printscller, born at 
 
 Antwerp about the year 1541. This 
 respectable artist was the head of a 
 family greatly distinguished in the 
 art of engraving. He engraved se- 
 veral plates of historical and geogra- 
 phical subjects, in which his style 
 appears to have been an humble 
 imitation of Cornelius de Cort. 
 Strutt. 
 
 JODE (Peter the Elder). He 
 was the son of the preceding artist, 
 born at Antwerp in 1570. After 
 being taught the rudiments of design 
 by his father, he was instructed in 
 the art of engraving by Henry 
 Goltzius. He afterwards went to 
 Italy for improvement, particularly 
 in drawing, and engraved several 
 plates from the works of the great 
 masters. In 1601 he returned to 
 Antwerp, where] he ^distinguished 
 himself by various prints, after the 
 principal Flemish painters. His 
 drawing is very correct ; and though 
 his command of the graver is less 
 bold than that of his instructor, he 
 is less mannered and extravagant^ 
 Strutt. 
 
 JODE (Peter the" Younger), a 
 Flemish engraver, born at Antwerp 
 in 1606, and died in 1666, aged 60. 
 He was the son of the preceding 
 artist, and was instructed by his 
 father, whom he surpassed in the 
 taste and facility with which he 
 handled the graver. His plates are 
 very unequal ; and Basson says of 
 him, that " in some of his prints he 
 has equalled the best engravers, and 
 in others he has sunk below him- 
 self." Perhaps his best performances 
 are his portraits, several of which he 
 engraved from Vandyck. He will 
 ever be esteemed a very reputable 
 artist, though inferior to his contem- 
 poraries, the Bolswarts, Pontius, and 
 Vostermans Strutt. 
 
 JOHN (Ludolph de), a Dutch 
 painter, born at Overschir, between 
 Rotterdam and Delft, in 1616, and
 
 248 
 
 JON 
 
 died in 1697, aged 81. His father, 
 who was a shoemaker, intended him 
 for his own trade ; but having, on 
 some occasion, treated Ludolph with 
 extraordinary severity, he ran away 
 from him : and finding in himself a 
 predominant inclination to painting, 
 he became a disciple of Cornelius 
 Sachtleven. From that master he 
 learned the principles of the art ; 
 but afterwards he placed himself 
 with Anthony Palamedes, a portrait 
 painter at Delft, who took no pains 
 to instruct him as he ought to have 
 done ; and therefore he quitted him, 
 and went to Utrecht, to study under 
 John Bylaert, where he made a good 
 progress, and qualified himself to 
 appear with credit in his profession. 
 In the apartmeril of the artillery- 
 eompany at Rotterdam, may be 
 seen a capital picture of this master's 
 hand ; it represents the portraits ol 
 
 and for which he had a talent, M 
 ppears by a small piece preserved 
 t Chiswick. He was no sooner at 
 tome, than he found himself in his 
 phere. He felt that nature had not 
 ormed him to decorate cabinets, but 
 esign palaces. He dropped the 
 >encil, and conceived Whitehall, 
 n the state of Venice he saw the 
 vorks of Palladio, and learned how 
 >eautifully taste may be exerted on 
 less theatre than the capital of an 
 empire. How hig abilities distin- 
 guished themselves in a spot where 
 :hey certainly had no opportunity to 
 act, we are not told, though it would 
 not be the least curious part of his 
 listory; certain it is, that on the 
 strength of his reputation at Venice, 
 Christian IV. invited him to Den- 
 mark, and appointed him his archi- 
 tect ; but on what building he was 
 employed in that country we are yet 
 to learn. James I. found him at 
 Copenhagen, and the queen took 
 him in the quality of her architect 
 to Scotland. He served Prince 
 Henry in the same capacity, and 
 the place of surveyor-general of th 
 works was granted to him in rever- 
 sion. On the death of that prince, 
 with whom all his lamented qualities 
 did not die, Jones travelled once 
 more to Italy, and assisted by ripe- 
 ness of judgment, perfected his taste. 
 To the interval between these voy- 
 ages should be assigned those build- 
 ings of Inigo which are less pure, 
 and border too much upon that 
 bastard style, which has been called 
 King James's Gothic. Inigo's de- 
 signs of that period are not Gothic, 
 but have a littleness of parts and a 
 weight of ornaments, with which the 
 revival of the Grecian taste was en- 
 
 so strongly, that he was taken notice cumbered, and which he shook off 
 of by William Earl of Pembroke, i in his grander designs. The sur- 
 
 the officers 
 burghers. 
 
 of the company oi 
 
 JOHNSON (John), an English 
 architect, born at Leicester in 1754 
 and died in 1814, aged 60. He left 
 his native place at an early age, anc 
 by dint of strong natural abilitie 
 arrived at eminence in his profes- 
 sion. He filled for twenty-six years 
 the office of Architect and Surveyoi 
 of the county of Essex. The Stoni 
 Bridge, County-Hall, and a ver; 
 large prison, were built from hi 
 designs, and under his directions. 
 Gen. Bioij. Diet. 
 JONES (Inigo), 
 
 a celebrate 
 
 English architect, born in 1572 
 and died in 1651, aged 79. He 
 was the son of a cloth-worker, and 
 bound apprentice to a joiner : but 
 even in that obscure situation, the 
 brightness of his genius burst forth 
 
 By this nobleman Inigo was sent to 
 Italy, to study landscape painting, 
 to which his inclination then pointed. 
 
 vcyor's place fell, and he returned 
 to England ; and as if architecture 
 as not all he had learned at Rome,
 
 '249 
 
 with an air of Roman disinterested- 
 ness he gave up the profits of his 
 office, which he found extremely in 
 debt, and prevailed upon the comp- 
 troller and paymaster to imitate his 
 example, till the whole arrears were 
 paid. In 1620, he was employed 
 in a manner very unworthy of his 
 genius. King James set him upon 
 discovering, that is, guessing, who 
 who were the founders of Stone- 
 henge. His ideas were all Roman- 
 ised ; consequently his partiality to 
 his favourite people, which ought to 
 have prevented him from charging 
 them with that mass of barbarous 
 clumsiness, made him conclude it 
 a Roman temple. In the same 
 year Jones was appointed one of 
 the commissioners for the repair of 
 St. Paul's, when Laud, then bishop 
 of London, laid the first stone, and 
 Inijro the fourth. In the restoration 
 of that cathedral he made two capital 
 faults. He first renewed the sides 
 with very bad Gothic, and then 
 added a Roman portico, magnificent 
 and beautiful, it is true, but which 
 had no affinity with the ancient parts 
 that remained, and made his own 1 
 Gothic appear ten times heavier. | 
 He committed the same error at 
 Winchester, thrusting a screen in 
 the Roman or Grecian taste into 
 the middle of the cathedral. Jones, 
 indeed, was by no means successful 
 wUeii he attempted Gothic. The 
 chapel of Lincohi's-inn has none of 
 the characteristics of that architec- 
 ture. The cloister beneath seems 
 oppressed by the weight of the 
 building above. The authors of the 
 life of Jones place the erection of 
 the Banqueting-house in the reign 
 of Charles I. ; but, from the ac- 
 counts of Nicholas Stone, it was 
 begun in 1619, and finished in two 
 years a small part of the pile de- 
 signed for the palace of our kings, 
 tut so couiDlcte in itself that it 
 
 stands a model of the most pure and 
 beautiful taste. The great towers 
 in the front are too near, and were 
 evidently borrowed from what he 
 ! had seen in the Gothic, and not in 
 the Roman buildings. The circular 
 court is a picturesque thought, but 
 without meaning or utility. The 
 whole fabric, however, was so glorious 
 an idea, that one forgets for a mo- 
 ment, in the regret for its not being 
 executed, the confirmation of our 
 liberties obtained by a melancholy 
 scene that passed before the windows 
 of that very banqueting-house. In 
 1 623 he was employed at Somerset- 
 house, where a chapel was to be 
 fitted up for the Infanta, the in- 
 tended bride of the prince. Upon 
 the accession of Charles, he was 
 continued in his posts, both under 
 the king and queen. His fee as 
 surveyor was eight shillings and 
 four-pence per day, with an allow- 
 ance of forty-six pounds a year for 
 house-rent, besides a clerk, and in- 
 cidental expences. What greater 
 rewards he had are not upon re- 
 cord. During the prosperous state 
 of the king's affairs, the pleasures of 
 the court were carried on with much 
 taste and magnificence. Poetry, 
 painting, music, and architecture, 
 were "all called in to make them 
 rational amusements ; and there is 
 no doubt but the celebrated festivals 
 of Louis XIV. were copied from the 
 shows exhibited at Whitehall, in 
 its time the most polite court in 
 Europe. Ben Jonson was the 
 laureat ; Inigo Jones the inventor 
 of the decorations ; Laniere and 
 Tirabosco composed the sympho- 
 nies ; the king, the queen, and the 
 young nobility danced in the inter- 
 ludes. We have accounts of many 
 of these entertainments, called. 
 Masques : they had been intro- 
 duced by Anne of Denmark. Inigo 
 Jones assisted in the decorations for
 
 250 
 
 several of those shows, as may be j sey-house, in Lincoln's-inn-fields, 
 
 seen from the following extracts 
 from the Book of Sports : 
 
 Tethys's festival, a masque, 
 
 has a chaster front, hut is not better 
 disposed for the apartments. Coles- 
 hill, in Berkshire, the seat of Sir 
 
 presented on the creation of Henry I Matthew Pleydell, built in 1650, 
 
 Prince of Wales, June 5th, 1610. 
 The words by J. Daniel, the scenery 
 by Master Inigo Jones. Daniel owns 
 that the machinery, contrivance, 
 and ornaments of the scenes, made 
 the most conspicuous part of the 
 entertainment." 
 
 " February 16th, 1613, a masque 
 at Whitehall, on the nuptials of the 
 Palsgrave and the PrincessElizabeth ; 
 invented and fashioned by our king- 
 dom's most artful and ingenious 
 architect, Inigo Jones ; digested and 
 written by the ingenious poet George 
 Chapman." 
 
 The works of Inigo are not scarce, 
 though some that bear his name 
 were the productions of his scholars ; 
 some, indeed, neither of the one nor 
 of the other. Albins, in Essex, has 
 been ascribed to Inigo Jones. If he 
 had any hand in it, it must have 
 been during his first profession, and 
 before he had seen any good build- 
 ings. The house is handsome, has 
 large rooms, and rich ceilings, but 
 all entirely of the King James's 
 Gothic. The middle part of each 
 end of the quadrangle, at St. John's, 
 Oxford, was ascribed to him. The 
 cabinet at Whitehall, for the king's 
 pictures, was built by him, but we 
 have no drawing of it. At St. 
 
 James's, 
 chapel. 
 
 he designed the queen's 
 Surgeons' -hall is one of 
 
 his works. Ambresbury, in Wilt- 
 shire, was designed by him, but exe- 
 cuted by his scholar Webb, who 
 married a cousin-german of Jones. 
 Cheening is another house ascribed 
 to him, but doubtful ; Gunnersbury, 
 near Brentford, was certainly his; 
 the portico is too large, and en- 
 grosses the whole front, except a 
 single window at each end. Liml- 
 
 and Cobham-hall,in Kent, were his. 
 He was employed to build Castle- 
 Ashby, and finished one front, but 
 the civil war intercepted his progress 
 there, and at Stoke-park, in North- 
 amptonshire. Shaftsbury-house,now 
 the London Lying-in-hospital, is a 
 beautiful front. The front to the 
 garden of Hinton St. George, in 
 Somersetshire, the seat of Earl 
 Poulet, and the front of Brympton, 
 formerly the mansion of Sir Philip 
 Sydenham, were from the designs of 
 Jones. The last, and one of the 
 most beautiful of his works, is the 
 Queen's House, at Greenwich. The 
 first idea of the Hospital is said to 
 have been taken from his papers. 
 The rest of his designs, and his 
 smaller works, as chimneys, ceilings, 
 &c. may he seen in the editions of 
 Kent, Ware, Vardy, and Campbell. 
 Inigo tasted early of the misfortunes 
 of his master; for he was not only a 
 favourite, but a Roman Catholic. 
 In 1648, he paid 545i for his de- 
 linquency and sequestration. Whe- 
 ther it was before or after this fine, 
 is not accurately known, that he and 
 Stone buried their joint stock of 
 ready money in Scotland-yard ; but 
 an order being published to en- 
 courage the informers of such con- 
 cealments, and four persons being 
 privy to the spot where the money 
 was hid, it was taken up, and re- 
 buried in Lambeth-marsh. Grief, 
 misfortunes, and age, terminated his 
 life. He was buried in the church 
 of St. Bennet's, near Paul's-wharf, 
 where a monument erected to his 
 memory was destroyed in the fire of 
 London. 
 
 JORDAENS (Jacob), a cele- 
 brated Dutch historical painter, born
 
 251 
 
 at Antwerp in 1594, and died in 
 1678, aged 84. He was a disciple 
 of Adam Van Oort ; but he was in- 
 debted to Rubens for the principal 
 part of his knowledge in the art of 
 painting ; and by some authors it is 
 asserted, that he was admitted into 
 the school of Rubens, and became 
 one of his most famous disciples. 
 He had always a longing desire to 
 see Rome, in order to refine his 
 taste, and acquire the best manner of 
 designing ; yet he was prevented 
 from carrying that design into exe- 
 cution, by an early marriage with 
 the daughter of Van Oort ; and had 
 then no resource, but to study and 
 copy the best pictures he could pro- 
 cure of the greatest Italian masters, 
 which he did with indefatigable assi- 
 duity. Sandrart, De Piles, and other 
 authors assert, that Rubens, jealous 
 of the colouring of Jordaens, and 
 apprehensive of being rivalled in a 
 point wherein his own excellence 
 consisted, employed him for a con- 
 siderable time to paint designs for 
 tapestries in distemper, after his 
 sketches ; by which, it is said, Jor- 
 daens weakened his knowledge of 
 the principles of colouring, and en- 
 feebled his tints, which before were 
 strong, and represented nature to 
 a wonderful degree. Fortunately 
 for the purpose of truth, and in 
 justice to the well-known beneficence 
 of Rubens, this calumny is refuted 
 by facts, of which those writers were 
 either ignorant or insensible. He 
 painted with extraordinary freedom, 
 ease, and expedition ; there is a 
 brilliancy and harmony in his co- 
 louring, and a good understanding 
 of the chiaro-scuro. His compo- 
 sition is rich, his expression natural 
 and strong : but his design wants 
 elegance and taste. He studied and 
 copied nature as he found it in the 
 model, and neither selected its 
 beauties nor rejected its defects. 
 
 He knew how to give his figures a 
 good relief, though he is frequently 
 incorrect in the outlines ; but his 
 pencil is always excellent ; and for a 
 free and spirited touch, no painter 
 can be accounted his superior. He 
 painted a number of altar-pieces for 
 different churches throughout the 
 Netherlands, which maintain his 
 reputation as an artist. In the gal- 
 lery at Dusseldorp is his celebrated 
 picture of the Merry-making, es- 
 teemed one of his best works,in which 
 there is an admirable glow of har- 
 monious colouring, and the heads 
 are full of the most appropriate and 
 jovial expression ; and in the col- 
 lection of the Duke of Orleans, is 
 the famous picture of the Satyr and 
 Man blowing Cold and Hot; the 
 story of Pan and Syrinx ; which, 
 though the figures are as large as 
 life, and the whole admirably exe- 
 cuted, was finished in ouly six days. 
 Sandrart, De Piles. 
 
 JORDANA (Luca). See GI- 
 ORDAN*. 
 
 JOUVENET (John), a French 
 painter, born at Rouen in 1644, and 
 died in 1717, aged 73. He received 
 his first instructions in the art of 
 painting from his father, who was a 
 painter ; but his greatest improve- 
 ment was confessedly derived from 
 the instructions he received from 
 Nicolo Poussin. He acquired a 
 good knowledge of design, which 
 qualified him for being employed in 
 several grand works, in the royal 
 palaces at Paris and Trianon, in 
 many of the churches and convents ; 
 and in the hospital of the Invalids, 
 where he painted the Twelve Apos- 
 tles, each figure being fourteen feet 
 high. He had a ready invention, a 
 fruitful genius, a taste for grandeur 
 in his compositions, correctness in 
 his design, and an elegant manner 
 in distributing his draperies. In 
 France his merit was universally
 
 252 
 
 allowed ; yet some able judges con- j 
 demn his taste of design, as being t 
 too much loaded ; and his colouring 
 as having too predominant a tint of 
 yellow in the carnations, by which ; 
 they lose the look of nature ; though 
 others assert, that his best works 
 are free from these imperfections. 
 Having lost the use of his right hand 
 at the age of sixty-nine, by a stroke 
 of the palsy, he attempted to paint 
 with his left, and succeeded to the 
 astonishment of every one. In this 
 manner he painted his picture of the j 
 Magnificat, in the choir of Notre 
 Dame De Piles. 
 
 JUANES (Juan Batista), a dis- 
 tinguished Spanish painter, born at 
 Valencia in 1523, and died in 1579, 
 aged 56. At an early age he visited 
 Koine, where he resided several 
 years, and after his return from 
 Italy resided the remainder of his 
 life in his native city. The Spanish 
 biographers do not scruple to rank 
 him with the greatest artists of the 
 age of Leo X. Unfortunately for 
 his fame, his works are immured in 
 the convents of Valencia, which, if 
 they could be delivered from their 
 confinement, and placed in the ob- 
 servation of taste and judgment, 
 would secure their author that cele- 
 brity to which their uncommon ex- 
 cellence entitles him. Pacheco, in 
 his treatise, bestows on him the 
 highest encomiums ; and Palamiuo 
 Velasco does not hesitate to prefer 
 him to Morales, and even to Raf- 
 faelle himself. Much of this may 
 be ascribed to national partiality, 
 but it may be fairly presumed that 
 ike artist on whom such general 
 
 praise has been conferred, must 
 have possessed transcendent ability. 
 Juanes, like the divine Morales, 
 confined his subjects to sacred his- 
 tory ; his pictures are grandly com- 
 posed, and coloured with great truth 
 and beauty. Though they are 
 finished with extraordinary minute- 
 ness it does not impair their force, 
 nor impoverish their general effect. 
 In the sacristy of the church of San 
 Pedro is a picture of a dead Christ, 
 which is greatly admired. In the 
 chapel of St. Thomas de Villanueva, 
 belonging to the Augustine monks, 
 are three grand compositions by him, 
 representing the Nativity, the Mar- 
 tyrdom of St. Innes, and the Burial 
 of a devout Monk of that order. 
 His principal work is in the cathe- 
 dral of Valencia; it represents the 
 Baptism of Christ by St. John, with 
 several figures. The composition of 
 this fine picture is in the style of 
 Raffaelle; the heads are admirable, 
 the expression just and natural, and 
 the whole is finished with the most 
 delicate execution Cumberland. 
 JUVARA (Philip), an Italian 
 architect, was born at Messina in 
 1668, died in 1735, aged 67. He 
 was the disciple of Fontana, and 
 employed by the King of Sardinia 
 to build some fine structures at 
 Turin. In 1734, the royal palace 
 of Madrid being burnt, Philip V. 
 King of Spain, sent for Juvara to 
 erect another more magnificent ; he 
 accordingly formed an approved plan, 
 but the commencement of the work 
 being delayed from day to day, it is 
 supposed that the artist died of cha- 
 grin Nouv. Diet. Hist.
 
 253 
 
 K 
 
 TRACER (Matthew), a German 
 historical painter, who flourished 
 about the year 1605. At an early 
 age he travelled to Rome, where, 
 during a long residence, passed in 
 the assiduous study of the best mas- 
 ters, he became one of the most 
 eminent artists of his country. Soon 
 after his return from Italy, the duke 
 of Bavaria appointed him his princi- 
 pal painter, with a considerable pen- 
 sion. The churches of Munich, and 
 the palaces of that prince, attest the 
 talents of Kager. Towards the latter 
 part of his life he resided at Augs- 
 boiirg, where he painted his most 
 celebrated work, the Last Judgment, 
 in the hall of the Senate, in that 
 city. The works of Kager are only 
 known out of his own country by 
 the prints engraved from them by 
 the Sadelers, the Kilians, and others, 
 amounting to upwards of sixty. 
 Sandrart. 
 
 KALF (William), an historical 
 and portrait-painter, born at Am- 
 sterdam in 1030, and died in 1693, 
 aged 63. He was a disciple of Hen- 
 dric Pot, a painter of portraits and 
 
 proper distribution of his lights and 
 shadows. 
 
 KALRAAT (Abraham Van), a 
 Dutcli painter, born at Dort in 1643. 
 He was the son of a sculptor, who 
 instructed him in his art for some 
 time ; but on the death of his fa- 
 ther, he applied himself to painting 
 
 flowers, in which he excelled 
 
 Sandrart. 
 
 KALRAAT (Bernard Van), a 
 Dutch landscape painter, born at 
 Dort in 1650, and died in 1721, 
 aged 71. This artist learned design 
 from his brother Abraham Van Kal- 
 raat ; but the art of painting he 
 studied under Albert Cuyp, an ad- 
 mirable painter, with whom he was 
 placed as a disciple. At first he 
 sainted in the style of his master 
 entirely ; though afterwards, being 
 ither diffident of his own abilities, 
 or at least not flattering himself with 
 a hope of surpassing, or even equal- 
 ling his master, he changed his man- 
 ner, and ever after painted views of 
 the Rhine, in the style of Herman 
 Sachtlcven. His frequent walks 
 along the borders of that river, in- 
 
 history ; but although he continued spired him with a desire to copy the 
 with that master for several years, beautiful variety of villages, falls of 
 and employed his pencil on the same , water, rocks, hills, and trees, which 
 subjects ; yet, when he quitted Pot, ' the windings of it perpetually offer 
 he changed his manner totally, and i to the view; and although he could 
 only painted objects of still life, en- not be accounted equal to Sacht- 
 deavouring to imitate nature with leven, yet he approached very near 
 the utmost exactness. He finished to the merit of that painter. Some 
 
 his pictures with a touch that was 
 remarkably neat ; his colouring was 
 true nature, and had an uncommon 
 transparence. His usual subjects 
 were vases of gold, silver, or crystal, 
 gems, glasses, and agates, which he 
 copied delicately after nature ; and 
 gave them an extraordinary lustre, 
 ;is well as an agreeable effect, by a 
 
 of his pictures are excellently and 
 highly finished ; and his landscapes 
 are adorned with figures and animals 
 well designed, delicately pencilled, 
 and pleasingly coloured. Sometimes 
 he represented in his pictures figures 
 going abroad with dogs, to hunt or to 
 hawk, travellers at the doors of inns, 
 aiid such like subjects, which are al-
 
 K AM 
 
 254 
 
 ways neatly handled, and very trans- 
 parently coloured Hovb., Pilk. 
 
 KAMPEN (Jacob Van), a Dutch 
 painter, born about 1658. He was 
 a disciple of John Van Bronkhorst, 
 and his manner resembled that of 
 his master ; as also of John Byaert ; 
 so that the particular merits which 
 are ascribed to those masters, may 
 with equal justice and propriety be 
 ascribed to him. He travelled to 
 Rome, and visited the principal 
 cities in Italy, forming his taste of 
 design and colouring after the works 
 of the most eminent artists, and 
 receiving many public marks of ap- 
 probation for his performances. 
 Those historical subjects which he 
 painted were composed of figures 
 as large as life, well designed, and 
 well handled, and they have a tone 
 of colour that appeared lively and 
 natural. He had an excellent ge- 
 nius for architecture ; and the plans 
 of some of the most elegant public 
 buildings and palaces in Holland 
 were of his design, as he was 
 esteemed the best architect of the 
 Low Countries Hovb., Pilk. 
 
 KAUFFMAN (Maria Angelica), 
 a celebrated Swiss historical and 
 portrait-paintress, born at Coire, the 
 capital of the Orisons, in 1742, and 
 died in 1 807, aged 65. Although this 
 celebrated lady changed her name 
 to that of Zucchi, by an ill-advised 
 marriage, she is generally remem- 
 bered in the world of art by that 
 of Angelica Kauffman. She was 
 the daughter of Joseph Kauffman, a 
 Swiss portrait-painter of little repute. 
 At a very early age she discovered a 
 marked disposition for painting and 
 music, and was taught by her father 
 the elements of design, who also 
 procured her the instruction of the 
 best music-masters of the country. 
 She appeared at first to pay more 
 attention to music than drawing. 
 Her advancement in both was ex- 
 
 traordinary, and sufficiently flatter- 
 ing to her father, to induce him to 
 accompany her to Italy, for the ad- 
 vantage of improvement. In 1757 
 he conducted her to Milan, where 
 she applied herself assiduously in 
 designing, and in copying the works 
 of the best masters. She went to 
 Naples in 1763, and in the following 
 year to Rome, where her talents, 
 joined to the charms of an elegant 
 person, excited a more than usual 
 degree of interest and admiration. 
 She appears to have hitherto con- 
 fined herself to portraits. Among 
 her many admirers was the cele- 
 brated Abb6 Winkelman, who, in 
 a letter to his friend Franck, written 
 in 1764, speaks of her accomplish- 
 ments in the most flattering terms. 
 " I have just been painted," says he, 
 " by a stranger, a young person of 
 a rare merit. She is very eminent 
 in portraits in oil ; mine is a half- 
 length, and she has made an etching 
 of it, as a present to me. She speaks 
 Italian as well as German, and ex- 
 presses herself with the same facility 
 in French and English, on which 
 account she paints all the English 
 who visit Rome. She sings with a 
 taste which ranks her among our 
 greatest virtuosi. Her name is 
 Angelica Kaufrman." In 1765 she 
 came to England, whither a very 
 brilliant reputation had already pre- 
 ceded her. Her history, whilst in this 
 country,is so universally known, that 
 it will not be thought necessary to 
 notice it here in detail. During a 
 residence of seventeen years, her 
 talents were recompensed with every 
 honour, distinction, and reward that 
 the most exigent ambition or cupi- 
 dity could desire. In 1769 she re- 
 ceived the honours of the Royal 
 Academy, was high in the royal 
 favour, and in the public estimation, 
 affluent, respected, and admired, 
 when she poisoned all these enjoy-
 
 KAY 
 
 ments by an unhappy matrimonial 
 connexion, which is said to have 
 embittered the remainder of her life. 
 Angelica left England in 1782, and 
 returned to Rome, where the exer- 
 cise of her talents was not less dis- 
 tinguishedly rewarded, which con- 
 tinued with undiminished reputation 
 till her death, in 18(17. The merit 
 of Angelica has been so highly rated 
 by the zeal of her eulogists, and 
 perhaps so severely judged before 
 the stern tribunal of criticism, that 
 it is probable a just and candid esti- 
 mate of her faculties will best be 
 formed by steering a temperate 
 course between both. That her 
 powers were considerable, none will 
 deny ; that they were transcendent, 
 few of the intelligent will be disposed 
 to acknowledge. In her historical 
 pictures, in which the figures are 
 generally much smaller than life, 
 her compositions are ingenious and 
 poetical ; her design is neither incor- 
 rect nor ungraceful, and her co- 
 louring at least as mellow and har- 
 monious as the best painters of the 
 modern Italian school. She was not 
 unacquainted with the beauties of 
 the antique, nor did she neglect 
 them, especially in her female forms. 
 Her pictures are distinguished by an 
 air of mild virginal dignity ; but 
 there is a total want of variety in 
 her forms, of impassioned and cha- 
 racteristic expression in her heads, 
 and of energy in her attitudes. Her 
 figures, both male and female, are 
 cast in the same mould, and appear 
 to have been drawn from an ideal 
 model she had formed of what she 
 conceived to be perfect ; hence she 
 could not avoid falling into the 
 foibles of a mannerist. Her Hector, 
 in his departure from Andromache, 
 is not a hero of Homer, but a girl 
 in disguise Gen.Biog. Diet., Gen. 
 Mag. 
 
 KAY, or KEY (William), a 
 
 Dutch painter, born at Breda in 
 1520, and died in 1568, aged 48. 
 He was a disciple of Lambert Lom- 
 bard, at Liege, at the time when Fran- 
 cis Floris studied in that school. As 
 he was remarkably industrious in 
 practising the rules prescribed by 
 his master, in a few years he was 
 distinguished as an exceeding good 
 artist. His portraits are accounted 
 by connoisseurs very little inferior 
 to those of Antonio More ; for his 
 works are carefully finished, and 
 they are prized for the sweetness 
 and delicacy of his pencilling, as well 
 as for their clear and natural colour. 
 His compositions in the historical 
 style show skill and judgment ; and 
 though it cannot be affirmed that 
 he had as much fire as Francis 
 Floris, yet are his paintings well 
 esteemed, and often afford consider- 
 able prices. His reputation was so 
 , established at Antwerp, that the 
 i duke of Alva sat to him for his 
 i portrait ; but whilst he worked on 
 j the picture, the judge-criminal and 
 i other officers waited on the duke to 
 receive his determinate orders, in 
 regard to the counts Egmont and 
 Hoorn. The duke, with a terrible 
 austerity of countenance, ordered 
 their immediate execution, and Kay, 
 who understood the language in 
 which they conversed, and also loved 
 the nobility of his own country, 
 was so violently affected by the 
 piercing look and peremptory com- 
 mand of Alva, that he went home, 
 fell sick, and died, through the terror 
 impressed upon his mind by the 
 transaction. Some authors (and 
 Sandrart in particular), to render 
 that incident more surprising, or 
 perhaps with strict adherence to 
 truth, assert, that he died on the 
 same day those noblemen were ex- 
 ecuted; others affirm that he died 
 a few days before. One of this 
 master's best performances is the
 
 256 
 
 portrait of Cardinal Granville in his 
 robes, -which is very highly com- 
 mended; and another was a large 
 lesign, in which he had introduced 
 the portraits of the principal magis- 
 trates of the city of Antwerp, at full 
 length, and as large as life. It was 
 placed in the town-hall, but it hap- 
 pened to be destroyed when that 
 building was burnt down in 1576. 
 Sandrart, De Piles. 
 
