UNIVERSITY OF CALIFORNIA AT LOS ANGELES /•^IN ^kJ , J ■.. ^^ ^ ^ 1^ v^ BRYAN'S DICTIONARY OF PAINTERS AND ENGRAVERS IN FIVE VOLUMES GEORGE BELL AND SONS LONDON : YORK ST. COVENT GARDEN CAMBRIDGE : DEIGHTON, BELL & CO. NEW YORK : THE MACMILLAN CO. BOMBAY : A. H. WHEELER & CO. .J//f'.yjiU*nilu^i i/f^U' (iJn^^/urf/^f . J'rcf/i (5fcr" ua4*i/i^ia f/u i'. yr- « ^ BRYAN'S DICTIONARY OF I PAINTERS AND ENGRAVERS NEW EDITION REVISED AND ENLARGED UNDER THE SUPERVISION OF GEORGE C. WILLIAMSON, Litt. D. WITH NUMEROUS ILLUSTRATIONS VOLUME I. A-C *> >3 3 1 > J tt > ' > >1 > J > >' ' > 3,»> I I * t * M ' »' THE MACMILLAN COMPANY LONDON: GEORGE BELL AND SONS I 903 AU rights reserved 49Hf;4 REFFREMCE N A-o PEEFACE "fHE first editon of " Bryan's Biographical and Critical Dictionary of Painters and Engravers" was published in 1816, and since that time it has held its place without a riva^ as the most complete and trustworthy authority on the facts and lives of the painters and engravers with whom it deals. In 1849 it was revised by Mr. J. Stanley, and subsequently in 1876 a Supplement was prepared by Mr. H. Ottley. Between that time and 1884 not only had it become necessary to add a very considerable number of names, but the whole range of artistic knowledge and criticism had undergone most important and far-reaching changes owing to the researches of Messrs. Crowe and Cavalcaselle, Milanesi, Morelli, Bertolotti and others on the lives and works of the Italian painters; to those of Kramm, Michiels, Fetis, Havard, Hymans, Van den Branden, Weale, and Siret on the Dutch and Flemish painters ; to those of Passavant, Waagen, Forster, Meyer, Bode, Woltmann, Schlie,* Riegel, and Von Reber on the painters of Germany and other lands ; and to those of the late Sir William Stirling Maxwell and Senor Madrazo on the art and artists of Spain. The edition issued in Parts from 1884-9 under the editorship of Mr. R. E. Graves and Sii- Walter Arm- strong was consequently to a great extent a new work, and extended to almost double the size of its predecessor ; a considerable number of engravers especially having been added. During the fourteen years which have intervened many more names have un- fortunately become eligible for inclusion, and further researches have brought to light new facts, while fresh attributions and the transposition of numerous pictures have made much alteration necessary. In this volume, the first of five of which the new edition will consist, will thus be found seventy-two new biographies specified below, whilst upwards of six hundred corrections and alterations necessitated by the march of time have been introduced into the other lives. The most notable of the new articles are those on Jacopo, Gentile and Giovanni Bellini, contributed by Mr. Roger E. Fry ; Giotto (Bondone) by Mr. F. Mason Perkins, his latest biographer; two important contributions on Altdorfer and Blake by Mr, Oldmeadow ; Burne-Jones, Vicat Cole, Sidney Cooper, Sir F. Burton by Mr. Malcolm Bell ; Mark Antony and Ansdell by Mr. Dibdin, the chief authority on the Liverpool School; Dirk Bouts by Mr. Weale; Arnold Bocklin by Mr. G. Ravenscroft Dennis; Bellin by Mr. Elliot Stock; David Cox by Mr. Arthur B. Chamberlain of the Birming- ham Art Gallery; Bonheur, Ford Madox Brown, Cosway, Constant, Calderon, Beardsley vi PREFACE. and others by the editor, the article on Beardsley being the result of per onal acquaintance with this much maligned and very clever artist. In addition to lohese articles, shorter accounts have been specially written of Armitage, Ahsolon, Adam, Andrews, Arbo, Aivozowski, Alvarez, Anguisciola, Barnard, Barlov), Barher, Bui'gess, Brown, Barwell, Beams, Beard, Bonington, Bashkirtseff, Bierstadt, Bosboom, Britirley, Benouville, Browne, Ballantyne, Bellermann, Boyce, Bryan, Brandard, Broumlie, Binet, Bles, Boudin, Baudry, Brett, Blanchard, Block, Brozik, Collier, Casado, Casa^.iova, Cattermole, Couscn, Cope, Gahat, Chaplin, Galthrop, Cosway, Cazin, Clays, and Corbet, making in all a total of seventy-two new biographies. In addition to these new biographies many others have undergone revision in the light of recent rese.'irch, among which may be specially mentioned, Correggio by Dr. Corrado Ricci of the Brera Gallery, Milan; Michel Angelo (Buonarroti), Paolo Veronese (Caliari), Cossa, Costa, Cimabue, Cima and Carpaccio by Mr. Charles Holroyd of the National Galleijy of British Art ; Sodoma (Bazzi) and Beccafumi by Mr. R. H. Hobart Cust, auth^jr of " the Pavement Masters of Siena." Dealing as a work of this sort does, with facts rather than with criticism, the labours of preceding writers must necessarily be used with a frequency which makes special reference in every case impossible ; but the Editor trusts that he will not be found to have placed himself under any obligations that he may not here frankly and gratefully acknowledge. Succeeding volumes of the work will be augmented and improved in a similar manner. June 1903. NOTICE As confusion frequently arises in the alphabetical arrangement of biographical dic- tionaries owing to the arbitrary mode in which it has been customary to deal with such names as are preceded by an article or a preposition, or by both, it has been thought desirable in this work to adopt the grammatical principle sanctioned by the Belgian Academy in regard to the names of Flemish and French (or Walloon) origin, which are included in the " Biographie Nationale." The arrangement therefore is according to the following plan : I. Every artist having a surname is placed under that surname, cross-references being given from assumed names and sobriquets whenever needed. Thus, Correggio is entered under Allegri, Antonio. Pinturicchio „ Biagio, Bernardino. Sehastiano del Pionibo „ Luciani, Sehastiano. Tintoretto „ Eobusti, Jacopo. Titian „ ' Vecelli, Tiziano. (a) When the prefix to a name is an article it remains annexed, because it is an integral part of the name ; but when it is a preposition, it is disunited, because it indicates the place of origin or birth of the artist, or a territorial or seigneurial name. Thus, the French Le and La, and the equivalent Dutch and Flemish Be are retained ; while the French de, the Italian da and di, the German von, and the Dutch and Flemish van are rejected. Thus, Chai'les Le Brnn is entered under Le Brun. Jan David De Heem '> De Heem. Jean Franfois de Troy j> Troy. Heinrich Maria von Hess J) Hess. Isaac van Ostade » Ostade. (h) When the prefix is an article joined to or preceded by a preposition, as in the French du, de la, and des, the Italian del, della, degli, dai, dagli, and dalle, the Spanish del and de la, and the Dutch van der, van de, van den, and ver (a contraction for vati der), it cannot be disunited from the proper name, because the particles together represent the genitive case of the article. Thus, Alplwtise du Fresnoy is entered under Du Fresnoy. Lam-ent de La Hire „ De La Hire. Niccola deU' Abbaie „ Dell' Abbate. Girolamo dai Libri „ Dai Libri. Willern van de Velde „ van de Velde. riii NOTICE. (c) English artists bearing foreign names are placed under the prefix, whether it be an article or a preposition. Thus, Peter De Wint is entered under De Wint. (d) Proper names with the prefix iS"*. are placed as though the word Saint were written in full : and similarly, J/' and Ifc are arranged as Jfac. (e) Foreign compound names are arranged under the firet name. Thus, Baptiste Auhry-Lecomte is entered under Avbrij-Lecomte. Juan Cano de Arevalo „ Cano de Arevalo. II. An artist having no surname is placed under the name of the place from which he IS known, or failing that, mnder his own Christian name. Thus, Andrea da Bologna is entered under Bologna. Andrea del Sarto „ Andrea. Fra Bartolommeo „ Bartolommeo. III. Anonymous artists known as the Master of ilve Crab, the Master of the Die, the Master of the Bat-Trap, will be found under the common title of Master. R. E. G. COXTRIBUTORS OF INITIALED ARTICLES. W. A. ... ... ... ... Sir Walter Armstrong. M. B. ... ... ... ... Malcolm Bell. A. B. C. ... ... ... ... Arthur B. Chamberlain. R. H. H. C. ... ... ... ... E. H. Hobart Cust. G. R. D. ... ... ... ... G. R. Dennis. E. R. D. ... ... ... ... E. R. Dibdin. O. J. D. ... ... ... ... O.J. Dullea. R. E. F. ... ... ... ... Roger E. Fry. R. E. G. ... ... ... ... Robert Edmund Graves. M. M. H. ... ... ... ... Mary M. Heaton. C. H. .. ... ... ... Charles Hoi royd. E. J. 0. ... ... ... ... E. J. Oldmeadow. F. M. P. ... ... ... ... F. M. Perkins. P.P. ... ... ... ... Percy Pinkert on. C. R. ... ... ... ... Corrado Ricci. J. P. R. ... ... ... ... J. P. Richt«r. W. B. S. ... ... ... ... William Bell Scott. F. S. ... ... ... ... Florence Simmonds. H. C. S. ... ... ... ... H. Clifford Smith. E. S. ... ... ... ... Elliot Stock. W. H. J. W. ... ... ... ... W. H. James Weale. G. C. W. ... ... ... ... George C. WiUiamson. LIST OF ILLUSTRATIONS ANTONIO ALLEGRI, called CORREGGIO The Adoration of the Shepherds (Photogravure Plate) . . Dresden Frontispiece Apostles and Genii in the Cupola .... Parma Cathedral To face p. 22 FoDR Lunettes and Roundels of Children Convent of S. Paolo, Parma „ 24 PIETRO ALEMANNO, or ALMANNO Altar-piece, 1489 Ascdi „ 16 ANGIOLO ALLORI, called BRONZING Ferdinando de' JIedici TIffizi Gallery, Florence „ 26 MICHEL ANGIOLO AMERIGHI, called CARAVAGGIO The Lute Player Vienna „ 32 ANDREA D'AGNOLO, called ANDREA DEL SARTO St. John Baptist Pitti Palace, Florence ,, 36 Portrait of the Artist National Gallery „ 36 ANTONELLO DA MESSINA St. Jerome in His Study Natiotuil Gallery „ 44 E. ARMITAGE Judas Iscariot Tate Gallery „ 52 ALESSO BALDOVINETTI The Annunciation Uffizi Gallery, Floretice „ 74 GIOVANNI FRANCESCO BARBIERI, called GUERCINO The Annunciation Forli „ 82 FEDERIGO BAROCCIO The Appearance of Christ to Mary Magdalene Corsini Gallery, Rome „ 84 BARTOLOMMEO DI PAGHOLO, called FRA BARTOLOMMEO The Virgin and Child enthroned with Saints Liuxa „ 90 Portrait op Savonarola Florence „ 90 F. BARTOLOZZI Mildness „ 92 Vends in hee Chariot „ 92 POMPEO BATTONI The Holy Family Brera Gallery, Milan „ 94 Mary Magdalene Dresden „ 94 GIOVANNI ANTONIO BAZZI, called SODOMA St. Victor Palaszo PubUico, Siena „ 98 DOMENICO BECCAFUMI The Story of Moses and the Tables op the Law . The Pavement, Siena „ 104 X LIST OF ILLUSTRATIONS, SIR W. BEECHEY The Brothee and Sister Louvre To face p. 106 GENTILE BELLINI The Miracle of the Holt Cboss {Photogravure Plate) . Accademia, Venice „ 112 GIOVANNI BELLINI The Trassfiguration Naplts ,, 114 THOMAS BEWICK The Chillingham Bull, 1789 ,.130 BERNARDINO DI BIAGIO, called PINTURICCHIO ^NEAS Piccolomini ON HIS WAT TO THE CouxciL AT Basel . Library, Siena ,, 130 FRANCESCO BIANCHI The Madonna and Child with St. Benedict and St. Quentin . Louvre „ 132 DOMENICO BIGORDI, called GHIRLANDAIO St. Jerome in his Study . . . Church of the Ognissanti, Florence „ 134 The Adoration of the Magi . . Hospital of the Innocenti, Florence „ 134 ARNOLD BOECKLIN The Island of the Dead Leipzig Museum „ 152 GIOTTO DI BONDONE, called GIOTTO The Final Judgment Arena Chapel, Padua „ 162 The Funeral of St. Francis Sta Oroce, Florence „ 162 ROSA BONHEUB The Hobsb Fair National Gallery „ 164 BONIFAZIO VERONESE Moses brought to the Daughter of Pharaoh . . Brera Gallery, MHan „ 166 The Adoration of the Magi Accademia, Venice „ 166 R. P. BONINGTON A Coast Scene {Photogravure Plate) Hertford House „ 166 The Old Governess Louvre „ 166 FRANCESCO BONSIGNORI Details of a Polyttch San Giovanni e Pcu)lo, Venice „ 168 ALESSANDRO BONVICINO, called MORETTO Portrait of an Italian Nobleman .... National Gallery „ 170 St. Bernardino of Siena with other Saints . . Natiotud Gallery „ 170 PARIS BORDONE The Fishermen bringing the ring to the Doge Gbadenigo Accademia, Venice „ 170 Portrait of a Lady National Gallery „ 170 FRANCOIS BOUCHER Madame de Pompadour (Photogravure Plate) . . . South Kensington „ 176 THIERRY BOUTS St. Christopher Munich „ 184 JOHN BRETT The Stone-Breaker .... Collection of James Barrow, Esq. „ 194 FORD MADOX BROWN Cordelia (Pltotogramire Plate) ,> 200 Christ washing St. Peter's Feet Tate GaUery „ 202 Chaucer at the Court of Edward III Sydney Gallery „ 202 BUONARROTI, caUed MICHELANGELO The Creation of Man Sistine Chapel, Rome „ 210 The Three Fates PiUi Palace, Florence „ 212 The Madonna and Infant Christ, St. John and Angels National GaUery „ 21'4 LIST OF ILLUSTRATIONS. xi HANS BURGKMAIR The EiMPEROR Maximilian, 1518 .To face p. 216 SIR E. BURNE-JONES King Cophetua and the Beggar Maid {Photogravure Plate) Tate Gallery „ 218 P. H. CALDERON Renunciation Tate Gallery ,, 228 PAOLO CALIARI, called VERONESE The Marriage of Cana Limvre ,, 230 ANTONIO CANAL, called CANALETTO View on the Grand Canal, Venice .... National Gallery „ 242 Regatta on the Grand Canal National Gallery „ 242 VITTORE CARPACCIO The Dream of St. Ursula Accademia, Venice „ 254 St. Ursula and the Pope Accademia, Venice ^, 254 ANNIBALE CARRACCI The Artist by Himself Uffizi Gallery, Florence „ 256 Christ in Glory in the Clouds Vatican, Eome „ 256 LODOVICI CARRACCI The Madonna and Child, Angels and Saints . . . Bologna Gallery „ 258 ROSALBA CARRIERA, called ROSALBA A Lady {Pastd) Lovm-e „ 260 ANDREA DEL CASTAGNO Giovanni Boccaccio Sant' Apollonia, Florence „ 266 P. DE CHAMPAIGNE Three Portraits of Cardinal Richelieu . . . National Gallery „ 282 CIMABUE The Madonna and Child .... Sta Maria Novella, Florence „ 294 G. B. CIPRIANI Cupids on a Goat „ 296 VINCENZO CIVERCHIO The Birth op Christ Brera GaUery, Milan „ 298 CHARLES COLLINS Convent Thought Oxford „ 314 WILLIAM COLLINS Happy as a King Tate Gallery ,, 316 GIOVANNI BATTISTA DA CONEGLIANO, called CIMA St. Peter Martyr and two Saints Brera, MUan „ 318 The Virgin and Child with Saints Parma Gallery „ 318 The Madonna and Child Bologna GaUery ,, 318 JOHN CONSTABLE Salisbury Cathedral {Photogravwre Plate) . . . South Kensington „ 320 The Valley Farm National GaUery „ 322 The Hay-wain National Gallery „ 322 BENJAMIN CONSTANT Heb Majesty Queen Alexandka „ 322 T. SIDNEY COOPER Cattle Piece Cambridge „ 326 J. S. COPLEY The Siege of Gibraltar National Gallery „ 326 lii LIST OF ILLUSTRATIONS. J. B. C. COROT Landscape Louvre To face p. 332 FRANCESCO COSSA St. Vicentius Ferrer (Dominican-) .... National Galkry „ 336 The Madonna and Child with Angels .... Bologna Gallery „ 336 LORENZO COSTA The Madonna and Child with the Bentivoglio Family . . Bologna „ 336 JOHN SELL COTMAN A Galiot in a Galk National Gallery „ 338 LUCAS CRANACH The Agony in the Garden Dresden . „ 348 LORENZO DI CREDI The Madonna and St. John Uffizi Gallery, Floretue „ 360 THOMAS CRESWICK The Pathway to the Village Church Taie Gallery „ 352 CARLO CRIVELLI Madonna and Saints, the Infant Christ giving the Keys to St. Peter Berlin „ 354 The Annunciation, 1486 National Gallery „ 354 VITTORIO CRIVELLI Madonna and Child Torre de Palme „ 356 ADELBERT CUYP RiYER Scene with Cattle [Photogramire Plate) . . National Gallery ,, 362 BIOGRAPHICAL DICTIONARY OF PAIIN^TEES AJ^D EJ^GEAVEES. AA, Van deb. See Van dek Aa. AACHEN, JoHANN VON (or Aach), who was born in Cologne in 1552, takes his name from the town of Aachen (Aix-la-Chapelle), the birth- place of his father. His early-displayed talent for art induced his parents to comply with his wish to become a painter, and he was placed under the tuition of a respectable portrait painter, named Jerrigh. After passing sis years under this master, he appMed himself to study and copy the works of Barthel Spranger. About the year 1584 he visited Italy, and first stopped at Venice, where he passed some time among the great works of art in that distinguished school of colouring. He studied especially the style of Tintoretto, with much success. He afterwards went to Kome, where his first painting was an altar-piece, representing the ' Nativity,' for one of the chapels of the Jesuits' cliurch. He also painted a picture which gained him great reputa- tion, and has been considered as one of his best productions ; in it he represented the portrait of the celebrated musician, ' Madonna Venusta playing on a Lute,' and introduced himself hold- ing a goblet of wine. From Rome he went to Florence, where he painted the portrait of the famous poetess ' Madonna Laura.' In 1588, the Elector of Bavaria invited him to Munich, where he produced his most excellent work the ' Resur- rection of our Saviour,' which hag been engraved by Raphael Sadeler ; and the ' Finding of the True Cross by Helena, mother of Constantino.' He painted the portraits of the electoral family, and was liberally rewarded by his employer, who also presented him with a gold chain and medal. By the invitation of the Emperor Rudolph II., he visited Prague, where the court was then held, and was favoured with the particular patronage of that monarch. His first work was a picture of 'Venus and Adonis,' which he designed with a taste and elegance then little known in Germany. This performance was so much admired by the emperor that he retained him in his service for the remain- der of his life. Von Aachen died in 1615 in Prague. It is but justice to this painter to allow him the credit of being one of the first that attempted to reform the stiff and Gothic taste of his country, and although he did not entirely divest himself of it, it may be asserted that his design, always cor- rect, approaches sometimes to grace and beauty. His ' Bathsheba Bathing,' in the Vienna Gallery, is one of his best works. The dates of his birth and death, above given, are taken from the inscription on the monument, erected at Prague to his memory by his widow, which was discovered in 1790. Other authorities give 1562 as the date of his birth. AALST, Van. See Aelst. A ART JEN VAN LEIDEN See Claessoon. AARTSEN, PiETER (or Aebt- -stn ^ SEN, or AbUAENSZ, in which form /4^ vTV/ it oocurs'in the record of his death •* in the ' Oude Kerk ' at Amsterdam). This painter, called from his great height ' Lange Peer,' was the son of a stocking manufacturer, and born at Amsterdam in 1507. Having shown an early inclination for art, he was placed under AUart Claessen, with whom he did not, however, remain longer than was necessary to learn the first rudi- ments, and in 1535 he joined the Antwerp Guild. Before long he had produced several pictures of the interiors of kitchens with culinary utensils, painted with great spirit, and well coloured. These performances were much admired, and it is some- what remarkable, that although he was so success- ful in his attempts in that style, he abandoned these