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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