 KEARNE (Andrew), a German 
 sculptor, who died in England about 
 1710. He was a brother-in-law of 
 Nicholas Stone, for whom he worked 
 on his first coming over. At Somer- 
 set-stairs he carved the River-god, 
 which answered to the Nile, made 
 by Stone, and a Lioness on the 
 water-gate of York-stairs. Kearne 
 carved many statues for Sir Justinus 
 Isham, at his house near North- 
 ampton. He likewise executed, for 
 the Countess of Mulgrave, a Venus 
 and Apollo of Portland stone, six 
 feet high, for each of which he had 
 seven pounds. 
 
 KEISAR (William de), a Fle- 
 mish painter, born at Antwerp in 
 1650, and died in England in 1695, 
 aged 45. He was originally a jew- 
 eller of considerable eminence, but 
 having been taught to draw, he em- 
 ployed all his leisure in practising 
 miniature, enamel, and oil-colours. 
 Having painted some altar-pieces at 
 Antwerp, his business called him to 
 Dunkirk, where he drew a picture 
 for the altar of the English nuns. 
 They were so well pleased with it, 
 that they persuaded Keisar to go to 
 England, and gave him letters of re- 
 commendation to Lord Milford, then 
 in favour with James II. His re- 
 ception was equal to his wishes. He 
 was introduced to the king, who 
 promised to countenance him, and 
 several persons of rank, who knew 
 liim at Antwerp, encouraged him in 
 his profession. Unfortunately the 
 
 revolution immediately followed ; 
 
 1 Keisar's friends could no longer be 
 
 his protectors, his business decreased, 
 
 I and the pursuit of the philosopher's 
 
 stone, to which lie had recourse, in 
 
 , his despair, completed his ruin. His 
 
 I two best pictures are, a St. Catherine, 
 
 j painted for the queen -dowager's 
 
 j chapel at Somerset-house; and his 
 
 own head, in water-colours, painted 
 
 by himself. 
 
 KENT (William), an English 
 architect, born in 1684, and died in 
 1748, aged 64. He was born in 
 Yorkshire of poor parents, and put 
 an apprentice to a coach-painter, but 
 feeling the emotions of genius, lie left 
 his master without leave, and re- 
 paired to London, where he studied 
 for a short time, and gave indications 
 enough of abilities to excite a gene- 
 rous patronage in some gentlemen 
 of his own country ; they raised a 
 subscription sufficient to send him 
 to Rome, whither he accompanied 
 Mr. Talman in 1710. In that 
 capital of the arts he studied under 
 the cavalier Luti, and in the academy 
 gained the second prize of the second 
 class, still without suspecting there 
 was a sister art within his reach, 
 more congenial tohis talents. Though 
 his first resources were exhausted, 
 he still found friends. Another of 
 his countrymen, Sir William Wcnt- 
 worth, allowed him 40 a-ycar for 
 seven years. But it was at Rome 
 that his better star brought him 
 acquainted with Lord Burlington, 
 whose sagacity discovered the rich 
 vein of genius that had been hid 
 from the artist himself. On his 
 return to England in 1719, Lord 
 Burlington gave him an apartment 
 in his town-house, and added all the 
 graces of favour and recommenda- 
 tion. By that noble person's inte- 
 rest, Kent was employed in various 
 works, both as a painter of history 
 and portrait, and yet it must be al-
 
 257 
 
 lowed that in each branch partiality 
 must have operated strongly to make 
 his lordsliip believe he discovered 
 any merit in his friend. His por- 
 traits bore little resemblance to the 
 persons who sat for them, and the 
 colouring was worse, more raw and 
 undetermined than those of the most 
 errant journeyman in the profession. 
 The whole-lengths of Esher are 
 standing evidences of this assertion. 
 In his ceilings, Kent's drawings were 
 as defective as the colouring of his 
 portraits, and as void of every merit. 
 To compensate for his bad paintings, 
 he had an excellent taste for orna- 
 ments, and gave designs for most of 
 the furniture at Houghton, as he did 
 for several other persons. Yet chaste 
 as these ornaments were, they were 
 often immeasurably ponderous. His 
 chimney-pieces, though lighter than 
 those of Inigo Jones, whom he imi- 
 tated, are frequently heavy ; and his 
 constant introduction of pediments 
 and the members of architecture over 
 the doors, and within rooms, was 
 disproportioned and cumbrous. In- 
 deed, it is much questioned whether 
 the Romans admitted regular archi- 
 tecture within their houses. Kent's 
 style,ho wever, predominated authori- 
 tatively during his life, and his oracle 
 was so much consulted by all who af- 
 fected taste, that nothing was thought 
 complete without his assistance. He 
 was not only consulted for furniture, 
 as frames of pictures, glasses, chairs, 
 &c., but for plate, for a barge, and 
 even for a cradle. And so impetu- 
 ous was fashion, that two great ladies 
 prevailed on him to make designs 
 for their birth-day gowns. The one 
 he dressed in a petticoat, decorated 
 with columns of five orders; the 
 other like a bronze, in copper- 
 coloured satin, with ornaments of 
 gold. He was not more happy in 
 other works in which he misapplied 
 liis genius. The gilt rails to the 
 
 hermitage at Richmond were in 
 truth but a trifling impropriety ; but 
 his celebrated monument of Shak- 
 speare in Westminster-abbey was 
 preposterous. What an absurdity to 
 place busts at the angles of a pedes- 
 tal, and at the bottom of that pedes- 
 I tal ! As Kent's genius was not univer- 
 sal, he has succeeded as ill in Gothic. 
 The King's-bench at Westminster, 
 and Mr. Pelham's house at Esher, 
 are proofs how little he conceived 
 [ either its principles or graces. But 
 in architecture his taste was deser- 
 vedly admired ; and without enu- 
 merating particulars, the staircase at 
 lady Isabella Finch's, in Berkley- 
 square, is as beautiful a piece of 
 scenery aa can be imagined. The 
 temple of Venus, at Stowe, has sim- 
 plicity and merit, and the great room 
 at Mr. Pelham's, in Arlington-street, 
 is as remarkable for magnificence. 
 Of all his works, his favourite pro- 
 duction was the earl of Leicester's 
 house, at Holkham in Norfolk. The 
 great hall, with the flight of stairs at 
 the upper end, in which he proposed 
 to place a colossal Jupiter, was a 
 noble idea. How the designs of that 
 house, which may be seen in Kent's 
 original drawings, came to be pub- 
 lished under another name, and 
 without the slightest mention of the 
 real architect, is beyond comprehen- 
 sion. By the patronage of the queen, 
 of the dukes of Grafton and New- 
 castle, and Mr. Pelham, and by the 
 interest of his constant friend (lord 
 Burlington), he was made master- 
 carpenter, architect, keeper of the 
 pictures, and, after the death of Jer- 
 vas, principal painter to the crown ; 
 the whole, including a pension of 
 100 a-ycar, which was given him 
 for his works at Kensington, pro- 
 duced about 600 per annum. 
 
 KERKHOVE (Joseph Vanden), 
 a Flemish historical painter, bora 
 at Bruges in 1669, and died in 
 / 2
 
 238 
 
 KES 
 
 1724, aged 55. He was a disciple 
 of Erasmus Quellinus the elder, 
 in \vhose school he showed himself 
 studious and diligent ; and his pro- 
 ficiency was proportionable to his 
 , industry. When he began to prac- 
 tise his profession, he went early to 
 France, where he found encourage- 
 ment ; and in a few years returned 
 to his own country with a good re- 
 ception, and always painted in the 
 style of his master. His colouring 
 is warm, and his design correct ; 
 his composition is generally in the 
 grand taste, and he rarely introduced 
 anything but what seemed necessary 
 to embellish his subject. He had 
 thoroughly studied the principles of 
 perspective ; and, by his being expert 
 in that branch of his art, the back- 
 grounds of his pictures are enriched 
 
 his manner he resembled Velvet 
 Breughel, and very nearly equalled 
 him in his birds, plants, and flowers. 
 He studied entirely after nature, 
 and faithfully imitated all the true 
 beauties which nature presented to 
 his observation; he designed with 
 exceeding correctness, had a com- 
 plete knowledge of colour, and fi- 
 nished his pictures with great taste, 
 elegance, and extreme neatness. 
 The prodigious high price for which 
 he sold his works, occasioned the 
 rich alone to be the purchasers ; and 
 the king of Spain admired the per- 
 formances of Van Kessel to such a 
 degree, that he purchased as many 
 of them as he could possibly procure, 
 till at last he prevailed on the artist 
 to visit his court, where he was ap- 
 pointed painter to the queen, and 
 
 with architecture in good taste. On was retained in her service as long 
 the ceiling of the town-hall at Ostend j as he lived. He painted portraits 
 he painted a very fine design, repre- admirably, with a light free touch, 
 
 senting the Council of the Gods, in 
 which there is an ingenious and 
 learned disposition of the figures, and 
 it is altogether a masterly execution. 
 Houb.,Pilk. 
 
 and a tone of colour that very much 
 resembled Vandyck ; nor are his 
 works in that style considered, in 
 Spain, as inferior to that great 
 master, either in respect to the re- 
 
 KERVER (James), a German | semblance, the look full of life, the 
 engraver on wood, who, according to \ gracefulness of the attitudes, or the 
 Le Compte, resided at Frankfort j relief of his figures. It was con- 
 about the year 1 540. To him are j stantly the custom of Van Kessel 
 
 to make sketches after nature, and 
 
 attributed a set of wooden cuts of 
 grotesque figures, standard bearers, 
 &c., in the old German taste, pub- 
 lished at Frankfort in 1 540, and the 
 heads and small historical subjects 
 for a folio volume, entitled C/a- 
 logus Annonnn, &c. published at 
 Berne the same year. S^rutt. 
 
 KESSEL ( Joim Van), a Flemish 
 painter of fniit, flowers, &c., born 
 at Antwerp in 16'26, and died in 
 1708, aged 82. He became exceed- 
 ingly famous for painting those par- 
 ticular objects which he chose to 
 represent; and not only excelled in 
 fruit and flowers, but was likewise 
 eminent for painting portraits. In 
 
 studies at the different seasons of 
 the year, when his objects were in 
 the most complete bloom and 
 beauty ; some of those objects ho 
 only designed ; of some he coloured 
 the designs, and others he modelled ; 
 so that the materials were ready for 
 any work he intended to undertake ; 
 and, as he possessed a large collec- 
 tion of them, he could always have 
 recourse to those studies, when ho 
 could not possibly have nature to 
 imitate. Sandrart, Pilk. 
 
 KESSEL (Ferdinand Van). He 
 was the son and scholar of John Van 
 Kessel, bora at Antwerp in KiO'O.
 
 259 
 
 He painted similar subjects to those i 
 of his father, and though lie never I 
 equalled him in the beauty of his 
 pencil, or the purity of his colour, 
 his pictures have considerable merit. 
 The king of Poland invited him to 
 his court, where he executed many ; 
 ingenious works, for which he was 
 liberally remunerated by that prince, i 
 who conferred on him the order of | 
 knighthood. He painted landscapes i 
 with considerable success, in which, ' 
 as he was not happy in designing 
 figures, they were often introduced i 
 by Peter Eyckens, Dirk Maas, and 
 others. Among his most esteemed 
 works were his pictures of the Four 
 Quarters of the Globe, in the Dus- 
 seldorf gallery. Houbraken. 
 
 KESSEL (Theodore), a Flemish 
 engraver, who was probably a relation 
 of the two preceding artists. He was 
 born at Antwerp about the year 
 ] fi'JO, and engraved several plates, 
 many of which are etched, and others 
 are assisted with the graver, in a free 
 spirited manner. He etched the 
 plates for a volume of vases and 
 ornamental compartments, in eight 
 parts, from the designs of Adam de 
 Vianne,. published at Utrecht. We 
 have also the following plates by him : 
 Portrait of Charles V. ; St. Gregory 
 in Meditation ; Magdalen at the feet 
 of Christ, in the house of Simon ; 
 Christ and the Woman of Samaria ; 
 the Adultress before Christ; Susanna 
 and the Elders ; the Virgin and 
 Child, with Angels ; a Boar Hunt- 
 ing; a set of Battles, and Attacks of 
 Banditti. Strutt. 
 
 KETEL (Cornelius), a Flemish 
 painter, born in 154f!, and died in 
 IGO'-J, aged 54. He was a disciple 
 of Anthony Blockland ; travelled to 
 France, where he is said to have 
 been employed at Fontainbleau ; 
 from thence to England, where he 
 painted portraits; and, accord ing to 
 Sandnirt, visited Venice and Rome. 
 
 The compositions of Ketel are more 
 copious than correct ; but in his por- 
 traits he imitated nature, and the 
 objects before him, with truth and 
 vigour. Not long before his death 
 he followed the whimsical conceit of 
 Hugo da Carpi, to paint with the 
 points of his fingers, and even his 
 toes, instead of pencils and brushes, 
 and not without success. Sandrart, 
 Piltt. 
 
 KEULEN (Jansnos Van). This 
 painter was born in London, of 
 Dutch parents, and died about 1665. 
 He was much employed by Charles 
 I., who held his paintings in great 
 esteem ; and the favour of that 
 monarch procured him the oppor- 
 tunity of painting the portraits of 
 the principal nobility. He lived 
 with Vandyck in the most sincere 
 amity ; and Houbraken observes, 
 that Vandyck having one day visited 
 Van Kculen, observed him to look 
 dejected and melancholy; and in- 
 quiring the cause of his uneasiness, 
 that painter candidly told him he 
 had been exceedingly mortified by a 
 lady whose portrait ho was painting, 
 and whose capricious humour ren- 
 dered her incapable of being pleased. 
 But Vandyck, smiling, desired him 
 not to be affected by such treat- 
 ment, which was generally the 
 result both of vanity and folly ; not 
 to fret himself at the teasing igno- 
 rance of his employers ; for he him- 
 self had often experienced the same 
 mortifying behaviour from ladies 
 who sat to him, and reaped one 
 great advantage by it, which was, 
 that it taught him the art of pa- 
 tience, though it did not improve 
 him in the art of painting. Houb., 
 Pilk. 
 
 KEYSER (Theodore de), a Dutch 
 painter, who flourished about the 
 year 1630. In the gallery of the 
 Louvre is a fine picture by this 
 painter, representing the Burgomas-
 
 260 
 
 ters of Amsterdam deliberating on 
 the honours to be pud to Mary of 
 Medicis, on her entrance into that 
 cfty, in 1638. The heads are admi- 
 rably painted, and with a richness 
 of colouring nearly approaching to 
 Rembrandt. Sandrart. 
 
 KICK (Cornelius), a Dutch 
 painter, born at Amsterdam in 1635, 
 and died in 1675, aged 40. He re- 
 ceived the first instructions in the 
 art of painting from his father, who 
 was an excellent statuary. He be- 
 came very eminent for painting por- 
 traits, as the likenesses were remark- 
 ably strong, and as he finished them 
 very highly ; but, when he observed 
 how great a demand there was at 
 that time for subjects of still life, 
 particularly fruit and flowers, and 
 saw the works of De Heem in pro- 
 digious request, he directed his 
 whole study to that style of paint- 
 ing, and succeeded so well, that he 
 desisted from portraits, and devoted 
 his pencil ever after to the painting 
 of fruits and flowers; which pictures 
 rose into high esteem, and sold for 
 considerable prices. As he accus- 
 tomed himself always to paint after 
 nature, he was so curious, that he 
 filled particular beds in his garden 
 with the choicest flowers that could 
 possibly be procured; and planted 
 fruit-trees of the most valuable 
 kinds, that he might have the 
 most beautiful models in his own 
 power. His manner of painting was 
 light and delicate, his touch tender, 
 and his colouring brilliant, showing 
 all the freshness of nature ; and 
 those flowers which were his favourite 
 subjects, and painted with the great- 
 est excellence, were tulips and hya- 
 cinths. Hovb., Pilk. 
 
 KIERINGS (James), a Dutch 
 landscape painter, born at Utrecht 
 in 1590, and died in 1646, aged 56. 
 He was deservedly accounted a land- 
 ccapc painter of great eminence. He 
 
 finished his pictures in a manner 
 that was peculiarly neat ; yet he was 
 never capable of designing figures 
 with any degree of elegance, for 
 which reason he got Poclemburgh 
 to insert the figures in most of his 
 pictures, which added not only to 
 their beauty, but to their value. His 
 views, and every particular object, 
 were copied from nature, and he 
 finished them with amazing pa- 
 tience ; even the bark and the 
 fibres of the trees being distinctly 
 marked ; and he had so peculiar a 
 manner of touching the leaves, that 
 every species might be readily dis- 
 tinguished. //owi., Pilk. 
 
 KILIAN (Lucas), an eminent 
 German engraver, born at Augsburg 
 in 1579, .and was instructed in the 
 art by his step- father Dominic 
 Gustos, who, not content with teach- 
 ing him the rudiments of design, 
 sent him to Italy for improvement. 
 He resided chiefly at Venice, where 
 he engraved several plates after Tin- 
 toretto, Paolo Veronese, &c. He 
 possessed an uncommon command 
 of the graver, and he resembles in 
 his style the works of Henry Golt- 
 zius and John Muller. His design 
 is not, however, correct, and the 
 effect of his prints is disturbed by 
 fatiguing the eye with unnecessary 
 work. Strutt. 
 
 KILIAN (Wolfgang). He was 
 the younger brother of the preceding 
 artist, born at Augsbourg in 1581. 
 He was also a pupil of Dominic 
 Gustos, and afterwards studied some 
 years at Venice, where he engraved 
 some plates after the works of the 
 Venetian painters. His style re- 
 sembles that of Lucas Kilian, 
 though he never equalled him in the 
 skilful handling of the graver. His 
 best plates are his portraits, many 
 of which arc very neatly executed. 
 Strutt. 
 
 KILJAN (Bartholomew). This
 
 261 
 
 eminent engraver was the younger 
 sou of Wolfgang Kilian, born at 
 Augsbourg in 1630. After being 
 instructed by his father, lie went to 
 Frankfort, where he became a pupil 
 of Matthew Merian for two years and 
 a half. He afterwards visited Paris, 
 where he engraved some plates from 
 Testelin and Philip de Champagne. 
 On his return to Germany he settled 
 at Augsbourg, where he engraved 
 several plates of Theses, and other 
 
 KIRK ALL (Edward). This artist 
 was born at Sheffield, in Yorkshire, 
 about the year 1 695. He was the 
 son of a locksmith, and was in- 
 structed in the rudiments of drawing 
 in his native town. In search of 
 improvement he visited London, and 
 for some time was employed in 
 graving arms, stamps, ornaments, 
 and cuts for books. In 1725 ho 
 engraved the plates for the new edi- 
 tion of Inigo Jones's Stonehenge. 
 
 subjects, particularly a number of | At this time he applied himself to 
 excellent portraits, which are de- I designing the figure from the model, 
 servedly admired. He worked both j He invented mode of producing 
 with the graver and the point, in a prints in a chiaro-scuro, by a mix- 
 
 very pleasing style. Strult. 
 
 KILLIGREW (Anne), an Eng- 
 
 ture of etching and mezzotinto, with 
 the assistance of wooden blocks. 
 
 lish portrait paintress, born at London '' The outline is boldly etched, the 
 in 1660, and died in 108.5, aged 25. j dark shadows are supplied by mez- 
 She received a liberal education, and zotinto, and the demi-tint is intro- 
 distinguished herself in painting, duced by wooden cuts, producing 
 and drew the portraits of the duke a curious effect. This process, in 
 and duchess of York in a beautiful the hands of an able artist, might 
 manner. She was also eminent for perhaps become very interesting, but 
 her piety, and wrote a volume of it does not appear that the talents of 
 poems, which were published after her j Kirkall were sufficient to bring it to 
 death, in 4to.,with an Elegiac Ode, by i perfection. We have by this artist 
 Dryden. De Piles, Biog. Dram, some etchings and engravings, several 
 KING (Daniel), an English en- I prints in mezzotinto, and a number 
 graver, who flourished about 1675. j in chiaro-scuro. Strutt. 
 He published the Vale Royal ofj KLAUBER (Sebastian), a Ger- 
 England. He likewise drew and man engraver, born at Augsbourg in 
 engraved a plate of the cathedral of 1754. He was first instructed by 
 Chester, with several other views, his father, John Baptist Klauber, an 
 His manner resembled Hollar's, j obscure artist, but afterwards went 
 This artist is not to be confounded to Paris, where he became a pupil of 
 with George King, who executed ! John George Wille. He was made 
 plates of the lady Falconbcrg, and of a member of the French Academy, 
 
 Mrs. Elizabeth Thomas. 
 
 KIP (John), a Dutch engraver, 
 who died in England about 1722. 
 He executed a great number of 
 plates, and very indifferently, of the 
 palaces and scats in this kingdom. 
 Kip likewise engraved the inside 
 view of the Danisli church, built by 
 Cibbcr. There was also a William 
 
 and engraver to the king, in 1787. 
 During the revolution Klauber re- 
 tired to Nuremberg, where be pub- 
 lished the Gems in the collection of 
 baron de Stosch, now in the cabinet 
 of the king of Prussia ; the greater 
 part of which arc engraved by him- 
 self. He chiefly worked with the 
 graver, in a neat finished style. Ho 
 
 Kip, who engraved some triumphal engraved several portraits, and other 
 arches in 1603. subjects. Strutt.
 
 262 
 
 KLINGSTADT (Joachim), a 
 painter in miniature, born at Riga, 
 in Livonia, in Ifi57, and died in 
 1734. He excelled in miniature 
 painting, particularly in small pic- 
 tures on snuff-boxes, for which he 
 had extravagant prices. Pilk. 
 
 KLOCKER (David), a German 
 historical and portrait-painter, born 
 at Hamburgh in 1629, and died in 
 
 time, at the age of seventeen he 
 visited Rome, where he studied 
 under Carlo Maratti and the Che- 
 valier Bernini. He visited Venice, 
 and executed several grand works 
 for the noble families of the Donati 
 and Cartoni ; by which his fame 
 was firmly established in Italy. By 
 the importunity of his friends he 
 was induced to visit England, where 
 
 1698, aged 69. He travelled to ! he was patronised by the duke of 
 Italy for improvement, after which i Monmouth, who introduced him to 
 he settled at Stockholm, where he j Charles II., who was so pleased with 
 was patronised by the king, so that i his method of painting, that he was 
 
 few of his paintings are to be seen 
 out of Sweden Ibid. 
 
 KNAPTON (George), an English 
 portrait-painter, born at London in 
 1708, and died in 1788, aged 80. 
 He was a pupil of Richardson, but 
 painted chiefly in crayons. He had 
 a thorough knowledge of the theory 
 of painting, and was well acquainted 
 with the works of the best masters. 
 
 not only induced to sit for his por- 
 trait several times, but condescend- 
 ed to visit him at his house in Co- 
 vent-garden. At the pressing soli- 
 citation of Louis XIV. he visited 
 France, and painted the picture of 
 that monarch, and most of his 
 family, for which he received con- 
 siderable presents. The death of 
 sir Peter Lely left him without 
 
 In 1765, Knapton was painter to | a competitor in England ; and from 
 the Society of Dilettanti, and, on ' that period his fortune and his fame 
 the death of Slaughter, was ap- 1 were thoroughly established. No 
 pointed surveyor and keeper of the I painter could have more incessant 
 king's pictures. He died at Ken- | employment, no painter could be 
 sington, where he 
 Pitt. 
 
 was buried 
 
 KNELLER (Sir Godfrey), a ce- 
 
 ilistinguished by more public ho- 
 nours. He was state painter to 
 Charles II., James II., William III., 
 
 lebrated historical and portrait- j Queen Anne, and George I., equally 
 painter, born at Lubeck, in the I respected and esteemed by them all. 
 duchy of Holstein, in 1 648, and j He was dignified by the emperor 
 died in 1726, aged 78. His family Leopold with the title of Knight of 
 was noble and respectable, and his the Holy Roman Empire. At the 
 father, at an early age, sent him to I request of the grand duke of 
 
 Leyden, to pursue his studies in 
 the university of that city, where 
 he applied himself to the mathema- 
 tics, particularly to fortification, 
 being at first designed for a mili- 
 tary life; but his genius led him 
 strongly to drawing figures after the 
 historical manner, which his father 
 having perceived, encouraged him 
 in it, and placed him in the school 
 of Rembrandt. After studying the 
 manner of Rembrandt for some 
 
 Tuscany, he went to Brussels, and 
 painted the portrait of that prince, 
 who presented him with a rich gold 
 chain and medal, as a peculiar 
 mark of the esteem he had for him. 
 He was also created a baronet of 
 Great Britain by George I., and he 
 had the good fortune of having his 
 works immortalised by the best 
 poets of his time, particularly Ad- 
 dison. He possessed more of the 
 freedom than the nature observable
 
 263 
 
 in the works of Vandyck; his co- 
 louring is lively ; his outline bold ; 
 he disposed his figures \vith judg- 
 ment, and his attitudes have ease 
 and dignity. The airs of his heads 
 are generally graceful, and the hair 
 disposed with a natural and becom- 
 ing flow ; but particularly the female 
 portraits have a pleasing simplicity, 
 a modesty mixed with elegance, that 
 renders them engaging and amiable. 
 However, it must be confessed, that 
 there appears a great sameness in 
 his airs, too great a similarity in the 
 countenances, and no great fire or 
 imagination in his composition. 
 Among the best of his works are 
 the following: King William III. 
 on a White Horse, at Hampton- 
 court; the celebrated Beauties of 
 his time ; a Chinese Convert, which 
 he esteemed the best of his works ; 
 the Duke of Gloucester; George I. 
 at Guild-hall ; Dr. Wallis, at Oxford ; 
 the Kit-Cat Club, at Barn Elms; 
 Sir Isaac Newton ; and Lady Mary 
 Wortley Montagu. De Piles. 
 Pilk. 
 
 KNELLER (John Zachary), a 
 German painter of landscape, still- 
 life, &c.,born at Lubec in 1625, and 
 died in London in 1 702, aged 67. 
 He came to England with his bro- 
 ther, sir Godfrey, and painted seve- 
 ral pieces of architecture and still- 
 life, which were greatly admired. 
 He likewise painted in water-colours, 
 in which he copied several of his 
 brother's heads. 
 
 KNUFER (Nicholas), a painter 
 of battles and conversations, born 
 at Leipsic in 1603, and died in 1660, 
 aged 57. He was a disciple of 
 Emanuel Nysens, a painter in that 
 city, with whom he continued two 
 years, and afterwards received in- 
 struction from Abraham Bloemart. 
 He visited Denmark, and was em- 
 ployed by the king to paint the 
 battles of his heroic ancestors, which 
 
 he executed to the entire satisfaction 
 of that prince, and the approbation 
 of the ablest judges of that court. 
 The figures in all his subjects were 
 but of a small size, but they were 
 correct, and designed with a great 
 deal of nature and truth. Weyer- 
 inans describes a picture which he 
 saw at the Hague, painted by Knu- 
 fer, that was equally admired for the 
 design and expression. The subject 
 is a shepherdess wearing a garland 
 of flowers, and conducted by a shep- 
 ht rd ; and that writer observes, that 
 there is an expression of respect in 
 the countenance of the shepherd, 
 which is as striking and affecting as 
 the modesty and decency that are 
 visible in hers. Weyermans,Pilk. 
 KOBELL (Ferdinand), a Ger- 
 man painter and engraver, born at 
 Manheim in 1740. He distinguish- 
 ed himself at an early age by some 
 views in the neighbourhood of his 
 native city, and was appointed land- 
 scape painter to the elector of Ba- 
 varia. We have several etchings by 
 this artist, executed with taste and 
 spirit, among which are the follow- 
 ing: Four middle-sized landscapes, 
 dated 1767 ; a set of six small of 
 the sports of children; four land- 
 scapes with ruins ; four mountainous 
 
 landscapes Strutt. 
 
 KOBELL (William), the son of 
 the preceding artist, born at Mann- 
 heim about the year 1766, and was 
 instructed in landscape painting and 
 engraving by his father. He has 
 etched some charming plates, after 
 the works of the principal landscape 
 painters of the Dutch school, in 
 which he has been uncommonly suc- 
 cessful in representing the particular 
 style of each master. The following 
 is a list of his most interesting pro- 
 ductions: A landscape, with tra- 
 vellers and horses loaded ; two land- 
 scapes, with figures and cattle; 
 cavaliers and horses at the door of
 
 KOE 
 
 264 
 
 KOE 
 
 an inn ; a pair of landscapes, \vith 
 cattle ; a landscape, with a woman 
 carrying a lamb, with an ox and 
 some sheep ; a shepherdess, with a 
 cow and some sheep ; a landscape, 
 with a waterfall ; a view in Holland ; 
 a landscape, with a shepherd playing 
 on his pipe, and several animals ; 
 figures going a hawking. Strutt. 
 
 KOEBERGER (Winceslaus), a 
 Flemish historical painter, born at 
 Antwerp in ] 534, and died in 1604, 
 aged 70. He was a disciple of 
 Martin de Vos, .and afterwards visited 
 
 nances of his female figures were 
 very engaging, and his back-grounds 
 in particular arc managed with abun- 
 dance of skill. Seven of those 
 Turkish designs were afterwards en- 
 graved on wood, and in one of them 
 he introduced his own portrait in 
 the habit of a Turk. Sandrart, 
 Houb., Pilk. 
 