subjects, and applied himself to the more elevated walk of sacred historical painting, in which he acquired no little celebrity. One of his most esteemed works was the altar-piece he painted for the church of Our Lady at Amsterdam. The principal picture represented the ' Death of the Virgin Mary,' and on the two folding doors ho painted the ' Nativity,' and the ' Adoration of the Magi.' These subjects were ingeniously composed and well drawn, and the colouring warm and 1 A BIOGEAPHICAL DICTIONARY OF harmonious. Sandrart asserts, that he received two thousand crowns for this work. It is no slight proof of the ability of this master, that when Michael van Coxis of Mechlin, one of the greatest artists of his time, was asked to paint an altar-piece for the new church at Amster- dam, he, on seeing the works of Pieter Aartsen, declined the undertaking, observing, that they had no occasion for his exertions when they pos- sessed such a painter. Aansen died at Amsterdam in 1573. Many good works by him were destroyed by the Iconoclasts in 1566 ; the following are his best that remain : Brussels. Museum. Cassel. Gallery. Vienna. Jfuseum. The Cook. Vegetables and Fruit. Market Scene He had three sons, Pietek (called ' de jonge'), Aebt, and DiRE, and a grandson Geebt, who were all painters. AARTSZ, KiJKAERT. According to Van Mander, this painter, the son of a poor fisherman, was bom at Wyck, in Korth Holland, in 1482. He became a scholar of Jan Mostaert, the elder, a painter at that time in some repute at Haarlem. Under that master he made surprising progress, and not only soon surpassed his instructor, but became one of the ablest artists of his time. His first works on leaving the school of Mostaert, were two pictures painted as folding-doors to an altar- piece in the great church at Haarlem, wherein he represented two subjects from the history of Joseph and his brethren. He afterwards settled at Antweip, and was received into the Academy there in 1520. He died in that city at the great age of 95. Aartsz's works are for the most part to be seen in Friesland. ABACCO, Antonio d', was a scholar of Antonio da San Gallo, an eminent architect at Rome, where lie followed the same profession with reputation. In the year 1558, he published a valuable archi- tectural work, entitled Lihro dd Antonio d Abacco, apparienente a V architettura, nel quale sijigurano alcuone nobile antichitd, de Homa, with fiie prints engraved by himself. He also engraved the plans of St. Peter from the designs of his master. ABARCA, F. A. Eihenard t. See Ethenaed. ABARCA, Maria de, is noticed in the history of painting in Spain, as having distinguished herself in Madrid as a paintress of miniatures and por- traits, which were much admired, even at a period in which the art may be considered to have reached its highest development in that country, in the time of the celebrated Velazquez. The dates of her works range from 1640 to 1653, and she died probablv about 1656. ABATE ANDREA, L'. See Belvedere. ABATE CICCIO, L'. See Solimena. ABBATE Family, The (of Modena). See Dell' Abb-vik. ABBATI, Giuseppe, who was bom at Naples in 1836, studied first under his father Vincenzo, a painter of that town ; and subsequently in the Academy at Venice. He excelled in genre and architecture, and in landscapes, in which he some- what resembles Jules Breton. One of his earliest works, ' A Dominican singing in the choir of Santa Maria Novella, Florence,' was painted in 1865, and received much praise ; it is now in the Pina- coteca of Capodimonte at Naples. In 1866 he took part as a volunteer in the war in the TjtoI. Of his works we may mention a ' Peasant Family taking a Siesta,' one of his best pictures ; ' The Prayer,' in the Galleria Moderna, Florence ; and the ' Dominican,' in the Modem Gallery of Milan. Abbati died at Florence in 1868, from the bite of his own dog — his constant companion. ABBATINI, GniDO Ubaldo, who was bom at Citta di CasteUo about 1600, was admitted into the Academy at Rome. He was a disciple of Giuseppe Cesari, and distinguished himself as a painter of history in fresco. One of his principal works is the ceiling of the chapel of St. Theresa, in Santa Maria della Vittoria, at Rome. He died at Rome in 1656. ABBE, Hexdrik, an en- _, ^ graver, painter, and architect, t-ps,^ ' p . ^j~/\. was christened in 1639 in the •- ■*■ ^ -»- cathedral at Antwerp, in which city some prints by him were published in 1670. He is also noticed by Heineken, who only mentions him as having made some designs for the edition of Ovid's Meta- mophoses published by Barrier. ABBIATI, FiLiPPO, who was bom at Milan in 1640, was a scholar of Carlo Francesco Nuvolone. Under that master he made great progress, and proved a very excellent artist, particularly in fresco. Fertile and bold in his conceptions, his execution was commanding and resolute. In conjimction with Federigo Bianchi, he painted the cupola of Sant' Alessandro Martyre at Milan. One of his best works was ' St. John preaching in the Wilderness,' at Saronno. He painted numerous altar-pieces in Padua, Bergamo, Turin, Milan, and other cities of Italy. He died at Milan, in 1715. ABBIATI, Giuseppe, a Milanese designer and engraver, lived in the beginning of the 18th century. He etched some small prints of battles, and an allegorical subject from his o\vn design. ABBIATI, Paolo IUrla. The name of this engraver is afSxed to a portrait of Girolamo Cor- naro, procurator of St. Mark. It is without a date or the name of the painter. He flourished towards the close of the 17 th century ; Zani says he was born at Milan. ABBOT, John W., was an honorary exhibitor at the Academy, from 1793 to 1810. He painted landscapes with cattle and figures. There is a small etching of a horse inscribed J. Abbot, dated 1767. He also illustrated books upon American insects. ABBOTT, Francis Lemuel, an English portrait painter, was bom in Leicestersliire, in 1760. He was a scholar of Francis Hayman. Without the possession of much taste, he acquired some reputa- tion for the faithful resemblance of his pictures, particularly his portraits of men, which some- times approach to excellence. He painted a por- trait of Cowper and se%-eral of Lord Nelson, which were much admired for their truth to nature. A portrait of Joseph Nollekens, the sculptor, by him is in the National Portrait Gallery. He died in 1803. ABEL, Gottlieb Friedrich, a German en- graver, who was bom in 1763, was a pupil of Johann von Miiller. He was engraver to the King of Wiirtemberg, at Stuttgart. He furnished about 125 plates to Reiter's work descriptive of the various trees of Germany. ABEL, Hans, a painter of Frankfort, who lived PAINTERS AND ENGRAVERS. about 1494, is supposed to have painted some of the beautiful windows which adorn the cathe- dral and several churches in that city. He also painted banners. ABEL, Joseph, a German painter of great merit, was bom at Aschach in 1768. He was in- structed in the school of Fiiger at Vienna, and is said to have distinguished himself at an early age. He was employed by the Czartoryski family in Poland, and visited Rome in 1802, where he re- mained six years, and produced several pictures, the subjects of which were taken from the Greek poets and ancient historians, and which gained him great applause. Among these, were ' Hector's Departure,' and 'Andromache on Hector's Corpse.' On his return to Vienna, in 1808, he painted por- traits, and large historical compositions, and was also employed in the decorations of the theatre. He died there in 1818. In the Darmstadt Gallery is his ' Brutus and the Relations of Lucretia swear- ing to be revenged.' ABEL, — . Malvasia mentions this as the name of a French artist who, in 1650, received a hundred Roman crowns for a copy made by him of the 'Communion of St. Jerome,' by Domenichino. The latter had been paid, a short time previously, but fifty crowns for the original. It is to be re- gretted that we have not a more complete account of this successful copyist. ABEL DE PUJOL, Alexandre Denis, was bom at Valenciennes, in 1787. He evinced early a taste for art, and, by his father's consent, became a pupil of David. The fortune of the former, however, being dissipated by the revolution, the son had for some time a struggling life, being left by his master very much to bis own resources. His first painting represented ' Philopoemen recognized whilst split- ting wood in the Kitchen of a Friend who had invited him to Dinner ; ' and David was so much struck with it, that he gave Abel the advantage of free admission to his studio. He obtained in 1806 the first medal at the Academy ; in 1810 the gold medal of the second class for his picture of ' Jacob blessing the Sons of Joseph ; ' and the Prix de Rome for his painting of ' Lyourgus presenting to the Lace- daemonians Charilaus as heir to the Throne.' The climate of Rome not agreeing with his health, he was forced to return to Paris, when necessity com- pelled him to mingle sign-painting with a more ennobling application of his talent. In 1814 he exhibited ' Britannicus,' which obtained a medal, and is now in the Museum at Dijon; in 1817, ' St. Stephen preaching before his Martyrdom,' painted for, and now in, the church of St. Etienne du Mont, Paris; in 1819, 'The Virgin at the Tomb,' ' Ca!sar in the Senate at the Ides of March ' (purchased by the Duke of Orleans, afterwards King Louis- Philippe, and destroyed in the fire at the Palais- Royal) ; and ' Sisyphus in the Infernal Regions ; ' in 1822, ' Joseph explaining the Dreams of the Butler and Baker of Pharaoh,' which obtained a gold medal at Lille, and is now in the Museum of that town ; ' Ixion in Tartarus,' which is in the Imperial Col- lection : ' Germanicus on the field of Battle,' and ' The Baptism of Clovis,' which is in the cathedral of Rheims. He also in 1819 painted the ' Renais- sance of the Arts ' on the ceiling of the staircase of the Louvre, destroyed in the course of the alter- ations made in that establishment in 1856. He also painted three subjects over doors at Versailles, and some fine frescoes in the church of St. Sulpice, Paris. He was a member of the Legion of Honour, b2 and of the ' Institute,' to which he was elected on the death of Baron Gros. He died at Paris is 1861. ABELS, Jacobus Theodorus, who was born at Amsterdam in 1803, was instructed in art by Jan van Ravenswaay, the animal painter. In 1826 he visited Germany, and on his return settled at the Hague. He distinguished himself especially in painting moonlight landscapes. The Museum at Haarlem has works by him. Abels died at Ab- coude in 1866. ABENTS, Leonhard. This artist was a native of Passau, in Bavaria, and flourished about the year 1580. He engraved the plan of the ^ city of Passau for Braun's Topography. He A marked his plates with this monogram. ' ^ ABEREGNO, Giacomo, was a Venetian painter who flourished about the year 1400. ABERLI, JoHANN LuDwio, a Swiss painter and engraver, born at Winterthur, in 1723, was a pupil of Felix Meyer, and painted, with success, portraits and landscapes. He published several coloured prints of views in Switzerland, which have been suflioiently admired to give birth to a great num- ber of imitations. He died at Berne in 1786. ABILDGAARD, Nikolaj Abraham, son and pupil of Soren Abildgaard, a Danish historical painter of great merit. He was born at Copen- hagen in 1744 ; in 1767 he received the great medal at the Academy, and went soon afterwards to Italy ; he spent most of his time in Rome, where he copied the works of Raphael, Michelangelo, and Titian. In 1777 he returned to his native country, and in 1786 was made professor in the Academy at Copenhagen, of which he was director from 1802 until his death, in 1809. He has been considered the best painter Denmark has pro- duced.. His principal subjects were taken from the ancient poets ; but some of the best perished in the fire that consumed the palace of Christianburg in 1794. Ftissli relates that this had such an efiect on his mind that he scarcely ever painted after- wards. His sketches made for them are still pre- served in the Copenhagen Gallery, which contains besides several good examples of his art. ABILDGAARD, SOren, who was born at Chris- tianssand, in Norway, in 1718, studied in Copen- hagen, and became a draughtsman of repute. He executed many drawings of antiquities in Norway, Sweden, and Denmark. ABRAHAM, Frere. See Gilson. ABRIL, Juan Alfonso, was a native of Valla- dolid. He studied under Pablo de Cespedes at Cordova, and afterwards entered a convent. He died in 1645 at Valladolid, where there is in the Museum a ' Head of St. Paul ' by him, brilhant in colour, and in good taste. ABSHOVEN (or Abtshoven). See Apshoven. ABSOLON, John, was born at Lambeth in 1815. He studied under Ferrigi and at the British Museum, and started at the age of fifteen painting portraits in oil. He was next employed for some years under the well-known Grieve family in painting figures and other parts of scenes at Drury Lane and Covent Garden Theatres. His first exliibit, entitled 'A Study from Nature,' appeared at the Suffolk Street Gallery in 1832. In 1835 he visited Paris, and having exchanged oil for water-colour, on his return in 1839 exhibited at the New Water- Colour Society ' The Savoyard Boy ' and ' The First Sup.' He became a member of this Society the same year, and was for many years its treasurer. A BIOGRAPHICAL DICTIONARY OF In 1840 he exhibited 'Singing for a Wife,' and in 1842 a popular picture 'The Vicar of Wakefield in Prison.' In successive years appeared ' Paul and Virginia' (1843), 'The Judgment of Midas' and 'Captain Macheath Betrayed' (1844), 'Thread- ing the Needle' (1846), 'Plenty' (1849), 'The First Night in a Convent ' (1853), 'The Baptism ' (1856), 'Tete-i-Tete' (1860), 'Mile, de Saubreil' (1861), 'The Courtship of Gainsborough' (1863), 'The Beacon' (1876) and ' Returning from Church' (1883), which now belongs to the Baroness Burdett- Coutts. His early study of scene painting led him to join with T. Grieve, 'Telbin and others in the pro- duction of the first and famous diorama ' The Route of the Overland Mail to India,' which appeared in London in 1850. He exhibited several pictures at the Academy, among them, in 1857, an oil- painting 'Boulogne 1857' which attracted much attention. He also sent works to the British Institution and the British Artists' Galleries. Many of his drawings were engraved and otherwise reproduced in black and white and also in colours, and were in their day exceedingly popular. He died in 1895. ABTS, WonTER, was bom, it is said, at Lier, near Antwerp, in 1582. He was admitted as a master to the Guild at Antwerp in 1604-5 ; and he died in 1642-43. He excelled in painting con- versation-pieces and landscapes. Adrian de Bie was one of his pupils. (See notice by Van Lerius in Meyer's ' Kunstler-Lexikon.) ACCAMA, Bebnardus, a portrait painter, born at Leeuwarden in 1697, where he died in 1756. His works were much esteemed by his own coun- trj-men, but are little known elsewhere. The H6tel de Ville of his native town formerly possessed several good pictures by him, but they were de- stroyed by rioters in 1795. ACCAMA, Matthijs, brother of Bemardus, was bom at Leeuwarden, in 1702. He went to Italy, where he copied, with considerable talent, several pictures of the ancient masters. He died at his native town in 1783. He painted historical and emblematical subjects. ACCER. See Accius. ACCHILLINO, a Bolognese painter, flourished about 1324. Verci (Storia Trevigiana) says that the portrait of Can Grande, who died in 1329, was painted by him. ACCIUS, Cesare Antonio (or Accer), an Italian landscape painter, lived about 1609, and was considered an artist of talent, but his works are now little known. Three etchings of land- scapes by Accius are mentioned, one of which, noticed by Heineken, bears his name and the date 1609. ACEVEDO, Cristobal de (or Acebedo), an historical painter, who was born probably at Madrid about 1540, was a disciple of Bartolome Carducho in 1585, and painted pictures for many of the convents in the capital. The nobleness of his characters, and his purity of design, placed him among the good artists of his time. He painted large subjects of sacred history. The date of his death is unknown, but it took place probably about the end of the 16th century. ACEVEDO, Manuel (or Acebedo), who was born at Madrid in 1744, was a disciple of Jose Lopez, but by diligently copying the works of the best painters he soon surpassed his master. He painted historical and religious subjects, and was much employed in Madrid. Bermudez mentions a ' John 4 the Baptist ' and a ' St. Francis ' by him in the chapel of the hospital of La Latina at Madrid. He died in 1800. ACHARD, Jean Alexis, painter and etcher, was born at Voreppe (Isfere), June 8, 1807. He first appeared at the Salon in 1839, with a ' View near Cairo,' after which he contributed a number of landscapes, chiefly French in subject. His 'View near Grenoble' is in the Luxembourg. Towards the close of his life he devoted himself mainly to etching. He died October 6, 1884. ACHEN, Arnadt van. See Aken. ACHEN, Johann vo». See Aachen. ACHTERVELDT. See Ochterveldt. ACHTSCHELLINCK, Lucas, was bom at Bms- sels, and baptized on the 16th of January, 1626. In 1639 he entered the studio of Pieter van der Borcht, but it was not until 1657 that he was admitted, as a master, to the Guild. He died in Brussels in 1699, and was buried in that city, the scene of his labours ; and there, in the church of SS. Michael and Gudule, in the town-hall, and in the Museum, remain a few of his best works. His manner is broad and bold ; the foliage of his trees lightly touched, and apparently in motion ; his forms and scenery are grander than is usual in the works of the artists of his coimtry ; and his distances recede with a pleasing degradation. His pictures hold a place in the choicest collections in the Low Countries, and are deservedly admired. The Dres- den Gallery has two landscapes ascribed to him. Achtschellinck's works were, it is said, ornamented with figures by G. van Oost, L. de Deijster, Pieter Bout, and other painters. Achtschellinck had a younger brother, Pieter, who was also a painter. ACKER, Jakob, a member of a family of artists who flourished at Ulm in the 15th century, is known as the author of a painting, representing sacred subjects, on the side-wings and the predeUa of an altar-piece in the chapel of St. Leonard, in the church-yard at Risstissen. It bears his name and the