 KOERTEN (Joanna), a cele- 
 brated Dutch paintress and em- 
 broidcress, born at Amsterdam in 
 1650, and died in 1715, aged 65. 
 She was the wife of Adrian Block, 
 
 Rome. In the church of Notre and in her youth showed an extra- 
 Dame, at Antwerp, is a picture of ] ordinary taste for drawing, painting, 
 his representing the Martyrdom of and embroidery, and arrived at great 
 St. Sebastian, which is beheld with ' excellence in all. She also modelled 
 pleasure by every lover of the art. in wax, and made artificial ornaments 
 
 Hovb. 
 
 and flowers ; but her principal ex- 
 
 KOECK, or KOUC (Peter), a ccllence was in cutting figures out of 
 Flemish historical and landscape paper with scissors, and her portraits 
 painter, born at Alost in 1500, and and landscapes in this way were so 
 died in 1553,aged53. Hewas a disciple ; much talked of, that foreigners visited 
 of Bernard Van Orley, of Brussels, ' Amsterdam to see them, amongst 
 who instructed him in the principles \ whom was Peter the Great of Russia, 
 of colouring and design. He visited She was not confined to any sub- 
 Rome, and studied the antiques, and ! jccts, for all kinds were to her 
 sketched not only some beautiful j equally easy and familiar. Sea- 
 views about that city, but of other pieces, animals, architecture, and 
 
 parts of Italy, through which he tra- 
 velled. Shortly after his return to 
 his own country, he happened to be 
 engaged by some merchants to paint 
 the designs for a tapestry manufac- 
 
 still-life, were her favourite subjects ; 
 but she also cut portraits on paper, 
 with as striking a resemblance as if 
 they had been painted in oil, by the 
 hand of the ablest artists. The elec- 
 
 tory, which they had agreed to un- { tor Palatine offered her for three 
 dertakc at Constantinople, and was j small pictures of her cutting, a thou- 
 prevailed on to travel to Turkey, j sand florins ; yet she refused even 
 But though the project failed of so large a price for them. At the 
 success, yet it afforded Kouc an request of the empress of Germany, 
 opportunity of designing the most j she designed a trophy with the arms 
 
 pleasant views in the neighbourhood 
 of that city ; as also the processions, 
 assemblies, sports, feasts, and con- 
 versations of the Turks, which he 
 represented in an agreeable style. 
 He copied his pictures from nature, 
 and their dresses were adapted to 
 the mode of the time, to their sta- 
 tions and characters. The counte- 
 
 of the empire, ornamented with 
 laurel crowns, garlands of flowers, 
 and other enrichments suitable to 
 the subject, which she executed 
 with such correctness of drawing and 
 design, such wonderful tenderness 
 and beauty, as is not to be described, 
 and scarcely to be credited. For 
 this exquisite performance she re-
 
 265 
 
 ceived a present from the etnpres 
 of four thousand florins. She alsc 
 cut the portrait of the emperor 
 which is hung up in the imperia 
 cabinet at Vienna Houb., Pilk. 
 KOETS (Roelof), an eminen 
 portrait-painter, born at Zwoll in 
 1655, and died in 1725, aged 70 
 He was distinguished by several 
 princes, particularly by William III, 
 of England ; and it is said he paint- 
 ed 5000 portraits, all well finished 
 Pilk. 
 
 KONINCK (David de), a Flemish 
 painter of birds, flowers, still-life 
 &c. He was first instructed in the 
 art' by Nicasius, and was afterwards 
 a disciple of John Fytt. He imitated 
 the style of this master so exactly, 
 that at last it excited his jealousy ; 
 for Fytt observed, with some degree 
 of mortification, that the works of 
 Koninck were frequently taken for 
 his own, and brought equal prices 
 at the public sales. He travelled 
 through France and Germany, to 
 Italy ; and was much employed 
 wherever he went ; and his reception 
 at Rome was worthy of his merit. 
 His works resemble those of Fytt, 
 and his subjects are the same ; his 
 touch is free and firm ; his colour- 
 ing strong, and like nature ; and he 
 particularly excelled in birds. Hewas 
 constantly a competitor with Fytt ; 
 but comparison with that eminent 
 painter must be obviously to his dis- 
 advantage. "With greater labour and 
 less freedom of touch he was still in 
 high esteem, though with connois- 
 seurs he has never held an equal 
 rank with that master. Van Man- 
 der. 
 
 KONING (Philip de), a Dutch 
 portrait-painter, born at Amsterdam 
 in 1C19, and died in 1689, aged 70. 
 He was a disciple of Rembrandt, 
 whose style and manner he adopted ; 
 and added an honour to that emi- : 
 nent artist, by the merit of his per- 
 
 formances. He supported for many 
 years the character he obtained in 
 the early part of his life, and was 
 esteemed an excellent painter of 
 portraits. The grand duke of 
 Tuscany entertained so high an 
 esteem for this master, that he 
 placed his picture, painted by him- 
 self, in the Florentine Gallery 
 
 Houb. 
 
 KONING (Solomon), a Dutch 
 historical and portrait-painter, born 
 about 1609. He was instructed in 
 drawing by David Kolyn,and studied 
 painting under Francis Vernando 
 and Nicholas Moojart, being succes- 
 sively the disciple of each of those 
 masters. Koning adopted nature 
 as his guide, and rendered himself 
 one of the most considerable masters 
 of his time. He generally painted 
 portraits, though his inclination 
 prompted him to paint history, with 
 figures as large as life ; and he also 
 painted historical subjects in small, 
 with an equal degree of merit. His 
 best pictures are, David and Bath- 
 sheba, which was purchased by the 
 Portuguese ambassador, and sent to 
 the king of Portugal ; Tarquin and 
 Lucrece ; Judas in despair, throw- 
 ing down the silver for which he 
 had betrayed his Lord ; and Solo- 
 mon's Idolatry. Sandrart, Houb., 
 Pilk. 
 
 KOOGEN (Leonard Vander), a 
 Dutch painter, born at Haerlem in 
 1610, and died in 1681, aged 71. 
 His parents were in affluent circum- 
 stances; and on his discovering an 
 nclination for the art, sent him to 
 Antwerp, where he became a scholar 
 jf Jacob Joerdaens. On his return 
 o Holland, his first efforts were 
 listorical subjects, but becoming ac- 
 [iiainted with Cornelius Bega, he 
 [uitted that line, and painted con- 
 ersations, and boors regal ing, in the 
 style of Bega. The pictures of Van- 
 er Koogan are ingeniously com-
 
 266 
 
 posed ; his figures are correctly and 
 spiritedly designed, and his colouring 
 is clear and transparent. His works 
 are little known out of his own 
 country, where they are deservedly 
 esteemed. Sandrart. 
 
 KOWENBURGH ( Christian 
 Van), a Dutch historical painter, 
 born at Delft in 1604, and died 
 in 1667, aged 63. He received the 
 first instructions in the art of paint- 
 ing from John Van Nes, with whom 
 he resided some years. Kouwen- 
 burgh travelled to Italy, where by 
 studying after the best models, and 
 adopting the style of the most ap- 
 proved masters, he altered his Fle- 
 mish style to one perfectly Italian. 
 His subjects were for the most part 
 historical, with figures as large as 
 life ; and he particularly excelled in 
 designing the naked. His colouring 
 was exceedingly natural, his design 
 correct, and his composition was in 
 a beautiful and grand style. Many 
 fine pictures of this master's hand are 
 in the palace of the prince of Orange, 
 at Ryswick, and in the House in the 
 
 Wood Wyerman, Houb., Pilk. 
 
 KRAUS (John Ulric), an inge- 
 nious German engraver, bom at 
 Augsbourg in 1645. He was a pupil 
 of 5lelchior Kussel, whose daughter 
 he married. The style of Le Cler 
 seems to have been the model of his 
 imitation, in which he was tolerably 
 successful. His prints are very nu- 
 merous, many of which are sacred 
 subjects, as he engraved the plates oi 
 three different Bibles. He excelled 
 in perspective views and architec- 
 tural ornaments, which are neatly 
 executed, and produce a very agree- 
 able effect Strvtt. 
 
 KRATJSE (Francis), a German 
 painter, born at Augsbourg in 1706 
 and died in 1754, aged 48. He weni 
 at an early period of life to Venice 
 where he studied under Gio-Batista 
 Piazzetta, whose dark and dingy 
 
 lues he adopted. On leaving that 
 master he visited Paris, where he 
 met with so little success, that he 
 was obliged to paint portraits in 
 crayons for subsistence. He left 
 Paris for the south of France, in 
 search of employment ; and having 
 reached Lyons, he met with employ- 
 ment more worthy of his talents. 
 He was engaged to paint some 
 jictures for the church de la Sainte 
 roix,and a series of works for that 
 of Our Lady, which occupied him 
 "or the remainder of his life De 
 Piles. 
 
 KUICK (John Van), an histo- 
 rical and portrait-painter, born at 
 Dort in 1530, and burnt by the 
 Jesuits at Dort in 1572. Very little 
 is known of this artist, and he might 
 probably have slept unremernbered, 
 if he had not awakened the jealous 
 persecution of the Jesuits. Sandrart 
 and other writers assert, that having 
 executed a picture for one of that 
 order, upon taking it home he ex- 
 pressed dissatisfaction at the payment 
 not being regularly made, according 
 to a previous agreement, which so 
 exasperated the holy fathers, that 
 they accused him of being a heretic, 
 and he suffered accordingly. San- 
 drart, VanMander. 
 
 KUPETZKI (John), a celebrated 
 Bohemian historical painter, born at 
 Porsina, on the frontiers of Hun- 
 gary, in 1667, and died in 1740, 
 aged 73. His father was eager to 
 have him fixed to a trade, and for 
 that reason he withdrew himself 
 privately, to avoid a situation that 
 seemed disagreeable to him, and 
 directly contrary to his inclination, 
 though he was under the necessity of 
 begging as he travelled, and suffered 
 extreme hardship. Entirely unde- 
 termined whither to direct his 
 course, he stopped accidentally at 
 the castle of count Czobor, in quest 
 of some assistance, and there saw a
 
 '267 
 
 painter at work, whose name was 
 Claus, and whose reputation in that 
 country was considerable. Kupetzki 
 surveyed the work with remarkable 
 attention for some time ; and then, 
 taking up a piece of charcoal, he 
 imitated on the wall some of the 
 ornaments with such spirit, that the 
 count and the painter were sur- 
 prised ; for Kupetzki, being asked 
 what master had taught him, an- 
 swered, that his love for the art had 
 been his only director. Czobor ge- 
 nerously took him under his protec- 
 tion, maintained him in the castle, 
 provided every necessary for him, 
 and engaged Claus to instruct him in 
 the art of painting. He soon became 
 capable of assisting his master in 
 several great works ; and after quit- 
 ting him, he went to Rome and 
 Venice for farther improvement. In 
 those cities, he for some time dili- 
 gently copied the works of the best 
 masters; till at last his reputation so 
 greatly increased, that he was em- 
 ployed by the nobility of Rome, was 
 enriched and honoured, and particu- 
 larly patronised by prince Stanislaus 
 Sobieski. The merit of his works may 
 reasonably be conjectured, from the 
 fact that the margrave of Branden- 
 burg Bareith, for nine of his pictures, 
 gave Kupetzki sixteen thousand Ger- 
 man florins. The emperor Charles 
 III. would willingly have retained 
 him in his service as principal painter, 
 which station he had held under the 
 emperor Joseph ; but he preferred 
 his liberty to all the advantages of 
 so honourable an employment. He 
 painted the portraits of the imperial 
 family several times, and the prin- 
 cipal nobility of that court ; and had 
 also the honour of painting the 
 czar Peter, and most of the princes 
 of Germany. In respect of his 
 colouring, in which his greatest 
 excellence consisted, he was com- 
 pared to Rembrandt ; but, in regard 
 
 to the hands, he was equal to Van- 
 dyck. The colouring of his heads 
 engaged his principal attention, and 
 he seemed negligent of the draperies ; 
 yet no master could possibly have a 
 more extensive knowledge of the 
 chiaro-scuro than Kupetzki. Vas. 
 
 KUSELL (Melchior), a German 
 designer and engraver, bora at 
 Augsbourg in 1622, and died in 
 1682, aged 60. After learning the 
 elements of the art in his native 
 city, he went to Frankfort, where 
 he became a pupil of Matthew Me- 
 
 | rian. The plates engraved by this 
 artist are in a highly finished and 
 very agreeable style. His principal 
 work is a set of one hundred and 
 forty-eight etchings of various sizes, 
 
 ; chiefly after the designs of William. 
 Baur, known by the name of the 
 Miniatures of the Emperor, con- 
 sisting of the Life, Passion, and 
 Miracles of Christ, sea-ports, and 
 views in Italy, &c. They are etched 
 with great neatness and spirit, and 
 have a charming effect. He also en- 
 graved several portraits and other 
 subjects. Strutt. 
 
 KUYP, or CUYP (Jacob), a 
 landscape painter, born at Dort about 
 
 i 1.575. He was a disciple of Abraham 
 
 ! Bloemart, by whose instruction he 
 became an extraordinary good painter 
 of landscapes. His principal subjects 
 were the different views, which he 
 sketched after nature, in the environs 
 of Dort ; always being attentive to 
 introduce pieces of water, or rivers, 
 with cattle on the banks, and par- 
 ticularly cows and sheep. Yet fre- 
 quently he painted battles, as also 
 the marching or encampments of 
 armies. He had a good pencil, a 
 broad and free touch, a tone of 
 colouring that was sweet and agree- 
 able, an outline generally correct, 
 with great transparency in his water, 
 and good keeping. He was the 
 founder of the painting academy of
 
 268 
 
 St. Luke, in that city, in conjunction 
 with Isaac Van Hasselt, Cornelius Te- 
 gelberg, anclJacques Grief, in 1642. 
 Houb., Van Mander. 
 
 KUYP, or CUYP (Albert,) a 
 Dutch painter of cattle, &c., born at 
 Dort about 1G06. He was the son 
 of Jacob Kuyp, and received the 
 first instructions in the art of paint- 
 ing from his father. His principal 
 subjects were oxen, sheep, cows, 
 horses, fruit, landscapes, smooth wa- 
 ter, or ships and boats, all of which 
 he designed or executed with equal 
 facility. He excelled in every ar- 
 ticle that he attempted to represent, 
 and painted every object in the same 
 free and natural manner; always 
 lovely and true in his colouring, al- 
 ways clear and transparent. He was 
 accustomed to observe nicely even 
 the particular times of the day, to 
 express the various diffusions of 
 light on his objects, with all the 
 truth of nature ; and in his pictures 
 the morning, attended by all its mists 
 and vapours, the clearer light of 
 noon, and the saffron-coloured tints 
 
 of the evening, may readily bo 
 distinguished. Ho likewise excel- 
 led in moon-light pieces ; some of 
 them being so admirably expressed, 
 that the glittering reflection on tho 
 surface of the water appeared more 
 like nature, than a pictorial imita- 
 tion of it. His best performance is 
 the representation of the cattle-mar- 
 ket at Dort, and the square where 
 the troops and soldiers exercise. In 
 that picture he has painted the most 
 beautiful horses that appeared on 
 the parade, so like, that every one 
 might be as distinctly known in the 
 painting as in their evolutions. His 
 studies were entirely after nature, 
 and most of the views which com- 
 posed the subjects of his landscapes 
 arc in and about the city of Dort. 
 He left a great number of drawings 
 and designs, heightened with water- 
 colours, which are preserved as cu- 
 riosities by the connoisseurs. Ac- 
 cording to Houbrakcn, the works of 
 this excellent artist were much 
 sought after, and sold for very high 
 prices. Houb., Pilk. 
 
 j^AAN (A. Vandcr), a Dutch en- 
 graver, born at Utrecht about the 
 year 1690. He resided some time 
 at Paris, where he worked for the 
 printsellers. His most considerable 
 performance is a set of landscapes, 
 etched in a neat and finished style, 
 from the designs of I. Glauber. He 
 also engraved the portrait of Law- 
 rence Coster, of Ilaerlem, to whom 
 the Dutch attribute the invention of 
 printing, and some plates, after Van- 
 tier Meulen Strutt. 
 
 LABEYLE (Charles), a Swiss 
 architect, who died in France about 
 1762. This artist was invited into i 
 England by the earl of Pembroke, 
 who strongly recommended him to 
 
 the court. He undertook the con- 
 struction of Westminster Bridge, 
 which will be a lasting monument 
 of his skill as an architect. 
 
 LABRADOR (Juan), a Spanish 
 painter, born 'at Badajoz about the 
 year 1,530, and died in 1600, aged 
 70. He is said to have been a 
 scholar of the divine Morales. Ho 
 did not follow the style of that 
 master, but devoted himself to paint- 
 ing flowers, fruit, and still-life ; and, 
 according to Palomino, excelled 
 every artist of his country in those 
 subjects. In Mr. Cumberland's ca- 
 talogue of the king of Spain's col- 
 lection at Madrid, he highly com- 
 mends two flower-pieces by this
 
 269 
 
 painter, and asserts, " that it had 
 never been his chance to meet with 
 any paintings of the like sort, which 
 he thought comparable to those by 
 Labrador. Cumberland. 
 
 L ADMIRAL (John), a Dutch 
 engraver, born at Leyden about the 
 year 1680. He executed many 
 prints in colours of anatomical sub- 
 jects and natural history, and was 
 much employed by the celebrated 
 Ruysch. Strutt. 
 
 LAENEN (Christopher Vander), 
 a Flemish painter, born about the 
 year 1570. He painted conversa- 
 tions and subjects of gallantry. His 
 pictures are ingeniously composed, 
 and his figures are well drawn. The 
 works of this artist are rarely seen 
 in this country ; but they hold a 
 respectable rank in the collections 
 of Flanders and Brabant Strutt. 
 
 LAER, called BAMBOCCIO 
 (Peter Van), a Dutch historical and 
 portrait painter, born in 1613, and 
 died in 1 673, aged 60. The Italians 
 gave him the name of Bamboccio, on 
 account of the uncommon shape of 
 his body, the lower part being one 
 third longer than the upper, and 
 his neck so short, that it was buried 
 between his shoulders ; nature, how- 
 ever, had made ample amends for 
 the unseemliness of his limbs, in 
 the superior beauties of a mind en- 
 dowed with extensive powers of per- 
 ception and imitation. He resided 
 at Rome for sixteen years succes- 
 sively, and was held in the highest 
 esteem by all ranks of men, as well 
 as by those of his own profession, 
 not only on account of his extra- 
 ordinary abilities, but also for the 
 amiable qualities of his mind. He 
 studied nature incessantly, observing 
 with a curious exactness every effect 
 of light on different objects, at dif- 
 ferent hours of the day, and what- 
 soever incident afforded pleasure to 
 his imagination his memory for ever 
 
 retained. His style of painting is 
 sweet and true, and his touch de- 
 licate, with great transparency of 
 colouring. His figures are always 
 of a small size, well proportioned, 
 and correctly designed ; and although 
 his subjects are taken but from the 
 lower kind of nature, such as plun- 
 derings, playing at bowls, inns, far- 
 riers' shops, cattle, or conversations, 
 yet, whatever he painted was so 
 excellently designed, so happily ex- 
 ecuted and highly finished, that his 
 manner was adopted by many Italian 
 painters of his time. His works are 
 still universally admired, and he is 
 justly ranked amongst the first class 
 of the eminent masters. His hand 
 was as quick as his imagination, so 
 that he rarely made sketches or de- 
 signs for any of his works ; he only 
 marked the subject with a crayon on 
 the canvas, and finished it without 
 more delay. His memory was amaz- 
 ing ; for whatever objects he saw, 
 if he considered them with any in- 
 tention to insert them in his compo- 
 sitions, the idea of them was so 
 strongly impressed on his mind, that 
 he could represent them with as 
 much truth as if they were placed 
 | before his eyes. Sandrart observes, 
 that although painters, who are 
 I accustomed to a small size, are 
 | frequently inaccurate in the dis- 
 position of the different parts of 
 their subject, seeming content if 
 the whole appear natural, yet Bam- 
 boccio was as minutely exact in 
 having his figures, trees, grounds, 
 and distances, determined with as 
 much precision and perspective 
 truth, as the best masters usually 
 are in pictures of the largest size ; 
 which is one circumstance that 
 causes the eye to be so agreeably 
 deluded by the paintings of Bam- 
 boccio. In the latter part of his 
 life he was severely tormented with 
 an asthmatic complaint, which he 
 . 4 2
 
 270 
 
 endured with much patience ; and It 
 is reported, that as his disorder 
 seemed to him insupportable, he 
 threw himself into a canal to shorten 
 
 his misery, and was drowned 
 
 Pilk. 
 
 LAIRESSE (Gerard), a cele- 
 brated German historical painter, 
 bom at Liege in 1640, and died in 
 1711, aged 71. He received the 
 principal knowledge of the art of 
 painting from his father, Rcinier dc 
 Laircsse, though he is also supposed 
 to have been a disciple of Bcrtholet 
 FlemacL His manner of handling 
 was indeed very like the manner of 
 that master, and his pictures were 
 in as good esteem ; the only percept- 
 ible difference seems to be, that the 
 pencil of Lairesse was more rough 
 than that of Bertholet, and his co- 
 louring not so melting and delicate. 
 By his intimacy and conversation j 
 with Bertholet, he acquired that I 
 taste of the antique which is obscrv- ' 
 able in all his works, though he was 
 afterwards more fully instructed by 
 others. But he formed his style 
 and taste of design by the prints 
 and drawings of Pietro Testa, Nicolo 
 Poussin,and the studies of Bertholet, 
 which the latter sketched from the 
 vestiges of the superb ancient build- 
 ings at Rome, and also after the 
 antique statues. When he began 
 to follow his profession for a liveli- 
 hood, he settled at Utrecht; yet 
 he was there in very distressed cir- 
 cumstances, and so necessitous as 
 to be obliged to paint industriously 
 to procure a poor maintenance. But 
 at last, through the persuasion of j 
 some friend, he sent one of his I 
 pictures to a picture merchant of 
 Amsterdam, whose name was Vy- j 
 lenburg, who showed it to Grcbber j 
 and John Van Pee ; and those art- ! 
 ists commended it so highly, that 
 Vylenburg, having inquired where \ 
 he could sec the author of that pic- [ 
 
 turo, went immediately to Utrecht, 
 and prevailed on Lairesse to go with 
 him to Amsterdam ; which happened 
 to prove the means of raising him 
 from want and obscurity to affluence 
 and reputation. The expedition of 
 his pencil was equal to the vivacity 
 of his imagination, and his extraor- 
 dinary power of hand is sufficiently 
 evidenced by the great number of 
 compositions which he finished. He 
 almost always told the story of his 
 subject with great felicity, but all 
 his paintings are by no means equal, 
 either in composition, correctness, or 
 invention. Perhaps that inequality 
 of merit might have been partly oc- 
 casioned by the languor of his spirits 
 at particular times, and partly by 
 the multiplicity of his undertakings ; 
 but, in every one of his pictures, 
 there are great appearances of a 
 masterly genius ; for his expression 
 is generally lively, his colouring 
 good, true, and glowing, and a 
 light firm touch gives a beauty and 
 value to every thing he painted. In 
 his draperies may be observed the 
 taste of the best master of Italy ; 
 they are light, broad, simple, and 
 in very natural folds. But the dra- 
 peries of his women were of silks 
 that admitted of different reflections 
 of light, and sometimes gave them 
 an appearance of richness, as in his 
 picture of Stratonice.. His figures 
 usually were well turned, though 
 sometimes rather too short; and 
 notwithstanding some of them want- 
 ed grace, yet he designed many that 
 were truly graceful. He had the- 
 unhappiness to lose his sight several 
 years before he died ; but even then 
 he was constantly attended by tho 
 artists and lovers of painting, to 
 receive instruction from him, of 
 which he was remarkably commu- 
 nicative ; and the treatises on design 
 and colouring, which pass under 
 the name of Lairesse, were not wnt-
 
 271 
 
 ten by him, but collected from his 
 observations, after he was blind, 
 and published after his death, by 
 the society of artists. Whenever 
 the back grounds of his pictures 
 required architecture, he designed it 
 in a grand style, as if the ruins of 
 Athens or Rome had been his 
 models. The picture which is ac- 
 counted his most capital perform- 
 ance is the History of Helidorus, 
 at Amsterdam : and the pictures of 
 Young Moses trampling on the 
 Crown of Pharaoh ; Polyxena ; Ger- 
 manicus ; and Anthony and Cleo- 
 patra, are very highly celebrated. 
 His brother Ernest also made very 
 considerable advances in the same 
 profession, even whilst a young man, 
 and excelled in painting all sorts of 
 animals Iloitb. 
 
 LAMA (Giovanni), an Italian 
 painter, born at Naples in 1508, and 
 died in 1579, aged 71. After 
 learning the first principles of design 
 from his father, he was placed under 
 the tuition of Gio. Antonio d'Amato. 
 In 1527, the memorable sacking of 
 Rome drove from that city the 
 greater part of the inhabitants, 
 among others, Polidoro da Cara- 
 vaggio, who took refuge at Naples, 
 and Lama had the advantage of his 
 instruction, and became a very re- 
 spectable artist. In the church of 
 S. Marcellino is an altar-piece by 
 this master, representing the Trans- 
 figuration ; and in S. Lorenzo, a 
 picture of the Stoning of Stephen. 
 In S. Giacomo tie Spagnuoli is his 
 admired work of the Deposition from | 
 the Cross, so much in the style of 
 Polidoro, that it was by many sup- 
 posed to be painted by him. 
 D 1 Argenvffle. 
 
 LAMBERT (George), an English 
 painter, born about the year 1710. 
 He first received instructions from 
 William Hassell, but afterwards 
 imitated the style of Wootton, to 
 
 whom ho was greatly superior. He 
 has the credit of being one of the first 
 of the English painters who treated 
 landscape with a pleasing and pic- 
 turesque effect ; though the judicious 
 and candid observer will not be dis- 
 posed to admit of his superiority to 
 Caspar Poussin in the richness or 
 grandeur of his compositions. His 
 genius was adapted to large decora- 
 tive arrangements ; and perhaps 
 some of his finest works were the 
 beautiful scenery he painted for the 
 theatres. The forms of his trees are 
 grand, and his masses are conducted 
 with taste and judgment. In con- 
 junction with Samuel Scott, he 
 painted some views of the settle- 
 ments of the East India Company, 
 for their house in Leadenhall-street. 
 Some of his landscapes have been 
 
 engraved by Vivaeres, Mason, &c 
 
 Walpole, Strutt. 
 
 LANCRET (Nicholas), a French 
 historical painter, born at Paris in 
 1690, and died in 1743, aged 53. 
 He was a disciple of Watteau, and, 
 according to some writers, of Gillot ; 
 but most probably he might have 
 been instructed by both. Under the 
 direction of Watteau he made an 
 extraordinary progress ; and so well 
 imitated the style and manner of his 
 master, that some of his works are 
 frequently taken for the genuine 
 paintings of Watteau ; and although 
 it cannot be truly said that ho 
 arrived at the excellence of his 
 master, either in the spirit and deli- 
 cacy of his design or the beauty of 
 his colouring and handling, yet his 
 paintings are lively and agreeable. 
 He was indefatigable in his profes- 
 sion, and finished a great number of 
 pictures, displaying much truth and 
 nature, good composition and exe- 
 cution ; groups of figures, well dis- 
 posed and agreeably turned, and the 
 whole handled with a light pencil. 
 D' Argenville,
 
 LAN 
 
 272 
 
 LAN 
 
 LANCRINCK (Prosper Henri- 
 cus), an eminent Flemish landscape 
 painter, born at Antwerp in 1668, 
 and died in 1692, aged 24. He 
 came to England when young, and 
 was' patronised by the nobility and 
 gentry. He represented broken, 
 rude, and uncommon views. He 
 
 died of intemperance Vertue. 
 
 LANDULFO (Pompeo), a Nea- 
 politan painter, born at Naples about 
 the year 1415. According to Do- 
 minici, he was placed under the care 
 of Gio. Bernardo Lama, where he 
 discovered a superior genius, and 
 whilst he was yet very young, 
 painted an altar-piece for the church 
 of S. Matteo, at Naples, representing 
 the Virgin with the infant Jesus in 
 the clouds, surrounded by angels. 
 He afterwards painted a fine picture 
 for the church of La Pieta, of the 
 Holy Family, with St. Francis, St. 
 Catherine, and St. Lucia, which was 
 considered his best work Do- 
 minici. 
 
 LANFRANCO (Giovanni), an 
 Italian historical painter, born at 
 Parma in 1581, and died in 1647, 
 aged 66. He was at first the dis- 
 ciple of Agostino Caracci, but after- 
 wards of Annibale, to whose taste 
 of design and colouring he adhered 
 entirely. He obtained under that 
 eminent artist so great a degree of 
 knowledge in his profession, and 
 such a power in pencilling, that he 
 was employed by Annibale to exe- 
 cute some of his designs in the 
 Farnesian palace at Rome, which he 
 finished in so masterly a manner, 
 that he made the difference imper- 
 ceptible between his work and the 
 work of his master, even to the 
 present time. His genius directed 
 him to grand compositions, for he 
 had a peculiar facility in designing 
 them, and he painted in fresco as 
 well as in oil. His imagination was 
 lively, and his hand ready to exe- 
 
 cute the ideas which occurred to 
 his mind ; but that remarkable ease 
 with which he invented, and that 
 readiness in expressing his concep- 
 tions, caused him to be less attentive 
 to the study of every part of his 
 design, and less careful to observe 
 the requisite correctness. Whilst 
 he was under the guidance of Anni- 
 bale, he was much more correct ; 
 but after the death of that cele- 
 brated artist, he abandoned himself 
 more to the impetuosity of his 
 genius, and with much less regard 
 to regularity and the beauty of pro- 
 portion. The cupola of Parma 
 (which was painted by Correggio), 
 Lanfranco studied so particularly, 
 that it enlarged his ideas, and gave 
 him such a fondness for the admir- 
 able effect produced by fore-shortened 
 figures, when they are happily exe- 
 cuted, and also such a taste for the 
 grandeur of composition, that in the 
 cupola of St. Andrea della Valle, at 
 Rome, he designed figures of above 
 twenty feet in height, which have a 
 j noble effect. As he was thoroughly 
 j acquainted with the principles of 
 ' perspective, those large figures ap- 
 ' pear but of a natural and just pro- 
 portion from the point of observation 
 below, and to a judicious eye they 
 seem much more commendable than 
 some of his smaller designs ; the 
 subject of that painting is, the re- 
 presentation of the Saints in Glory, 
 and is esteemed his most capital per- 
 formance. He did indeed covet to 
 imitate the grace of Correggio, but 
 never could arrive at that excellence, 
 his greatest power being manifested 
 in his compositions and fore-shorten- 
 ing, for he was deficient in correct- 
 ness and expression, and his colour- 
 ing, though sometimes admirable, 
 was frequently too dark. His figures 
 arc well grouped, and his draperies 
 I have uncommon elegance ; but al- 
 j though his taste of design in imita-
 
 273 
 
 tation of his master Annibale is 
 always grand, yet ho could not pre- 
 serve the same correctness ; nor is 
 his colouring, or the tint of his car- 
 nations, any way comparable to those 
 of Annibale, his shadows particularly 
 being too black in general, and fre- 
 quently more similar to the prints 
 of Caravaggio. Though he was not 
 well skilled in the management of 
 the chiaro-scuro, being unacquainted 
 with its true principle, yet he some- 
 times practised it, rather from the 
 felicity of his genius, than from any 
 knowledge of the art. His peculiar 
 genius was for painting in frescos, as j 
 may be perceived by several of his | 
 large works. He joined with his 
 countryman, Sisto Badolocchi, in ' 
 etching the histories of the Bible, : 
 after Raffaelle's grand work in the j 
 Vatican, which work they dedicated ; 
 to their master Annibale. By order j 
 of pope Urban VIII. he painted in j 
 the church of St. Peter, at Rome, 
 the representation of that saint j 
 walking on the water, which afforded j 
 the pope so much satisfaction, that j 
 he conferred on him the order of | 
 knighthood. One of the excellent 
 compositions of Lanfranco is in the 
 church of St. Anne, at Naples. It 
 represents the Virgin and Child with 
 St. Dominic and St. Januarius. The 
 composition is truly fine, the colour- 
 ing admirable, and the effect beauti- 
 ful and brilliant. The head of the 
 Virgin is in grand style, and with a 
 character full of majesty and dignity; 
 and in the same city, in the Palazzo 
 della Torre, there is a picture by 
 this master, which is esteemed equal 
 to any of his productions. The sub- 
 ject is, St. Francis dying, attended [ 
 by angels, who arc assisting and 
 comforting him in his last moments, I 
 and the figures are as large as life, j 
 Lanfranco was happy in his family. ] 
 His wife, who was very handsome, 
 brought him several fine children, 
 
 who being grown up, and delighting 
 in poetry and music, made a sort of 
 Parnassus in his house. His eldest 
 daughter sung finely, and played 
 well on several instruments. De 
 Piles, Pilk. 
 
 LANGLY (Batty), an English 
 architect, who died about 1751. 
 This artist, according to Walpole, 
 endeavoured to adopt Gothic archi- 
 tecture to Roman measures, as Sir 
 Philip Sidney attempted to regulate 
 English verse by Romanfeet. Langly 
 went farther, and (for he never copied 
 Gothic) invented five orders for that 
 style. All that his books achieved, 
 has been to teach carpenters to mas- 
 sacre that venerable species, and to 
 give occasion to those who know no- 
 thing of the matter, and who mistake 
 his clumsy efforts for real imitation, 
 to censure the productions of our 
 ancestors, whose bold and beautiful 
 fabrics sir Christopher Wren viewed 
 and reviewed with astonishment, and 
 never mentioned without esteem. 
 Batty Langly published some other 
 works, particularly an Accurate De- 
 scription of Newgate, &c. ; a Design 
 for a New Bridge at Westminster, 
 1736 ; a Reply to Mr. James's Tract 
 on the same subject, and a useful 
 one on the prices of works and ma- 
 terials for building. He also in- 
 vented an artificial stone, of which 
 he made figures, an art lately brought 
 to great perfection. 
 
 LANGUERRE (Louis),aFrench 
 historical painter, born at Paris in 
 1663, and died 1721, aged 58. At 
 first he was placed in the Jesuits' 
 college, but having an impediment 
 in his speech, and discovering much 
 inclination to drawing, his parents 
 were advised to place him to the 
 profession of painting. He was ac- 
 cordingly placed in the royal academy 
 of painting, and he studied for some 
 time under Le Brun. In 1683 he 
 came to England with Risard, a
 
 LAN 
 
 274 
 
 LAP 
 
 painter of architecture, and both 
 were employed by Verrio. Langu- 
 erre painted for him most of the large 
 pictures in St. Bartholomew's hos- 
 pital, and succeeded so well, that he 
 rose into great esteem, executing 
 great numbers of ceilings, halls, and 
 staircases, particularly at Lord Ex- 
 eter's, at Burleigh. King William 
 gave him lodgings at Hampton-court, 
 where he painted the Labours of 
 Hercules in chiaro-scuro ; and being 
 appointed to repair those valuable 
 pictures, the Triumphs of Julius 
 Caesar, by Andrea Montegna, he ex- 
 ecuted his commission with great 
 judgment and skill. Langucrre was 
 first chosen unanimously by the 
 commissioners for rebuilding St. 
 Paul's to decorate the inside of the 
 cupola, which was set aside by the 
 prevailing influence of Thornhill, a 
 preference not ravished from him by 
 superior merit. On the union of 
 England and Scotland, he was ordered 
 by queen Anne to make designs for 
 a set of tapestry on that occasion, 
 in which were to be introduced the 
 portraits of her majesty and her 
 principal ministers ; but though he 
 gave the drawings, the work went no 
 farther. Languerre's best work is the 
 grand saloon at Blenheim, the seat 
 of the duke of Marlborough. 
 
 LANIER, a painter who was em- 
 ployed to collect pictures in foreign 
 countries for Charles I. He placed 
 a particular mark on all which he 
 brought to England. No further 
 account is known of him. Vertue. 
 
 LANKRINCK (Henry), a Fle- 
 mish painter, born in 1628, and died 
 in 1692, aged 64. He learned the 
 art of painting in the Academy at 
 Antwerp, and became a painter of 
 considerable note. He studied prin- 
 cipally after Titian and Salvator 
 Rosa, and met with considerable 
 applause by his performances. His 
 mother dying, he came to his for- 
 
 tune when young. He determined 
 upon visiting England, where he met 
 with a reception suitable to his great 
 merit. He was also employed by 
 sir Peter Lcly in painting the 
 grounds, landscapes, flowers, orna- 
 ments, and draperies of his most ad- 
 mired works. His landscapes show 
 a good invention, good colouring, 
 and harmony; and they are ex- 
 tremely free and beautiful in the 
 skies. His views are usually of a 
 rough rude country, with broken 
 grounds and uncommon scenery, 
 having some strong lights judiciously 
 placed, and great warmth ; and as 
 to the figures which he introduced, 
 they were properly disposed and de- 
 signed in imitation of Titian De 
 
 Piles, Pilk. 
 
 LANZANI (Andrea), an Italian 
 painter, was born at Milan, and 
 educated under Carlo Maratti. He 
 was esteemed for the excellence of 
 his composition and the beauty of 
 his colouring. He died in 1712. 
 D'Argenville. 
 
 LAPPARELLI (Francis), an 
 eminent architect and mechanic, 
 born at Cortona in 1521, and died 
 of the plague before Candia in 1570. 
 His knowledge of the military science 
 and mechanics recommended him 
 to Cosmo I. grand duke of Tus- 
 cany, and pope Pius IV. intrusted 
 him with the defence of Civita 
 Vecchia, which place he strongly 
 fortified. Michel Angelo confided 
 to him the execution of his designs 
 for the church of St. Peter. In 1565 
 he was sent to fortify Malta against 
 the attempts of Solyman, and there 
 he planned the city of Valetta. He 
 was likewise employed by the se- 
 nate of Venice, in fortifying the 
 island of Candia against the Turks. 
 Noun. Diet. Hist. 
 
 LAPO (Arnulphus), a famous 
 architect, born at Florence in 1232, 
 and died in 1300, aged 68. He was
 
 275 
 
 the first who revived the true prin- 
 ciples of architecture, and united in 
 his structures elegance and solidity. 
 He built the cathedral at Florence, 
 and other great works. Nouv. 
 Diet. Hist. 
 
 LARGILLIERE (Nicholas), a 
 French painter, born at Paris in 
 1656, and died in 1746, aged 90. 
 He was a disciple of Francis Gobeau, 
 a painter of some note. The prin- 
 cipal subjects which he painted in 
 this school were fruit, flowers, fish, 
 landscapes, and animals, or subjects 
 taken from low life, after the manner 
 of Bamboccio and Jan Miel ; but he 
 applied himself to study the works 
 of the great masters in the historical ! 
 style, as being more suitable to his | 
 turn of mind, and m'ore likely to ! 
 gain him that distinction of which 
 he seemed ambitious. When he 
 thought himself sufficiently qualified 
 to commence painter, he visited 
 London, where he gained the friend- 
 ship and countenance of sir Peter 
 Lely, who expressed much esteem 
 for his works. He was employed 
 by king Charles II., for whom he 
 painted several pictures ; but a re- 
 gard for his family induced him to 
 return to France. Vander Meulen 
 and Le Brun, having seen some of 
 his performances, encouraged him 
 to continue in his own country, and 
 procured him friends by their re- , 
 commendation, so that his fame was . 
 spread through Paris, and Louis 
 XIV. sat to him for his portrait. 
 On the accession of James II. he 
 again visited England, and painted 
 the portrait of th^t monarch and that j 
 of his queen, after which he returned 
 to Paris, where he became director 
 of the academy. He had an exten- 
 sive capacity ; his principal excel- 
 lence, however, consisted in his 
 colouring, and particularly in por- 
 traits, of which the heads and hands 
 were remarkably well executed, ! 
 
 with a light and spirited pencil. 
 His tint of colour was light and 
 fresh, and by his manner of laying 
 on his colours, without breaking and 
 torturing them, they have long re- 
 tained their original freshness. 
 D' 'Argenville, Pilk. 
 
 LARlMESSIN (Nicholas de, the 
 Elder), a French engraver, born at 
 Paris about the year 1640. He 
 executed several portraits, engraved 
 in a very agreeable style. They 
 are executed entirely with the graver, 
 and possess considerable merit. 
 Strutt. 
 
 LARMESSIN (Nicholas de, the 
 Younger). He was the son of the 
 preceding artist, born at Paris in 
 1684. He was instructed in en- 
 graving by his father. He acquired 
 considerable celebrity by some prints 
 he engraved for the Crozat collec- 
 tion, became a member of the French 
 academy, and engraver to the king. 
 He executed a great number of 
 portraits, historical subjects, and 
 others, engraved in a neat finished 
 style. In the execution of them, 
 he united the point with the graver. 
 Strutt. 
 
 LAROON (Marcellus), a Dutch 
 painter, born at the Hague in 1653, 
 and died in 1 705, aged 52. He ac- 
 companied his father to England, who 
 placed him under La Zoon, a por- 
 trait painter, and afterwards with 
 Fleshier. He drew correctly, and 
 painted drapery in a taste that was 
 so far superior to any of his contem- 
 poraries, that sir Godfrey Kneller 
 employed him to clothe his figures. 
 But the greatest merit of this painter 
 consisted in the exactness with which 
 he copied the works of the most 
 eminent masters. A picture of that 
 kind (which the Italians call Pastici) 
 is mentioned in the collection at 
 Houghton, the seat of lord Orford, 
 which, it is said, might easily pass 
 for the works of Bassan, though .it
 
 276 
 
 was really paiuted by Laroon. 
 Vertue, Pilk, 
 
 LASNE (Michael), a French en- 
 graver, born at Caen in Normandy, 
 in 1595. This artist was one of the 
 first French engravers who distin- 
 guished himself by a free and dex- 
 terous management of the graver. 
 He imitated the style of Cornelius 
 Bloemart, and possessed consider- 
 able ability. His drawing is toler- 
 ably correct, and his stroke is bold 
 and free, though sometimes there is 
 an appearance of dryncss in his 
 works. He was extremely labo- 
 rious, and has left a great number 
 of prints, consisting of portraits, his- 
 torical and other subjects. Strutt. 
 
 LASTMAN (Peter), a Dutch 
 painter, born at Haerlem about 
 1581. He was a disciple of Cor- 
 nelius Cornclisz, of Haerlem ; but 
 when he had spent some years under 
 the direction of that master, he 
 travelled to Italy, and improved 
 himself both in taste, design, and 
 handling. He composed a number 
 of figures, which he grouped with a 
 great deal of propriety, and very 
 often disposed them judiciously. 
 His naked figures are usually well 
 designed, his draperies flowing and 
 full, and his colouring strong ; but 
 all his studies from the antique, or 
 the great masters, could not divest 
 him of his national taste, nor furnish 
 Lis mind with a competent degree 
 of grace and elegance. The best 
 painting of this master is the history 
 of St. Paul at Lystra, in which the 
 characters are well distinguished, 
 particularly the priests, who have 
 an air of solemnity and dignity. He 
 was exact in observing the costume 
 not only in the draperies of his 
 figures, but even in the vases and 
 instruments used by the ancients of 
 those times in their sacrifices. Rem- 
 brandt was one of his disciples. 
 Houb., Pilk. 
 
 LAURENT (Peter Joseph), an 
 eminent architect and mechanic, 
 born in Flanders in 1715, and died 
 in 1773, aged 58. At the age of 
 eight years he constructed an hy- 
 draulic machine, and at twenty-one 
 he was intrusted with the superin- 
 tendence of several public works. 
 He had also the direction of the 
 canals in the Low Countries and 
 Hainault. He formed a grand de- 
 sign of joining the Soome with the 
 Scheldt, and performed other ad- 
 mirable and almost insurmountable 
 schemes. On the invitation of Louis* 
 XV. he undertook a survey of the 
 public roads in France, and greatly 
 added to the facility and improve- 
 ment of travelling. He also re- 
 paired and beautified the palaces of 
 Versailles, Trianon, and Marli. 
 Nouv. Diet. Hist., D'Argenville. 
 
 LAURI (Filippo), an Italian 
 painter, born at Rome in 1623, and 
 died in 1694, aged 71. He was a 
 disciple of Angelo Carofelli, whom 
 he excelled. He painted historical 
 pieces, with landscapes in the back- 
 ground, also large pictures for 
 churches; but his chief subjects were 
 metamorphoses and bacchanals. His 
 father and elder brother were also 
 eminent artists D 'Argenville. 
 
 LAWRENCE (Sir Thomas, 
 Knight), late President of the 
 Royal Academy, Principal Por- 
 trait Painter to his Majesty,- 
 LI..D. of the University of Ox- 
 ford ; Member of the French 
 Legion of Honour, and of the 
 Academies of Rome, Venice, Flo- 
 rence, Vimna, and New York ; 
 Fellow of the Royal Society ; Mem- 
 berofthe Dilettanti Society, Sfc. $c. 
 Sir Thomas Lawrence was born 
 at Bristol in 1769, and died in 1830, 
 aged 60. His father, who had been 
 a supervisor of excise, took possession 
 of the White Lion inn, Broad-street, 
 shortly after the birth of his son
 
 277 
 
 LAW 
 
 Thomas. Mr. Lawrence in person 
 was tall and rotund ; and to the last 
 wore a large bushy wig and a cocked 
 hat. His manners were mild and 
 pleasing, and his countenance bloom- 
 ing and graceful. He made some 
 pretensions to literary taste, and was 
 fond of reciting poetry, particularly 
 passages from Shakspeare and Mil- 
 ton. In some satiric lines by Chat- 
 terton, entitled " The Defence," he 
 is lashed as an admirer of one of the 
 contemporay versifiers of the boy- 
 bard, whose resplendent genius was 
 undistinguished through the Boeotian 
 fogs that then enveloped his native 
 city. 
 
 ' ' Say, can the satirising pen of Shears 
 Exalt his name, or mutilate his ears ? 
 None but a Lawrence can adorn his 
 
 lays, 
 Who in a quart of claret drinks his 
 
 praise." 
 
 Sir Thomas Lawrence's mother 
 was the daughter of a clergyman, the 
 incumbent of Tetbury in Glouces- 
 tershire. Sir Thomas had two 
 brothers and two sisters. His elder 
 brother, the Rev. Andrew Law- 
 rence, was chaplain of Haslar Hos- 
 pital, and his brother William a 
 major in the army ; both have been 
 dead some years. His elder sister, 
 Lucy, was married in 1800, to Mr. 
 Meredith, solicitor, of Birmingham. 
 She died in 1813, leaving one 
 daughter, married to Mr. John 
 Aston, of St. Paul's-square, Bir- 
 mingham. His younger sister, Ann, 
 married the Uev. Dr. Bloxam, of 
 Rugby, and they have six sons and 
 three daughters living. 
 
 The speculation at Bristol proved 
 unsuccessful ; bavins, however, ob- 
 tained the funds necessary for a 
 similar effort elsewhere, Mr. Law- 
 rence, in 1772, became the landlord 
 of the Black Bear at Devizes. 
 
 We will now quote from Mr. 
 Barrington's Miscellanies (which 
 were printed in 1781), a passage, in 
 
 which he notices the future Presi- 
 dent. After speaking of the early 
 musical talent exhibited by the Earl 
 of Mornington, he proceeds, " As I 
 have mentioned so many other 
 proofs of early genius in children, I 
 cannot here pass unnoticed Master 
 Lawrence, son of an inn-keeper at 
 Devizes in Wiltshire. This boy 
 is now (viz. Feb. 1780) nearly ten 
 years and a half old ; but at the age 
 of nine, without the most distant 
 instruction from any one, he was 
 capable of copying historical subjects 
 in a masterly style, and also sue-, 
 ceeded amazingly in compositions of 
 his own, particularly that of Peter 
 denying Christ. In about seven 
 minutes he scarcely ever failed of 
 drawing a strong likeness of any 
 person present, which had generally 
 much freedom and grace, if the sub- 
 ject permitted. He is likewise an 
 excellent reader of blank verse, and 
 will immediately convince any one 
 that he both understands and feels 
 the striking passages of Milton and 
 Shakspeare." This last talent it 
 is probable the boy imbibed from 
 his parent. Sir Thomas Lawrence 
 was always distinguished for skill, 
 taste, and feeling in recitation. 
 
 Failing in business at Devizes, 
 Mr. Lawrence retired to Bath, where 
 he took a private residence in Alfred- 
 street, and for some time owed his 
 support, and that of his family, to 
 the talents and industry of his son 
 Thomas, then in his boyhood. 
 
 J Without favourable circumstances 
 therefore, it may well be ascribed to 
 innate genius that young Lawrence, 
 at a very early period of life, mani- 
 fested a decided talent for the fine 
 arts, and particularly for portraiture. 
 His predilections and abilities in this 
 pursuit, led to his being placed as a 
 pupil under the care of Mr. Hoare 
 of Bath, the father of the much 
 esteemed Mr. Prince Hoare, and a
 
 LAW 
 
 278 
 
 crayon painter of exquisite taste, 
 fancy, and feeling. Under such a 
 master, it is not surprising that 
 Lawrence should acquire those qua- 
 lities of grace, elegance, and spirit, 
 which rendered him so truly the 
 artist of patrician dignity and loveli- 
 ness. At first he executed crayon 
 likenesses in the manner of his in- 
 structor ; and two of these portraits 
 have been seen of ladies in red 
 jackets, with hats and feathers, the 
 then unsightly costume of the fa- 
 shionables of Bath, for which he 
 was paid ten shillinffs and sixpence 
 each ; yet in their finish they par- 
 take of the extreme delicacy of his 
 later productions. During Mr. Law- 
 rence's residence at Bath, he took 
 his son on excursions to Oxford, 
 Salisbury and Weymouth, where he 
 obtained considerable occupation for 
 his pencil. His large crayon draw- 
 ings became in great request. He 
 generally received four sitters every 
 day ; gave to each half an hour, and 
 painted half an hour from memory. 
 
 The Hon. John Hamilton, a 
 member of the Abercorn family, 
 who resided on Lansdown-hill, con- 
 tributed greatly towards the culti- 
 vation of the young artist's talents, 
 as well by pecuniary encouragement , 
 as by affording him access to some 
 very fine scriptural pieces, the pro- 
 duction of the old masters, in his 
 possession. Another of his early 
 patrons was Sir Henry Harpur, a 
 Derbyshire baronet of fortune and 
 liberality, who even went so far as 
 to offer to send the lad to Italy at 
 his own expense, and dedicate 1000/. 
 to that purpose ; but the proposal 
 was declined by the father (who was 
 naturally very proud of his son), on 
 the alleged ground that " Thomas's 
 genius stood in need of no such 
 aid." Personal motives of a less 
 disinterested nature might, it is to 
 be feared, have had their share in 
 
 producing this decision; his son's 
 pencil being, as we have already 
 seen, at that period the main prop 
 of the whole family. 
 
 But the most remarkable incident 
 in the life of young Lawrence during 
 his residence at Bath, was his re- 
 ceiving the great silver pallet from 
 the Society of Arts : an event of 
 which he spoke at a recent anniver- 
 sary of that society in terms of the 
 warmest gratitude, ascribing to this 
 encouragement and honour much of 
 the enthusiastic feeling and love of 
 his art which had raised him to his 
 eminent station. As the documents 
 respecting this transaction are very 
 interesting, we copy them from the 
 proceedings of the Society. The 
 first entry appears under the date of 
 March, 1784, and is as follows : 
 " Resolved, that as the drawing 
 marked G. appears, by a date upon 
 it, to have'been executed in the year 
 1782, it cannot, according to the 
 conditions, page 197, be admitted a 
 candidate." 
 
 In consequence of this difficulty, 
 it appears that inquiries had been 
 instituted ; and on the 30th of 
 March we find the annexed record : 
 " Took into consideration the draw- 
 ings of the Transfiguration, marked 
 G., and opened the paper containing 
 the name of the candidate, according 
 to the directions of the Society, and 
 it appeared to the Committee that 
 the candidate was T. Lawrence, 
 aged 13, 1783, in Alfred-street, 
 Bath. The Committee having re- 
 ceived satisfactory information that 
 the production is entirely the work 
 | of the young man ; resolved, to 
 recommend to the Society to give 
 the greater silver pallet gilt, and five 
 guineas, to Mr. T. Lawrence, as a 
 token of the Society's approbation 
 of his abilities." 
 
 Before young Lawrence had at- 
 tained his seventeenth year, the
 
 279 
 
 family removed from Bath to Lon- 
 don ; and in these days the father 
 used to sell pencil sketches and por- 
 traits, the early drawings of his son,for 
 half a guinea each, many of which 
 have since been repurchased by him 
 at a high price. Sir Thomas, during 
 his obscurity and want of employ- 
 ment as an artist, lived much on 
 what is called " the town," and 
 improved himself in the accom- 
 plishments requisite to form the 
 gentleman and the man of fashion. 
 He was a scientific and successful 
 billiard player ; but one of his friends 
 expressing regret that he should have 
 become celebrated for his skill at the 
 game, he relinquished it altogether. 
 He played the violin admirably, and 
 danced with infinite grace. He re- 
 cited poetry, and declaimed with 
 taste and discrimination. His per- 
 formance in the private theatricals 
 at the late Marquis of Abercorn's, 
 at Stanmore, evinced such dramatic 
 skill and knowledge of stage effect, 
 as must have insured to him pre- 
 eminence had he adopted the stage 
 as a profession. He was once to 
 have married a young lady of great 
 beauty and accomplishments, the 
 daughter of Mrs. Siddons; but at that 
 period his own income was extremely 
 limited, and the father of the young 
 lady, who was then living, refused 
 his consent. He subsequently ever 
 remained single ; but the noblest 
 efforts of his art have been exerted 
 in perpetuating various real and 
 historical resemblances of the differ- 
 ent branches of this family : and it 
 is remarkable that his last work was 
 a sketch of Miss Fanny Kemble. 
 The object of his addresses died of 
 a pulmonary complaint many years 
 ago. 
 
 Lawrence's first appearance as an 
 exhibitor at Somerset-house was in 
 1787, (when six hundred and sixty- 
 six pictures, &c., formed the collec- 
 
 | tion) ; here we find T. Lawrence, at 
 No. 4, Leicester-square, with seven 
 productions; one a portrait of Mrs. 
 Esten, in the character of Belvidera, 
 four other portraits of ladies, a vestal 
 virgin, and a mad girl. Next year 
 the artist resided in Jermyn-street, 
 and sent six of his performances, all 
 portraits. In 1789 he exhibited no 
 fewer than thirteen pieces, and was 
 evidently advancing rapidly in hia 
 profession, as three of the portraits 
 are " ladies of quality," besides his 
 Royal Highness the Duke of York. 
 In 1790, among twelve pictures, 
 occur the Princess Amelia, her Ma- 
 jesty, a nobleman's son, a general 
 officer, and a celebrated actress. 
 The last was Miss Farren, whose 
 beautiful whole-length was hung as 
 a pendant to the celebrated one of 
 Mrs. Billington, as St. Cecilia, by Sir 
 Joshua Reynolds. In 1791 Mr. 
 Lawrence's address was 24, Old 
 Bond-street ; and Homer reciting 
 his poems is the first subject we 
 find with his name. In the next 
 catalogue, 1792, the prosperous re- 
 cord runs, " Thomas Lawrence, a 
 principal painter in ordinary to his 
 Majesty ;" and his chief pictures are 
 a lady of fashion as Barbarossa, and 
 a portrait of the King. 
 
 On the 10th of November, 1791, 
 Mr. Lawrence was elected an Asso- 
 ciate of the Royal Academy. The 
 other candidates were Messrs.Smirke, 
 Stothard, Marchmont, and Tresham. 
 Though private commissions flowed 
 in upon him, his pecuniary affairs 
 were far from affluent. The drafts 
 upon his private purse, in behalf of 
 his parents, were absorbing ; and, at 
 an early period of his residence in 
 London, his beautiful crayon draw- 
 ings, executed with the facility of 
 genius and the rapidity of long prac- 
 tice, were taken about by his father 
 to be sold, even at the low price of 
 half a guinea. Sir Thomas latterly
 
 280 
 
 bought up these drawings with great 
 eagerness wherever he could trace 
 them. Let not pride conceal these 
 facts. Sir Thomas, though lie some- 
 times confidentially accounted for 
 his straitened circumstances through 
 life, by referring to his early bur- 
 dens, never regretted them, or mur- 
 muied at the reminiscence. The 
 statement redounds greatly to his 
 honour, and it is made in homage to 
 his memory. 
 
 At the death of Sir Joshua Rey- 
 nolds in 1792, Mr. Lawrence had 
 not completed his twenty- third year, 
 and yet numerous honours were be- 
 stowed upon him, in preference to 
 his very able competitors. The race 
 was honourable to all, and his suc- 
 cess was merited, and therefore ex- 
 cited no mean or malignant passions. 
 The Dilettanti Society unanimously 
 chose him to succeed Sir Joshua, as 
 their painter : though, to effect this, 
 they were obliged to rescind a regu- 
 lation, which prevented the admis- 
 sion to the Society of any person 
 who had not crossed the Alps. Mr 
 Lawrence's foot had never quitted 
 the soil of England. His Majesty, 
 George III., also appointed him to 
 succeed Sir Joshua Reynolds as his 
 principal painter in ordinary. 
 
 In 1793 he exhibited a portrait ol 
 his Royal Highness the Duke o; 
 Clarence, his present Majesty. 
 Among the most distinguished o: 
 his works about this period were 
 two whole-length portraits of the 
 King and Queen, painted by specia" 
 order, and designed as a present to 
 be taken by Lord Macartney to the 
 Emperor of China ; a whole-lengtl 
 portrait of the Duke of Portland 
 for the town-hall at Bristol ; and a 
 whole-length portrait of his Majesty 
 presented by the members for Co- 
 ventry to the corporation. 
 
 On the 10th of February, 1794 
 Mr. Lawrence was elected a Roya 
 
 \cadcmician. " It had been," says 
 ne of his biographers, " for some 
 inie whispered that Lawrence was 
 jusicd on a grand poetic work. His 
 riends alone were permitted to see 
 t during its progress. The grandeur 
 f the outlines, the magnificence of 
 he colouring, and the sublimity of 
 he sentiment, were all spoken of 
 n more than the common rapture 
 f eulogy. The subject was, how- 
 ever, left a secret till the exhibition 
 if 1797 opened up the mystery, 
 vhen it was found to be Satan call- 
 ng to his Legions, 
 Awake, arise, or be for ever fallen." 
 
 The first critic that spoke was 
 ?useli ; he complained, and he 
 criticised. His complaint was, that 
 Lawrence had stolen his devil from 
 lim ; and his criticism was, that the 
 igure was the Lubber Fiend, and 
 not the Master Fiend of Milton ; 
 n short, a fine piece of colour, and 
 a failure. He was followed by the 
 common persecutor, Anthony Pas- 
 quin. " The figure of Satan," said 
 lie, " is colossal, and very ill drawn ; 
 the body is so disproportioned to the 
 extremities, that it appears all legs 
 and arms, and might at a distance 
 be mistaken for the sign of the 
 Spread Eagle. The colouring has 
 as little analogy to truth as the 
 contour ; for it is so coloured that 
 it conveys an idea of a mad sugar- 
 baker dancing naked in the confla- 
 gration of his own treacle. But the 
 liberties taken with his infernal 
 majesty are so numerous, so various, 
 and so insulting, that we are amazed 
 that the ecclesiastical orders do not 
 interfere in behalf of an old friend." 
 To paint up to the expectations 
 of captious critics was, perhaps, what 
 Lawrence never tried ; he probably 
 thought the praise he received was 
 right, and the censure wrong. Be 
 that as it may, his chief study was
 
 281 
 
 to meet the rivalry of Hoppner, who 
 had at this time nearly monopolised 
 the youthful beauty of the nation. 
 This rivalry was perhaps injurious 
 to the true fame of Lawrence ; he 
 complained that Hoppuer had an 
 undue share of soft and courtly 
 customers; the strife hetween the 
 court painters was maintained for 
 many seasons; sometimes public 
 opinion was with Hoppner, some- 
 times with Lawrence ; but it was 
 observed by all good judges, that 
 the latter was gaining ground in the 
 race ; that the fascinations of his 
 style were prevailing against all 
 opposition. 
 
 Lawrence now resolved to give 
 
 the world an image or two of a 
 
 sterner character. Satan, he said, 
 
 was altogether imagination ; his 
 
 portraits were lucky realities ; some 
 
 work uniting the two, would, he 
 
 thought, succeed ; and he painted 
 
 1 Coriolanus at the hearth of Aufi- 
 
 dius.' This work, exhibited in 1798, 
 
 received some censure and much 
 
 praise ; was called a failure by some, 
 
 and a triumph by others. He 
 
 thought very well of it himself, 
 
 and when questioned respecting its 
 
 class, said, ' I call it a half-history 
 
 piece.' He sought for the noble 
 
 Roman in the looks and form o1 
 
 John Kemble. The fine figure, the 
 
 fine posture, and the fine colouring, 
 
 charmed the multitude, and nearlj 
 
 disarmed criticism. Rolla, Cato 
 
 and Hamlet, all followed in the 
 
 train of Coriolanus. The Holla, a 
 
 splendid picture, is perhaps a little 
 
 melo-dramatic : but so is the plaj 
 
 in which Rolla appears. The co 
 
 louring is fine, and the drawin] 
 
 nearly faultless. The Cato wil 
 
 never be named as one of the fijies 
 
 of the painter's works. It is fa 
 
 otherwise with the Hamlet ; a worl 
 
 of the highest kind sad, thoughtful 
 
 melancholy ; with looks conversing 
 
 vith death and the grave ; a perfect 
 mage of the prince of the great 
 ramatist. This picture Lawrence 
 limself placed above all his works, 
 xcept the Satan : but it far sur- 
 asses the Satan in propriety of 
 iction, accuracy of expression, and 
 randeur of colouring. The light 
 ouches the face and bosom, and falls 
 >n the human skull on which he is 
 musing. It is one of the noblest 
 paintings of the modern school. 
 