date 1483. In 1473 he decorated tlie doors of the organ-loft at Miinster, in Swabia. It has been surmised that this artist may also be identical with a glass-painter, Jakob Acker, who flourished in Niirdlingen in the 15th century. ACKER, Johannes Baptist a van, who was bom at Bruges in 1794, studied under Ducq, and soon became popular as a miniature-painter. In 1834 he went to Paris, and was there acknowledged as one of the best artists of his class. After his return to Bruges, he was called by King Leopold to Brussels, and painted numerous miniatures of the royal family and personages of the court. After a journey to England, Van Acker returned to Bruges, where he died, in 1863. ACKERMANN, Johann Adam, who was bom at Mainz in 1780, and studied there, visited Paris, but settled, in 1804, at Frankfort. He paid two visits to Rome. His winter landscapes gained him much praise. Of his works may be mentioned ' Auerbach,' in the Darmstadt Gallery. He died at Frankfort in 1853. His younger brother, Georg Friedbich Ackeemaxn, was also a land- scape painter of repute. He was born at Mainz in 1787, and died at Frankfort in 1843. ACQUA, B. dell' (or Agua). See Dell' Acqua. ACQUA, C. dall' (or Aqua). See Dall' Acqua. ACQUARELLI, — , was a Neapolitan painter of architecture, of great merit, who flourished about 1640. He painted ornamental decoration PAINTERS AND ENGRAVERS. in churches, palaces, and theatres. He worked sometimes in conjunction with Sooppa. ACQDISTABENE, Maestro, a painter and de- signer of architecture, who was bom at Brescia, flourished about 1295. ADAM, Albkecht, a German painter, chiefly of battle-pieces, was born at Nordlingen, in Ba- ^ varia, in 1786. He accompanied, in 1809, the yA French and Bavarian army against Austria, ■"»*• and in 1812 went with the Grand Army in the ex- pedition against Russia, an officer's rank being conferred upon him, with the title of ' Painter to the Court.' Some of his most efEective pictures represent the incidents of that most disastrous campaign ; as, ' The Battle on the Moscowa,' ' Napo- leon surrounded by his Stafl:.' In 1859 he set out with one of his sons to the Italian campaign of France and Sardinia against Austria, which ended with the Battle of Novara, of which he has left several graphic records, besides a series of large pictures painted from his first sketches, by com- mand of the Emperor Napoleon III. His last great work, a commission from King Maximilian of Bavaria, has for a subject the decisive charge of the Prussian cavalry against a square of the enemy at the battle of Zorndorf, where Frederick the Great commanded in person. Adam also painted portraits and landscapes, and occasionally etched. His works, less imaginative and dashing than those of Horace Vernet, are remarkable for their historical truthfulness, as well as for their accuracy of detail. He died at Munich in 1862. Albrecht Adam also produced many etchings and lithographs. Amongst others of his works may be noticed : Berlin. Nat. Gall. A Stable {signed and dated 1825). „ „ „ The Battle of Abeusberg {signed and dated 1826). „ „ ,, Interior of the Painter's Studio {signed and dated 1835). Cassel. Gallery. A Wounded General {signed and dated 1826). Darmstadt. Gallery. Horses at Pasture. Munich. Pinakothek. The Storming of the Diippell Re- doubt. „ „ The Battle of Custozza. „ „ The Battle of Novara. „ „ Two Men and a Horse. Munich. Pinakothek. A Stable. „ „ Cavalry Encamped. „ „ Equestrian Portrait of Field-Marshal Count Radetzky. ADAM, Franz, a German painter of horses, equestrian portraits, and battle-pieces, was born at Milan, May 4, 1815, and was the pupil of his father, Albrpclit Adam. He practised chiefly at Vienna and Munich. He served with the Austrian army in the campaigns of 1849 and 1859, and made innumerable sketches of life in the field, many of which he afterwards used for pictures. He was a member of the Academies of Munich and Vienna, and gained medals in Paris and Berlin. He died September 29, 1886. ADAM, Geoeg, who was born in 1784, was a designer, engraver, and painter of landscapes. In Munich, acquainted with the most distinguished painters of landscapes, he improved rapidly in this art ; and he several times visited the Tyrol. He was one of the most fertile engravers, and his works, mostly landscapes and views, are of merit. He died at Nuremberg in 1823. ADAM, Hans, a designer and engraver of Nuremberg, flourished about 1560. A print, en- titled 'A Representation and Description of the Battle of Silbershausen,' one of several ascribed to him, bears the mark of a figure of Adam naked standing by a tree, and also the letters H. A. He is said to have died in 1567. ADAM, Heineich, a brother of Albrecht Adam, was born at Nordlingen in 1787. He studied the art of painting at Augsburg and Munich, and dis- tinguished himself as a painter of landscapes and as an engraver. In 1811 he stayed with Albrecht at the Lake of Como, and painted in water-colours. He also engraved six hunting-pieces, after his brother Albrecht, at Milan, in 1813. Subsequently he painted landscapes and views of towns, which are executed with great truthfulness. He died at Munich in 1862. In the Pinakothek there are by him a ' View of the Marienplatz in Munich ' sur- rounded by 14 smaller views, and a ' View of the Max-Joseph-Platz,' also surrounded by 14 smaller views. ADAM, Jakob, an engraver, bom at Vienna in 1748, was brought up in the Academy in that city. In conjunction with his countryman, Joharm Ernst Mansfeld, he made himself known by a series of portraits of the distinguished personages of Austria, published at Vienna, which are exe- cuted with great neatness and finish ; of these, that of the Empress Maria Louisa is accounted the best. He also executed the plates for a Pictorial Bible, or ' Bilderbibel' (1803), which gained him considerable credit. He died in Vienna in 1811. ADAM, Jean Victor, a French painter and lithographer, born at Paris in 1801, was the son of Jean Adam, an esteemed engraver. During the years 1814 to 1818 he studied at the Ecole des Beaux-Arts, and also in the ateliers of Meynier and Regnault. In 1819 he exhibited ' Herminia succouring Tancred.' He was almost immediately afterwards employed to paint various subjects for the Museum at Versailles, amongst which are, 'The Entry of the French into Mainz,' 'The Battle of Varroux,' 'The Taking of Menin,"The Battle of Castiglione,' 'ThePassageof theCluse,' 'The Battle of Montebello,' 'The Capitulation of Meiningen;' the last three in association with Alaux. He also exhibited down to the year 1838: 'Henry IV., after the Battle of Coutras,' ' Trait of Kindness in the Duke de Berri,' ' The Postillion,' ' The Vivan- diere,' 'The Road to Poissy,' 'The Return from the Chase,' ' Horse-fair at Caen,' and numerous other subjects. He then retired from publicity, till 1846, when he appeared as the exhibitor of some works in lithography, to which branch of art he afterwards restricted himself. In this line he produced a lithographic album, ' Views in the Environs of Paris,' ' Studies of Animals for an edition of BufEon,' &c. He obtained a gold medal in 1824, a second class medal in 1836, besides ■ several others from Lille, Douai, and other cities. He died at Viroflay in 1867. ADAM, John, was an English engraver in the latter part of the 18th century, who engraved for Caulfield's 'History of Remarkable Characters from the time of Henry VIII. to James II.,' and Herbert's 'Biography of Scottish Personages of Distinction.' He also engraved the portraits of Queen Elizabeth, and Robert Dudley, Earl of Leicester, after F. Zucchero. ADAM, Joseph Denovan, was born at Glasgow in 1842. He spent his early years in London, where he received his first tuition in art under his 5 A BIOGRAPHICAL DICTIONARY OF father, a landscape painter, and subsequently studied at Kensington. After several sketching tours in Scotland he settled there in 1871. Previously, however, his works had appeared at the Royal Scottish Academy — first in 1868. He was elected an associate of that body in 1884, and a full member in 1892. In 1887 he established a school for animal painting at Craigmill, near Stirling. Adam possessed great skill as a painter of sheep and Highland cattle, and is represented at the National Gallery of Scotland by his diploma work ' Evening — Strathspey,' which appeared at the Royal Scottish Academy in 1892, and at the Paris Salon in 1894. Latterly he exhibited occasionally both at Paris and Munich. He died at Glasgow in 1896. ADAM, P., an Englis!i engraver, who flourished about the year 1690, executed a few etchings of landscapes in a tasteless style. In one of them, which is engraved in the manner of Mellan, with- out any cross hatchings, a iigure is represented seated on a bank. He usually signed — ^ --j his plates with his name — the letters /p hi P and A being joined together. ' ^^ ' ADAM, Peter, a German engraver, flourished about 1730. Heineken mentions sis landscapes by a master of this name, probably the same. He is also supposed to have painted some pictures, which have the same monogram as the prints. ADAM, Robert, the son of an architect, was bom at Kirkcaldy, in Fifeshire, in 1728. After he had received a good education at Edinburgh, his father sent him to study the fine specimens of Roman architecture in Italy, where he remained several years. On his return to England, he was appointed architect to the king. He died in Lon- don in 1792. During his residence on the Conti- nent he had made drawings of the famous Palace of Diocletian, at Spalatro in Dalmatia, and in 1764 published, in conjunction with CMrisseau, a volume in folio, entitled ' Ruins of the Palace of Diocle- tian, at Spalatro in Dalmatia,' with sixty-one well- engraved plates from his designs. ADAMI, PiEXBO, bom at Rome, excelled in marine subjects ; he painted about the year 1730 ; little else is known of his history. ADAMO TEDESCO. See Elsheimer. ADAMS, Charles, is mentioned by Heineken as the engraver of an equestrian portrait of Charles I. of England. ADAMS, Robert, an architect and engraver, was bom in London in 1540. His eminence in his profession procured him the situation of surveyor of the works and architect to Queen Elizabeth. He made a set of drawings representing the battles between the English fleet and the Spanish Armada, which were engraved by Augustus Ryther, and published in 1589 ; they have now become scarce. Adams died in 1595. ADDA, Francesco, Conte d', a Milanese amateur painter, scholar and imitator of Leonardo da Vinci, painted small pictures on panel and slate for private cabinets. The Conte d' Adda died in 1560. ADLER, Philipp, born at Nuremberg in 1484, is called (erroneously) by Florent le Corate, Adler Paticina. He mentions a plate by him of ' Si. Christopher carrying the Infant Jesus,' dated 1518. The print, described by Strutt as his best per- formance, represents an altar, with the Virgin Mary crowned, and a female Saint holding the Infant Christ ; it was engraved by David Hopfer, 6 whose mark, when the print is perfect, is at the bottom of the plate. The inscription on the tab- let. Hoc OPUS FECIT Philipus Adi.er Patkicius, MDXVlll., most probably relates to the altar having been erected by Philipp Adler. In the print Stmtt had seen, the mark of Hopfer had probably been cut off. ADMIRA AL, B., was a Dutch painter, who flour- ished in 1662, *s appears by a picture, with the name and date, representing the entrance to a city, with numerous figures, many of them in Oriental costume ; the style is similar to that of Weenix and Thomas Wyck, but displays a less delicate pencil than either. ADOLFFZ, — . By this engraver, who, from his name, appears to have been a native of Ger- many, we have a portrait of the Due de Biron, Marshal of France, on horseback. It has now become scarce. ADOLFI, CiBO, the younger brother of Giacomo, was bom at Bergamo in 1683, and was instructed by his father Benedetto Adolfi. He possessed a more fertile genius than his brother, and a greater facility, and distinguished himself by some con- siderable fresco paintings in the public edifices in the city of Bergamo, and in the state. He died in 1758. His principal works are: Bergamo. S. A lessandro d. Croce. Four Evangelists. „ S. Maria d. Gra:ie. Deposition from the Cross. Colognola. Parish Church. Decollation of St. John. Another brother, of the name of Nicola, painted battle-pieces ; his death is not recorded. ADOLFI, Giacomo, was, according to Tassi, bom at Bergamo in 1682. He was the son of Benedetto Adolfi, a painter little known, and had not the advantage of any instruction superior to that of his father. He painted historical subjects. Amongst several of his works in the churches at Bergamo, his picture of the 'Crowning of the Vir- gin,' in the church of the monastery Del Paradise, is esteemed one of his best productions. ' The Adoration of the Magi,' in the church of Sant' Alessandro della Croce, is another admired picture by this master. He died in 1741. ADONE. See Doni. ADONIS. See De Bruijn, Coenelis. ADRIAENS, Ldcas (or Adriaenssson), a native of Antwerp, was admitted into the Guild of St. Luke in 1459, and five times held the post of dean to the society. He co-operated in the cele- brated ' Entremets ' at Bruges in 1468. He died about 1493. ADRIAENSSEN,Alexandee, 'the elder,' a. was born at Antwerp, in 1687. He studied /*\ under Artus van Laeck, and in 1597-98 -^*-^ entered, as a scholar of that master, the Guild of Painters at Antwerp, of which company he be- came a free member in 1610-11. Adriaenssen worked at Antwerp, and there enjoyed the friend- ship of Van Dijck, who painted his portrait, which has been engraved by Anton van der Does. He died in his native city in 1661, and was buried in the church of St. James. The subjects of his pictures are sometimes flowers and fruit, which he grouped and arranged with considerable taste, but he particularly ex- celled in the painting of fish, to which he gave a surprising appearance of truth and nature ; representing them with a freshness and glittering effect of colour that produces perfect illusion. His works in this way, which are highly finished PAINTERS AND ENGRAVERS. and well coloured, are deservedly esteemed. The Berlin Gallery has three splendid examples of his art ; two are signed, and one of them bears the date 1647. His works are also found in the Gal- leries of Madrid and Antwerp, and in private collections on the Continent. ADRIAENSSEN, Alexander, 'the younger,' a painter of still-life, was born at Antwerp in 1625, and died there in 1685. In the records of the Antwerp Guild are found several other Adriaens- sens, but they are of no great account. (See Meyer's I^unstler-Lexikon. ) ADRIANO, a Spanish monk of the order of Barefooted Carmelites, born at Cordova, was a pupil of Pablo de Cespedes. Pacheco, who knew him, speaks of him as a great artist ; and Palomino states that his convent possessed for a long time a ' Magdalene ' by this master, which was considered worthy of Titian. His paintings are rare, as he was in the habit of destroying them as soon as finished, from a modest opinion, very uncommon to artists, of their inferiority. Some fine ones, however, were preserved, through the intercession of his friends. He died in 1601. AEKEN, HiEEONYMUS VAN, commonly known as Jerom Bosch ^_^^ .^^ (or Bos) from his '^^>i^ \ . '^ birthplace Her- ^ O/cb ^ ^ togenbosch(Bois- /-aS2Si le- Due), was bom ^ — ?«^-a--5>"a between the years 1460 and 1464. Passavant, writing in 1860, says 1450. That he visited Spain, as has often been asserted, is sometimes doubted, and at all events he did not make a very long stay there. In 1493 or 1494 he made a drawing for a window in the church of St. John at Eer- togenbosch, for which he also executed various paintings ; and he was later employed by Duke Philip le I5el. He died at his birthplace in 1518. Van Aeken made a whimsical choice of subjects for his pictures, which are generally grotesque re- presentations of spectres, devils, and incantations, which, however ridiculous, are treated with singu- lar ingenuity. He painted a few pictures of a more serious cast, among which were the ' Flight into Egypt,' and ' Christ bearing His Cross,' in the church of Bois-le-Duc, which Karel van Mander speaks of in very favourable terms. One of his most singular compositions was a picture repre- senting ' Our Saviour delivering the ancient Patri- archs from Hell.' Judas, in attempting to escape with the elect, is seized on by devils, who are in the act of hanging him in the air. A ' Last Judg- ment' by him, is in the Berlin Gallery, and a ' St. Anthony ' in the Antwerp Museum ; and the Madrid Museum contains several of his works. It is said that Philip II. of Spain so much admired Van Aeken's painting, that he had an altar-piece by him perpetually in his oratory. The engravings which were formerly ascribed to him are now known to have been done by Alaert du Hameel and other masters, from Bosch's designs. The following are a few of them : The Temptation of St. Anthony; a large woodcut, engraved four years after his death ; dated 1522. The Last Judgment ; Christ appears in the air, seated on a rainbow, and on each side of him are two angels sounding trumpets, with labels bearing the inscrip- tion ; Hac est dies quern fecit dominus ; Surgits mortui, venite ad judicium. At the bottom of the print are small figures of men and devils of all shapes intermixed. St. Christopher carrying the Infant Jesus across a river, and a hermit with a lantern. Eugravedoncopper; very curious on account of the innumerable monstrous creatures swarming in the water. A very rare print. Constantine at the head of his army, an Angel showing him the Cross in the sky. The Baptism of Christ by St. John. An Assemblage of grotesque figures; inscribed Al dat op, ^-c. A similar subject ; inscribed Dcse Jeron. Bosch drollen. W. B. S. AELS, N. The name of this engraver is affixed to a print representing St. Joseph leading the Infant Jesus by the hand, with a landscape back- ground. AELST, Evert van, who was born at Delft in 1602, excelled in painting birds, dead game, armour, vases of gold and silver, and similar subjects. He sometimes represented these objects on a clear or white ground, in a manner that produced a singularly natural effect. All his works are care- fully finished, his style is clean and flowing, and he disposed the inanimate objects he represented in a very pleasing and picturesque manner. He died at Delft in 1658. Pictures by him