 Eminent painters were now arising 
 >n all sides. In addition to Opie, 
 iloppner, and Beechey, Shee began 
 to distinguish himself, both in liter- 
 ature and art. Phillips, too, had 
 shown such poetic feeling in his 
 :ortrait of Blake as raised him high 
 among his brethren. Lawrence, 
 when little more than thirty years 
 of age, stood highest in this depart- 
 ment; and while busied with his 
 Rolla and his Hamlet, painted the 
 icrtraits of, 1, Mrs. Bing; 2, Sophia 
 Upton ; 3, Caroline Upton ; 4, Lady 
 Templeton ; 5, the Marchioness of 
 Exeter ; 6, Lady Conyngham ; 7, 
 Lady C. Hamilton ; 8, MissLambe; 
 9, Mrs. Thellusson; 10, Mrs. Wil- 
 liams. Some of these were ladies 
 of distinguished beauty. There were 
 others of pre-eminent rank and 
 talents : the Princess of Wales, the 
 Princess Charlotte, and, once more, 
 Mrs. Siddons. 
 
 Of the male portraits of this 
 period, the most remarkable was 
 that of the eloquent Curran : under 
 mean and harsh features, a genius of 
 the highest order lay concealed, like 
 a sweet kernel in a rough husk; 
 and so little of the true man did 
 Lawrence perceive in his first sit- 
 tings, that he almost laid down his 
 palette in despair, in the belief that 
 he could make nothing but a com- 
 mon or vulgar work. The parting 
 hour came, and with it the great 
 Irishman burst out in all his 
 
 B B 2
 
 282 
 
 strength ; he discoursed ou art, on 
 poetry, on Ireland : his eyes flashed, 
 and his colour heightened, and his 
 rough and swarthy visage seemed, in 
 the sight of the astonished painter, 
 to come fully within his own notions 
 of manly beauty. " I never saw 
 
 the part of Lord Rakeland, in ' The 
 Wedding Day,' and of Grainger, in 
 ' Who's the Dupe ?' before the 
 Prince of Wales, the Duke of 
 Devonshire, the Marquis of Aber- 
 com, and Mr. Sheridan ; was ap- 
 plauded ; and imagined he rather 
 
 you till now," said the artist, in his gained thah lost in the esteem of 
 softest tone of voice; "you have sat the great by this exhibition. But 
 to me in a mask ; do sit to me as | he had some misgivings in the 
 
 CuiTan, the orator." Curran com- 
 plied, and a fine portrait, with genius 
 on its brow, was the consequence. 
 His portraits of Sir James Mackin- 
 tosh, Lord Erskine, Lord Thurlow, 
 Mr. Wyndham, and Sir William 
 
 matter, and wrote a long letter to 
 his sister, declaring that he would 
 perform in no other family save that 
 of his early friend, Lord Abercorn. 
 
 He was now suspected of serious 
 love-making, in a higher quarter, 
 
 Grant, belong to this period. The ' and the charge made against him 
 hours of the painter were now fully ; moved him deeply. For some time 
 employed ; he rose early, and he [ Lawrence had been a frequent guest 
 worked late ; for though no one i at Montague-house, Blackheath, the 
 excelled him in sketches, he had a : residence of the Princess of Wales ; 
 true enthusiasm for his art, and . and as he continued his attentions 
 would not dismiss hastily anything after the portrait of that unfortunate 
 for which he was to be paid as a lady was finished, his visits were 
 picture. It may be added, that he ascribed to no proper motive. This 
 stood all the time, and was seldom ! was rigorously inquired into by the 
 so absorbed in his undertaking, that j commissioners appointed to investi- 
 he did not converse with his sitter, ; gate the general conduct of her 
 and feel either seriousness or hu- | Royal Highness. Light of heart, 
 mour, whilst giving thought to the ; and of a natural levity, which 
 brow, or beauty to the cheek. ' disregarded the smaller delicacies 
 Reynolds said he loved portrait ! of her sex ; deserted, or driven 
 painting, for it brought him plea- j away, by one who had taken upon 
 sant company, and little outlay of himself the office of her protector ; 
 thought. and with the freer than English 
 
 Some of his high sitters had the manners of a foreign land to aggra- 
 address to call out the painter, the vate all ; this weak princess was 
 
 poet, and the player in succession, 
 so much to the satisfaction of the 
 artist, that in his letters to his 
 
 friends, he would give detailed ac- justice of the commissioners of that 
 
 counts of the company he had seen, 
 and the honours which had been 
 done him. Of two plays acted at 
 
 exposed more than most ladies to 
 such insinuations. From all that 
 was criminal the charity or the 
 
 day entirely freed her ; and the con- 
 duct of the painter would have been 
 forgotten, had not his own restless- 
 
 the scat of Lord Abercorn, in which ' ness under the suspicion hunied 
 Lawrence performed along with the ! him before a magistrate, to make 
 Hamilton* and Lindsays, he used j oath that his visits arose from 
 to give an account, Fuseli said, in : friendship, and were platonic and 
 the style of a stage manager. It i pure, 
 will be enough to say, that he acted From the period of the ' Delicate
 
 283 
 
 Investigation,' in 1806, till the death 
 of Hoppner, in 1810, Lawrence was 
 less heard of than usual ; even his 
 excess of sitters seems to have been 
 abated somewhat. Perhaps no one 
 credited the injurious rumours 
 which he had condescended to repel 
 by oath; yet something like sus- 
 picion was attached to his name ; 
 for scandal, like a reptile crawling 
 over a bright glass, leaves a trail 
 and a stain behind. A change had 
 taken place in the feelings of the 
 court : Beechey now engaged the 
 patronage of the palace ; Hoppner 
 was still the favourite of the Prince 
 of Wales ; and Owen having come 
 into the great market of portraiture 
 with all the eclat of a successful 
 beginner, the friends of Lawrence 
 imagined that his popularity was on 
 the wane. This was a lost fear ; he 
 still stood alone and unrivalled in 
 the captivating department. His 
 Lady Elizabeth Forster, afterwards 
 Duchess of Devonshire, in the cha- 
 racter of a Sibyl among the ruins of 
 the temple of Tivoli ; and the Hon. 
 Lady Hood, now the Hon. Mrs. 
 Stewart Mackenzie, of Seaforth, 
 were equal at least to any similar 
 works from his hand ; but they 
 were the only female portraits which 
 he exhibited during four years ; a 
 proof that the cloud still rested upon 
 his character. His male sitters in- 
 creased in numbers. 1, The Hon. 
 Charles (now Earl Grey) ; 2, Lord 
 Amherst ; 3, Lord Ellenborough ; 
 4, Sir Joseph Banks ; 5, Earl of 
 Aberdeen; 6, William Pitt ; 7, Lord 
 Castlereagh ; 8, George Canning ; 
 9, Lord Melville. There was con- 
 siderable talent visible in all these 
 portraits ; the best, perhaps, is that 
 of Lord Aberdeen. 
 
 One of his paintings of this period 
 almost all the critics concurred in 
 admiring; this was a conversation 
 piece, and of a family nature, con- 
 
 taining Sir Thomas Baring, his son 
 John, and his son-in-law, Mr. 
 Charles Wall ; the former, a mer- 
 chant, grown grey in commerce, 
 seems laying down the law of loss 
 and gain to his children, who are 
 listening with grave attention. In 
 the centre is seen a body of fine 
 warm-colouring, of various hues and 
 delicious tone, accompanied by so 
 much cold colour as gives value and 
 support to the principal of all which 
 is the arrangement. The character of 
 the heads is in a graver style than 
 is common to Lawrence, and the 
 colouring is more true to nature, 
 and of a more massive kind than 
 ordinary ; but the whole wants that 
 flash and glow which captivate in 
 some of his portraits. He was now 
 in the verge of middle life ; his name 
 had reached the uttermost ends of 
 the civilised earth ; he was on good 
 terms with most of his brethren, and 
 was looked up to as one who, by the 
 skill of hand, the courtliness of his 
 manners, and his intercourse with 
 the great, was all but the head of the 
 academy. Greek-street, in which he 
 bad for some time lived, began to 
 sink in respectability of appearance, 
 as more ambitious-looking streets 
 arose, upon which he removed to 
 65, Russell-square, where his house- 
 hold gods found a suitable sanctuary. 
 He was followed to his new studio 
 by even more than the usual num- 
 ber of sitters; he had gradually 
 raised his prices for portraits as he 
 advanced in fame. In 1802, his 
 charge for a three-quarter's size was 
 thirty guineas ; for a half-length, 
 sixty guineas ; ajid for a whole- 
 length, one hundred and twenty 
 guineas. In 1806, the three-quar- 
 ters rose to fifty guineas, and the 
 whole-length to two hundred. In 
 1 808, he raised the smallest size to 
 eighty guineas, and the largest to 
 three hundred and twenty guineas ;
 
 284 
 
 and in 1810, when the death of 
 Hoppner swept all rivalry out of the 
 way, he increased the price of the 
 heads to one hundred, and the full- 
 lengths to four hundred guineas." 
 
 The years 1810, 1811, 1812, 
 1813, and 1814, were productive of 
 the portraits of Mr. Canning, Lord 
 Castlereagh, the Hon. C. Stewart, 
 Mr. Stratton, Mr. West (the Presi- 
 dent of the Academy), the Earl and 
 Countess of Charlemont, Sir Wm. 
 Curtis (a highly characteristic re- 
 semblance of the worthy alderman), 
 Mr. Kemble, as Cato,"the Earl of 
 Lonsdale, Mrs. May, Viscount 
 Mountjoy, Miss Wellesley Pole, Mr. 
 John Taylor, Lady Ellenborough, 
 Sir Henry Englefield, the Countess 
 of Grey, Sir Thomas Graham, Miss 
 Thayer (a lovely picture), the Mar- 
 quis of Wellesley, Mr. Watt, Lady 
 Emily Cooper, Lady Grantham (the 
 utmost delicacy united with a power- 
 ful impasting of colour). Lady Lei- 
 cester as Hope (an extremely grace- 
 ful figure), Master Lock, Colonel 
 M'Mahon, Mr. Morgan, Sir Charles 
 Stewart, his Royal Highness the 
 Duke of York, and others. 
 
 One of the most valued friends 
 Mr. Lawrence ever made was Lore 
 Charles Stewart, now the Marquis 
 of Londonderry, of whom he painte< 
 a spirited half-length, in militar} 
 costume, with his sabre over his 
 shoulder, which was one of the chie 
 attractions of the great room a 
 Somerset-house, in the year in whicli 
 it was exhibited. Subsequent to 
 the " Delicate Investigation," an un 
 favourable impression respecting Mr 
 Lawrence remained on the mind o 
 his late Majesty, then Prince Regent 
 Lord Charles Stewart was the firs 
 person who ventured to name him 
 to his Royal Highness. One after 
 iioon,at a convivial party at Carl ton 
 hftuse, the Prince reminded Lor< 
 Charles that he had promised to 
 
 jrant him a favour whenever be 
 required it, and asked him what it 
 hould be. "The favour which I 
 request of your Royal Highness is 
 ,o sit for your portrait for me." 
 ' Very well, who is your artist ?" 
 ' May it please your Royal High- 
 ness, Lawrence is the only man.''' 
 The Prince instantly, and indig- 
 nantly, refused to sit to Lawrence, 
 and here the matter dropped for the 
 present. 
 
 A short time after, Colonel M' 
 Mahon, his Royal Highness's private 
 secretary, was secretly sitting to Mr. 
 Lawrence for his portrait. Some 
 j;ood-natured friend having, however, 
 communicated the fact to the Prince, 
 he one day suddenly charged the 
 Colonel with it, and added that he 
 would forgive him only on one con- 
 dition, namely, that he, the Prince, 
 should have the picture when finish- 
 ed. To this nattering proposition, 
 Colonel M'Mahon of course readily 
 consented, and the picture proved so 
 admirable a one, that the Prince 
 expressed his high approbation of it. 
 This occurrence, added to the cir- 
 cumstance that Lawrence had painted 
 some very successful portraits of the 
 Duke of York, the Princess Mary, 
 and other members of the Royal 
 Family, encouraged Lord Charles 
 Stewart to renew his application ; 
 and his Royal Highness not only 
 consented, but consented to sit at 
 Lawrence's own house; having first, 
 however, with that etiquette which 
 formed a part of bis late Majesty's 
 character, ascertained that Charles I. 
 sat to Vandyck at his own residence. 
 At the very first sitting, his Royal 
 Highness was delighted with the 
 artist's execution, and pleased with 
 the elegance and propriety of his 
 manner, and thenceforward honoured 
 him with his warmest patronage. 
 
 In 1814, when the Prince Regent 
 was visited by the Emperor of Russia,
 
 285 
 
 the King of Prussia, Field Marshal 
 Blucher, the Hetman Platoff, and 
 other illustrious warriors and di- 
 plomatists, who had contributed to 
 bring the war against the Emperor 
 Napoleon to such a glorious termi- 
 nation, he immediately directed Mr. 
 Lawrence to exercise his art upon 
 these personages, as far as his strenu- 
 ous exertions would enable him to 
 
 In the year 1818, on the assem- 
 bling of the potentates and most 
 illustrious statesmen of Europe at 
 Aix-la-Chapelle, to arrange the 
 political relations of mankind, Sir 
 Thomas Lawrence received a mag- 
 nificent commission from the Prince 
 Regent to proceed thither, as well as 
 to the various continental courts, 
 and paint, for his Royal Highness, 
 
 avail himself of their irregular inter- j the resemblance of those by whose 
 vals from public affairs during their actious posterity was so much to be 
 short sojourn in this country. He influenced. The genius of Lawrence 
 
 accordingly repaired to York House, 
 St. James's Palace, where he made 
 splendid portraits of the King of 
 Prussia, Field Marshal Blucher, and 
 the Hetman Platoff. 
 
 On the 22nd of April, 1815, the 
 
 induced the foreign Sovereigns cor- 
 dially to concur in the Prince's 
 wish ; and, in the history of art, 
 there is not on record a more splen- 
 did homage to the superiority of an 
 individual over all competition. The 
 
 Prince Regent was pleased to confer glory of the man was reflected on 
 the honour of knighthood upon this | his country. 
 
 distinguished artist. The exhibition 
 of 1815 was a splendid one for Sir 
 Thomas Lawrence. It contained 
 
 To afford every advantage of 
 light, and shade, and arrangement, 
 for the subjects and accessories of 
 
 portraits from his pencil, of his | these historical monuments, a wooden 
 Royal Highness the Prince Regent, ; house was prepared in this country 
 Prince Blucher, Prince Platoff, the i in framework, and sent to Aix-la- 
 Duke of Wellington, the Marchioness ; Chapelle ; and Lord Castlereagh 
 of Thomond, and Mrs. Wolfe ; form- ; directed that it should be fixed in 
 ing an extraordinary assemblage of I the garden of his hotel. It con- 
 
 rank, gallantry, and beauty. 
 
 In 1816, 1817, and 1818, Sir 
 Thomas's principal pictures were 
 portraits of Mr. John Julius Anger- 
 
 tained a room of 50 feet by 18, and 
 two rooms of 20 by 18, and 18 by 
 12. It was shipped from the Cus- 
 tom House on the 3rdof October, 
 
 stein, Canova, the celebrated sculp- 1818, but by some mismanagement 
 
 tor, the Bishop of Durham, the 
 Marchioness of Stafford, Sir Hemy 
 Torrens, Lady Wingrave, Prince 
 Winnenburgh, the Duke of York, 
 the Marquis of Anglesea, Mrs. Ar- 
 buthnot, Mrs. Cuth belt, the Duchess 
 of Gloucester, Mr. Jckyll, Lord 
 Lynedoch, Mr. Nash, Lady Maria 
 Oglander, Lady Aukland and her 
 children, Lady Elizabeth Levison 
 Gowcr, the Hon. H. Lowther, Sir 
 Samuel Romilly, his Royal Highness 
 the Prince Regent, the Hon. Fre- 
 deric Stewart, the Duke of Welling- 
 ton, &c. &c. 
 
 it did not arrive until long after it 
 was wanted, and the portraits were 
 taken in a large room in the Town 
 Hall, little suited to the purpose, or 
 to the dignity of those who had to 
 frequent it. On the 7th of Novem- 
 ber, 1818, the Emperor of Russia 
 repaired to the Town Hall, to sit to 
 Sir Thomas Lawrence. The picture, 
 although like, was certainly not one 
 of Sir Thomas's most fortunate pro- 
 ductions. 
 
 Having concluded his mission at 
 Aix-la-Chapelle, Sir Thomas pro- 
 ceeded to Vienna, where he wag
 
 286 
 
 treated with the highest honours, 
 and with great personal kindness by 
 the Emperor and the royal family. 
 Here he painted the Emperor, 
 the Archdukes, the Archduchess 
 (Charles) and her daughters. Prince 
 Schwartzenburgh, Prince Metter- 
 nicb, Capo d'Istrias, and other illus- 
 trious persons then at that capital, 
 also sat to him. From Vienna Sir 
 Thomas proceeded to Rome, and 
 he had now the happiness of con- 
 templating those great masterpieces 
 of ancient art, which other painters 
 had had the advantage of studying 
 at an earlier period of life. He 
 arrived at Rome on the loth of 
 May, 1819. An Italian journal of 
 the 18th of November, 1819, an- 
 nounces that Sir Thomas Lawrence 
 had finished the portrait of his 
 Holiness ; and, after suitable praise 
 of this truly splendid production, it 
 bestows upon the artist the epithet 
 of the English Titian. His por- 
 trait of Cardinal Gonsalvi was 
 another magnificent proof of his 
 powers. 
 
 At Rome he was caressed by the 
 Pope and Cardinals; and he re- 
 ceived from the Italian artists and 
 foreigners of distinction then in the 
 capital, a series of attentions and an 
 expression of admiration highly gra- 
 tifying to an Englishman to contem- 
 plate. The students of the French 
 Academy at Rome repaired in a body 
 to view the portraits when they were 
 exhibited to the cognoscenti. One 
 of them, after a short ecstacy, put 
 his hands before his eyes, and would 
 look no more, but retired, exclaim- 
 ing "Ah, e'en est fait ; voila comme 
 il faut faire leg portraits." 
 
 At Parma, .Sir Thomas painted 
 the portraits of the Ex-Empress 
 Maria Louisa, and her son, young 
 Napoleon ; of the latter he also 
 made a beautiful drawing; from 
 which an admirable plate has re- 
 
 | cently been published, engraved by 
 Mr. Bromley. Most of the crowned 
 heads painted by Sir Thomas for his 
 i royal master presented him with 
 | some jewel, or other similar mark of 
 favour. The Emperor Francis, how- 
 i ever, not being aware of the delicate 
 ; and refined character of the man he 
 had to deal with, sent him a hand- 
 some sum of money. Sir Thomas 
 I Lawrence with all due courtesy and 
 ; respect returned it, and soon after 
 ! received a magnificent diamond ring. 
 I During his whole residence on the 
 j continent, he was entertained in the 
 i palaces of the various sovereigns with 
 marked distinction ; and although 
 i he was unable to speak with fluency 
 j any of the continental languages, 
 the propriety and elegance of his 
 deportment made an impression 
 highly favourable to the character of 
 an English artist and gentleman. 
 
 On the llth March, 1820, Mr. 
 West, the venerable President of 
 the Royal Academy, expired; and 
 on the day after the funeral, the 
 30th of March, 1820, Sir Thomas 
 Lawrence was, without opposition, 
 elected to succeed him. He arrived 
 in England in the ensuing April, 
 after an absence of, eighteen months, 
 and brought with him eight whole 
 length portraits for the King, the 
 Prince Regent having ascended tho 
 throne on the death of his royal 
 father in January. 
 
 His Majesty duly appreciated 
 these superb works, and spoke of 
 the honour which Sir Thomas's 
 talents, as well as his conduct upon 
 the continent, had reflected on his 
 Prince and on his country. Desirous 
 of testifying his respect and admira- 
 tion, the King, through the medium 
 of Sir Thomas, conferred upon the 
 Presidency of the Royal Academy a 
 jold chain and medal, bearing the 
 likeness of his Majesty, with the 
 inscription, " FROM HIS MAJESTY
 
 287 
 
 KING GEORGE THE FOURTH, TO THE 
 PRESIDENT OF THE ROYAL ACADEMY." 
 On the 10th of the ensuing Decem- 
 ber, the anniverary of the founding 
 of the Royal Academy, when the 
 officers of the Institution are elected 
 for the year, and the prizes distri- 
 buted, Sir Thomas Lawrence pre- 
 sided for the first time. He was 
 dressed in a full court dress, and 
 wore the rich chain and medal pre- 
 sented to him by his Majesty. In 
 the exhibition of 1820, Sir Thomas's 
 pictures were principally portraits of 
 the Archduchess of Austria and 
 her daughter, Mr. Abernethy, Mr. 
 Bloomfield, Sir William Grant, and 
 Lady Selina Meade. 
 
 In the year 1821, Sir Thomas 
 Lawrence's contributions to the ex- 
 hibition of Somerset House were 
 portraits of Lady Belgrave, Mrs. 
 Henry Baring and her children, the 
 Princess Charlotte (a posthumous 
 portrait), Sir Humphrey Davy, the 
 Marquis of Londonderry, his Majesty 
 George IV., and Mr. Palmer. Im- 
 mediately after the coronation, in 
 July, 1821, his Majesty directed Sir 
 Thomas Lawrence to paint a. full- 
 length portrait of him, iu his corona- 
 tion robes, seated in St. Edward's 
 chair, with his regalia, as he appeared 
 at the altar in Westminster Abbey. 
 
 In the exhibitions of 1822, 1823, 
 1824, and 1825, the chief pictures 
 by Sir Thomas Lawrence were por- 
 traits of the Countess of Blessington, 
 the Duke of Bedford, the Right 
 Honourable F. Robinson (now Lord 
 Goderich), Mrs. Littleton (a circular 
 picture of great beauty), the Duke 
 of Wellington (three pictures), the 
 Duke of York (two pictures), Count 
 Woronzoff, Lady Francis Conyng- 
 ham, the Earl of Harewood, the 
 Countess of Jersey, Sir William 
 Knighton, the Countess of Lieven, 
 the Archbishop of York, Sir W T il- 
 liam Curtis, the Earl of Clanwilliam, 
 
 the children of Mr. Calmudy, (one 
 of the most beautiful groups ever 
 depicted on canvass), the Duke of 
 Devonshire, the Duchess of Glou- 
 cester, Mrs. Harford, the children of 
 the Marquis of Londonderry, Lord 
 Stowell, Lord Bexley, Mr. Croker, 
 Mr. Canning, the Princess Sophia, 
 Mr. Peel, and Master Lambton. 
 Our limits will not permit us to 
 expatiate on the merits of these fine 
 works. 
 
 In the year 1 825, at the desire of 
 his Majesty, Sir Thomas Lawrence 
 repaired to Paris, to paint the por- 
 traits of the King and Dauphin. 
 The King (Charles X.) was rather 
 wayward in his sittings, and not 
 punctual to his appointments. Sir 
 Thomas conducted himself with a 
 nice tact and fine spirit on the occa- 
 sion, and the King, as a mark of his 
 sense of this, complimented him by 
 a present of the finest specimens 
 of the Sevre china, in which his 
 Majesty gratified his national pride 
 by displaying the exquisite ingenuity 
 of the French artists. 
 
 Among other works sent to the 
 exhibition by Sir Thomas Lawrence 
 in 1826, were portraits of Lord 
 Melville, Mr. Peel, the Marchioness 
 of Londonderry, Lady Wallscourt, 
 and Mrs. Thomas Hope. 
 
 On the 14th July, 1826, the 
 Gazette contained his Majesty's per- 
 mission to Sir Thomas Lawrence 
 to wear the insignia of the Legion 
 of Honour, bestowed upon him by 
 the King of France. The Univer- 
 sity of Oxford had conferred the 
 honorary degree of Doctor of Civil 
 Laws upon him ; and he had been 
 elected member of several foreign 
 academies. He had attained all his 
 distinctions of this nature, and we 
 may enumerate his honours. He 
 was knighted, and was the President 
 of the Royal Academy, principal Por- 
 trait Painter to his Majesty, LL.D.
 
 288 
 
 in the University of Oxford, Mem- , 
 her of the Academies of Rome, i 
 Venice, Florence, Vienna, and New 
 York, Member of the Dilettanti So- 
 ciety, and Fellow of the Royal Society. 
 
 He had received many splendid 
 and honourable presents; among 
 which may be specified, a diamond 
 ring from the Emperor of Russia; 
 a diamond ring from the King of 
 Prussia, with the letter F. (Fre- 
 derick) in brilliants, on a purple 
 enamel ground, set round with 
 diamonds ; at Vienna, a diamond 
 ring from the Emperor of Austria, 
 and four very brilliant paintings, on 
 large China saucers, of the palace 
 and public buildings of that capital. 
 From the sister of Princess Ester- 
 hazy he received the present of a 
 
 rich cup and saucer ' Sir Thomas 
 
 Lawrence, 1 in gilt letters, had been 
 burnt in round the edge, and a 
 wreath of flowers was painted in the 
 inside. A picture of the Coliseum, 
 in mosaic, from the Pope, two feet 
 by one, with the arms of his 
 Holiness gilt on the top. From 
 Cardinal Gonsalvi, a valuable gem 
 of the Holy Family, two inches 
 long, and one broad. From the 
 King of France, the Sevre China, 
 a magnificent clock, and two superb 
 China jars. The Duchess of Berry 
 presented him with a breakfast ser- 
 vice ; the tea-board having a beau- 
 tiful painting on it, representing the 
 court of Louis XIV. The whole of 
 this was in a green morocco case, 
 lined with crimson velvet, and 
 white satin covers. Besides these, 
 he had received presents of paint- 
 ings, snuff-boxes, valuable books, 
 &c. &c., from Prince Metternich, 
 and other distinguished foreigners. 
 
 Among the most admired of Sir 
 Thomas's portraits in the exhibition 
 of 1827, was that of Miss Crokcr. 
 Nothing could surpass its vivacity. 
 He also sent admirable portraits of 
 
 Sir Astley Cooper, Lord Francis 
 Gower, the Earl of Liverpool, and 
 Sir Walter Scott. 
 
 In the year 1828, the industrious 
 pencil of this eminent man produced 
 for the exhibition eight capital por- 
 traits. Lady Londonderry, with her 
 son, and Lady Lyndhurst, were 
 treated worthily of such subjects ; 
 the portrait of the infant daughter 
 of Mr. Peel almost equalled that of 
 Master Lambton; whilst the paint- 
 ing of Earl Grey, without any par- 
 ticular aids of art to produce effect, 
 was a perfect instance of life and 
 individuality. The other portraits 
 were of Lady Gower, Mr. Abcr- 
 nethy, Lady Georgiana Agar Ellis, 
 and Lord Eldon. The portrait of 
 Lady Ellis was equal to anything 
 of its kind from the pencil of any 
 master; and it made, like a great 
 many of Sir Thomas Lawrence's 
 works, an excellent engraving. 
 
 In the succeeding year, he ex- 
 liibited the portraits of the Duke of 
 Clarence (his present Majesty), the 
 Duchess of Richmond, the Mar- 
 chioness of Salisbury, Mr. Southey, 
 Mr. Soane, Miss Macdonald, Lord 
 Durham, and Mrs. Locke. The 
 peculiar expression of that great 
 artist, and liberal patron of art and 
 literature, 'Mr. Soane, was given 
 with a happy fidelity. Lord Dur- 
 ham's portrait was very successful ; 
 and those of the Duchess of Rich- 
 mond, and of the Marchioness of 
 Salisbury, carried the art of colour- 
 ing to a point which few artists 
 could have managed without verging 
 on the false or the glaring. 
 
 Sir Thomas's last public duty was 
 the delivery of the biennial medals, 
 on the 10th December, 1829, when 
 the affectionate eloquence of his 
 address was such, that it will never 
 be forgotten by the students. At 
 that period no idea could be enter- 
 tained that the dissolution of this
 
 LAW 
 
 289 
 
 amiable and enlightened man was 
 so rapidly approaching. On the 
 24th December, 1829, he dined 
 alone with an old and confidential 
 friend. In the course of conversa- 
 tion he observed that, from the 
 regularity of his living, and the care 
 he took of his health, he thought he 
 might attain a good old age; but 
 nevertheless he would wish to insure 
 liis life for 5000J. ; and, telling his 
 age, he asked what would be the 
 premium. He fixed on Friday, the 
 8th of January, to effect the insur- 
 ance ; on the previous day he 
 expired ! At this conversation he 
 appeared perfectly well, and com- I 
 plained only that at night his eyes 
 and forehead became heated, and he 
 required cold water and a towel to 
 bathe them. But this had been a 
 practice with him for years. 
 
 Sir Thomas had long indulged 
 himself in the hope of spending a 
 week or fortnight, including the 
 Christinas-day of 1829, with his 
 sister, Mrs. Bloxham, in Warwick- 
 shire. Always anxious on this 
 account, in a letter to his sister, I 
 dated the 17th of December, he | 
 says, " I am grieved to the soul j 
 that urgent circumstances keep me ' 
 at this time from the comfort of 
 seeing you ; but, in the next month, 
 I will certainly break away from all 
 engagements to be with you." 
 
 After several intermediate letters, 
 he wrote on Wednesday, January 
 Cth, 1830: 
 
 " I meant, my dearest Ann, to 
 be with you by dinner time to- 
 morrow, and have made exertions 
 to do so ; but it may not, cannot 
 be ' you must be content to see 
 me to a late simple dinner on Friday. 
 Pray pardon a disappointment so 
 painfully given by 
 
 " Your faithful 
 " And affectionate brother, 
 
 " THOMAS LAWRENCE." 
 
 " P.S. I grieve to hear of the 
 sad illness of good Lady S. Her 
 pictures went from my house this 
 morning; and by the person carry- 
 ing them to the office I have sent 
 you to-day four pheasants. Love to 
 all, and best remembrance TO THE 
 DOCTOR." 
 
 " You must be content to see me 
 to a late simple dinner on Friday." 
 Alas! that hour of dinner had not 
 arrived, when he was a corpse. 
 
 On Saturday the 2nd of January, 
 1830, he dined, in company with 
 Mr. Wilkie, Mr. Jackson, and some 
 other eminent artists, at the house 
 of Mr. Secretary Peel, with whom 
 he had for some time been in habits 
 of intimate acquaintance. On Sun- 
 day he complained of pain in the 
 neck and lower part of the face. 
 From that day till Tuesday his 
 malady seemed to increase arid re- 
 mit at intervals, and was considered 
 inflammation in the bowels. So 
 late as the Tuesday he was busily 
 employed in the Committee of the 
 Athenaeum, making arrangements for 
 the opening of the new house, where 
 he was particularly animated on 
 the subject of internal decoration, 
 and took great interest in pro- 
 curing works of art to adorn the 
 interior. He had himself promised 
 to paint and present a portrait of his 
 Majesty, to be placed in the library ; 
 and on Wednesday he felt himself 
 so much better, that he worked for 
 some time on this picture. It was 
 the last effort of his pencil ; thus 
 verifying his motto Loyal & la 
 mort. His old and esteemed friend 
 Mrs. Ottley, and a part of her 
 young family, spent the evening with 
 him, when he appeared to be very 
 cheerful. After their departure, 
 however, he felt so much indisposed 
 that he sent for his friend Dr. Hol- 
 land, who conceived his case so 
 dangerous, that he even sat up with
 
 290 
 
 him the whole night. No idea of 
 danger had been previously enter- 
 tained, nor any notion that ho was 
 worse than what is usually called 
 poorly. On Thursday he was so 
 much better, that in the evening he 
 received two of his friends ; one of 
 whom read to him the able article in 
 the New Monthly Magazine, writ- 
 ten by Mr. Thomas Campbell, in 
 answer to some observations in the 
 Edinburgh Review upon Flaxman, 
 who had been greatly beloved and 
 admired by both of them. After 
 some easy and pleasant conversation 
 upon this article, subjects of art, and 
 general topics, the two friends left 
 his chamber, and retired for a short 
 time to an adjoining apartment. 
 Presently they were alarmed by the 
 servant's cries for assistance ; and 
 on running into the room, to their 
 horror, they beheld Sir Thomas a 
 corpse. The servant related that, 
 when he was called in, his master's 
 arm was bleeding (he had been bled 
 on Sunday). He leaned back in his 
 chair, seemed much oppressed, and 
 exclaimed " I am very ill I must 
 be dying !" These were the last 
 words he uttered. A post mortem 
 examination, made by Mr. Green, 
 in the presence of Dr. Holland and 
 Mr. Foster Reeve, ascertained death 
 to have ensued from an extensive 
 and complicated ossification of the 
 vessels of the heart. 
 
 Thus died the most distinguished 
 artist of his day in that branch of the 
 art wliich he made his profession 
 
 portrait painting, 
 dered himself was 
 
 To have so rcn- 
 ordinary 
 
 art, an exquisite perception of the 
 beautiful, a mind delicately organised, 
 and enlightened by study, are not 
 alone sufficient to form a Titian, a 
 Vandyck, a Reynolds, or a Law- 
 rence. In addition to those charac- 
 teristics, it is indispensable that the 
 tone and address of an individual, 
 destined to record upon his canvass 
 all that is illustrious and beautiful 
 in his time, should be such as to 
 qualify him for habitual familiarity 
 with the objects who seek favour 
 with posterity through his interpre- 
 tation that he should live, and 
 move, and have his being in that 
 factitious atmosphere which has cal- 
 led into life the fair and fragile 
 flowers, whose beauty is destined to 
 be immortalised by his touch. In- 
 stead of rising from the sordid 
 trivialities of vulgar life, to welcome 
 some noble into his studio, before 
 whose overpowering dignity his own 
 greatness of conception sinks re- 
 buked ; the painter of princes should 
 be the guest of princes; should 
 learn to note the aspect of the vain 
 beauty, not as when, discontented 
 and shivering, she throws her listless 
 length into a chair, to be copied by 
 the servile painter, but as when, 
 with all her beauties radiant around 
 her with all the enchantments of 
 her grace called into energy by the 
 emulation and inspiring flattery of 
 the ball-room she expands into a 
 brighter self! Nay, more than this : 
 he should bo permitted to follow his 
 subjects into the gorgeous retreat of 
 their luxurious homes ; catching the 
 air and negligent individuality of the 
 
 achievement. " To become the I statesman pen in hand, beside his 
 most illustrious portrait-painter of j own disordered table ; and the do- 
 any age or country," says an able : mestic loveliness of the young mo- 
 
 witer in a popular journal, " some- 
 what more is required than the 
 attributes, however essential, of a 
 mere artist. A practised master- 
 ship of the manual dexterities of his 
 
 ther, who exchanges the diamond 
 necklace for the twining arms of 
 her beautiful children. It was to a 
 participation in advantages such as 
 these, that the supereminence of Sir
 
 291 
 
 Thomas Lawrence, as a court 
 painter, might in a great measure 
 be attributed. The airy grace, the 
 exquisite high-breedng, of his female 
 portraits the tone, in short, of his 
 art, was but the tact of an elegant 
 mind, refined by high association." 
 
 In truth, the distinguished cha- 
 racteristics of Sir Thomas's style 
 was the power of conveying a faith- 
 ful resemblance, with at the same 
 time a singularly delicate sense of 
 beauty, grace, elegance, and dignity. 
 Rarely indeed did he fail to impart 
 to the portraits the refinement of 
 his own mind. No painter who ever 
 lived seemed to have dived more 
 deeply into individual character, as 
 conveyed by the conformation of 
 the visage, and the expression of the 
 features, and none knew more skil- 
 fully how to avail himself of the 
 changeful appearances which they 
 betrayed in those conversations which 
 were dexterously introduced during 
 the sitting, and which destroyed or 
 relaxed a rigidity of muscle assumed 
 on such occasions, and which fre- 
 quently baffles the utmost ingenuity 
 of the artist. 
 
 In his female portraits the great 
 test of talent he had more grace 
 and a greater variety of attitude than 
 Vandyck, although he certainly did 
 not equal him in colouring. It is a 
 general opinion, also, among paint- 
 ers, that he had less nature and less 
 breadth than Sir Joshua Reynolds, 
 and that opinion is probably well 
 founded. Sir Thomas, especially in 
 the latter periods of his practice, ex- 
 hibited more detail in his portraits, 
 and appeared to paint with a smaller 
 pencil, than his illustrious predeces- 
 sor, who in his effects of light and 
 shade seemed to take Correggio as 
 his model. The hair in Sir Tho- 
 mas's pictures was painted in fine 
 masses, in a way peculiar to himself; 
 and his eyes, to the splendour of 
 
 which ho sometimes made great 
 sacrifices, were divine. The late 
 Mr. Fuseli, who was by no means a 
 thorough-going admirer of even Sir 
 Thomas, has been heard say of him, 
 " But he paints eyes better than 
 Titian." Those who remember the 
 late Keeper's respect for the great 
 Venetian painter, will acknowledge 
 that this was no slight encomium. 
 
 As soon as the first impression of 
 surprise and grief at this catastrophe 
 had subsided, the Council of the 
 Royal Academy officially signified 
 to the executors that their sense of 
 public duty, as well as their private 
 feelings, would prompt the Royal 
 Academy to pay every respect to the 
 remains of their illustrious President. 
 Arrangements were accordingly made 
 for interring the corpse in St. Paul's 
 Cathedral, and for conveying it to 
 the national cemetery, in a proces- 
 sion of the most august and public 
 character. 
 
 On Wednesday the 20th of Jann- 
 ary, 1 830, the body was placed in 
 a strong oak coffin, covered with, 
 lead, which was enclosed in an outer 
 coffin or case. The coffin was covered 
 with rich black velvet superbly orna- 
 mented ; it had four pair of handles, 
 of silver, with head and foot plates 
 of the same metal ; two rows of 
 silver nails round the top of the 
 sides, and beneath these another 
 row. The intermediate space was 
 filled up with smaller plates and 
 devices worked in silvered nails. 
 The principal plate, headed with the 
 armorial bearings of the deceased, 
 was of Queen's metal, silvered. The 
 following is the inscription : 
 
 SIR THOMAS LAWRENCE, KNT., 
 
 L.L.D. F.R.8. 
 PRESIDENT OF THE 
 
 ROYAL ACADEMY OF ARTS IN LONDON, 
 
 KNIGHT OF THE ROYAL FRENCH ORDER 
 
 OF THE LEGION OF HONOUR. 
 
 DIED VIL JANUARY, 
 
 MDCCXXX., 
 IN THB LXL YEAR OF HIS AGE.
 
 292 
 
 LAW 
 
 At nine o'clock on Wednesday 
 evening, the remains of this cele- 
 brated artist were removed, in a 
 hearse and four, from his house 
 in Russell-square to Somerset-house 
 The corpse was followed by four 
 members of his family and his 
 executor, attended by an old and 
 faithful servant. On its arrival at 
 the Royal Academy it was received 
 by the council and officers of the 
 institution, and placed with solem- 
 nity in the model-room, which had 
 been previously hung with black 
 cloth, and lighted with large wax 
 tapers, and numerous wax candles 
 in silver sconces. On Thursday 
 morning the body lay in state in the 
 model-room. The academicians, 
 associates, and students, were all in 
 attendance about ten o'clock, in the 
 Royal Academy, and none but the 
 private friends of the deceased were 
 admitted to witness the lying-in- 
 state. Shortly before ten, the 
 mourning coaches and carriages of 
 the nobility entered the square of 
 Somerset-house, and placed them- 
 selves in four lines. The family 
 assembled in the library, and the 
 mourners and members of the Aca- 
 demy met in the great exhibition- 
 room. At the head of the coffin was 
 placed a large hatchment of the ar- 
 morial bearings of the deceased, and 
 the pall over the coffin bore es- 
 cutcheons of his arms wrought in 
 silk. The members of the council 
 and the family having retired, the 
 body lay in state all night. The 
 old servant of the President watched 
 through the night the remains of his 
 kind and beloved master a feeling 
 in which he was very properly al- 
 lowed to indulge by those who had 
 the direction of the funeral. 
 
 At half-past twelve the body was 
 placed in a state hearse, which was 
 preceded by the Lord Mayor's car- 
 riage and by the Sheriffs, in their 
 
 state equipages. The state hearse, 
 containing the body, was followed 
 by a great number of noblemen and 
 gentlemen's carriages. 
 
 The hearse arrived at the great 
 west door of St. Paul's about a quar- 
 ter before two, and about half-past 
 two the body reached the choir, pre- 
 ceded by the dignitaries of the church, 
 and the members of the choir, sing- 
 ing the sentences at the commence- 
 ment of the burial service, to the 
 solemn and affecting music of Croft. 
 The bod}' being placed on trestles, 
 the chief mourner was seated in a 
 chair at the head of the coffin, at- 
 tended by the old servant of the 
 deceased. The mourners being also 
 seated on each side of the choir, the 
 funeral service proceeded, the proper 
 portions being chanted. The lesson 
 was read by the Rev. Dr. Hughes, 
 the canon residentiary, whose feel- 
 ings were more than once so over- 
 powered as to prevent his proceeding 
 without a pause. Green's fine an- 
 them, " Lord, let me know mine 
 end !" was sung by the choir, ac- 
 companied by the organ ; after which, 
 the body was removed into the crypt, 
 and placed under the centre of the 
 dome, when the mourners being 
 summoned, and preceded by the 
 clergy and choir, went in procession 
 to the centre, and turning to tho 
 right, formed a large circle, which 
 during the time the music continued 
 fell into a double line round the per- 
 forated brass plate, where the re- 
 mainder of the service was read by 
 the Bishop of Llandaff, Dean of St. 
 Paul's, in a most impressive manner. 
 The whole concluded with part of 
 Handel's matchless Funeral An- 
 them, " Their bodies arc buried in 
 peace." The ceremony having con- 
 cluded, the mourners returned to 
 their carriages. Afterwards the 
 academicians, associates, and stu- 
 dents of the Royal Academy, re-
 
 293 
 
 tired to Somerset-house, where re- 
 freshments were provided for them. 
 His late Majesty having granted 
 pel-mission to the family publicly to 
 exhibit, for their exclusive benefit, 
 all the portraits of royal and distin- 
 
 ties, arising from the singular cos- 
 tume, and from other circumstances, 
 as the finest work of his life. While 
 we gaze at it, we fully agree with 
 him ; but when we turn round, and 
 behold his portrait of the venerable 
 
 guished personages painted for the j Pius, we at least hesitate to which 
 King by Sir Thomas Lawrence, a j the palm of excellence ought to be 
 number of other fine works from his i adjudged." 
 
 pencil were obtained in addition from j For the materials of this memoir 
 various quarters ; and towards the j we are greatly indebted, among other 
 latter end of May, 1830, the collec- i respectable publications, to the An-, 
 tion was opened to the public at i nual Biography, A. Cunningham's 
 the gallery of the British Institution, j Lives of Eminent Painters, the 
 
 Of this exhibition, the following 
 notice appeared in a popular weekly 
 journal : 
 
 " Of the three apartments of which 
 
 Gentleman's Magazine, and the 
 Court Journal. 
 
 LEEPE (John Anthony Vander), 
 a Flemish landscape painter, born 
 
 the British gallery consists, the North i at Bruges in 1664, and died in 
 Room, containing twenty-one por- I 1720, aged 56. He was bom of a 
 
 traits, the majority of them whole- 
 lengths, painted by order of his 
 Majesty for the Waterloo Gallery 
 at Windsor, is particularly attrac- 
 tive ; both because most of the 
 pictures are new to the public, and 
 because they are the striking re- 
 semblances of distinguished and ce- 
 lebrated persons, several of them 
 ' men of royal siege,' and all of them 
 sharers, more or less conspicuous 
 and important, in the events of one 
 of the most extraordinary periods of 
 history. It is not our intention to 
 enter into any detailed description 
 of these pictures, but we cannot re- 
 frain from expressing our unbounded 
 admiration of two of them in par- 
 ticular, which appear to us to be 
 transcendent ; we mean, ' Francis 
 the Second, Emperor of Austria,' 
 and ' His late Holiness, Pope Pius 
 VII.' We know of no productions 
 of a similar kind, by any artist, 
 ancient or modern, with which they 
 would for an instant suffer in the 
 comparison. It is said that Sir 
 Thomas considered the portrait of 
 the Emperor of Austria, in which 
 he has conquered so many difficul- 
 
 distinguished and noble family, and 
 formed his first ideas of painting by 
 observing the works of a young lady. 
 His fancy led him to paint land- 
 scapes, which he always sketched 
 after nature, and likewise to repre- 
 sent views of the sea, in storms and 
 in calms. His landscapes are very 
 much in the taste of Genoels, and 
 frequently in the style of Poussin. 
 He painted with extraordinary 
 readiness and ease, having a light 
 free touch, and a good tone of colour, 
 though sometimes it appears rather 
 too grey ; but his sea-pieces are 
 more highly valued than his land- 
 prospects. The figures in his pic- 
 tures are generally painted by Mark 
 Van Duvcncde and Nicholas Kerck- 
 hove, two good masters, who adapted 
 the figures to the subjects with great 
 skill and propriety. Houb.,Pilk. 
 LEEUW, or DE LEONE (Ga- 
 briel), a Dutch painter of animals, 
 &c., bora at Dort in 1643, and died 
 in 1688, aged 45. He received the 
 first instructions in the art of paint- 
 ing from his father, Sebastian Vander 
 Lecuw. Though he soon surpassed 
 his father, he seemed conscious that 
 cc2
 
 LEE 
 
 294 
 
 he stood in need of farther improve- 
 ment, and therefore to obtain a better 
 taste, he resolved to travel to Italy, 
 and in his progress visited France, 
 Turin, Naples, and Rome. He 
 adopted for his model the style of 
 Castiglione and Philip Roos, called 
 Rosa da Tivola. He studied his 
 scenes and every object after nature, 
 and spent whole days in the fields, 
 to observe the forms, actions, and 
 attitudes of those different animals 
 which he intended for his subjects, 
 sketching them with great exactness, 
 by which he not only acquired the 
 habit of designing correctly, but 
 furnished himself with a variety of 
 objects proper to be inserted in many 
 of his future compositions. When 
 he returned to Holland, his works 
 were much approved by the public, 
 and bought at considerable prices; 
 but as he painted expeditiously, and 
 finished his pictures very fast, their 
 numbers proportionably diminished 
 their price, and he felt a severe mor- 
 tification, on observing that the de- 
 mand for his works decreased daily. 
 That discouragement made him re- 
 solve to return to Rome and Naples, 
 where he had formerly experienced 
 the greatest success ; but death pre- 
 vented him from putting that pro- 
 ject into execution. His invention 
 was lively and ready, and his hand 
 as expeditious as his thought. His 
 pencil was free, broad, and firm, and 
 his colouring showed the style of the 
 Roman school ; but that tone of 
 colour was not agreeable to the 
 Flemish taste, which seems to prefer 
 the high finishing in picture's, and 
 invincible patience in ni-at handling, 
 to almost every other perfection in 
 the art of painting. Houb., Pilk. 
 
 LEEUW (Peter Vander),a Dutcli 
 painter, and brother of Gabriel, born 
 at Dort about 1(544. He painted 
 the same kind of subjects as h 
 brother, and with considerable merit, 
 
 but his manner of pencilling and 
 colouring was quite different from 
 Gabriel's, and better adapted to the 
 taste of his countrymen ; for he 
 finished his neatly, and took all 
 possible pains to render them tran- 
 sparent, giving them also an agree- 
 able and natural tone of colour. Of 
 all the Flemish artists he admired 
 Adrian Vandervelde ; he made him 
 his model, and was so ambitious to 
 imitate him, that whenever he sat 
 down to paint any design of his own, 
 he always placed a picture of Adrian's 
 before him, that he might strike out 
 some resemblance of that master, 
 either in respect of his composition, 
 colouring, or design, so that his paint- 
 ings have always somewhat that re- 
 minds one of Adrian. Houb., Pilk. 
 LEGNANO, called LEGNA- 
 NINO, (Stephano Maria), an Italian 
 historical painter, born at Bologna in 
 1660, and died in 1715, aged 55. 
 He received the first instructions in 
 the art of painting from his father 
 Ambrogio, who at an early age sent 
 him to Rome. He was first a dis- 
 ciple of Carlo Cignani, at Bologna, 
 and afterwards of Carlo Maratti, at 
 Rome, with whom he continued 
 three years. During that time he 
 applied himself diligently to copy 
 the works of the best artists, and 
 formed a peculiar style, extremely 
 pleasing, in which he blended the 
 different manners of the Romans, the 
 Milanese, and the Bologncse paint- 
 ers. He painted subjects taken from 
 the sacred as well as profane writers, 
 which he executed with great spirit, 
 especially in fresco. Some of his best 
 works are at Milan, in which a judi- 
 cious observer may behold a fine 
 turn of thought and invention, a 
 charming diffusion of light, and ex- 
 cellent arrangement of the chiaro- 
 scuro, a bold relief, and the whole 
 touched witli a free and sweet pen- 
 cil Vasnri, Pilk.
 
 295 
 
 LEISMAN (John Anthony), a 
 German historical paiuter, born in 
 1604, and died in 1698, aged 94. 
 He became a painter by the force of 
 his own exertions, without any in- 
 structor, and merely by studying 
 the best paintings to be seen in his 
 own country. After some years 
 spent in close application, he travelled 
 to Venice, and pursued his studies 
 there so very assiduously after the 
 works of Titian, Tintoret, and Paolo 
 Veronese, that he rose into high 
 esteem. The principal nobility in 
 that city kept him constantly em- 
 ployed, and his paintings were ad- 
 mired for their spirited and lively 
 touch, also for the delicate colouring 
 in his sea-ports, landscapes, architec- 
 ture, and historical compositions ; 
 all which subjects he painted with 
 great truth, nature, and elegance. 
 Balthasar Pozzo mentions two of 
 his pictures as being universally ad- 
 mired : one a landscape, with dreary 
 mountains, from which issues a gang 
 of robbers to assault some unfortu- 
 nate travellers ; the other a sea-port 
 enriched with views of elegant build- 
 ing and antiquities Pozzo, Pilk. 
 L.ELY (Sir Peter), a German 
 historical portrait painter, born in 
 1617, and died in 1680, aged 63. 
 He was placed as a disciple under 
 Peter Grcbber, at Haerlem, with 
 whom he continued for two years ; 
 and, at the age of twenty-five, was 
 accounted an excellent painter of 
 portraits. He visited England in 
 1641, where he at first painted 
 landscapes and historical subjects, 
 but finding more encouragement 
 given to portrait painting, he turned 
 his attention that way, and became 
 unrivalled in the graceful airs of his 
 heads, the pleasing variety of his 
 postures, and the elegance of his 
 draperies. The hands of his por- 
 traits were remarkably fine and 
 elegantly turned, and he frequently 
 
 added landscapes in the back-ground 
 of his pictures, in a style peculiar to 
 himself, and admirably suited to his 
 subjects. However, he had a very 
 peculiar expression in the eyes of 
 his female figures ; a tender languish- 
 ment, a look of blended sweetness 
 and drowsiness, unattempted before 
 his time by any master, which he 
 certainly conceived to be graceful. 
 But, although in some particular 
 forms it might happen to have a 
 desirable aud fine effect, yet as his 
 expression is the same in all, he is 
 considered as a mannerist. Philip, 
 Earl of Pembroke, then Lord Ch;im- 
 berlain, introduced him to Charles 
 I, whose picture he drew, when 
 prisoner at Hampton-court. He was 
 also much favoured by Charles II., 
 who made him his principal painter, 
 knighted him, and would frequently 
 converse with him as a gentleman 
 of great knowledge and accomplish- 
 ments. He was much employed 
 and caressed by the principal nobility 
 and gentry of the kingdom. He 
 fell in love with a beautiful English 
 lady, to whom he was soon after 
 manned, and purchased an estate at 
 Kew, to which he often retired in 
 the latter part of his life. His only 
 disciples were Greenhill and Bucks- 
 horn, and he appeared so jealous of 
 having a rival in either of them, that 
 he would not permit them to see in 
 what manner he mixed or laid on 
 his colours, nor how he marked and 
 distributed them with his pencil ; 
 though each of them copied the 
 works of their master to very great 
 
 perfection De Piles, Vertue, Pilk. 
 
 LEMENS (Balthasar Van), a 
 Flemish historical painter, born at 
 Antwerp in 1637, and died in 1704, 
 aged 67. He visited England after 
 the Restoration, and followed his 
 profession. He had a free pencil, 
 with a ready invention, and some- 
 times showed elegance in his figure*.
 
 296 
 
 But DC Piles says, that owing to his 
 misfortunes in the latter period of 
 his life, he was constrained to pro- 
 cure a livelihood by making sketches 
 for other painters. De Piles, Pilk. 
 
 LEMPEREUR,(John Dennis),a 
 French amateur engraver, born at 
 Paris in 1710. He possessed an 
 extensive collection of pictures and 
 drawings. For his amusement he 
 etched a variety of plates, after 
 Pictro da Cortona, Benedetto Cas- 
 tiglione, Vandyck, and others. 
 StriM. 
 
 LEMPEREUR (John Baptist 
 Dennis). He was the son of John 
 Dennis Lempereur, born at Paris in 
 1740, and inherited the taste and 
 talent of his father. He etched 
 several plates after various masters, 
 as well as from his own designs. 
 Strutt. 
 
 LEMPEREUR (Louis Simon), a 
 French engraver, born at Paris in 
 1725. He was a pupil of Peter 
 Avcline, and followed the style of 
 his instructor. We have several 
 prints by this able artist, which 
 prove him to have possessed very 
 eminent talents. He was a member 
 of the French academy Strutt. 
 
 LENS (Bernard), a miniature 
 painter, who died about 1741. He 
 was miniature painter and enameller 
 to George II. Lens's chief excel- 
 lence consisted in copying the works 
 of great masters, particularly Ru- 
 bens and Vandyck, whose colour- 
 ing he imitated exactly. He was 
 likewise painter to the Crown, by 
 the title of enameller, which was 
 changed from limner when Boitheld 
 the office. He published some 
 drawing books, and several views. 
 He made two sales of his pictures, 
 ;ind died at Knightsbridgc, whither 
 he had retired from business. 
 Monthly Mag., Pilk. 
 
 LEON I (Jacomo), a Venetian 
 architect, who died about 1746. He 
 
 settled in England, and published 
 in London sin excellent edition of 
 Palladio's Architecture, in folio, 
 1742. Gen. Biog.Dict. 
 
 LEPICIE (Bernard), a French 
 engraver, who was also secretary 
 and historiographer to the academy 
 of painting at Paris, where he died 
 in 1755. His engravings of por- 
 traits and historical subjects are 
 very fine. He compiled a catalogue 
 of the pictures in the possession of 
 the King, in 2 vols. 4to. His son, 
 Nicholas Bernard, was a professor 
 in the academy of painting and 
 sculpture. He painted several fine 
 pictures after the manner of his 
 master, Carlo Vanloo Nouv.Dict. 
 Hist. 
 
 LEUR (N. Vandcr), a Flemish 
 painter, born at Breda about 1667. 
 Dcscauips says he was sent to Rome 
 when he was only twelve years of 
 age, and placed under the care of 
 one of the cardinals, who observing 
 his genius for the art, procured 
 him access to the richest collections 
 of paintings; and by that means 
 afforded him an opportunity of 
 seeing and studying the most capital 
 performances of the great masters. 
 He devoted his whole time to his 
 improvement, and was as diligent 
 in his studies after nature as he was 
 in copying from the noblest models ; 
 till at last he was accounted the 
 best copyist at Rome. He excelled 
 in portraits, and might have been 
 without a competitor in that branch, 
 if he had confined himself entirely 
 to it. Though he was allowed to 
 design and colour well, and under- 
 stood perspective and architecture, 
 and might be esteemed a good 
 painter of history, yet his imagina- 
 tion was cold, and his invention 
 slow and difficult ; so that it was 
 rather a labour than a pleasure to 
 him to undertake a composition. 
 His best performance is in the
 
 297 
 
 LEY 
 
 church of the Recollets, at Breda. 
 Descamps, Houb., Pllk. 
 
 LEYDEN (Lucas Jacobs, called 
 Lucas Van). This extraordinary 
 artist may be regarded as the pa- 
 triarch of the Dutch school. He 
 was born at Leydcn in 1 494, and 
 died in 1533, aged 39. He was the 
 son of Hugo Jacobs, an obscure 
 painter, who discovered in his earliest 
 sports the most marked indication 
 of premature and decided genius. 
 In this respect nature appears to 
 have overleaped the usual period of 
 infancy ; and, at a season when or- 
 dinary capacities scarcely put forth 
 the tender buds of promise, he pro- 
 duced fruit distinguished by mellow- 
 ness and maturity. He had scarcely 
 reached his ninth year, when he en- 
 graved some plates from his own 
 designs, and having left the instruc- 
 tion of his father, to study painting 
 under Cornelius Englcbrcchsn, he 
 astonished the artists of his time by 
 his picture of St. Hubert, painted 
 when he was only twelve years old. 
 In, 1508, when he was fourteen, 
 appeared his celebrated print oi 
 Mahomet, drunk, having killed the 
 monk Sergius. Contemporary with 
 Albert Durcr, there existed between 
 these distinguished artists the most 
 intimate friendship and correspond- 
 ence, which was not interrupted by 
 any jealousy occasioned by theii 
 noble emulation of excelling eacl 
 other in the art. He is allowed to 
 have surpassed Albert in his com- 
 position, though inferior to him i 
 design. He painted in oil, distemper 
 and on glass ; and treated with equa 
 success, history, landscapes, and por 
 traits. His colouring is fresh an 
 clear, and his pencil is light, thougl 
 finished. His drawing of the figur 
 is stiffly taken from the model, in 
 the gothic style, then universally 
 prevalent through Germany and 
 Flanders, divested of grace and elc- 
 
 jance ; and though the expression of 
 lis heads is not without truth, it is 
 marked with a vulgarity bordering 
 >n grimace. These deficiencesmay, 
 lowever, be fairly attributed to the 
 hen predominant taste of his coun- 
 ,ry, which he had not the opportu- 
 nity of improving by travel. His 
 most considerable works as a painter 
 ,re his picture of the Last Judg- 
 ment, an immense composition, in 
 the town-house at Leyden ; Christ 
 uring the Blind at Jericho, dated 
 1531 ; the Virgin and Infant hold- 
 ng a bunch of grapes, in the Impe- 
 rial Collection at Vienna, painted in 
 1522 ; and a Descent from the Cross, 
 in the church formerly of the Jesuits 
 at Paris. As an engraver, Lucas 
 Van Leyden claims particular atten- 
 tion. At a period when Albert 
 Durerhad carried the art of engrav- 
 ing to such perfection in Germany, 
 and Marc Antonio exercised it with 
 the greatest reputation in Italy, 
 Lucas disputed the palm with those 
 competitors in the Low Countries. 
 He learned the use of the point from 
 a goldsmith, which he carried to a 
 surprising pitch of perfection for the 
 short time he lived. His style 
 resembles Israel Mecheln, rather 
 than that of Albert Durer. His 
 execution is neat and clear ; but as 
 his stroke is equally fine in objects 
 in the foreground as in those in the 
 distance, and as there is a want of 
 connection in the masses, his plates, 
 though extremely neat, are inferior 
 to those of Albert Durer in firmness 
 and harmony of effect. His figures 
 are tall and meagre, the extremities 
 rather mannered than correct, and 
 though his attitudes are not ill- 
 chosen, they are generally stiff and 
 ungraceful. He engraved on wood 
 as well as on copper, but his cuts 
 arc not very numerous. They are 
 spirited and masterly, though inferior 
 to Albert Durer. Strutt.
 