are in the Galleries at Dresden and Berlin, and the UfEzi, Florence. AELST, Nicolaus van, was born at Brussels about the year 1527. At an early age he estab- lished himself at Rome, where from 1550 to 1612 he carried on a considerable commerce in prints. The names of the painter, and the engraver of the plates, executed for his collection, were frequently omitted, and his own inserted, with the word forniis, to denote that he wag the publisher. It is, however, suflBciently proved that he some- times used the graver, as we have several plates in which the word fecit, or sculpsit, is added to his name. Heineken notices a set of twelve plates of birds engraved by this artist. AELST, Patjwel van. See Koeck, P. van. AELST, WiLLEM van, the son of a notary, was born at Delft in 1620. He was the nephew of Evert van Aelst, by whom he was instructed in art. He passed four years in France and seven in Italy, and the polish and exquisite finish of his works rendered them extremely popular in both coun- tries. The Grand Duke of Tuscany employed his talents for some time, and, as a mark of his favour and approbation, presented him with a gold chain and medal. He returned to Holland in 1656, and, after spending some time in his native Delft, he settled at Amsterdam, where his pictures were so much admired that he could with difiSculty satisfy the demands for his works ; and at a sale which took place shortly after his death his pictures real- ized comparatively large sums. He died in that city in 1679. He is said to have imparted instruc- tion to the celebrated Rachel Ruisoh ; she was, however, only fifteen at the time of his death. Willem van Aelst, from his long residence in Italy, acquired the habit of signing his name in the language of that country : viz. Guilielmo (or more frequently Guill"".) van Aelst. His pictures, like those of his uncle, represent fish, dead game, and still-life ; they are, however, much more neatly finished, and are even more precisely wrought up than the highly-valued works of Weenix. Some of them, even signed ones, have been attributed to his uncle Evert — one signed W. Vaelst, in the UfSzi Gallery, and two at the Hague, bearing the name of GuiLL"". van Aelst, and dated respectively 1671 and 1663. Other good works by Willem van Aelst are in the Galleries of 7 A BIOGRAPHICAL DICTIONARY OF Berlin, Dresden, Munich, and Copenhagen, and in the Pitti Palace at Florence. Van Aelst was called by the Italians Guglielmo d'Olanda. AENAE,Petrus (also written Aene and Aeneae), a German engraver in mezzotint, flourished in Friesland from about 1680 to 1700. He was chiefly employed in portraits ; and, among others, engraved that of Nicolaus Blankard, Profess, a Frank, ^t. 68 (P. Aeneae, fecit et execudit) ; and those of numerous personages of the royal family of Nassau. AEBTSEN, Pieter. See Aartsen. AERTSZ, RiJKAERT. See Aartsz. AETION, who is not noticed by Pliny, is men- tioned by Lucian in conjunction with Apelles, Euphranor, and Polygnotus, as the most successful of the ancient Greek painters in the mixing and la3rLng on of colours. Action flourished about the time of Hadrian and Antoninus Pius, a.d. 117 — 161. Lucian mentions a graceful picture by him, representing ' The Nuptials of Alexander with Roxana,' which was exhibited at the Olympic games, and excited such admiration that Proxe- nidas, one of the judges, exclaimed in the midst of the assembly, " I reserve crowns for the heads of the Athlet^/1 ^ * marked /. van Aken, fee. This ItVnJ tX print is very scarce. AKEN, Jozef van, a Flemish artist, who was bom in 1709 at Antwerp, passed a great part of his life in England. He was employed by eminent landscape painters to paint the costumes of the figures in their pictures, in which he was very skilful, and thereby acquired the name of 'Schneider van Aken' (Van Aken the tailor-). He also painted on satin and velvet, and prodsced some excellent works. He died in London in 1749. AKEN, Sebastiaen van, a Flemish historical painter, was born at Mechlin about 1656, and be- came a pupil of Lucas Franchoys, the younger. He afterwards went to Rome, where he studied under Carlo Maratti, and visited Spain and Portugnl. A painting by him of St. Norbert is in the village church of DufEel, near Mechlin. He died at Mech- lin in 1722. AKERBOOM, — , was a Dutch painter of the in- teriors of cities and villages, of whom no details have been recorded. He lived about the middle of the 17th century. The execution of his works is admirable. Houbraken mentions a highly fin- ished miniature picture of the town of Doornick by him. AKERSLOOT, Willem, a Dutch engraver, was born at Haarlem about the year 1600. He was living in 1651. He engraved a few plates of portraits, and other subjects, amongst which are the follow- ing : Frederick Henry, Prince of Orange, after A. van der J'enne ; Amelia, Princess of Orange, with her two Daughters, after the savie ; Christ taken in the Garden, after Holbein; Christ bound, after F. Moijn; Peter denying Christ, after the same. AKKEL, Feedrik, was born at Oja, in the pro- vince of Sudermania, in Sweden, in 1748. He was instructed in the art by Akerman at Upsal, where he engraved the views of some buildings in that town, and a few portraits. In 1771 he visited Stockholm, where he had access to the instruc- tion of the Academy. Two years later he visited Paris, but did not remain there long. He died at Stockholm in 1804. There is a set of ten well- engraved portraits of Swedish personages by him. ALABARDI, Giuseppe, called Schioppi, a Vene- tian painter, lived about 1600. He painted in oil and fresco in the Doge's palace, the churches, and other pubhc buildings of Venice. ALAGNA. See Tanzio. ALAIS, J., engraved portraits of Edmund Kean as Macbeth and as lago, after George Cruikshank, which were published in London in 1814. ALAMANNI. See Alemani. ALAMANNUS. See Alemanno. ALAUK, Jean, called Lb Romain, historical painter, was bom at Bordeaux in 1786. Early in life he entered the school of M. Vincent, in Paris, where he was a fellow-pupil with Horace Vemet ; subsequently he attended the atelier of P. Gu^rin, with Ary Schefl:er, Delacroix, and other eminent artists. He obtained the Grand Prix de Rome in 1815 ; but did not attract general attention till 1824, when he exhibited ' The Combat of the Centaurs and Lapithas,' and ' Pandora.' He was much patronized by Louis Philippe, and executed several oil paintings and frescoes in the Louvre, tlie Luxembourg, and the Historical Museum at Ver- sailles. He was decorated with the cross of the Legion of Honour in 1841, and made director of the French Academy at Rome five years later. He died at Paris in 1864. ALAUX, Jean Paul, called Gentil, a French la-ndscape painter and lithographer, was born at Bordeaux in 1788. He became director of the School of Design at Bordeaux, and died there in 1858. A View of Bordeaux painted by him is in the Museum of that city. ALBA, Maceino d'. See Fava, Gianqiacomo. ALBANESI, Angelo, was an Italian engraver, who flourished in the latter part of the 18th century. By him are some neat, spirited etchings of archi- tectural ruins in and near Rome, some of which bear his name. He executed a series of enigravings of nymphs after Angelica KaufEmann, which were published in London in 1784. He also engraved some portraits. ALBANI, Francesco (or Albano), the son of Agostino Albani, a silk merchant, was born in Bologna in 1578. Although he showed a strong 11 A BIOGRAPHICAL DICTIONARY OF inclination for the arts from his childhood, his parents were desirous of bringing him up to his father's profession ; but his uncle, thinking he per- ceived in him indications of genius, prevailed on his father to place the lad, at the age of thirteen years, under the care of Denijs Calvaert, whose academy was at that time in great repute. Guido Reni, who was then a student under Calvaert, conceived a friendship for the young Albani, and assisted him in his studies. Later on Guido, having learned all he could acquire from his first instructor, be- came a scholar of Lodovico Carracci. He was soon followed by Albani, and they continued their studies under that distinguished master with great assiduity, accompanied by an emulation conducive to the advancement of both. Guido, on leaving the Carracci, visited Rome, whither he was soon after followed by his friend and fel- low-student. It was not long before the talent of Albani brought him into notice in that metro- polis of art ; and Annibale Carracci (who was at that time employed in painting the chapel of San Diego, in the national church of the Span- iards), falling sick, recommended Albani to be em- ployed to finish it. and the greater part of the work was completed by him, in a manner that gained him great reputation. He was afterwards engaged in some considerable works in the Verospi (now the Torlonia) Palace at Rome, where he represented diti'erent subjects from Ovid, treated with great ingenuity. These performances established the fame of Albani throughout all Italy. The Duke of Mantua invited him to his court, where he painted several pictures, representing the story of ' Diana and Actseon,' and ' Venus and Cupid.' On his return to Rome he executed the large works which are in the tribune of the Madonna della Pace. In the church of San Sebastiano is an altar-piece representing the martyrdom of that saint, entirely in the manner of Carracci, and a picture of the 'Assumption,' painted in conjunc- tion with Guido Reni. He died at Bologna, in 1660, in the arms of his piipUs — with his brush in his hand — in his 82nd year. The four allegorical pictures of the ' Elements,' now in the Borghese Palace, which he painted for the Cardinal Maurice of Savoy, are reckoned among the finest of his works, and have been copied repeatedly, some so successfully as to pass for the original works. The following is a list of some of his principal works : Bolc^na. Pinacoteca. Dresden. Gallery, >» n " ») Florence. Uffizi. Milan. Paris. Jirera. Louvre. Rome. 5. Mar. de P. „ Colonna P. „ Torlonia P. Petrsbrg. Hermitage. Turin. Gallery. Annunciation. Baptism of Christ. Amorini dancing — with the Rape of Proserpine. Diana and Actseon. Venus and Vulcan. Creation of Eve. His ovni Portrait. Infant Christ (with Angels). The Eape of Proserpine. Amorini disarmed. Venus and Adonis. Children (fresco). Europa and the Bull. Scenes from Ovid. Europa and the BuU. Baptism of Christ. Four Elements. The style of Albani is more beautiful than grand ; bis compositions are ingenious and abund- 12 ant. and his figures are both elegant and graceful. The landscapes which occupy the backgrounds of his pictures are extremely pleasing, touched with great taste, and there is a freshness and delicacy in his colouring that charm the beholder. It cannot, however, be denied, that he is to be regarded rather as an agreeable than as a great painter. Albani had many pupils, among whom Giovanni Battista Mola, Carlo Cignani, Andrea Sacchi, and Giovanni Maria Galli, caDed ' Bibiena,' were the most famous. A very rare etching, representing the ' Death of Dido,' has been attributed to this eminent painter. ALBAXIS DB BEAUMONT, Jean FRAsgois, an amateur artist, bom in Piedmont, came in the latter half of the 18th century to England and was naturahzed. He published at Genoa, in 1787, ' Voyage Pittoresque aux Alpes Pennines,' with twelve coloured plates, and during the next twenty years several other books of travels in the Alps and the South of France, illustrated from his own drawings, which he engraved in aquatint. It is believed that he died in England soon after 1806. ALBANO. See Albani. ALBARA. See Carbosi. ALBARELLI. See Albebelli. ALBARETI, — , bom at Rome, painted about 1520. The name was discovered on a picture of ' Christ in Glory,' after the manner of the pupils of Raphael, when the work, which is in the Parma Academy, was cleaned at Paris. It had formerly been ascribed to Raphael himself. ALBE, Bacleb d'. See Bacleb d'Albe. ALBERELLI, Giacomo (or Albarelli). This painter was a native of Venice, and flourished about the year 1600. He was a disciple of Jacopo Palma the younger, ^vith whom he worked as a coadjutor for thirty-four years. He painted his- torical subjects, and there are several of his works in the pubUc edifices at Venice, of which one of the most esteemed is a picture of the ' Baptism of Christ,' in the church of the Ognissanti. He died about the year 1650. Ridolfi tells us he was also a sculptor. ALBERICI, Enrico (or Albkizzi), was bom at VUminore, near Bergamo, in 1714, and was a scholar of Ferdinando Cairo, of Brescia, under whom he studied three years. He is stated by Tassi, in his account of the Bergamesque painters, to have been a very reputable artist ; and several of his works are particularly described by that author. He died in 1775 at Bergamo. He painted many works for the churches and buildings of Brescia, Bergamo, and the villages in the Valle di Scalve. Among many others he painted for the church Santa Maria dei Miracoli, at Brescia, the ' Woman of Samaria,' the ' Parable of the Pharisee and the Publican,' the ' Raising of Lazarus,' the ' Prodigal Son,' and the ' Good Shepherd.' ALBERT, SiMON', a distinguished historical painter, bom at Haarlem in 1523, was a scholar of Jan Mostaert. He lived to a great age, but the exact year of his death is not recorded. ALBERT VON WESTPHALEN. See Aldk- GREVER. ALBERTI, Alessandro, the eldest eon of Alberto, was bom at Borgo San Sepolcro in 1551. He received instruction in art from a painter of the name of Gaspero di Silvestro, of Perugia. In 1566, Alessandro's uncle Lodovico took him to Rome, where he subsequently executed in the PAINTERS AND ENGRAVERS. palaces, churches, and puhlic buildings, pictures of much merit. He worked much in conjunction with his brothers. He died at Rome in 1596, while engaged on the great work of decorating the Sala Clementina for Pope Clement VIII. Alessandro also worked at Borgo San Sepolcro, Naples, and Mantua. ALBERTI, Antonio, of Ferrara, painted por- traits and sacred subjects, and was distinguished in his day. In the sacristy of the church of San Bernardino, outside Urbino, is a ' Madonna and Child enthroned,' by him, dated 1439. The fres- coes in the chapel of the Bolognini, at San Petronio, Bologna, consisting of incidents from the Passion, the Paradise, and the Inferno, and numerous figures of saints and angels ; as well as those which decorate the inner choir of Sant' Antonio Abate, Ferrara, and dated 1433, consisting of a half-length Virgin and Child, between SS. Benedic t, Sebastian, another saint, and an angel with a bal- ance, have all been attributed to Antonio by Crowe and Cavalcaselle. The dates of this artist's birth and death are unknown. He had a son of the same name, who was also a superior artist, living in 1550. ALBERTI, Cherubino, called Bobgheggiano. This eminent artist was bom at Borgo San Sepolcro in 1553. He was the second son of Alberto Alberti, an architect and sculptor. He became a reputable painter of history, and executed many considerable works both in oil and in fresco, in the palaces and churches of Rome, where his piincipa] paintings were in the church of Santa Maria in Via. He was also director of the Academy of St. Luke in that city, where he died in 1615. His native town possesses numerous examples of his art, as well as several works executed by him in conjunc- tion with his brothers, Alessandro and Giovanni. He is, however, more celebrated as an engraver than a painter, and in that character he is deserv- ing of particular attention. It is not ascertained from whom he learned tlie art of engraving ; but, from his manner, especially in his earliest produc- tions, it is very probable that he may have been first a scholar of Comelis Cort, and afterwards have formed to himself a more correct and a freer style, by studying the works of Agostino Carracci and Francesco Villamena. His plates are executed entirely with the graver, and it does not appear that he made use of the point. His drawing, particularly in the nude, is generally correct, and the airs of his heads have a pleasing expression, but his draperies are clumsy and stifE. His works as an engraver may be considered as very extra- ordinary productions of genius, and that at a period when the art of engraving was at a great distance from the perfection to which it after- wards arrived. We are indebted to this artist for having preserved to us, in his prints, some of the beautiful friezes by Polidoro da Caravaggio, painted on the facades of the public edifices, which have been destroyed by time. The prints of this master are very numerous ; the whole of his works extend to about 180 plates, 75 of which are from his own designs ; the others are from Michelangelo, Raphael, Polidoro da Caravaggio, Andrea del Sarto, c n and others. He generally marked ZIX /t his prints with one of these mono- -^^f '^^' grams. The following are his principal works : SUBJECTS FROM HIS OWN DESIGNS. Portrait of Pope Gregory XIII. oval, with ornaments. of Pope Urban VII., the same. Portrait of Henri IV. of France, oval. 1595. of Pietro Angelo Bargee. Judith with the Head of Holofemes. The Nativity ; inscribed, JJeiis omiiipotens, ^c. The Fhght into Egypt. 1574. The Holy Family, with St. Elisabeth. 1571. Another Holy Family ; St. Joseph seated, with a book. The Body of Christ supported in the clouds by an angel; inscribed, Magtium pietatis opna^ ^c. The Virgin Mary and Infant in the clouds ; i.iseribed, Regina cteli. Mary Magdalene penitent. 1582. .St. Catherine receiving the Stigmata. 1574. St. Christian drawn out of the sea. .St. Francis receiving the Stigmata. 1599. St. Charles of Borromeo, kneeling before the Virgin and Infant. 1612. Six of Children, for ceilings; dedicated to Cardinal Visconti. 1607. SUBJECTS FROM THE DESIGNS OF VARIOUS MASTERS. St. Susannah restmg against a pedestal, with a sword. The Crucifixion ; after Michelangelo. St. Jerome, meditating on the Crucifix : after the same. 1575. St. Andrew bearing his Cross ; after the same. 1580. Two other figures, from the Last Judgment ; after the same. 1591. Charon, with two other figures ; after the same. 1575. Prometheus devoured by the Vulture ; after the same. 1580. The famous Pieta, sculptured by Michelangelo. Three— The Creation; Adam and Eve driven out of Paradise; and the same, subjected to labour; Pol%- dorus de Caravaggio^ invent. The Death of the Children of Niobe, in five sheets a frieze ; after the same. The Rape of the Sabmes, another frieze ;/ro»i the same. The Triiunph of Camillus ; in the style of the antique. Pluto holding a torch. Fortune standing on a shell. The Presentation ; after Raphael. The Eesmrection, a grand composition ; after the same. The Holy Family ; after Raphael. 1582. Jupiter and Ganymede ; after the same. 1580. The Graces and Venus leaving Juno and Ceres ; after Raphael. 1582. The Adoration of the Magi ; after II Rosso. 1574. The Transfiguration ; after the same. Christ praying on the Moimt ; after the same. 1574. The Stoning of Stephen ; after the same. A piece of architecture ; after the same, in two prints. Roma, 1575. The Baptism of our Saviour, by St. John; after A. del Sarto. 1574. The Miracle of St. Philip Benizzo ; after A. del Sarto. Very fine. Tobit and the Angel ; after Tibaldi. 1575. Christ praying in the Garden ; after Perino del Vaga. The Adoration of the Shepherds; after Tad. Zucchero in two sheets. 1575. The Holy Family ; after the same. The Scoiuging of Christ ; after the same. The Conversion of St. Paul ; after Tad. Zucchero. The Assiunption of the Virgin ; after the same. Another Assiunption ; after Fed. Zucchero. The Coronation of the Virgin ; after the same. 1572. ALBERTI, Durante, called ' Del Nero,' son of Romano I. Alberti, was bom at Borgo San Sepolcro in 1538 ; and, according to Baglioni, visited Rome when young, during the pontificate of Gregory XIII. It was not long before he distinguished him- self by painting several pictures for the churches and other public edifices. In the church of San Girolamo della Carita, one of the chapels was en- tirely painted by him in fresco, and there was an altar-piece in oil by him, representing the Virgin and Infant Jesus, with St. Bartolommeo and St. Alessandro. In Santa Maria de' Monti, he painted the ' Annunciation.' Several other churches at Rome possess works of this eminent artist. He 13 A BIOGRAPHICAL DICTIONARY OF died in 1613, and was buried with great distinction in the Chiesa del Popolo, attended by all the prin- cipal artists in Rome. His portrait is in the Aca- demy of St. Luke. He had a brother Cosimo, a sculptor, engraver, and painter, who died in Rome in 1596. ALBERTI, Giovanni, brother of Cherubino Alberti, and third son of Alberto, was born at Borgo San Sepolcro, in 1558. He visited Rome in the time of Gregory XIII.. and was employed by that pontiff in the papal palace on Monte Cavallo, and in the Vatican. He excelled in painting land- scapes and perspective, in which the figures were usually painted by Cherubino. He was also em- ployed by Clement VIII. to paint the sacristy of San Giovanni in Laterano, and, in conjunction with his brothers, to decorate the Sala Clementina in the Vatican. For this Vv'ork, which was commenced in 1595 and completed in 1598, the two painters (Alessandro had died during the course of execu- tion) received 3050 scudi. Giovanni Alberti also laboured in his native town, in Mantua, Pe- rugia, Florence, and elsewhere. He died at Rome in 1601. His portrait is in the Academy of St. Luke, and another in the Uffizi at Florence. ALBERTI, Giuseppe, who was bom at Cavalese, in the Tyrol, in 1664, after having studied medi- cine at Padua determined to become a painter and architect. He worked under Liberi at Venice, and further improved himself by study at Rome, and then settled at Trieste, where he executed a number of religious pictures, which may now be seen in Trent, Cavalese, and other towns in the Tyrol. He also worked in Italy, to which country ae paid a second visit. He founded a good school of painters in his own town. Alberti died at Cava- lese in 1730. His ' Martyrdom of St. Simon of Trent,' formerly in the castle of Trent, now in the Ferdinandeum at Innsbruck, is his best known work. ALBERTI, Jean Eugene Chaeles, who was bom at Amsterdam in 1781, studied first in that city, then at Paris under David, and afterwards at Rome, where he copied the works of Guido and Van Dijck. He subsequently returned and settled in Paris. The date of his death is not recorded. 'Marius among the Ruins of Carthage,' painted in 1805, gained him a gold medal Alberti engraved both iirom his own works and from those of the Italian masters. ALBERTI, MicHELE, a painter of Florence, flourished in the latter half of the 16th century. He was a disciple of Daniello Ricciarelli, called ' Da Volterra,' and was a reputable painter of history. His principal work is a picture in the church of the Trinita dei Monti, at Rome, representing the 'Murder of the Innocents,' much spoiled by restoration. Michele Alberti has, by Orlandi, been erroneously recorded as a member of the family of Alberti of Borgo San Sepolcro. ALBERTI, PiETRO Francesco. This artist, _-, the son of Durante Alberti, was bom in 1584. kA He painted historical subjects in the style of 1-^ his father, and has left works in Rome and in his birthplace. He was the designer and engraver of a plate called ' Accademia de' Pittori,' a large print lengthways ; a composition of many figures, etched with great spirit, and evidently the work of a painter. In Meyer's ' Kiinstler-Lexikon ' ten engravings are mentioned by him. He died in 1638 at Rome. 14 ALBERTINELLI, Mariotto, the son of Biagio di Bindo Albertinelli, was bom at Florence in 1474. He was apprenticed, ^.jl^ when young, to Cosimo Rosselli, in whose ^ T\ studio he was a fellow-pupil with Fra ^"-^V^ Bartolommeo. In the year 1509 they entered into partnership, and painted ' conjointly many works, some of which bear the monogram of a cross with two interlaced rings. When Fra Bartolommeo retired into monastic seclusion, his friend and partner finished several of his uncompleted works. But they again painted together from 1510 to 1513. It is related by Vasari, that Albertinelli, at one time, being enraged at some criticisms which were made on his painting, abandoned the brush and opened a public-house ; it is certain, however, that he retumed to his art again. He died at Florence in 1515, on his return from a journey to Rome. In painting he resembled Fra Bartolommeo as closely as one artist ever resembled another. He is much to be admired for the design and the chiaroscuro of his pictures. The following are some of his best works : Bergamo. Lockis. Crucifixion, ., Morelli. St. John and the Magdalen. Berlin. Museum. Assumption {part by Fra Bartolom- meo). CamhiidgeFitsmlliam'ViTgin with Christ and Jolin the Mus. Baptist {signed and dated 1509). Florence. Accademia. Annunciation {signed and dated 1510). Holy Trinity. 1510 (?). „ Certosa. Gruci&aon {siptied and dated 1506). „ Fitti Pal. Marriage of St. Catherine. 1512 {part by Fra Bartolommeo). „ S. Maria. Last Judgment. Fresco {commenced Nuova. by Fra Bartolommeo — the partiy Albertinelli is nearly destroyed). „ TJffizi. Visitation of the Virgin {Aii»iiM<«r- piece). 1503. Paris, Louvre. Madonna and Child {signed and dMed 150(3), formerly in Santa Trinita^ Florence. „ „ ChristappearingtoMaryMagdalene, Pisa. 5. Catarina. Madonna and Child {part by Fra Bartolommeo), Siena. Gallery. St. Catharine. „ „ The Magdalen. Volterra. Duomo. Annunciation. ALBERTOLLI, Giocondo, the most famous of a family of artists, was born — according to Meyer's ' Kiinstler-Lexikon ' — at Bedano, in 1742. He studied at Parma under a sculptor, and also in the Academy, and at Rome from the antique ; and soon became famous for his ornamental architec- tural decorations. He was elected, in 1776, pro- fessor of ornament to the Milan Academy, but he resigned the post in 1812 on account of failing eyesight. In 1809 Napoleon made him a Knight of the Iron Crown. Albertolli was much em- ployed in decorating palaces, churches, and public buildings in Italy, and gave a new impetus to the art of ornamental design in that country. His paintings are scarce. A ' Madonna and Child ' by him is in the church of St. Rooh, at Milan, in which city he died in 1840, aged 98. ALBERTOLLI, Raffaello, a pupil of his father Giocondo, distinguished himself as an engraver in mezzotinto and etching, and executed many por- traits of eminent persons. He was born in 1770, and died at Milan in 1812. ALBERTONI, Paolo, a follower of Carlo Ma- ratti, painted in his style ; he died soon after 1695. There are pictures by him in the church of San Carlo in the Corso, in Santa Maria, in the PAINTERS AND ENGEAVERS. Campo Marzo, Santa Marta, and other churches in Rome. ALBEETDS, Hans CHRrsTOPH, was a native of Dresden, and studied there from 1611 to 1622 with a goldsmith. We have by him a portrait of Johann SeckendorS, rector and professor at Zwickau, en- graved from a picture painted by himself, which is considered a fine work of art. He died in 1680. ALBIN, Eleazab, a German, whose family name was Weiss, published several works on natural history in London between 1720 and 1738. His ' Natural History of Birds ' included 306 plates of birds drawn from life. He died, it is believed, about 1740. In the Gallery at Cassel there is a ' Rich Man and Lazarus ' by him. ALBINI, Alessandro, was born in 1568. Ac- cording to Malvasia, this painter was a native of Bologna, and a distinguished disciple of the school of the Carraoci. He acquired great reputation by some designs he made for the funeral ceremony of Agostino Can-acci. In the church of San Michele in Bosoo, at Bologna, he painted a picture of ' the Sepulture of St. Valerian and St. Tibertius ; ' and one of St. Peter, St. Catherine, St. Agnes, and St. Cecilia, in San Pietro Martyro. He died in 1646. He painted chiefly in Bologna and the vicinity. Massini tells us that he also painted in Rome. ALBONI, Paolo (called by Oretti Paolo An- tonio), was a Bolognese landscape painter. He was born in 1671 (some say 1650). After practis- ing some time in Rome and Naples, he went in 1710 to Vienna, where he remained nearly thirteen years, but being deprived of the use of his right side by an attack of paralysis, he returned to Bologna ; he subsequently painted with his left hand. He imitated the style of Ruisdael and other Dutch masters ; but his later pictures are inferior to his earlier productions. He died in 1734. He had a daughter, LniGiA Maria Rosa, who also distinguished herself as a landscape painter. She died in 1759. ALBORESI, GiACOMO, a Bolognese painter, who was born in 1632, was a scholar of Domenico Santi and Agostino MeteUi. He painted historical subjects, but was more celebrated for his pictures of archi- tectural views. He worked chiefly in fresco, and in conjunction with Fulgenzio Mondini, painted for the church of San Petronio, at Bologna, the ' Death and Canonization of St. Anthony of Padua.' In the church of San Giacomo Maggiore, he painted some subjects of perspective, in which the figures were by Bartolommeo Passarotti. He died at Bologna in 1677. He also worked in conjunction with Antonio Maria Pasio, in the cathedral at Florence. ALBORN. See Ahlborn. ALBRECHT, Balthasae Adgustin, who was bom at Berg, near Aufkirchen in Bavaria, in 1687, was a pupil of Nikolaus Gottfried Stuber, and studied in Venice and Rome. On his return to his native country in 1719, he became popular as an historical painter, and was appointed court-painter and inspector of the Picture Gallery at Munich, where he died in 1765. The churches and galleries of Bavaria possess many paintings by him. ALBRECHT, C, an obscure German engraver, of Berlin, mentioned by Heineken. He worked only for the booksellers, and his plates are so indifferent, that they are not considered by that author worthy of being specified. ALBRIZZI. See Albebici. ALCAZAR. See Paret y Alcazar. ALDB, H. VAN. See Aldewereld. ALDEGREVER, Heinbich (or Alde Gravk). This celebrated artist was bom in 1502, in . . Westphalia, probably at Pader bom, where /pA' his parents resided, but he lived chiefly -^ ^ " at Soest. Albert Rosenberg, the latest German writer on the ' Little Masters,' considers he never was a pupil of Diirer, nor ever even visited Nuremberg, though Van Mander reports that he painted two wings for an altar-piece in a church there. His works show, however, that he was muck influenced by Diirer's practice, and also by that of Barthel Beliam and Georg Pencz. On his return to his own country, he applied himself at first entirely to painting ; and, according to Fiissli, painted some pictures for the churches and con- vents, which have not been identified. The following is a list of his few known paint- ings : Berlin. Museum Portrait of Engelbert Therlaen. 1551. Breslau. Art Club. Portrait of Count Philipp of Wal- deck (dated 1535). Brimswick. Museum. Portrait of Magdalena Wittig. 1541. Prag:ue. Museum. Clirist sitting on his tomb. 1529. Vienna. Liechtenstein Portrait of a young man (dated Gallery. 1544; j^erkaps his best). After a few years ho devoted himself entirely to engraving, and in that branch acquired a dis- tinguished reputation amongst those artists who are called the Little Masters, from their having generally engraved plates of a small size. He died, it is supposed, at Soest, in 1558. His execu- tion is uncommonly neat ; he worked entirely with the graver, in a style that is evidently founded on that of Albrecht Diirer, and his plates are finished with great precision and delicacy His design was full of invention, and his drawing shows more of the Italian Renaissance influence, than that of many contemporary German artists. He usually marked his plates with the cipher given above. His engravings are very numerous, exceed- ing three hundred. They bear dates from 1522 to 1555, the latest authentic date on any of his works. The following is as general a list of them as the nature of this work will admit, and comprises all his principal plates : for fuller in- formation the inquirer is referred to the minute descriptions to be found in Heineken, Bartsch's ' Peintre Graveur,' and Meyer's ' Kiinstler- Lexikon.' portraits. Aldegrever, without a beard ; Aldegrevera. Mta.tia 28. 1530. The same, with a thick beard. Anno 1537. .^tatis suse 15. Bust of Martin Luther. 1540. Bust of Ptiilip Melancthon. 1540. Albert von der Helle. 1538. "Wilhelm, Herzog von Jiihch, 1540. Johann van Leyden, cliief of the Anabaptists. Berohard Knipperdollinck, the fanatic. VARIOUS SUBJECTS. Six — Of Adam and Eve driven out of Paradise. 1540. Four — Of the History of Lot. 1555. Four — Of the History of Joseph and his Brethren. 1532. Seven — Of the History of Thamar and Absalom. 1540. David and Bathsheba. 1533. The Judgment of Solomon. 1555. Judith with the Head of Holofemes. 1528. Four— Of the History of Susannah. 1555. 15 A BIOGRAPHICAL DICTIONARY OF Four— Of the Parable of the good Samaritan. 1554. Five — Of the Rich Man and Lazarus. 1554. The Four Evangelists. 1539. The Adoration of the Shepherds. 1553. The Virgin and Infant, reposing under a tree. 1527. The Virgin carrying the Infant Jesus, with a standard. 1553. Medea and Jason. 1529. Eomulus and Remus taken from their mother, Bhea Sylvia. Tarquin and Lucretia. 1539. Sophonisba taking the Poison. 1553. Marcus Curtiiis about to leap into the Gulf. 1532. Mutius ScKvola before Porsena. 1530. Titus Manlius ordering his Son to be decapitated. 1553. It is curious to observe that in this print, as well as in one of the same subject by Georg Pencz, the instrument of execution resembles the guillotine used in France during the Revolution. The Count d'Archambaud destroying his Son before his Death ; inscribed Fater ne post suam mortem, SfC. 1553. Hector in Combat ; small frieze. 1532. The Battle of Hannibal and Scipio. 1538. Seven— The Divinities that preside over the Planets. 1553. Thirteen — The Labours of Hercules; fine, and scarce. 1550. Orpheus and Eurydice ; the only etching by this master ; very scarce. 1528. Fourteen small plates of different allegorical subjects. 1549 and 1550. Seven— Of the Virtues. 1552. Seven— Of the Vices. 1552. Eight— Of the Empire of Death over Humanity. 1541. Twelve — Of the Procession of a "Westphalian Wedding. 1538. Eight — Of a similar subject. 1551. Six — Of Death dragging away persons of both sexes. 1562. A "Woman holding an hour-glass, with a skull and a globe, on which is inscribed Respice Jinem. 1529. A Woman with wings, standing on a globe, holding the symbols of prudence and temperance. 