 LEY 
 
 298 
 
 LIB 
 
 LEYSSENS (N.), a Flemish 
 painter, bom at Antwerp in 1661, 
 and died in 1720, aged 59. He 
 visited Rome at an early age, where 
 lie employed himself studiously in 
 observing those admirable works of 
 nature and art which occur to an 
 artist in that celebrated city and its 
 environs. Though his works were 
 held in high esteem by the Italians, 
 while he resided in Italy, yet he 
 quitted all his prospects of fame 
 and wealth, from a tender regard to 
 filial piety. His father was poor, 
 and very aged ; and he left Rome 
 from no other motive than to sup- 
 port his father, and to render the 
 life of his parent comfortable by 
 his own care and acquisitions. And 
 Providence visibly seemed to reward 
 the goodness of his heart ; for he 
 had more employment than all the 
 painters at Antwerp, and even of 
 unsolicited work than those artists 
 had, who exerted all their interest, 
 skill, and industry, to procure 
 business. He had a good tasto of 
 designing historical subjects, parti- 
 cularly he designed nymphs, boys, 
 statues, and bustos, with extraordi- 
 nary correctness, and very agreeable 
 colouring. On that account he was 
 much employed by Hardine, Bos- 
 chaert, and Verbruggen, who were 
 flower painters, to adoni their pic- 
 tures with figures adapted to their 
 subjects Houb., Pilk. 
 
 LIANO (Phelipe), a Spanish 
 portrait painter, born at Madrid in 
 1.575, and died in 1625, aged 50. 
 He particularly excelled in painting 
 portraits of a small size, whicli he 
 executed with such fidelity of resem- 
 blance, and beauty of colouring, that 
 he acquired the title of El Titiano 
 Pequino Cumberland. 
 
 LIBERALE (da Verona), an Ita- 
 lian historical painter, born at Ve- 
 rona in 1451, and died in 1536, 
 aged 85. He was a disciple of Vin- 
 
 cenzo di Stefano ; but imitated the 
 style and manner of Jacopo Bellini, 
 of Venice. He finished his pictures 
 with exceeding neatness and patience, 
 almost beyond example, so as to 
 give them the appearance of minia- 
 tures; and in most of his compositions 
 he designed a multitude of figures. 
 Vasari mentions one, representing 
 the Adoration of the Magi, consist- 
 ing of an infinite number of small 
 figures, horses, dogs, camels, and 
 other animals, in which the heads 
 arc carefully and highly finished ; 
 the whole looked like miniature, 
 rather than oil painting, which was 
 wonderfully applauded. His prin- 
 cipal works are in Verona, where he 
 painted many altar-pieces for the 
 churches, and a large number of 
 easel-pictures for the nobility. A 
 very high commendation is given to 
 a picture of this master, represent- 
 ing the marriage of St. Catherine ; 
 in whicli the composition is good, 
 there appears a great deal of grace 
 in the heads, and a natural delicate 
 expression. Vas., Sandrart, Pilk. 
 LIBERI (Pietro), an Italian his- 
 torical painter, born at Padua in 
 1600, and died in 1677, aged 77. 
 The Italian writers have not men- 
 tioned of whom he received his first 
 instructions; but at an early age he 
 travelled through the principal cities 
 of Italy, to study the works of tho 
 most eminent painters. He had a 
 very enlarged capacity, which en- 
 abled him to discern the essential 
 beauties, and also the particular ex- 
 cellence, of every master on whoso 
 works he employed his observations. 
 While he resided at Rome his atten- 
 tion was wholly engrossed by the 
 grand style and compositions of 
 RafFaelle ; in Parma he devoted 
 himself to Corrcggio and Mazzuoli ; 
 and at Venice, to Titian and Tinto- 
 retto. From these different manners, 
 from the beautiful variety perceptible
 
 299 
 
 in the works of these different artists, 
 he formed a style of his own, that 
 was full of spirit, extremely judicious, 
 anil consisting of a pleasing mixture 
 of them all ; though it must be at 
 the same time allowed, that his tone 
 of colouring partook rather too much 
 of the red in some of his compo- 
 sitions. In the Palazzo Zambeccari, 
 at Bologna; there is an excellent 
 historical picture from the history 
 of Job, which is much admired, and 
 shows a mixture of the styles of 
 Caravaggio and Calabrese. In the 
 cathedral church of Vicenza is also 
 an ingenious composition of the 
 Drowning of Pharaoh, which is de- 
 signed in a grand style, and finely 
 painted ; and in the church of St. 
 Maria Maggiore, at Bergamo, one of 
 the most capital performances of 
 Liberi is preserved, of which the 
 subject is, Moses striking the Rock ; 
 it is much better coloured than those 
 which he usually finished for the 
 churches, having less of the red tint, 
 and abundance of force, though it is 
 somewhat incorrect in the design 
 Fa*., Pilk. 
 
 LICINIO,calledPORDEXONE, 
 (Giovanni Antonio), an Italian his- 
 torical painter, born at Pordenone, 
 in Friuli, in 1484, and died in 1540, 
 aged 56. It is not positively known 
 that he was a disciple of Giorgione, 
 but he resembles him more in gran- 
 deur of mind, vigour of conception, 
 and manner of execution, than all 
 his other scholars. His best work in 
 oil is the altar-piece at St. Maria 
 dell' Orto, at Venice, which repre- 
 sents a St. Lorenzo Giustiniani, 
 surrounded by other saints, among 
 whom a St. John Baptist surprises 
 no less by correctness of form, than 
 a St. Augustin by a boldness of 
 foreshortening, which makes his arm 
 start from the canvas. The rival- 
 ship, or rather the enmity, which 
 existed between him and Titian, 
 
 appears to have acted as a spur, 
 which contributed to the excellency 
 of both ; like the competition be- 
 tween Buonarotti and Raffaelle, to 
 which it bears a further similarity, 
 as one is distinguished by energy and 
 force, and the other by elegance and 
 grace. To have contended with 
 Titian for the prize of fame is no 
 ordinary claim to glory; and it will 
 be considered highly honourable to 
 his reputation, that he is entitled to 
 the second rank in the Venetian 
 school, at a period when it was so 
 fertile in able artists. Sandrart, 
 Fus. 
 
 LIEMAEKER (Nicholas, called 
 the Rose), a distinguished Flemish 
 painter, born in 1575, and died in 
 1647, aged 7'2. He was first a 
 scholar of Mark Guerards, but after 
 the death of that master, became 
 a disciple of Ottovenius, at the time 
 when Rubens studied under that 
 master. The school of Ottovenius 
 was then the most eminent in the 
 Low Countries, and the emulation 
 that existed among the students 
 contributed to the production of 
 several artists of the greatest cele- 
 brity. On leaving that master, he 
 was invited to the court of the 
 Prince of Paderborn, where he met 
 with very liberal encouragement; 
 but the climate not agreeing with 
 his health, he was obliged to return 
 to his native city, where he con- 
 tinued to exercise his talent with 
 great reputation for the remainder 
 of his life. The name of Rose was 
 given him when a boy, and was the 
 appellation he was generally known 
 by. It is reported by Descamps, 
 that Rubens being applied to by 
 the confraternity of St. Michael, of 
 Ghent, to paint them an altar-piece 
 for their chapel, he declined their 
 commission, in the handsomest and 
 most liberal manner, in favour of 
 his friend and fellow-student, ob-
 
 300 
 
 serving, " that possessing so fine a 
 Rose, they might well dispense with 
 flowers of foreign growth." He 
 Was certainly one of the eminent 
 painters of the Flemish school, and 
 he operated with such facility, that 
 a number of his pictures are to be 
 seen in every town in the Low 
 Countries. In the church of St. 
 Nicholas, at Ghent, are two pictures 
 by this master, one of which is re- 
 garded as his most capital work ; it 
 represents the Fall of the Rebel 
 Angels ; the other is the Merciful 
 Samaritan. In the church of St. 
 James are several pictures by Lie- 
 inaeker, one of which is a grand 
 composition, representing the Last 
 Judgment. Sandrart, Descamps. 
 LIEVENS (John), a Flemish 
 painter, born at Leyden about 1607. 
 His father having discovered symp- 
 toms of genius while he was yet in 
 his infancy, placed him under the 
 direction of Joins Van Schooten. 
 Afterwards he became the disciple 
 of Peter Lastman, with whom lie 
 continued two years. Though he 
 was allowed to excel in portrait, 
 yet he frequently painted history 
 with success ; among the number of 
 which compositions, the Continence 
 of Scipio is celebrated in very high 
 terms. Another performance of 
 Lievens, applauded by the poets as 
 well as the artists of his time, was 
 the representation of a Student in 
 his Library, the figures being as 
 large as life. That picture was 
 purchased by the Prince of Orange, 
 by whom it was presented to King 
 Charles I. of England, who expressed 
 his surprise at the excellence of the 
 work, especially when it was known 
 that the artist was then not above 
 twenty years of age. It proved a 
 means of procuring him a favourable 
 reception at the court of London, 
 where he painted the portraits of the 
 King, Queen, the Prince of Wales, 
 
 and a great number of persons of the 
 first rank among the nobility. After 
 a continuance of three years in Eng- 
 land, he went to Antwerp, and was 
 engaged incessantly for churches, 
 convents, or private cabinets. In the 
 council chamber of Amsterdam, a 
 picture of Lievens is placed between 
 one by Govert Flink, and another 
 by Ferdinand Bol, and appears in no 
 degree inferior to either of them. 
 Sandrart and other writers, bestow 
 great praise on two of his pictures. 
 The one is the History of Abraham 
 offering up his Son Isaac ; the other 
 it the representation of David and 
 Bathsheba. Sandrart, Houb., 
 Pilk. 
 
 LIGHTFOOT (William), an 
 English painter and architect, who 
 flourished at the end of the seven- 
 teenth century. He painted in per- 
 spective and landscape; but after- 
 wards painted in oil. He was con- 
 cerned in painting and ornamenting 
 the Royal Exchange. De Piles. 
 
 LIG'ORIO (Piero), an Italian 
 painter and architect, who died at 
 Naples in 1580. His designs after 
 the antique make thirty volumes in 
 folio. Ligorio was nominated archi- 
 tect to the church of St. Peter, at 
 Rome, in the pontificate of Paul IV., 
 but was deprived of that post after- 
 wards, and succeeded by Michel 
 Angelo -D' Argenviile. 
 
 LIGOZZI (j'acopo), an Italian 
 painter of battles, &c., born at Ve- 
 rona in 1543, and died in 1627, 
 aged 84. He was a disciple of 
 Giovanni Ermanno, or, according 
 to Lanzi, of Paolo Veronese. He 
 painted in fresco as well as in oil ; 
 in the former, he painted the 
 triumph of Paulus Kmilius, and 
 also battles, which he executed in a 
 grand style, and with abundance of 
 spirit; and in oil he finished a 
 number of excellent compositions 
 at Florence, being for many years
 
 301 
 
 LIN 
 
 employed by the Grand Duke ; and 
 several of the churches and convents 
 of that city are adorned with his 
 performances Lanzi, Fins., PiUt. 
 LINGLEBACH (John), a Ger- 
 man painter, born at Frankfort on 
 the Maine in 1625, and died in 
 1 687, aged 62. He learned the art 
 of painting in Holland, and after- 
 wards went to Rome, where he stu- 
 diously applied himself to observe 
 every thing that was curious in art 
 or nature, as far as he thought it 
 merited his attention ; and he con- 
 tinued at Rome till he was twenty- 
 five years of age. His usual subjects 
 are fairs, mountebanks, sea prospects, 
 naval engagements, and landscapes, 
 which he composed and executed 
 exceedingly well. His landscapes 
 are enriched with antiquities, ruins, 
 animals, and elegant figures ; his 
 sea fights are full of expression, 
 exciting pity and terror ; and all his 
 objects arc well designed. His skies 
 are generally light, and thinly 
 clouded, and his management of 
 the aerial perspective is extremely 
 judicious; his keeping is usually- 
 good, his distances of a clear bluish 
 tint ; and the whole together is 
 masterly, producing an agreeable 
 effect. In painting figures or ani- 
 mals he had uncommon readiness ; 
 and, on that account, he was em- 
 ployed by several eminent artists to 
 adorn their landscajnjs with those 
 objects ; and whatever he inserted 
 in the works of other masters, he 
 always excellently adapted to the 
 scene and the subject. His pencil 
 is free, his touch clean and light, 
 and his compositions are in general 
 esteem. He generally introduced 
 into most of his compositions, pieces 
 of architecture, the remains of ele- 
 gant buildings, or the gates of sea- 
 port towns of Italy, embellished 
 with statues, placed sometimes on 
 the pediments and cornices, and 
 
 sometimes in niches. He also ex- 
 celled in representing Italian fairs 
 and markets, inserted in those sub- 
 jects abundance of figures, well 
 grouped and designed, in attitudes 
 suitable to their different characters 
 and occupations, and though he 
 often repeated the same subjects, 
 yet the liveliness of his imagination, 
 and the readiness of his invention, 
 always enabled him to give them a 
 remarkable variety Houb., JPilk. 
 
 LINT (Peter Van), a Flemish 
 historical painter, born at Antwerp 
 in 1609. He travelled when young 
 to Rome, where he studied in the 
 academy, and also after nature, till 
 he rendered himself distinguished 
 as a master of considerable abilities 
 in history and in portrait-painting. 
 The historical subjects which he 
 composed were taken both from 
 sacred and profane writers ; and he 
 painted in distemper, as well as in 
 oil, in a large and small size, with 
 equal merit. Some very grand 
 compositions of this master are at 
 Ostia, and others in the church of 
 the Madonna del Popolo, at Rome. 
 After ten years' residence in Italy, 
 he returned to his native city, where 
 he succeeded to the utmost of his 
 wishes ; and his works afforded the 
 King of Denmark so much satisfac- 
 tion, that he furnished him with 
 employment for several years, and 
 bought up all his pictures that could 
 be procured. His manner of com- 
 position was in the grand style, his 
 design being correct, and his colour- 
 ing extremely good. His works are 
 very scarce ; but one of his best 
 performances is to be seen in the 
 church of the Carmelites at Ant- 
 werp. Houb., Pilk. 
 
 LINT, called STUDIO (Henry 
 Van), a Flemish painter, supposed 
 to be the son of Peter Van Lint ; 
 fut no particulars are known of his 
 jirth or death. He travelled to 
 D o
 
 LIN 
 
 302 
 
 Koine at an early age, and spent all 
 his leisure hours in studying nature, 
 in the beautiful scenes about that 
 city, the rocks, rivers, villas, cas- 
 cades, and landscapes; which em- 
 ployment usually engaged him during 
 the summer, and part of the autumn 
 months. His paintings gradually 
 rose into esteem, more particularly 
 by their being true imitations of 
 nature; and on account of his at- 
 tention to his improvement, and his 
 remarkable application, he was 
 named Studio, by the Bentvogel 
 society of artists at Rome, by which 
 appellation he is even at this day 
 distinguished. Pilk. 
 
 LINTMEYER, or LINDMEY- 
 ER (Daniel). This artist was born 
 at Schaffhausen about the year 1540. 
 He was chiefly know as a painter on 
 glass, in which his works were ad- 
 mired for the ingenuity of his com- 
 positions and the lustre and brilliancy 
 of his colouring. Sandrart. 
 
 L1OTARD (John Stephen), a 
 painter in crayons, was born at Ge- 
 neva in 1702, and died about 1780. 
 He went at an early age to France, 
 and studied at Paris, after which he 
 visited Rome, and travelled into the 
 East. In 1772 he visited England, 
 where he disposed of his pictures 
 by auction. There is a portrait of 
 him in Walpole's Anecdotes of 
 Painting. Nouv. Diet. Hist. 
 
 LIPPI, called the Old (Filippo), 
 an Italian historical and portrait 
 painter, born at Florence in 1421, 
 and died in 1488, aged 67. He was 
 educated in a convent of Carmelites, 
 and at the age of sixteen he had an 
 opportunity of seeing Masaccio at 
 work, in painting the chapel of that 
 convent, which inspired him with an 
 eager desire to learn the art. He 
 therefore became a disciple of that 
 master, and studied design with in- 
 expressible assiduity, making so rapid 
 a progress} that he not only pleased, 
 
 but surprised Masaccio. The praises 
 given him by his friends, as well as 
 his instructor, wrought so strongly 
 on his mind, that he forsook the 
 convent, threw off the habit, and 
 devoted himeelf entirely to the pro- 
 fession of painting. He endeavoured 
 to obtain as much instruction as pos- 
 sible from Masaccio, and very hap- 
 pily imitated his manner : yet the 
 course of his studies was for some 
 time interrupted by an accident, 
 which detained him in Barbary for 
 a year and a half; for, while he was 
 amusing himself in the company of 
 some friends on board a felucca in 
 the Mediterranean, a corsair who 
 was cruising near the shore, took 
 them all prisoners, and carried them 
 into captivity. But Lippi having one 
 day drawn the portrait of his master, 
 with a piece of charcoal on n wall, 
 the master was so affected with the 
 novelty of the performance, and the 
 exactness of the resemblance, that, 
 after obliging him to paint the por- 
 traits of a few other persons, he ge- 
 nerously restored him to liberty. 
 On his return to Europe, he went to 
 his native city, Florence, and for a 
 considerable time he was employed 
 by the Grand Duke. The merit of 
 his works recommended him, not 
 only to the particular esteem of that 
 prince and the nobility, but also to 
 the ecclesiastics, who engaged him 
 for several noble compositions for 
 their churches and convents. It is 
 observed of Lippi, that he was the 
 first of the Florentine painters who 
 attempted to design figures as large 
 as the life ; the first who remarkably 
 diversified the draperies, or who gave 
 his figures the air of antique. He 
 was a man of very loose morals, and 
 deluded a nun to elope with Liui 
 from the convent of Prato, where 
 she sat to him as a model for the 
 picture of the Virgin ; and though his 
 friends severely reproached him for
 
 303 
 
 his misconduct, yet ho afterwards 
 engaged himself in another criminal 
 intrigue, for which the parents of the 
 lady caused him to be poisoned. But 
 other writers say, that he died of 
 poison at Spoleto, from the resent- 
 ment of a person of that city, with 
 whose wife he held a criminal con- 
 versation while he was employed in 
 painting the altar-piece of the cathe- 
 dral at Spoleto ; the design of which 
 picture was exceedingly grand, though 
 it was left unfinished by the unfor- 
 tunate death of the artist. His co- 
 louring was extremely agreeable, and 
 his manner (like that of his master, 
 Masaccio) was grand and elegant ; 
 his draperies were broad and loose, 
 and his figures had a competent de- 
 gree of grace, with a good expression. 
 -De Piles, Pilk. 
 
 LIPPI (Filippo), an Italian pain- 
 ter, and son of the above, born at 
 Florence in 1460, and died in 1505, 
 aged 45. He was a disciple of San- 
 dro Boticelli, and strictly adhered to 
 the style of his master. He showed 
 great capacity and invention ; and 
 several of his compositions were ex- 
 ecuted with great elegance, with a 
 very pleasing tone of colouring. But 
 his pai'ticular excellence consisted in 
 painting the ornaments of architec- 
 ture, especially the friezes, in the 
 true taste of the antique, with a fine 
 understanding of the chiaro-scuro. 
 Fa*., Pilk. 
 
 LIPPI (Lorenzo), an Italian 
 historical painter and poet, born at 
 Florence in 1606, and died in 1664, 
 aged 58. He painted many grand 
 designs for the chapels and convents 
 of his native city, by which he 
 acquired great reputation ; yet al- 
 though he was fond of imitating 
 simple nature without any embel- 
 lishments from invention, his works 
 are held in the highest esteem for 
 the graceful airs of his heads, for the 
 correctness of his outlines, and for the 
 
 elegant dispositions of the figures. As 
 a poet he is known by a burlesque 
 piece, entitled, Malmantile Requi- 
 stato, printed at Florence in 1688, 
 4to., under the name of Pertoni 
 Lipoli. It was re-printed in 1731, 
 with notes, 4to., and at Paris in 
 1768, 12mo. Moreri. 
 
 LIS (John), a German painter, 
 born at Oldenburgh in 1570, and died 
 in 1629, aged 59. He was a disciple 
 of Henry Goltzius, and adhered to 
 his style till he went to Italy, where 
 he improved his taste and judgment, 
 and altered his manner entirely. His 
 subjects usually were, histories taken 
 from the sacred writings, or the re- 
 presentations of rural sports, mar- 
 riages, balls, and villagers dancing, 
 dressed in Venetian habits ; all which 
 subjects he painted in a small as well 
 as large size ; designed with consi- 
 derable correctness, and composed 
 with great spirit. A capital picture 
 of this master is Adam and Eve 
 lamenting the death of Abel ; it is 
 extremely admired, not only for the 
 expression, but also for the beauty 
 of the landscape ; and in the church 
 of St. Nicholas, at Venice, is a cele- 
 brated painting of John Lis, repre- 
 senting St. Jerome in the desert, with 
 a pen in his hand, and his head turned 
 to look at an angel, who is supposed 
 to be sounding the last trumpet. 
 The colouring of this picture is 
 rather too red, but it is designed in a 
 fine style, and charmingly pencilled. 
 Houhraken also mentions a picture 
 of the Prodigal Son, the only objec- 
 tion to which is, that the dresses are 
 
 too modern Houb., Pilk. 
 
 LIS (John Vander), a Flemish 
 painter, born about 1601. He was 
 a disciple of Cornelius Poelemburg, 
 whose manner he imitated with 
 ! extraordinary exactness in the tints 
 of his colouring, his neatness of 
 pencil, and the choice of his subjects. 
 There are some paintings of this
 
 304 
 
 tiv 
 
 master's hand, which, though they 
 appear to have somewhat less free- 
 dom and lightness of touch, are nearly 
 equal to those of Poelemburg, and 
 are frequently taken to be his. There 
 is a fine picture by this master in the 
 possession of Mr. Bisschop, at Rot- 
 terdam, representing Diana in the 
 Bath, attended by her Nymphs ; and 
 his best performance in England is 
 said to be in the possession of Viscount 
 Middleton Houb., Pilk. 
 
 LIVERSEEGE (Henry), an 
 English portrait and historical 
 painter, born at Manchester in 1 803, 
 and died in 1 832, aged 29. The father 
 of Liverseege carried on business 
 connected with the cotton trade ; hut 
 it was an uncle to whom he was in- 
 debted for his education, and by 
 whom he was brought up. From 
 infancy he was afflicted with the 
 troublesome complaint of asthma. 
 When a boy, he was fond of drawing 
 anything, because, as he afterwards 
 said, he saw others do it; and in 
 whatever lie attempted he always 
 endeavoured to excel his opponent. 
 From this trifling cause arose that 
 powerful feeling of emulation which 
 actuated him to the last. 
 
 The exact period cannot be fixed 
 upon when first Liverseege decided 
 on pursuing the arts ; but, like many 
 other men of genius, no doubt his 
 mind was acted upon by incidental 
 circumstances; and it was long, too, 
 ere he discovered the true bent of 
 his genius dramatic paintiny ; for 
 the earlier periods of his youth were 
 wasted in the drudgery of portrait 
 painting. On his first composition 
 in this style being exhibited in 
 Manchester, it immediately attracted 
 the notice of many judges of taste; 
 and from that time his affairs began 
 to assume a more brilliant aspect, 
 and he was enabled to pursue the 
 studies most congenial to his feelings 
 and habits. Every new composition 
 
 afforded indubitable signs of the 
 felicity of his choice, and of his rapid 
 improvement in the art. He pos- 
 sessed a vivid perception of the 
 beauties of poetry and romance : his 
 compositions are derived chiefly from 
 works of imagination, and are treated 
 in a manner which clearly attests his 
 aptitude for this particular style. His 
 picture of the "Black Dwarf," taken 
 from Scott's novels, represents the 
 interview between Isabella (on the 
 evening of her intended marriage) 
 and the Recluse, at the moment 
 when the Dwaif is in the act of 
 unsheathing his dagger, and Isabella 
 is endeavouring to suppress her 
 emotions of alarm. The painting is 
 small, but tells the story in the 
 most graphic and vivid manner. 
 The chiaro-scuro is also good, but 
 the colouring is rather dry in its tex- 
 ture. It was the first subject he ex- 
 hibited at the Royal Academy. 
 When contemplating this composi- 
 tion, he was at a loss for a model for 
 the Dwarf, so at length he made one 
 of clay. 
 
 About five years ago he began to 
 come to London for three or four 
 months at a time, to draw at the 
 British Museum, and copy at the 
 British Institution ; and his copies at 
 the latter place were admirably close 
 in resemblance to the originals, espe- 
 cially those from Rubens, Vandyck, 
 and Tenicrs. Indeed, he has gone 
 so far as to say, that one copy which 
 he made from Rubens, in the coun- 
 try, was so like, that, to use his own 
 words" Sir, they could not tell 
 one from the other." During his last 
 stay in town (for the purpose of 
 study) he lodged at Mr. Bullock's, 
 the printscllcr, then residing in the 
 Strand, where he had great oppor- 
 tunities of copying prints and paint- 
 ings; and one copy which he made 
 from Stcphanoff's " Lovers' Quar- 
 rels," engraved by C. Heath, was
 
 305 
 
 subsequently sold for no trilling sura. 
 Liverseege, when in town, besides 
 studying at the British Museum, 
 drew at an academy, now broken 
 tip, in Savoy-street, Strand. About 
 this time he sent his probationary 
 drawing to the Royal Academy, for 
 admission as a student; but, in con- 
 sequence of some informality in the 
 address to the keeper, it was re- 
 
 cted. 
 
 it. The " Grave-diggers," and 
 " Catherine Seyton," are now the 
 property of two gentlemen of Man- 
 chester. 
 
 In the Royal Academy Exhibi- 
 tion of 1831, Liverseege sent two 
 pictures, " Sir Peircie Shafton and 
 Mysie Happer," from Scott's Monas- 
 tery, and " Hamlet and his Mother 
 in the closet." The first of these, 
 in spite of the two long legs of Sir 
 To the Exhibition of the Society of j Peircie, is a very beautiful picture ; 
 British Artists, in 1830, he sent his i the female especially is very deli- 
 painting called " The Inquiry," re- ' cately treated, and comes fully to 
 presenting a country lad, with game, j the description of her beauty given 
 standing before a burly and pompous ' in the novel. This picture is now 
 porter, at the door of a country { in the possession of the Duke of 
 mansion. The characters here are Devonshire, who purchased it the 
 very happily hit off : no force of co- moment he saw it, at the artist's 
 louring or exaggerated effect is aimed j own price of thirty guineas. The 
 at, but simply a scene of nature. In ! " Hamlet and his Mother" shows 
 the exhibition of this society, in 1831, i his deep sense of the beauties 
 he had three paintings: the "Grave- | of Shakspeare, and how well he 
 diggers," from Hamlet; "Catherine j could enter into the characteristics 
 Seyton," and " Benedicts, or Holy ! of the poet. The Ghost of Hamlet's 
 Daughter." The excellence of the ! Father is depicted with all the feel- 
 " Grave-diggers" does not perhaps i ing and poetry, without the extra- 
 consist so much in the just expres- j vagance, of Fuseli: altogether, this 
 sion of the individuals, as in its bar- j is one of Liverseege's most imagina- 
 monious colouring, breadth, and free- ! tive compositions, 
 dom of pencilling, and the elevated I In 1830, he exhibited at the 
 feeling of its style. " Catherine British Institution the " Weekly 
 Seyton" is a portrait of his sister, Register," representing a cobbler de- 
 painted with great freedom of hand- ; vouring, with straining eyes, the 
 ling and simple combination of co- i contents of Cobbett's last Register, 
 lour. The " Benedicte" he painted ; And in the following year he had 
 when in London, after he had come " Captain Machcath in Prison," re- 
 up from Manchester, and it was re- presenting this prince of highwaymen 
 ccived in the Gallery after the ex- drowning his cares in " potations 
 hibition opened. It represents a pottle deep;" painted with great 
 female, veiled, and kneeling before breadth and clearness of colouring, 
 an altar, and a priest sitting beside It was a commission from Mr. Hicks, 
 her with extended hands, in the act ' of Bolton, near Manchester, Liver- 
 of blessing her. The figure of the seege's great friend and patron, of 
 female is of great elegance, and her ; whom he always spoke with respect- 
 white dress and veil come into power- , fill gratitude, terming him his " best 
 ful opposition with the sable robes of , friend." 
 
 the monk. This picture attracted j Thus we have brought together 
 the notice of Mr. Charles Heath, the principal events of his brief career, 
 who gave the artist forty guineas for down to the period when he last ex- 
 
 DD2
 
 306 
 
 hibited in London. Being a " Man- 
 chester man," of course the com- 
 mittee of the Manchester Institution 
 always paid him the greatest atten- 
 tion ; and to their exhibition of 1831 
 he sent four paintings : " The Re- 
 gister," " Don Quixote in his Study," 
 " The Fisherman," and another 
 "Don Quixote." "The Fisherman" 
 he painted during his stay in London 
 in the summer of 1831, and picked 
 up his model at the bottom of Arun- 
 del Street, Strand ; he composed the 
 whole into a very picturesque and 
 exquisite painting, representing the 
 fisherman as hesitating whether he 
 should take another pot or not. 
 The scene is laid outside the door of 
 a public-house : on a table is the 
 pot, turned upside-down, and the 
 fisherman standing beside it, with 
 hands in his pockets, and a pipe in 
 his mouth : the sea in the distance. 
 The " Don Quixote in his Study" 
 was also painted in tlc summer of 
 1831, in London; the water-colour 
 skctcli of which he had designed 
 some time before; indeed, he said it 
 formed one of his first efforts in 
 water-colours ; it differs from the 
 oil paintings, in having a wall back- 
 ground instead of a curtain. 
 