1555. An OflBcer carrying a flag. 1540. A Man with a sword, surprising a monk and a nun. Dated 1530. Very rare. Monk and Nun. 1532. The Society of Anabaptists, with a number of figures in a bath. This is engraved by Virgil Solis after Aldc- yrever. Also three sets of wedding processions, one of twelve prints, the others of eight each; and ninety-nine beautiful vignettes, and other orna- ments. These last connect him with the gold- smith's art. A good collection of his engravings may be seen in the Print Room at the British Museum. W. B. S. ALDENRATH, Heinrich Jakob, who was bom at Lubeck in 1775, was a portrait painter, a miniaturist, and a lithographer. He received in- struction from Johann Jakob Tischbein and from Friedrich Karl Groger, with whom he commenced a friendship which was only severed by Groger's death in 1838. Together they visited the Academies of Berlin, Dresden, and Paris ; and after sojourns in Liibeck, Kiel, and Copenhagen, they finally settled at Hamburg in 1814, and became cele- brated as portrait painters. Aldenrath died in Hamburg in 1844. It is said that he painted the portrait of the King of Denmark no less than thirteen times. Among his lithographs may be mentioned the following : His own Portrait. Portrait of Friedrich Karl Groger. Portrait of Klopstock, the poet. Portrait of Count Stolberg, the poet. Portrait of Adolphus, Duke of Cambridge. ALDEWERELD, H. van, a Dutch painter, who 16 flourished at Amsterdam about the middle of the 17th century, was chiefly engaged in painting portraits, generally of celebrated personages, several of which have been engraved. He occa- sionally painted genre pictures. He is frequently called in error, H. van Aide, because he was accus- tomed to sign his name H. van Aide, with the addition of a sketch of a world, which was over- looked. ALDIGHIERO da ZEVIO. See Altichikko DA ZevIO. ALDIVERTI, Alfonso, the son of a notary, flourished in the early part of the 17th century at Rovigo. He painted in the church of Santa Maria deUa Neve, scenes from the Life of Christ. The 'Christ Condemned' is signed and dated 1615. Bartoli says of these works, that they are painted in an antique style, and remind one of Diirer's engravings. He also painted a ' St. Charles Bor- romeo,' in San Bartolommeo, in Rovigo. ALDROVANDINI, Pompeo, son of Mauro, and cousin and pupil of Tommaso, was bom at Bologna in 1677. He was employed much in the churches, palaces, and theatres of Dresden, Prague, and Vienna, and executed many excellent works in oil, in fresco, and in distemper. He died at Rome in 1735. ALDROVANDINI, Tommaso, the son of Giu- seppe Aldrovandini, an architectural painter, was born at Bologna in 1653. He was instructed in the first principles of design by his uncle Mauro Aldro- vandini, an eminent painter of the same subject. Tommaso's talent lay in painting perspective views and architectural subjects, in which the figures were painted by Marc Antonio Francescliini and Carlo Cignani, to whose pictures he in return painted architectural backgrounds ; he also studied figure painting under Cignani. He decorated churches, palaces, and theatres in many of the principal cities of Italy — ForU, Verona, Venice, Parma, Turin, Ferrara, and Genoa, and especially in his native Bologna. His most considerable work was the Council Chamber of the Ducal Palace at Genoa, which he executed in conjunc- tion with Franoeschini ; it has since been de- stroyed by fire. He died in 1736. ALE, GiLLES (or Hallet), of Liege, flourished in the latter half of the 17th century, and was distinguished for the purity of his style, accord- ing to the principles of the Roman school. He painted in conjunction with Morandi, Bonatti, and Romanelli ; and executed an altar-piece in oil, and the ceilings of the chapels in fresco, for the church of Santa Maria dell' Anima in Rome. He died in 1689. Most of the paintings by him in Liege were destroyed when the French bom- barded that town in 1691. ALEFOUNDER, John, a student of the Royal Academy Schools, practised for some time in London the art of portraiture, occasionally in miniature. He subsequently went to India, and died in 1795 at Calcutta, from the effects of the climate. In 1784 Bartolozzi engraved the portrait of ' Peter the Wild Boy,' after him, and in the same year Hodges engraved his portrait of J. Edwin the Actor. ALEKSYEEV, Feodor Jakovlevich, 'the Russian Canaletto,' was bom at St. Petersburg in 1757. After he had received an education in the Academy of his native city he went to Venice for the improvement of his art. On his return to Russia, he rose to great fame as a painter of archi- o < w <: o Pi H w w u fcj < H PAINTERS AND ENGRAVERS. tectural views, and was much employed by the emperor and nobility of Russia to decorate their palaces. He died in St. Petersburg in 1824. The Hermitage possesses good examples of his views of Moscow, which are considered his best pro- ductions. ALEMANI, Gaetano (or Alamanni), a painter of Bologna — who distinguished himself in various styles, particularly in architectural and ornamental painting for the decoration of churches and theatres — flourished in the latter half of the 18th century. He died in 1782. ALEMANNO, Giovanni (or Alamannus), was also called Giovanni da Mueano (one of the Venetian Isles). He is supposed from the former name to have been a German. He worked in conjunction with Antonio da Murano. Between them they executed two pictures now in the Academy at Venice ; a ' Coronation of the Virgin,' signed and dated, Joanes et Antonids de Mdri- ANO F., Mccccxxxx., and a 'Madonna and Child enthroned,' signed and dated 1446, Johannes Alamannus Antonids da Moriano Fe. Several pictures by them are still in the chapel of San Tarasio in San Zaccaria at Venice. Alemanno is known to have painted from 1440 till 1447, after which year there is no record of him. ALEMANNO, Justus d' (or Allamagna), a German painter, who practised at Genoa in the 15th century. He painted in fresco an 'Annunci- ation' in a cloister of Santa Maria di Castello, in 1451 ; Lanzi considers it a precious picture of its sort, finished in the manner of the miniaturists, and apparently the precursor of the style of Albrecht Diirer. Justus d'Alemannu is not the same as Justus of Ghent, as some writers have supposed. ALEMANNO, Pietro, a painter of Ascoli in the latter part of the 15th century, was a pupil of Carlo Crivelli. Several of the churches of Ascoli possess paintings by him, but they show little ability either in drawing or colour. The church of Santa Maria della Carita has an altar-piece by him dated 1489, representing the ' Virgin and Child between SS. Michael, Blaise, Jerome, and Nicholas ; ' and in the collection of the late Mr. Barker of London was a ' Virgin and Child, enthroned.' No exact inform- ation can be given of the dates of his birth or death. ALEMANS. See Hallemans. ALEN, Jan van, a Dutch painter, was born at Amsterdam in 1651. He was an imitator of Melchior Hondekoeter, and his pictures, like those of that master, represent fowls, landscapes, and etill-life. Though inferior to Hondekoeter, he painted those objects with great fidelity. He also imitated other masters of the period with so much success that his copies have often passed for originals. He died in 1698. ALENI, Tommaso de, called II Fading, was born at Cremona, and, according to Orlandi, was a disciple of Galeazzo Campi. He was also influenced by the works of Perugino. He painted history in the style of his instructor, and his works in San Domenico, at Cremona, where he was em- ployed with Campi, are so much in the manner of that master that it is diflSoult to distinguish them. Neither the date of Aleni's birth nor that of his death is known. Orlandi says he was born in 1500, but a picture signed by him bears that date. It is a ' Madonna and Child with Saints,' in the Bignani Collection, Castel Maggiore. Another, a c 'Nativity,' signed and dated 1515, formerly in the church of San Domenico, is in the town-hall of Cremona. ALENZA, Leonardo, a Spanish painter and etcher, was bom at Madrid in 1807. He studied art under Juan Rivera and Jos^ de Madrazo, and became a good portrait painter, but was more especially famous for his pictures of the habits of the lower classes. He became a member of the Academy of Madrid in 1842 ; and died there three years later. ALEOTTI, Antonio, a Ferrarese painter, who flourished at the end of the 15th century, was a native of Argenta. He is prob-ibly identical with Antonio dall' Argento, who lived in 1495, and painted the frescoes in the Chiesa della Morte in Ferrara. ALESIO, Matteo Perez de, called by Baglione Matteo ta Leccio. This painter was born in 1547, and studied under Michelangelo. He was a Roman by birth, but he is chiefly known by the works he executed in Spain, whither, in 1583, he had been induced to migrate by the liberal protection bestowed on art by Philip II. It does not, however, appear that he went thither by the invitation of the king, or that he was employed by that monarch in the Escurial. His principal works are his fresco paintings in the churches at Seville. His manner of designing partakes of the grandeur of Michelangelo. The most remarkable performance of Alesio is a colossal picture, painted in fresco, in 1584, in the cathedral at Seville, representing St. Chris- topher carrying the Infant Saviour on his shoulder. It is of prodigious dimensions, the figure of St. Christopher being nearly forty feet high. Palo- mino speaks of this enormous production in very high terms. He painted in 1587 the same sub- ject for the church of San Miguel, and he also painted in other public edifices at Seville. After residing some years in Spain, he is said to have quitted it on account of the preference given to the works of Luis de Vargas, whose superiority the candour of Alesio induced him to be one of the first to acknowledge. Palomino says that Alesio returned to Rome and died there about the year 1600. Baglione, on the other hand, tells us tliat, after having acquired great riches in the West Indies, he died there in poverty. ALESSANDRI, Innocente, an Italian engraver, was born at Venice about the year 1740, and was instructed by F. Bartolozzi, before tliat artist left Italy. He has executed several prints in line, aquatint, and chalk, among which are the fol- Four prints, representing Astronomy, Geometry, Music, and Painting; after Domenico Maggiotio. The Virgin Mary, witti the guardian angel and the souls in Pll^g.^tory ; after Seh. Sicci. The Virgin Mary with a glory of angels ; after Piaz- zetta. The Annunciation ; after F. le Maine. The Flight into Egypt ; after the same. Two Landscapes ; after Marco Ricci. Two series of Twelve Landscapes; after the same, ALESSANDRINO. See Magnasco, Alessandro. ALESSANDRO and JULIO, two painters of Italian origin, of whom little is known, were sup- posed to have been brothers and fellow-pupils under Giovanni da Udine. In the early part of the 16th century, they painted in the Alliambra, Granada, and elsewhere in Spain, frescoes in the 17 A BIOGRAPHICAL DICTIONARY OP manner of Raphael, which had much influence on the style of art in Andalusia. ALESSON. See Ekemann-Alesson. ALEWIJN, Jan, an amateur painter, who made many drawings after the pictures of the old masters. He resided at Amsterdam and at Utrecht, where he died in 1839. He had a son named DiRK, a landscape painter, who was bom at Amsterdam in 1800, and died there in 1842. ALEXANDER, John. This painter and etcher, a descendant of George Jamesone, was a native of Scotland. He went to Italy and studied in Florence ; he practised engraving at Rome about the year 1718. His prints are slight etchings, prin- cipally after Raphael, not very correctly drawn, and but very indifEerently executed. He returned to Scotland in 1720, and painted several historical pictures. On the staircase of Gordon Castle is the ' Rape of Proserpine ' by him. Alexander died about the middle of the 18th century. He en- graved a portrait of George Jamesone, and six plates after the frescoes of Raphael in the Vatican. ALEXANDER, William, an English water- colour draughtsman, was bom at Maidstone in 1767. He accompanied Lord Macartney to China, and made drawings of the scenery and customs of tljat country to illustrate Sir George Staunton's ' Historical Account of the Embassy.' He also published a work on the Costume of China, and another on the Punishments of China. In 1802 he was made teacher of drawing at the Roy;il Military College at Great Marlow ; and afterwards, in 1808, assistant-keeper of the antiquities in the British Museum, in which capacity he had charge of the collection of prints and drawings. He like- wise made the drawings for the earlier volumes of the ' Descriptions of Ancient Marbles and Terra- cottas in the British Museum.' His designs for Britton's 'Architectural Antiquities,' and other publications, show considerable talent. Several of his water-colour drawings may be seen in the South Kensington Museum. He died in 1816. ALEXEIEFF. See Aleksteev. ALFANI, DoMENico (di Paris), a native of Pe- rugia, and scholar of Perugino, was born, according to Pascoli, in 1483 ; but all we know for certain is that his birth took place in the last quarter of the 15th century. The earliest work known by him is a ' Madonna and Child with SS. Gregory and Nicholas,' dated 1518, in the Collegio Gregoriano, at Perugia. His works bear a great resemblance to those of Raphael, and, were it not for the delicacy of the colouring, they might be assigned to his school. His reputation has been somewhat in- jured by that of his son Orazio ; and even in Pe- rugia some fine paintings were long considered to be by Orazio, which have since been restored to Domenico. The difficulty of discriminating their works is increased by their having painted several altar-pieces in conjimction ; particularly that at the church of the Conventuals at Perugia, which is mentioned by Mariotti. ' A Holy Family ' in the tribune of the Uffizi is attributed by some to the father, by others to the son. Domenico painted — in conjunction with his son — a 'Cracifixion' for San Francesco at Perugia, in 1553, in which year he is supposed to have died. ALFANI, Orazio (di Paris, or more properly, Di Domenico), was bora at Perugia about the year 1510. He was a scholar of his father, and studied the works of Raphael, whose graceful manner he imitated with such success, that some of his best i 18 pictures have been mistaken for the early pro- ductions of that master. Orazio is celebrated as having been the first president of the Academy of Perugia, which was founded in 1573. He died in Rome in 1583. A 'Holy Family,' said to be by him, is in the Ufiizi, and there is in the Louvre a ' Marriage of St. Catherine,' dated 1548, which is attributed to him. ALFARO, Arteaga t. See Arteaga. ALFARO T GOMEZ, Juan de, a Spanish painter, was born at Cordova, in 1640. He was first a scholar of Antonio del Castillo, but finished his studies at Madrid under Velazquez, whose manner he followed, particularly in his portraits. He knew very little of design, but was a good colour- ist, having been employed by Velazquez in copy- ing the works of Titian, Rubens, and Van Dijck. In the church of the Carmelites is a fine picture, by Alfaro, of the 'Incarnation ;' and in the church of the Imperial College at Madrid is his celebrated picture of the ' Guardian Angel.' Palomino relates a story which proves that he possessed more vanity than skill. Being employed to paint subjects from the life of St. Francis for the cloister of the convent of that name, he took them from prints, but had the folly to put to each of them Alfaro pinxit. His first master, CastUlo, to chastise his vanity, obtained permission to paint one, and placed at the bottom non pinxit Alfaro, which passed into a proverb. He was fond of travelling, was well versed in literature, wrote poetry, and some inter- esting notes on the lives of Becerra, Cespedes, and Velazquez. He painted the portrait of Calderon, which was placed over the tomb of the poet in the church of San Salvador at Madrid. His conduct towards his patron, the Admiral of Castille, has left a greater stain on his memory than even his vanity. He forsook the admiral when he was banished, and meanly solicited his patronage when recalled : the repulse he received produced melan- choly, and caused his death, which took place in Madrid in 1680. ALFIANO, Epifaxio d', a monk of San Salvi, at Vallombroso in Tuscany, is mentioned by Heinecken as a lover of the arts, who amused him- self with engraving. He engraved a set of plates of festivals and decorations, dated 1592 ; and in 1607 a book of writing, in which he styles himself ' Priore dello Spirito Santo di Firenze.' ALFON, Juan, born at Toledo, painted, in 1418, several altar-screens for the cathedral of that city, which are still preserved. ALFOR.a;, NiccOLO Guglielmo. This engraver, of whom little is known, was a native of Lorraine, but resided at Rome. There is a set of twelve small upright prints of flowers by him, which, although not very delicately executed, are done in a masterly style and with great spirit. They are inscribed Nicholaus Gulielmttt Alforce Lotharingus fecit, Romce. ALGARDI, Alessandro. This eminent artist distinguished himself as an architect, sculptor, and engraver. He was born at Bologna in 1602, and was educated under Giulio Cesare Conventi. As an engraver the few plates we have by him are executed in a free, bold, and open manner, in the style of Agostino Carracci. He died /TJ in 1654. He generally marked his plates \£l\_i with this monogram : The following are attributed to him : The Crucifixion ; a large upright plate. The Souls delivered from Purgatory ; oval. PAINTERS AND ENGRAVERS. A Blind Beggar and his dog ; after Carracci. The Cries of Bologna, after Annibale Carracci, in eighty plates, engraved by Algardi^ in conjunction with Simon Guillain. ALGAROTTI, Conte Francesco, was born at Venice in 1712. This eminent writer was con- sidered one of the greatest connoisseurs in Europe in painting, sculpture, and architecture. He de- signed and etched for his amusement several groups of heads, one of which, containing thirteen heads, in the style of the antique, is dated 1744. The best edition of his works on art was published at Venice in 1791-94. He died at Pisa in 1764. ALGHISI. See Galassi. ALIAMET, FRANgois-GERMAiN, younger brother of Jean Jacques, was born at Abbeville, in 1734. After having learned engraving at Paris, he came to London, and worked for some time under Sir Robert Strange. His works are considered in- ferior to those of his brother. He died in 1790. He engraved several portraits, and historical sub- jects, of which the following are the principal : Mrs. Pritchard, in the character of Hennione ; after Fine. The Flattery of the Courtiers of Canute reproved; after Pine. The Adoration of the Shepherds; after Annibale Carracci. The Circumcision ; after Guido. The Annunciation ; after Le Maine. St. Ignatius kneeling; after the same. The Stoning of Stephen ; after Le Sueur. A Sacrifice to Pan ; after A. Sacchi. The Surrender of Calais to Edward III. ; after Pme. The Bathers ; after Watfeau. ALIAMET, Jacques, a clever French engraver, was born at Abbeville in 1726. He was a pupil of J. P. le Bas, and was first employed in vignettes for the booksellers, but he soon attempted more important works, and distinguished himself by some plates he engraved from the pictures of Joseph Vernet. He principally excelled in landscapes and sea-pieces, and was one of the eight engravers who executed the series of 'Batailles de la Chine' for the Emperor of China in the years 1765 to 1774. His style of engraving was very neat ; he worked with the graver and dry point, expressed the various degrees of colour well, and carefully avoided any exaggeration of shadow. He died in Paris in 1788. The following are among his best prints : A Landscape, with figures and cattle; after Berchem. The Port of Genoa ; after the same. A Landscape, with a stag-hunt ; after the sam The Female Villagers; after the same The Village Pleasiures ; after the snmt. The Spanish Halt ; after Wmwerman. A Guard of Uhlans ; after the same. The Moon rising; ajfter A. van der Neer. A View of Boom, by moonlight ; after the same. The Amusements of Winter ; after A. van de Velde. A Storm ; after Joseph Vernet. A Fog ; after the same. A Fire in a Sea-port by Night ; after the same. Two Sea-pieces — The Fishermen, and Return from Fishing ; after the same Four — The Four Times of the Day ; after the same. Two plates of the Witches' Meetings ;' after Teniers. The Birth of Venus ; after Jeaurat. ALIBERTI, Giovanni Carlo, a Piedmontese painter, was bom at Asti, in 1680. It is not stated under whom he studied ; but, according to Lanzi, he executed several considerable works in fresco in the