 When he last parted from his 
 London friends and companions to 
 return to Manchester, they looked 
 forward with hope to the period 
 when he would again be amongst 
 them; and the intelligence of his 
 death struck them as a thunder- 
 stroke, for they had received no in- 
 formation of any illness; and his 
 last letters spoke of his being in 
 London much earlier than usual, 
 preparatory to taking up his abode 
 entirely in the town; thus yielding 
 to the importunities of friends, 
 that being now firmly established in 
 reputation, he should leave his dull 
 lite in the country to be in the 
 centre of society in London. On 
 
 the 1 3th of January, 1 832, his mor- 
 tal career terminated, just when 
 success had added vigour to his en- 
 thusiasm and genius, and his course 
 to the temple of fame promised to 
 be both brilliant and rapid. Enough, 
 however, had already been accom- 
 plished within the few years allotted 
 I to him to gain him the highest repu- 
 ' tation, and to warrant us in the an- 
 [ ticipation that, had he lived, he 
 I would have placed himself amongst 
 , the few great painters of the country. 
 | It cannot, indeed, be said that his 
 paintings are free from defects ; but 
 those defects consist only of such 
 points as his genius would, in time, 
 have overcome. 
 
 The " Don Quixote reading in 
 his Study," before mentioned, he in- 
 tended to send to the Liverpool In- 
 stitution for the prize of fifty guineas ; 
 but he was persuaded by his Man- 
 chester friends to exhibit it in his 
 native town, to give an Mat to their 
 institution. It is, perhaps, the best 
 painting he ever produced; display- 
 ing a fine eye for colour, and know- 
 ledge of chiaro-scuro and breadth. 
 The Don is represented sitting, with 
 acountenancc noble and dignified, but 
 wasted and care- worn, and on a table 
 before him are a great book, whili 
 he is reading, and an iron helmet ; 
 and to the left corner, in shade, are 
 a globe and some large books : the 
 light strikes down from the left upon 
 the table and books, and concen- 
 trates it there, and the yellow colour 
 of the table-cover assists to diffuse 
 it. The extreme decided colour is 
 his black velvet cap, relieved by a 
 gold tassel. It was hinted to the 
 artist that a little blue somewhere 
 would improve it. " Oh no ! by no 
 means," he said; "it would then be 
 too fiery." This picture was the 
 iiduiiration of every one who saw it 
 in his studio. He commenced a copy 
 of it in water-colours, which was
 
 307 
 
 fcpoiled, iu consequence of his not 
 being able to produce the same toned 
 green; and lie was obliged to do an- 
 other, and put a wall back-ground, 
 with armour hanging on it, to relieve 
 its uniformity. This drawing he 
 sold to Ralph Bernal, Esq. M.P., 
 a great collector of water-colour 
 paintings. Every object and parti- 
 cular colour in this truly admirable 
 work is painted from the model : a 
 friend sat for the figure of the Don; 
 and indeed he never worked upon 
 any design without having the various 
 objects before him, disposed in the 
 exact order in which he wished to 
 represent them. This is the reason 
 why his works possess that vivid air 
 of identity and individuality which 
 cannot be preserved by any other 
 means; consequently, a painter in 
 this style should be possessed of a 
 complete wardrobe, and various mul- 
 tifarious articles; but it was only a 
 few days before leaving London that 
 Liverseege bought a breast-plate and 
 back of polished steel armour : he 
 already had a helmet. The above 
 picture of " Don Quixote" was ex- 
 hibited at the British Institution in 
 1832, together with one called " The 
 Recruit," (concerning which he had 
 written up to London to say that he 
 had sold it for 130 guineas), an en- 
 listed country bumpkin in an ale- 
 house ; an admirable production, the 
 water-colour sketch of which, also, 
 he had completed sonic time ago. 
 
 Having now gone through his 
 first-rate pictures, and adverted to 
 their merits, we have only to point 
 out his greatest defects, which are, 
 that his figures are generally too 
 long, though an exception to this 
 is to be found in " The Fisher- 
 man." In every other respect no 
 particular objection can be urged, 
 not even as to his drawing, for his 
 faces and hands are always remark- 
 ably good; bis colouring is clear, 
 
 rich, and harmonious; not rich in 
 the variety of colours, but in the 
 harmony of such as he introduces, 
 which is the true colouring of nature. 
 His effects are never forced, never 
 arise from the incongruous jumble 
 of black and white to which medio- 
 crity and ignorance resorts His 
 handling is light, firm, and square, 
 gleaned from his deep study of Ru- 
 bens and Teniers. His feeling, or 
 style, was original, at the same time 
 highly poetical and refined. 
 
 Liverseege in height was about 
 five feet five, of a thin spare body, 
 and rather deformed in his left 
 shoulder ; complexion very pale, 
 countenance restless and enquiring, 
 bis eyes especially always bespoke 
 continual anxiety, and his mouth 
 great nervousness and irritability. 
 In temper he was irritable, which, 
 however, did not arise from malevo- 
 lence of nature, but was the effect of 
 ill health ; in disposition he was 
 humane and generous in mind 
 elevated and refined in his man- 
 ners gentlemanly and courteous, yet 
 with the air of one who was con- 
 scious of his superiority of genius ; 
 but in justice to his memory it 
 must be added, that this feeling he 
 never carried to offensiveness. In 
 his dress and appearance he was neat 
 and gentlemanly, and though a little 
 vain, it was the vanity of a perfect 
 gentleman, not of a coxcomb. 
 
 We conclude this short and hasty 
 sketch by an anecdote, which was a 
 source of much amusement to his 
 friends. About three years since, 
 when in London, he began a design 
 of " Christopher Sly and the Land- 
 lady," from Catherine and Pctru- 
 chio, and for a long time looked 
 about for a model for Christopher. 
 At length he met with a cobbler, 
 the type of Sly in appearance ; and 
 as Liverseege never painted any thing 
 but from nature, of course lie wished
 
 LOD 
 
 308 
 
 I. CM 
 
 to sec the cobbler drunk in reality ; ' 
 so he supplied himself with a bottle 
 of gin, and plied his model well ; but 
 the bottle being finished, and the 
 cobbler as " sober as a judge," he 
 got another, which also went like 
 so much water, and the cobbler as 
 steady as ever. Liverseege became 
 angry, and declared that he would 
 not give him another drop, for that 
 it would cost more in gin to make 
 him drunk than the picture would 
 fetch ; and so he dismissed Crispin 
 about his business, and relinquished 
 the design of his picture Library 
 
 of the Fine Arts Gen. Biog. 
 
 Diet. 
 
 LODGE (William), an English 
 engraver and draftsman, born at 
 Leeds in Yorkshire, about the year 
 1649. He was the son of a mer- 
 chant, who left him a handsome 
 patrimony. From school he went 
 to Jesus College, Cambridge, and 
 was afterwards a student of law at 
 Lincoln's-inn ; but more pleasurable 
 studies suiting his genius, he attend- 
 ed Lord Bellasis, in his embassy 
 to Venice, where meeting with Gia- 
 como Barri's Viaggio Pittoresco, 
 in which are particularised the 
 principal pictures in Italy, and an 
 account of the celebrated collection 
 of the Canone Settala at Milan, he 
 translated it into English, and pub- 
 lished it in 1C79, with heads of the 
 most eminent painters, and a map 
 of Italy, etched by himself. During 
 his travels he drew various views, 
 which he afterwards etched. On 
 his return to England, he assisted 
 Dr. Lister in drawing rare shells 
 and fossils, which were transmitted 
 to the Royal Society, and are in- 
 serted in their Transactions. Strutt. 
 
 LOIR (Nicholas), a French his- 
 torical painter, born at Paris in 1 624, 
 and died in 1679, aged 55. He was 
 first a disciple of Le Sueur, and after- 
 wards of Le Brun. He composed 
 
 with readiness, and had a good taste 
 of design ; his pictures were neatly 
 handled, and he disposed them 
 agreeably ; but he so far wanted 
 attention, that he scarce had pro- 
 duced any one thought, but he exe- 
 cuted it as cxpeditiously as it entered 
 into his mind, without allowing him- 
 self time to digest it. And that 
 method he pursued, not only by 
 means of a habit which he had 
 acquired, but also by a retentive 
 memory, which could readily recal 
 the images of those objects which he 
 had seen in Italy, where he had for 
 some time resided. Every part of 
 his subjects were equally well paint- 
 ed, figures, landscapes, architecture, 
 and ornaments ; and he particularly 
 excelled in designing women and 
 boys. He was employed by Louis 
 XIV. at Versailles and the Tuil- 
 leries, and died professor of the 
 academy. Z) 1 'Argenville, Pilk. 
 
 LOMAZZO (Giovanni Paolo), 
 an Italian painter, born at Milan in 
 1558, and died in 1598, aged 40. 
 He excelled iu history, landscapes, 
 and portraits, and wrote a Treatise 
 on Painting, in Italian, 1585, 4 to. ; 
 Ideade Tempio della Pittura, 1590, 
 4to. Tiraboschi. 
 
 LOMBARD (Lambert), an his- 
 torical painter, born in 1500, and 
 died in ] 560, aged 60. He studied 
 at Rome, and then returned to his 
 own country, where he exercised his 
 profession with reputation. He had 
 also a good knowledge of architec- 
 ture I) ^Argenville. 
 
 LOMBART (Peter), an eminent 
 French engraver, who flourished 
 about the year 1660. He was a 
 native of Paris, wheie he learnt the 
 art of engraving. He came to Eng- 
 land before the Revolution, because 
 some of his plates for English publi- 
 cations are dated prior to that event. 
 He executed many emblematical 
 and historical plates, but hit best
 
 309 
 
 works are portraits ; of these he 
 produced a considerable number, 
 which are highly esteemed, and are 
 
 after the manner of Vandyck 
 
 Ency. Brit. 
 
 LOMBARDI (Giovanni Dome- 
 nico), an Italian historical painter, 
 born at Lucca in 1682, and was a 
 scholar of Pietro Paolini, whose style 
 he followed and improved, by study- 
 ing the works of the best Venetian 
 colourists, and the great style of 
 design of the Caracci. Lanzi speaks 
 of the talents of this artist in 
 the most favourable terms. His 
 ingenious and tasteful compositions, 
 the grand and resolute character of 
 his design, rank him among the 
 ablest artists of his time. Such are 
 his two laterals in the choir of the 
 Olivctani, representing St. Bernardo 
 succouring the persons afflicted with 
 the plague. There are two other 
 pictures by him in S. Romano, 
 painted with such force of colour 
 and relief, thai they approach the 
 best style of Guercino. His reputa- 
 tion would have stood higher, if he 
 had always painted with equal care, 
 and had not degraded his talents by 
 painting pictures at all prices. 
 Lanzi. 
 
 LOMMELIN (Adrian); this art- 
 ist was born at Amiens about the 
 year 1636, and was instructed in en- 
 graving at Antwerp, where he passed 
 the greater part of his life. It would 
 have been unfortunate for the fame 
 of Rubens, if his ability was to be 
 appreciated by the prints executed by 
 tliis indifferent artist, by whom some 
 of his most distinguished works have 
 been engraved ; and though it is 
 necessary we should notice his prints, 
 it is more on account of the inte- 
 resting subjects he has selected, than 
 the merit of their execution. The 
 portraits he engraved, after Van- 
 dyck, however, are not without 
 merit Strutt. 
 
 LONI (Alessandro), an Italian 
 painter, born at Florence in 1 655, 
 and died in 1702, aged 47. He was 
 a disciple of Carlo Dolce, whose 
 style he imitated in the neatness 
 and the high finishing of his works. 
 He was employed and exceedingly 
 favoured by the Grand Duke of 
 Tuscany, who retained him in his 
 service for several years. There is 
 in the Florentine collection, a pic- 
 ture of this master's hand, which, 
 although of a small size, contains 
 near an hundred figures; all well 
 disposed, judiciously grouped, and 
 most delicately pencilled and colour- 
 ed. Descamps, Pilk. 
 
 LOON (Theodore Van), a Fle- 
 mish painter, born at Brussels 
 about 1629. It is not mentioned 
 from whom he received his first in- 
 structions in the art of painting; 
 but it is related, that he travelled 
 to Rome at au early age, and stu- 
 died the works of the most cele- 
 brated masters. Having fortunately 
 formed an intimacy with Carlo Ma- 
 ratti, they worked conjointly toge- 
 ther; they drew after the works of 
 Raffaelle with an amicable competi- 
 tion, from whence each of them 
 acquired those beauties which ap- 
 pear in their compositions. All the 
 works of Van Loo are much in the 
 style and manner of Maratti ; the 
 same taste of design, the same dig- 
 nity in portraits, the same elevation 
 of thought in composition, is ob- 
 servable in both ; and, through the 
 whole, the school of Italy is parti- 
 cularly distinguished. Two capital 
 pictures, by this master, are in a 
 church at Mechlin : the subject of 
 one is the Wise Men offering gold, 
 frankincense, and myrrh; and that 
 of the other is, the Salutation of the 
 Virgin. Houb. Pilk. 
 
 LORRAINE, or GELEE (Claude), 
 an eminent landscape painter, born 
 at Lorraine in 1600,anddicdin 1682,
 
 810 
 
 aged 82. He was put an apprentice 
 to a pastry-cook, which business 
 lie quitted and travelled to Rome. 
 De Piles says, that chance hrought 
 him to Agostino Tasso, who hired 
 him to grind his colours, clean his 
 palette and pencils, and perform 
 other domestic occupations. His 
 master, in hopes to make him ser- 
 viceable to him in some of his great 
 undertakings, taught him some of 
 the rules of perspective, and the 
 method of preparing his colours. 
 In the early part of his life he show- 
 ed no symptoms of that astonishing 
 genius, which in his more advanced 
 years shone out in his works, that are 
 beheld with admiration by all the 
 world. But though at first he could 
 with difficulty be taught to compre- 
 hend the rudiments of the art, yet, 
 when he began to have some tolerable 
 conception of them, and to profit by 
 his application, his mind seemed 
 proportionably to expand ; his ideas 
 improved; his imagination became 
 more lively; and with wonderful 
 eagerness he applied himself to his 
 studies. He exerted his utmost 
 industry to explore the true prin- 
 ciples of painting, by an incessant 
 examination of nature, that genuine 
 source of excellence ; for which 
 purpose, ho made his studies in the 
 open fields, where he very frequent- 
 ly continued from sun-rise till the 
 dusk of the evening compelled him 
 to withdraw himself from his con- 
 templations. It was his custom to 
 sketch whatever he thought beauti- 
 ful or striking ; and every curious 
 tinge of light, on all kinds of objects, 
 he marked in his sketches in -a simi- 
 lar colour ; from which he perfected 
 his landscapes with such a look of 
 real nature, and gave them such an 
 appearance of truth, as proved 
 superior to any artist that ever 
 painted in that style. The beauties 
 of his paintings are derived from 
 
 nature herself, which ho examined 
 with uncommon assiduity ; and 
 Sandrart relates, that Claude used 
 to explain to him, as they walked 
 through the fields, the causes of the 
 different appearances of the same 
 prospect at different hours of the 
 day, from the reflections of light, 
 from dews or vapours, in the even- 
 ing or morning, with all the pre- 
 cision of a philosopher. He worked 
 on his pictures with great care, 
 endeavouring to bring them to per- 
 fection, by touching them frequently 
 over again ; and if any perform- 
 ance did not answer his idea, it 
 was customary with him to alter, 
 to deface, and repaint it again seve- 
 ral times over, till it corresponded 
 with the image pictured in his mind. 
 But whatever struck his imagina- 
 tion, while he ohserved nature 
 abroad, it was so strongly impressed 
 on his memory, that, on his return 
 to his work, he never failed to make 
 the happiest use of, it. His skies 
 are warm, and full of lustre, and 
 every object is properly illuminated. 
 His distances are admirable, and in 
 every part a delightful union and 
 harmony not only excite our ap- 
 plause, hut our admiration. His 
 invention is pleasing, his colouring 
 delicate, and his tints have such an 
 agreeable sweetness and variety, as 
 to have been hut imperfectly imi- 
 tated by the hcst subsequent artists, 
 but were never equalled. He fre- 
 quently gave an uncommon tender- 
 ness to his finished trees, by glazing; 
 and in his large compositions, which 
 he painted in fresco, he was so ex- 
 act, that the distinct species of 
 every tree might readily be distin- 
 guished. Among several of his 
 performances in that manner of 
 painting, one was on the four walls 
 of a magnificent saloon at Rome, 
 belonging to a nobleman named 
 Muting, the height of the wall being 

 
 311 
 
 very considerable. On the first side 
 he represented the vestiges of au 
 ancient palace, bounded by a deep 
 grove of trees, incomparably ex- 
 pressed as to the forms, stems, 
 barks, branchings, and foliage; the 
 proportionable grandeur of the trees, 
 as well as the length of the grove, 
 were perspectively and beautifully 
 set' off by the shrubs and plants 
 with which his ground was diver- 
 sified ; and the eye was pleasingly 
 conducted to the second wall, which 
 seemed by an artful contrivance and 
 disposition, to be only a continuation 
 of the same scene ; the same elevation 
 of the horizontal line being observed 
 through the whole work. On the 
 second side, he showed an extensive 
 plain, interspersed with mountains 
 and falls of water, as also with a va$ 
 riety of trees, plants, travellers, and 
 animals ; and this part of the com- 
 position was likewise connected with 
 the third wall. In that, the length- 
 ened prospect showed a sea-port at 
 the foot of some high hills with a 
 view of the ocean, and vessels la- 
 bouring amongst the waves, which 
 appeared in violent agitation. And 
 on the fourth wall were represented 
 caverns among rude rocks, ruins of 
 buildings, and fragments of antique 
 statues ; the composition, though 
 divided into so many parts, consist- 
 ing in the whole of but one entire 
 connected prospect. But, as to the 
 beauty, truth, and variety of the 
 work, the power of language cannot 
 sufficiently represent them. As to 
 his figures, if he painted them 
 himself, they are very indifferent ; 
 though Sandrart assures us, that he 
 spent a great deal of time and labour 
 in practising to design them ; that 
 he drew for some years in the aca- 
 demy at Rome, after living models, 
 as well as after statues ; and that he 
 took much more pains in endeavour- 
 ing to form his hand to draw figures 
 
 correctly, than to perfect himself in 
 landscape, in which he was con- 
 fessedly superior to all. And he was 
 so conscious of his deficiency in 
 figures, that he usually engaged 
 other artists who were eminent to 
 paint them for him; of which number 
 were Courtois, and Philippo Laura. 
 Sandrart relates, that it was his 
 custom to draw, (in a paper book 
 prepared for his purpose) the designs 
 of all those pictAires which were 
 transmitted to different countries; 
 and on the back of the drawings he 
 wrote the name of the person who 
 had been the purchaser. That 
 book, which he entitled Libro di 
 Verita, is now in the possession of 
 the Duke of Devonshire. His pic- 
 tures are now very rare, especially 
 such as are undamaged ; and those 
 are at this time so valued, that no 
 price, however great, is thought to 
 be superior to their merit San- 
 drart, De Piles, Pilk. 
 
 LORRAIN (Louis Joseph de), 
 a French painter and engraver, born 
 at Paris in 1715. He was a scholar 
 of Dumont. He went to Peters- 
 burgh, where he chiefly distinguished 
 himself as a painter of theatrical 
 decorations. He engraved some 
 prints from his own designs, and the 
 following after J. F. De Troy, 
 The Judgment of Solomon; Solo- 
 mon sacrificing to the Idols ; Esther 
 before Ahasuerus; The Death of 
 Cleopatra. Strutt. 
 
 LORRAIN (Robert le), a famous 
 French sculptor, born at Paris 1666, 
 and died in 1743, aged 77. In 1701 
 he became a member of the academy 
 of sculpture, on which occasion ho 
 produced his Galatea, which is reck- 
 oned his greatest work. He was 
 rector of the academy when lie died. 
 Nouv. Diet. Hist. 
 
 LORENZETTI (Ambrogio), an 
 Italian historical painter, born at 
 Siena in 1267, and died in 1350
 
 312 
 
 LOO 
 
 aged 83. He was a disciple of Giotto. 
 He principally painted in fresco, 
 and gained a very high reputation 
 for the skilful management of his 
 colours, and for the grandeur of his 
 taste in composition ; in which there 
 appeared somewhat nohle and ele- 
 gant, united with case and freedom. 
 Vasari mentions him as the first 
 who attempted to describe in land- 
 scapes, storms of wind, tempests, 
 and rain ; and yet he represented 
 them with the greatest success. His 
 imagination was lively, his manner 
 of disposing the figures in his com- 
 positions was with judgment and 
 propriety, and his invention was 
 ready. For the most part he painted 
 in a large size ; but sometimes he 
 painted in small, like that history 
 of St. Nicholas which he painted in 
 a chapel at Florence. By that 
 work he acquired infinite applause, 
 not only for the beauty of the per- 
 formance, but also for the shortness 
 of the time that he employed in the 
 finishing of it Vas., De. Piles. 
 
 LOTEN (John), a Dutch histori- 
 cal painter, who died about 1G81. 
 He lived for many years in England 
 and died in London. He was a 
 landscape painter of considerable 
 rank ; and as he always studied 
 after nature, he often had great 
 success in the romantic beauty, as 
 well as in the variety of the scenes 
 which he painted. His taste induced 
 him to describe rocks that were 
 craggy, solemn, and dreary ; cataracts 
 and torrents dashing and foaming 
 with the impetuosity of their fall ; 
 and land storms attended with rain, 
 in which he peculiarly excelled. 
 Sometimes he represented lawns 
 diversified with groves, in which he 
 rarely omitted the oak tree, that is 
 so much the ornament of the woods 
 and the forests of England ; and those 
 subjects also he painted with truth, 
 nature, and force ; but the effects of 
 
 his compositions had been much 
 greater, if he had been less cold in 
 his colouring; for a judicious eye 
 cannot but be offended with that 
 blackish tint which predominates 
 through most of the works of this 
 artist. His touch is free and spirited, 
 and the masses of light and shadow 
 in his pictures are well understood. 
 Most commonly he painted in a 
 large size ; often introducing those 
 scenes which pleased his imagination 
 whilst he lived in Switzerland. He 
 always executed them extremely 
 well. Houb., Pilk. 
 
 LOUTHERBOUBG, (Philip Jas. 
 de). This ingenious artist was born 
 at Strasburg, in 1734, and died in 
 1812, aged 78. He was the son of 
 a miniature painter, who afterwards 
 established himself in Paris, where 
 his son was placed under the tuition 
 of Francesco Casanova, and on leav- 
 ing 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 ap]>ears to have imi- 
 tated the charming style of Nicholas 
 Berghem. His works were univer- 
 sally admired, and in 17')3 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 art he discovered extra- 
 ordinary ability for several years. 
 Besides a great variety of easel pic- 
 tures, which were very generally 
 esteemed, Mr. de Louthcrbourg oc- 
 casionally employed his talents on a 
 larger scale, in commemoration of 
 the most remarkable events of the 
 time, and of the achievements of
 
 313 
 
 LDI 
 
 British valour. Among these, per- 
 haps the most popular were his pic- 
 tures of the Review of Warlcy 
 Camp ; 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 exer- 
 cise his powers as nn historical paint- 
 er ; on which occasion he painted two 
 pictures, representing the Angel de- 
 stroying the Assyrian Host, and the 
 Universal Deluge; the latter was 
 considered 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 land- 
 scapes, and indeed in his perform- 
 ances in general, he is not less re- 
 markable for the most admirable 
 dexterity of hand, and the most 
 captivating facility of pencil, than for 
 a seductive, though a meretricious 
 gaudiness in his colouring, which is 
 too frequently in opposition to the 
 chaste and sober tinting of nature. 
 The readiness with which he com- 
 posed 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 chiaro- 
 scuro, there is often a want of gene- 
 rality in the effect, which is fre- 
 quently scattered and fluttering, and 
 we look in vain for that tempered 
 harmony in the whole which dis- 
 tinguishes the most admirable pro- 
 ductions of the art. Fuseli. 
 
 LUBIENETZKI (Theodore), a 
 Polish painter, born at Cracow in 
 1653, and died in 1716, aged 63. 
 He was descended from a noble fa- 
 nily,and learned the art of painting 
 more as an accomplishment, than 
 
 "rom any view of making an advan- 
 tage of the profession. He was 
 taught design by Jurian Sturr, of 
 Hamburg, and at the same time his 
 brother Christopher was instructed 
 i>y the same master. When he had 
 jained some knowledge of the art 
 under Jurian, he went to Amsterdam, 
 to place himself under the direction 
 of Gerrard Lairesse ; and soon imi- 
 tated that artist so happily, that the 
 ideas, the colouring, and the pencil 
 of the master were evidently seen 
 in the composition of the disciple. 
 After some years' residence in the 
 Low Countries, he visited several 
 parts of Italy, and was invited to 
 Florence by the Grand Duke, where 
 he was employed for a long time by 
 that prince ; and at whose court he 
 received many extraordinary marks 
 of honour and esteem, as he after- 
 wards did at the court of Branden- 
 durgh ; till at last he returned to his 
 native soil, where he lived in high 
 reputation, and his works were uni- 
 versally admired. IPArgenviUe. 
 
 LUBIENETZKI (Christopher), a 
 Polish historical and portrait painter, 
 younger brother to Theodore, born at 
 Stettin about 1659. He was at first 
 instructed by Jurian Sturr; but af- 
 terwards ho chose Adrian Bakker for 
 his master. He continued at Am- 
 sterdam to follow his profession, and 
 rose into very great credit ; the his- 
 torical pictures of his hand being ex- 
 tremely commended for good inven- 
 tion and composition, for correctness 
 of design, and, in general, for an 
 agreeable tone of colouring. It is 
 remarked, that his portraits alone 
 would have been sufficient to esta- 
 blish his reputation and fortune, 
 even if he had not been so deservedly 
 admired as a painter of history 
 IfATgen., Houb., Pilk. 
 
 LUIKEN (Jan), an historical 
 painter and engraver. He learned 
 design and colouring under Martin 
 
 E E
 
 LUI 
 
 314 
 
 Zaagmoolen. He painted historical 
 subjects with success, and introduced 
 a great number of figures in all his 
 compositions, to which he gave more 
 expression than grace ; but his paint- 
 ings are rarely to be met with in 
 these kingdoms, though, where they 
 are seen, they are held in high esti- 
 mation. As he had a ready inven- 
 tion, he was much solicited to design 
 historical subjects for engravers, and 
 he composed most of the scriptural 
 stories which are published in the 
 Jewish and Mosaical antiquities. 
 Some of his own engravings are to 
 be seen in several other books, and 
 his application to that business caused 
 
 him to discontinue his painting 
 
 Descamps. 
 
 LUINI,or LOVINI (Bernardino). 
 The name of the painter, as signed 
 by himself on his pictures, is Lovini. 
 He was born at Luino, a small 
 town in the Milanese, about the year 
 1480, and is generally considered as 
 a scholar of Leonardo da Vinci, of 
 whose style he is considered the 
 most celebrated imitator. It is im- 
 possible for one artist to approach 
 nearer to the style of another than 
 Luini does to that of da Vinci ; the 
 same taste in his compositions and 
 designs; the same particularity of 
 colour and extraordinary relief; and 
 it requires an intimate acquaintance 
 with the works of Leonardo to dis- 
 criminate between them. His two 
 pictures of " Mary Magdalen," and 
 " St. John, embracing his Lamb," in 
 the Ambrosiana,at Milan, can hardly 
 be called inferior to the works of 
 Leonardo, in the suavity and beauty 
 of his pencil, and the piety and feel- 
 ing of his expression Lanzi. 
 
 LUTTEREL (Henry). He was 
 born in Dublin about the year 1 650. 
 He came early in his life to London 
 and was bred to the law, in New Inn ; 
 but, having a disposition for the arts, 
 he abandoned the profession of the 
 
 law, and applied himself to painting 
 portraits in crayons. He possessed 
 an inventive mind, and observing the 
 admiration excited by the new art 
 of engraving in mezzotinto, he was 
 desirous of discovering the process, 
 and contrived the means of laying 
 the grounds with a roller, which 
 succeeded to a certain degree, but 
 not to his satisfaction. At this time 
 the mezzotintos of Blooteling were 
 in great repute, and Lutterel per- 
 suaded his friend Lloyd, a print- 
 seller, to bribe a ]>erson of the name 
 of du Blois, who used to lay the 
 grounds for Booteling, and who was 
 then returning to Holland, to dis- 
 cover the mystery. He afterwards 
 connected himself with Isaac Becket, 
 and they became the earliest English 
 engravers in mezzotinto. The best 
 of his portraits, which were his prin- 
 cipal works, was that of Le Piper, 
 the painter. Strutt. 
 
 LUTI (Benedetto), an Italian 
 painter, born at Florence in 1666, 
 and died in 1724, aged 58. He was 
 for some time a scholar of Antonio 
 Domenico Gabbiani. On leaviug 
 that master, he was favoured wiih 
 the patronage of the Grand Duke ; 
 and expressing a strong desire to 
 visit Rome, his protector promoted 
 his wishes by supplying him with the 
 means, and accommodated him with 
 apartments in his palace in the 
 Campo Marzio. He was desirous 
 of studying under Giro Fcrri, but on 
 his arrival at Rome, he had the af- 
 fliction of being informed of the 
 death of that master. He did not 
 have recourse to any other instructor, 
 but applying himself diligently to 
 study the works of the different 
 masters, he formed to himself a 
 style, which, without exactly re- 
 sembling that of any other master, 
 was distinguished by elegance of 
 design and suavity of colour, toge- 
 ther with an intelligent conduct of
 
 315 
 
 the chiaro-scuro. One of his earliest ! 
 works at Rome was his picture of 
 the Death of Abel, which was | 
 publicly exhibited on the festival of 
 St. Bartholomew, when it excited 
 universal admiration, by the subli- 
 mity of the composition, and the 
 characteristic expression of the head 
 of the murderer. He was com- 
 missioned by Clement XI. to paint 
 his fine picture of the prophet Isaiah 
 in St. John of Lateran, and other 
 works, who conferred on him' the 
 order of the Cross. Among his most 
 
 admired works at Rome, may be 
 noticed his St. Anthony of Padua, 
 in the church of the Apostles, and 
 his Magdalen, in S. Caterina da 
 Sienna, at Monte Magna Napoli. 
 D^ArgenmUe. 
 
 LU YKEN (John), a Dutch engra- 
 ver, born at Amsterdam in 1649, 
 and died in 1712, aged 63. His 
 works are in considerable estimation. 
 His plates illustrative of a Bible, 
 and Theatre of Martyrs, are much 
 valued. Moreri.
 
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