churches of his native city. He painted the ceiling of the church of Sant' Agostino, represent- ing that saint taken up into heaven surrounded by c2 angels ; and in the choir of the same church, a picture of St. Augustine baptizing a number of children, and other figures. The composition is ingenious, with a fine expression in the heads, and embellished with architecture. He died about the year 1740. His style consists of a mixture of Maratti, of Giovanni da San Giovanni, and of Correggio ; heads and feet that might be attri- buted to Guido or Domenichino ; forms peculiar to the Carracci, drapery of Paolo Veronese, and colours of Guercino. ALIBRANDO, Girolamo, a Sicilian painter, called 'the Raphael of Messina,' was born in 1470, and received his first instruction in the school of the Antonj. The fame which Antonello da Messina, his countryman, liad acquired in Venice, induced him to visit that city, and he there re- ceived, for a short time, instruction from Anto- nello. He also enjoyed the friendship of Gior- gione. He afterwards went to Milan, where he became a disciple of Leonardo da Vinci. He then went to Rome and studied the antique, and the works of Raphael ; from Rome he went to Parma, and thence back to Messina, which town possesses his best works, the most important of which was a large picture of the ' Presentation in the Temple,' painted in 1519, for the Chiesa della Candelora. It was in existence in the early part of the century, but is now no longer to be found. Alibrando died of the plague in 1624 at Messina. ALIENSE, L'. See Vassilacchi. ALIGHIERI, Giovanni, a monk who flourished in Ferrara about 1195, painted miniatures in the codex of Virgil in the possession of the Carmel- ites in that city. ALIGNY, See Caruelle d' Align y. AUPRANDI, Michelangelo, a painter of Verona, flourished from about 1560 to 1582. He was an imitator, if not a pupil, of Paolo Veronese, and executed after the manner of that master an altar-piece — the ' Madonna and Child between St. Roch and St. Sebastian' — in the church of SS. Nazaro e Celso, at Verona, where it is still pre- served. ALISAL. See Carado. ALIX, Jean, a French painter and engraver, born in Paris in 1615, was a scholar of Phil- lippe de Champagne, some of whose paintings he engraved in the style of Morin, but as a painter we have no account of his works. There is an etching by him, of a ' Holy Family,' after Raphael, executed in a very light and pleasing style. ALIX, Pierre Michel, born at Honfleur, in 1752, was a scholar of Le Bas. He engraved in line and executed in aquatint a set of por- traits of eminent men, which were printed in colours, as well as a large portrait of Napoleon in his coronation robes. He died in Paris in 1817. In Meyer's ' Kiinstler-Lexikon ' is a list of 104 of his plates — historical pieces and portraits after various painters. ALKEN, Henry, a well-known painter and en- graver of sporting subjects, published, in 1816, ' The Beauties and Defects of the Horse ; ' in 1821, 'National Sports of Great Britain,' with fifty coloured plates, and in succeeding years, several similar works. He also published in 1849, 'The Art and Practice of Etching,' and in 1869, ' Jor- rock's Jaunts and Jollities.' ALKEN, Samuel, worked in London as an engraver in aquatint towards the close of the 18th A BIOGRAPHICAL DICTIONARY OF century. He chiefly produced illustrations for topographical works — such as ' Views in Cumber- land and Westmoreland,' in 1796, and ' Views in Korth Wales,' in 1798. ALLAIS, Jean Alexandre, the son of artistic parents, was born in Paris in 1792. His father, Louis Jean Allais (1762— 1833), was an engraver of merit, and his mother, nie Briceau, practised the same art. Jean- Alexandre studied under David. Urbain, Massard, and Fusseyeux, and soon became famous for his prints, wluch were for the most part executed in aquatint. He engraved chiefly after the works of Schoppin, Jacquand, Fragonard, Dubufe, and Leonardo da Vinci. Allais died in Paris in 1850. ALLAMAGXA. See Alemanno, Justus d'. ALLAN, David, a Scotch painter, was bom at Alloa, in 1 744. He received the rudiments of his art in the Academy at Glasgow, founded by Kobert and Andrew Foulis, the printers. He went to Italy in 1764, to pursue his studies, and gained in 1773 at Rome the prize medal, given by the Academy of St. Luke for the best historical composition, by liis ' Corinthian Maid drawing the shadow of her lover.' He resided there for nearly fourteen years, and painted landscapes in the style of Gaspar Poussin. He returned in 1777, and supported himself by portrait painting in London until 1780, soon after which he settled in Edinburgh, wliere he was made, in 1786, master of the Academy. He died near Edinburgh in 1796. Allan is sometimes called the ' Hogarth of Scotland.' He made in 1787 four humorous drawings of the Sports of the Carnival at Rome, which were engraved by Paul Sandby. He also designed and engraved a series of illustra- tions to Allan Ramsay's 'Gentle Shepherd,' pub- lished in 1788, and etched some plutes for the ' Songs of the Lowlands of Scotland,' publislied in 1798. David Allan's portrait, by himself, is in the Scottish National Gallery. ALLAN, Sir William, was bom in Edinburgh, in 1782, and was in the first instance apprenticed to a coach painter, but afterwards studied some years at the 'Trustees' Academy in the above-named city, where he was the feUow-student of David Wilkie, and John Burnet the engraver. Allan was tlie first of the triumvirate to make his way to Lon- don. He began by taking Opie for his model, imitating him very closely in a picture, called ' A Gipsy Boy and Ass,' whicli was exliibited at the Royal Academy in 1805. In this year, disap- pointed of the success he had looked for in the metropolis, he went to St. Petersburg, where, through the kind ofiices of Sir Alexander Crichton, tlien physician to the imperial fiimily, he met with considerable patronage as a portrait painter. He afterwards visited the interior of Russia, Tartary, and Turkey, where he collected materials for many original and characteristic works, which he afterwards painted, illustrative of the scenery and customs of eastern Europe. In 1809 he sent a picture to the Royal Academj' called ' Russian Peasants keeping tlieir Holiday,' but this did not attract much attention ; and he did not again con- tribute to the Exliibition for the next six years. In 1814 he returned to London, and in 1815 exhibited his picture of ' Circassian Captives,' now in the possession of the Earl of Wemyss. This was followed by ' A Circassian Chief selling to a Turkish Pasha captives of a neighbouring tribe taken in war,' and others of similar scenes which the artist had witnessed in his travels. 20 But these productions did not sell at the time (some of them are now in the possession of the Emperor of Russia), and the artist was so dis- heartened that he talked of retiring to the wilds of Circassia, when Sir Walter Scott stepped in, and started a lottery of one hundred subscribers of ten guineas each for the last-named picture, which, although the list was not entirely filled, put a considerable sum into Allan's pocket. This happy circumstance caused him to alter his views, and remain at home, enjoying the patronage of such friends as the great novelist introduced to him. He now, with tne sole exceotion of a picture of ' Tartar Robbers dividing their Spoil,' adopted a class of subjects wholly difEerent from those he had attempted before ; as, ' A Press Gang,' ' The Parting between Prince Charles Stuart and Flora Macdonald at Portree,' and ' Jeannie Deans's first Interview with her Father after his return from London;' he, however, still made but little progress in public favour, and again he was almost giving way to despair, when his sketch of ' The Murder of Archbishop Sharp on Magus Muir,' so admirably described in ' Old Mortality,' attracted the notice of Sir Walter Scott, who en- couraged him to make a picture of it, which was purchased by Mr. Lockhart, and, beingengraved,was pubUshed with much success. Allan now resolved to devote himself entirely to subjects of Scottish history ; and his next work of consequence was ' John Knox admonishing Mary Queen of Scots on the day when her intention to marry Damley had been made public,' exhibited at the Royal Academy in 1823, and well known by the fine en- graving of it by Burnet. This was followed in 1824 by 'Sir Patrick Lindesey of the Byres and Lord William Ruthven compelling Mary Queen of Scots to sign her abdication,' and in 1825 by 'The Regent Murray shot by Hamilton of Bothwell- haugh,' which was exhibited at the Royal Academy, and bought by the Duke of Bedford for 800 guineas. This picture procured Allan's election as an Asso- ciate of the Academy. The works which next followed from his pencil were of unequal merit. Amongst the best were, in 1831, ' Lord Byron reposing in the house of a Turkish Fisherman, after swimming across the Hellespont,' and a ' Portrait of Sir Walter Scott sitting in his study reading the proclamation of Mary Queen of Scots previously to her marriage with Damley ' (en- graved by Bumet). In 1833 ne produced a picture entitled ' The Orphan,' and representing Anne Scott seated on the floor near her father's chair at Abbotsford. This was bought by Queen Adelaide, and is now in the Royal Collection at Buckingham Palace. Allan paid a second visitto the Continent in 1830, and in 1834 visited Spain. His picture called ' 'The Moorish Love Letter,' and other characteristic productions now exhibited, secured his promotion to the rank of Roj'al Acade- mician in 1835. In 1838 he was chosen to fiD the presidential chair of the Royal Scottish Academy, rendered vacant by the death of George Watson ; and in 1841 he succeeded Sir David Wilkie as Limner to the Queen for Scotland, an office which entitles the holder to the honour of knighthood, and a small salary. In 1843 Sir William Allan exhibited at the Royal Academy his picture of ' The Battle of Waterloo,' which was purchased by the late Duke of Wellington. He exhibited another and larger picture of the same subject at the Fine Arts competition in Westminster PAINTERS AND ENGRAVERS. Hall in 1843, which, however, to his great dis- appointment, found no purchaser. In the former picture Napoleon is the principal figure in the foreground ; in the latter tlie Duke of Welling- ton. In 1844 he revisited St. Petersburg, and, on his return, painted for the Emperor Nicholas a picture of ' Peter the Great teacliing his sub- jects the Art of Ship-building,' which was ex- hibited in London in 1845, and is now in the Winter Palace at St. Petersburg. Sir WiUiani died in his painting-room at Edinburgli before a large unfinished picture of ' The Battle of Ban- nockburn,' in 1850. This picture is now in the National Gallery of Scotland. Besides his other titles, he held those of Honorary Member of the Academicians of New York and Philadelphia. His excellence as a painter consisted chiefly in con- siderable dramatic power in telling a story, and in skilful composition. As a colourist he was deficient. In the National Gallery is a single example of his pencil, ' Tartar Bobbers dividing their Spoil,' which was painted in 1817 (Loan Collection), and which has been engraved by J. Stewart, and by J. T. Smyth. ALLARD, Abraham, an engraver and print- seller. There are twelve views of the towns of Friesland engraved by this artist ; and in the British Museum is a large print, representing the Garden of Love, entitled Het Lust Hof van Flora ; partly etched and finished with the graver in a stiff, clumsy style, inscribed A. Allart cecinit. C- Allart edit. He lived at Amsterdam towards the close of the 17th and the beginning of tlie 18th century. ALLARD, Carel, an engraver and printseller, who executed a number of mezzotint portraits of English celebrities, after the paintings of Lely. There are in the British Museum four plates of 'The Seasons,' represented in half-length figures, executed in a coarse, heavy style, without any taste. He flourished at Amsterdam toward the close of the 17th, and the beginning of the 18tli century. ALLAHD, HniJCH, a Dutch engraver, flourished at Amsterdam in the latter part of the 17th century. By him we have ' The Flight of King James after the Battle of the Boyne,' 1690 — //w(/o Allard, fecit, Carolus Allard, excudit — and some portraits, amongst which is that of Adriaan Pauw, one of the negotiators of the peace of Miinster. ALLARD, Jean Pierre Eugene, a French his- torical and portrait painter, was born at Lj'ons in 1829. He studied under Flandrin and Jannot, and afterwards went to Rome, where he was assassin- ated in his studio in 1864. ALLEGRAIN, Etienne, a French landscape painter, born in Paris in 1644, painted works which were much esteemed. Two landscapes by him are in the Louvre — one of which was formerly ascribed to Millet — and several, in the manner of Fran- cisque Millet, are at Versailles. At the Hermitage at St. Petersburg is a ' Landscape, with the find- ing of Moses.' He died in 1736 in Paris. ALLEGRAIN, Gabriel, born in Paris in 1679, son and pupil of Etienne, painted in the manner of his father: he died in 1748. He exhibited at the Salon from the year 1737 to 1747, missing a year occasionally. There are by him at Ver- sailles views of the gardens of Versailles, of the chateau of St. Germain-en-Laye, and of the chftteau of Vincennes. ALLEGRI, Antonio, commonly called CoR- KEGGIO, was born, according to his Italian bio- grapher Pungileoni, in the year 1494, in the small town of Correggio near Reggio-Emilia. His fatlier, Pellegrino Allegri, was a merchant, or tradesman in comfortable circumstances, as is proved by his having purchased in 1516 a clothier's business, and also by his having farmed for nine years two estates for whicli he paid 150 gold ducats a year. His mother, named Bernardina Piazzola, belonged to the Ormani or Aromani family, and brought hei liusband a dowry of 100 lire. These facts, which have been distinctly ascer- tained, prove that Allegri could not have been brought up in poverty, nor could he, as was at one time supposed, have belonged to a noble family of the name of De Allegris, who possessed a castle and estates a short distance from Correggio. He always, it would appear, lived an easy, comfort- able bourgeois life, never, it is true, rising to the grandeur and sliow of some of the other great masters of the Renaissance, but on the otlier hand never falling into that dire poverty of whioli Vasari gives such a moving picture. Vasari's narrative indeed, as regards Allegri, has long been known to be more than usually inaccurate. He possessed little real knowledge concerning the distant Lombard master, though he professed a great admiration for him as one " endowed with exalted genius," whose works he praised for their "attractive grace, charming manner, perfect relief, and the exquisite softness of their flesh- tints." Nor has modern research, while showing the incorrectness of Vasari's statements, found out much concerning the personal history of this charming master, who, living far distant from Rome and Florence, the great centres of art in the 16th fcentury, remained unknown to most of his renowned contemporaries, and thus probably missed the important part tliat he might otherwise have played in tlie art of Ins time. 'The ascertained facts of his life, stripped of all conjecture and tradition, may be told in a short space. His father, Pellegrino, destined him, it is said, for a learned profession, but this is not cer- tain. At an early age, however, the young Allegri showed an inclination towards painting, which fact does not appear to have been disputed. He had an uncle, named Lorenzo, an indifferent painter of Correggio, from whom he probably ac- quired the first rudiments of the art ; but after- wards there is reason to believe that he studied under a master named Antonio Bartolotti, or Bartolozzi, called also Tognino degli Ancini, who in 1500 was the chief master or Caposciwla in Correggio. Bulbarini, in his il/emoriePcrfne, speaks of this painter as having been " often assisted by his pupil Allegri ; " but Dr. Meyer does not con- sider that he gained anything from this master ' beyond a certain technical practice in tempera painting." Unfortunately only two of Bartolotti's works are known, and they prove that he had very little capacity. Mengs is of opinion that Allegri studied in Modena also, under two masters of some repute — Francesco Bianchi, called ' II Frare,' and Pelle- grino Munari — but there is no historical evidence to support this view beyond a passage in Vedri- ani's Pittore Modenesi, which was added by the publisher at a later date. Bianchi died in 1510 when Allegri was only sixteen, so it is not likely that he derived much knowledge from him, even if we admit that he studied in Modena, which 21 A BIOGRAPHICAL DICTIONARY OF Beems unnecessary, considering that an esteemed master like Bartolotti was to be found nearer home. But whoever were his early teachers (and other masters besides those named are mentioned), his style seems to have been formed chiefly by the study of Manteg-na. It is supposed that he had an opportunity for such study, for it is said he went to Mantua in 1511, at a time when the plague was raging at Correggio, and resided there for some time. Mantegna himself was dead at this time, but at the impressionable period of development such a revelation as that of Mantegna's art could scarcely fail to have a great influence over the style of a youthful artist, and Allegri's study of this master doubtless led to that intimate know- ledge of foreshortening and perspective which he exhibits with so much daring in his great works. Crowe and Cavalcaselle imagine also that he associated with Lorenzo Costa during his stay in Mantua, and derived from him something of his love for colour. This certainly could not have been gained from Mantegna, whose art is severely classic and sculpturesque; but Allegri's use of chiaroscuro, his exquisite modelling, and his gracious manner, if we may so call it, bear so much closer afSnity to Leonardo da Vinci than to any other master, that it seems almost impossible to doubt that in some way or another he also caught inspiration from him. However this may be, it is certain that when he came back to Correggio, at about the age of twenty-three, his fame was sufficiently established in his native town for him to receive a commission for an important altar-piece. This altar-piece, — his first authentic picture, — painted in 1514 for the con- vent of San Francesco in Correggio, is now in the Dresden Gallery. It represents the Madonna enthroned, with St. Francis and other Saints, and is distinguished by a more solemn religious feeling than is observable in his later works. After painting several other altar-pieces and religious subjects in Correggio he received a commission from the lady abbess of the convent of San Paolo, in Parma, to decorate her nunnery with paintings. He accordingly went to Parma in 1518, and accomplished that lovely series of decorative paintings of mythological subjects that are now reckoned among his most beautiful works, although, strange to say, they remained almost unknown for nearly two centuries. On his return to Correggio in 1519, after this, his first work in Parma, Allegri married a young girl of sixteen, named Girolama Francesca, daughter of Bartolommeo Merlini de Braghelis. arm-bearer to the Marchese of Mantua. She brought her hus- band some small fortune, and before this, in the same year, 1519, he had received a legacy from his maternal uncle, Francesco Ormani, of a house, several acres of land, and other property, '' in con- sideration of important services." His circum- Btances tlierefore could not have been straitened at this time, although, owing to lawsuits and other causes, he did not at once enter upon the posses- sion either of his own or his wife's property. His eldest eon, Pomponio, was born on the 3rd of September, 1521, in Correggio, the learned anato- mist Lombardi standing god-father on the occasion of the christening. Allegri, from the time when he was first called to Parma in 1518, appears to have kept up a constant intercourse with that city, and after the 22 birth of his eldest son he went to reside there with his wife, three other children being bom to him while in that city. "We have no trustworthy account," says Dr. Meyer, "of the paintings executed by Allegri, partly in Parma and partly in Correggio, at this time." They were mostly easel pictures, that are now scattered in various galleries and are extremely difiicult to identify, numerous false works being attributed to this time. Among the genuine ones, however, the ' Madonna kneeling in worship before the Divine Infant,' in the Ufiizi, so well known by means of engraving and constant repetition, the ' Madonna deUa Cesta,' in the National Gallery, and the 'Zingarella, or Madonna del Coniglio,' at Naples, are generally thought to belong to this period, and to have been suggested by his young wife and child. In 1520 Allegri received a commission for a far larger work in Parma than any he had hitherto done. This was the painting of the cupola of the church of San Giovanni, for which lie entered into a contract with the Benedictines of the convent of San Giovanni, signed on July 6th, 1520. He did not, however, begin the work until about the middle of 1521, and he received the last instalment of the sum paid to him for it on the 23rd of January, 1624, at which date we may conclude that this splendid work was quite finished, for in a document still extant, and in Allegri's own writing, he declares himself to have received " full payment for the remainder of the works completed in the said church," and to be "pleased, satisfied, and fully paid." The ex- act amount of this ' full payment ' is somewhat difficult to determine, although the various sums were found by Pungileoni to have been all entered in the convent books. These amount, when added up, to 272 ducats, and Dr. Meyer is of opinion that Allegri did not receive more than this small sum for his paintings in San Giovanni. Other authorities make it up to 472 ducats. Some of his paintings on the dome of San Giovanni are still in existence, but much ruined by damp and time. Many portions are scattered in galleries. Their subject is the ' Ascension of Christ in the midst of tlie Apostles,' a subject which gives full play for the painter's marvellous powers. The masterly foreshortening and sense of movement, the brilliancy of the glowing figures, rising as it were from a dark background, have called forth the admiration of all critics. Allegri's nest important work in Parma was the painting the dome of the cathedral, for which he received the commission in 1522, though he did not begin the work till a later date. In the agree- ment it is specified that he shall receive 1000 gold ducats, equal to about £1500 of our present money ; but numerous difficulties and disagree- ments arose between the chapter of the cathe- dral and the painter, and, in the end, the latter did not finish more than half of the work stipulated, nor receive more than half the payment. After Allegri's death, indeed, the cathedral laid claim to 140 hre from his heirs on a<;count of some unfinished works in the choir. But although, as it would seem, Allegri failed to satisfy the cathedral authorities, his paintings in the dome of the cathedral being spoken of disparagingly by contemporary critics as a " mere hash of frogs," these paintings have been the wonder and delight of succeeding generations. The subject represented in the great dome is the Pi o o J n < 5 o o < ^ e^ o o H u z < PAINTERS AND ENGRAVERS. • Assumption of the Virgin,' her form being borne upwards on luminous clouds to heaven, whitLershe is preceded by the Archangel Gabriel and a joyous choir of angels, all in the most unconstrained attitudes and action. Tlie Apostles, from below, gaze upwards in ecstasy to view the heavenly drama, and numerous putti, or boy angels, flutter about, looking as though "about to burst open the dome, and fly out into the open air." The entire absence of all religious conventionality, and the purely sensuous life exhibited in these paintings, sliow a bold disregard for traditional treatment. While he was executing these stupendous monu- mental frescoes, Allegri also painted some of his most perfect oil paintings. Chief among these stand ' La Notte,' or ' The Night,' of the Dresden Gallery, commissioned by a certain Alberto Pratoneri of Reggio, in 1522, for the church of San Prospero. This world-famous picture is well known, and need not be described. Sir David Wilkie, who saw it during his travels in 1826, speaks of it as "the most original and poetical of all Correggio's works," and one which " though shorn of its beams from the treatment it has met with, is, in its decay, still not less than an arch- angel ruined." Since his time it has been re- stored in 1827 by Palmaroli, and in 1858 by Schirmer, and it is stated by Dr. Meyer to "be in good preservation, only the azure tints of the high lights having somewhat suffered, and tlie shadows grown darker." It is chiefly admired for its marvellous effect of light, and the poetic idea of making that light emanate from the new- born babe. The magnificent altar-piece, in the Parma Gallery, of the Madonna with St. Jerome and the Magdalene, called ' II Giomo,' or ' The Day,' is another of Cor- reggio's works distinguished for its perfection in the management of light and shade, and the volup- tuous beauty of the Magdalene. Mengs says of this graceful figure, that " whoever has not seen it is ignorant of what the art of painting can achieve." This great painting was executed for a certain Donna Briseide CoUa, of Parma, a widow lady, who paid the painter more liberally than any of his other patrons, giving him, it seems, over and above the stipulated sum of 80 scudi, various presents, consisting of " two cartloads of faggots, several bushels of wheat, and a pig." According to Dr. Meyer, Allegri did not disdain to thus receive payment in kind from some of his less wealthy patrons, and possibly it is upon some tra- dition of tliis sort that Vasari's absurd story of his dying under a weight of copper money was founded. The ' Madonna della Scodella,' in the Parma Academy, the ' Madonna and St. Sebas- tian,' and the ' Madonna and St. George,' at Dresden, are likewise considered to belong to this time of highest achievement. In 1530, Allegri left Parma, and returned to Correggio, having before this (probably about tlie end of 1528) lost his young wife. He appears to have now made up his mind to settle in his native town, where he lived in a good house in the Borgo Vecchio (probably the one which he had inherited from his uncle). He also bought an estate iu November, 1530, for 195 scudi, and in 1533 a few acres of land. About tliis time we frequently find his name mentioned as witness, he being at one time summoned to witness the payment of tlie marriage portion of Clara, the daughter of the Lord of Correggio, all of which facts prove that I he must have been a man of some means and importance in his native city. Besides AUegri's great rehgious pictures, he painted a number of mythological subjects, for which his style was admirably adapted. Tlie sensuous qualities of his art have full play in such works as the ' Jupiter and Antiope'of the Louvre, the ' Education of Cupid,' in the National Gallery, the ' Danae ' of the Borghese Gallery, and the ' Leda ' of the Berlin Museum. Most of these works were executed, it is supposed, during the last years of the painter's life, but the exact dates are uncertain. Vasari states that Allegri painted two of these pictures — the ' Leda,' and the ' Danae,' described by him as 'Venus' — forthe Duke of Mantua, who afterwards presented them to the Emperor Charles v., and there seems no reason to doubt his inform- ation in this particular. It is probable, however, that Allegri became known to the duke not through the intervention of Giulio Romano, as has been supposed, but rather through the recommend- ation of Veronica Gambara, the second wife of Giberto of Correggio, who was a lady of great learning, and who founded an Academy in Cor- reggio. A letter dated September 3, 1528, is extant from this lady to her friend Beatrice d' Este, Duchess of Mantua, inviting her to " come and see the chef d'oeuvre of the ' Magdalene in the Desert,' just finished by the Messer Antonio Allegri. It astonishes all who behold it." The cause of AUegri's death at the early age of 40 is unknown. It was probably sudden, for he had entered upon a new commission shortly before. He died on the 5th of March, 1534, and was buried the next day in the' Franciscan church at Correggio, a simple wooden tablet marking the spot. In the 18th century, when his grave was sought for, it could not be found, though a skull purporting to be his is preserved in tlie Academy of Modena. AUegri's art was thorouglily individual. Vasari riglitly calls him pittore singolarissimo, but by the sensuous cliaracter of his painting he is more nearly allied to the scliool of Venice than to the severer intellectual schools of Padua or Florence. Perhaps what mostly distinguishes his style from that of every other master, is his delicate perception of the minutest gradations of light and shade. His chiaroscuro has been praised by artists as simply perfect. It sheds a wonder- ful atmospliere of ligiit and delight over all his works, and his figures seem literally to live in radiant glory. AUegri's Madonnas are beautiful, joyous mothers, endowed with every human charm ; but with none of the spirituality that Raphael infused into the old ascetic type. He departed, in fact, as far as the Venetian masters from the old religious ideal, and like them made aesthetic perfection his sole aim. CHIEF AUTHENTIC "WORKS. FRESCOES. Fresco paintings in the nunnery of San Paolo. 1518. St. Jolin ; fresco above a doorway iu .Sau Giovanni. Frescoes in the dome of San Giovanni. 1521 — 1522. Frescoes in the dome of the cathedral at Parma. 1526 —1530. Madonna della Scala ; fresco now in the Academy at Parma. The Annimciation ; fresco formerly in the church of the Annunziata in Parma ; recently restored and removed from the wall. 23 A BIOGRAPHICAL DICTIONARY OF OIL PAINTINGS. Madonna of St. Francis ; Dresden Gallery. 1514. Martyrdom of SS. Placidus and Flavia; Academy at Parma. 1522—1524? La Notte, or The Night ; Dresden Gallery. 1522— 1530. II Giorno, or St. Jerome ; Academy at Parma. 1527 — 152S? Madonna and St. George; Dresden. About 1530. Madonna and St. Sebastian ; Dresden. 1525. Marriage of St. Catherine; Louvre. 1517 — 1519. Virgin in Adoration ; UlKzi, Florence. Madonna della Cesta ; National Gallery. 1520 ? La Ziugarella ; Naples Gallery. Sposalizio di S. Caterina ; Museo, Naples. St. Antonio ; Chiesa dei Girolamiui, Naples. Adorazione dei Magi ; Brera, Milan. Adorazione dei Pastori ; Galleria Crespi, Milan. Madonna col figlio ; Museo del Castello, Milan. J, „ „ Kaocolta Malaspina, Pavia. „ „ ,» Galleria, Modena. Madonna e Santi ; Sigmaringen. Madonna and Child ; Benson Collection, London. St. Marta ; Lord Ashbiu'ton. Kest in Egypt ; Uffizi, Florence. Sacra Conversatione ; Ritter Gallery, Vienna. Christ in the Garden of Gethsemane ; Aspley House ; given by the King of Spain to the Duke of Wel- lington. Ecce Homo ; National Gallery. Jupiter and Antiope ; Louvre, formerly in the possession of Charles I. Education of Cupid ; National Gallery. lo and Jupiter ; Vienna Gallery. Leda ; Berlin Gallery. Dan:ie ; Borghese Gallery in Rome. The Triumphs of Virtue and Vice; two allegorical sketches in tempera, in the Louvre. BIBLIOGRAPHY. Ricci, C, 'Correggio, Life and Time.' London, 1896. .Brijiton, «S., 'Correggio.' London, 1900. Pumjileoni, ' Memorie istoriche di Antonio Allegri.' 3 vols. Parma, 1817. Saphael Menys, 'Life and Works of Ant. AUesjri.' 1870. Pietro Martini, ' II Correggio.' 1871. Qiiirino Bigi, Antonio Allegri da Correggio.' Parma, 1860; 2nd edit., 1873. Julius Metier, ' Antonio Allegri da Correggio.' First appeared in the 'Allgemeines Kunstler- Lexicon ' in 1870. English translation, edited by Mrs. Charles Heatou. 1876. /. P. Richter, 'Antonio Allegri, gen. Correggio,' in the ' Kuust und Kunstler.' 1879. ALLEGRI, Lorenzo, an inferior Italian painter of -whom very little is known. He was uncle to the celebrated Antonio Allegri, called Correggio, and is said to have been his first instructor in the rules of art. In 1503 he painted a picture for the convent of San Francesco in Correggio, but no work by his hand is now known to exist. He died in 1527, leaving his property to his brother Pellegrino, and his nephew Antonio, by whom he was much beloved. ALLEGRI, PoMPONio, son of Antonio Allegri, was born in 1521. He was only thirteen years of age when his father died, so he could not have received much training from him, but he is said to have studied under Rondani, who may likewise be considered a follower of Allegri. Pomponio inherited a considerable fortime from his father and grandfather, and appears for some time to have held a good position in Correggio. He afterwards, however, sold most of his landed property, and his affairs became involved. He was altogether an inferior painter, although he appears to have been greatly employed, and received many important commissions. One of his altar-pieces, showing the influence of his father, is in the Academy at Parma. It represents ' Moses showing the Israelites the Tables of the Law.' Other works are in various churches. He sometimes signed himself PoMPONio L.ETI, latin- izing the name of Allegri, as his father also did occasionally. He was still living in 1593. After his time the family of Allegri appears to have fallen into poverty, and to have become extinct. M. M. H. ALLEGRINI, Francesco, called Da Gubbio. This painter was bom at Gubbio in 1587, and was a disciple of Giuseppe Cesare. He painted his- torical subjects, and executed many worKs, both in oil and in fresco, for the churches and palaces at Rome. Works by him are also in Gubbio, in Genoa, and Savona. He had a great number of scholars, amongst whom were his son, Flaminio, and his daughter, Angelica, who also painted historical subjects. He died in 1663 at Rome. ALLEGRINI, Francesco, a designer and en- graver, was born at Florence, about the year 1729. In 1762, he published, in conjunction with his brother Giuseppe, a collection of one hundred por- traits of the family of the Medici, with a frontis- piece, engraved by himself. He also engraved fourteen portraits of Jlorentine poets, painters, and other eminent personages. We have also a print by him of the statue of St. Francis of Assisi, which is held in much veneration at Siena. ALLEGRINI, Giuseppe, brother of Francesco, an Italian engraver, who flourished about the year 1746. We have the following plates by him : The Virgin Mary \vith the Infant Jesus ; half figures, with this inscription, lEgredietur Virgo de radice, ^c. The Circumcision. The Stoning of St. Stephen. A small print of Rinaldo and Armida. A large operatic scene; after Chammit. ALLEMAND, L'. See L'Allemand. ALLEN, Folpert van Ouden, a designer and engraver of Utrecht, flourished in the second half of the 17th century. The view of the city of Vienna, engraved by J. Mulder, is from a drawing by this artist, made in 1686 ; and he has himself engraved a large plate of the city of Prague, a slight print, with several figures. He died in 1715. ALLEN, James Batlis, an engraver, who wag born at Birmingham in 1802, was first engaged in the business of his father, a button manufacturer ; but afterwards became a pupil of Vincent Barber, and migrated to London in 1824, where he died in 1876. The chief works he engraved were : Battle of the Meeanee; after Armitage. The Columns of St. Mark ; after Boniugton. Bucentaur ; after Caualetto. The Dogana ; after Canaletto. The Battle of Borodino ; after G. Jones, S.A. Lady Godiva; after G. Jones, P. A. The Fiery Furnace ; after G. Jones, E.A. The Death of Nelson ; after Turner. Phryne going to the Biith as Venus ; after Turner. The Decline of Carthage ; after Turner. The Temple of Jupiter Panhellenium ; after Turner. ALLEN, James C. , an engraver, a native of London, became a pupil of William Cooke, with whom he published, in 1821, fifteen engravings of views of the interior and exterior of the Coliseum at Rome. One of his best plates was the ' Defeat of the Spanish Armada,' after De Loutherbourg, 1831. He also executed numerous book-illustrations. o w 2 O H <; O o w O u a. Q s CJ In O en i-J W Q 2; D o Q w H H D D O PAINTERS AND ENGRAVERS. ALLEN, Joseph W., the son of a schoolmaster at Hammersmith, was bom in Lambeth in 1803. He was educated at St. Paul's School, and was afterwards for a short time usher in an academy at Taunton. Discovering a talent for drawing, he came back to London, resolved to adopt the brush as his means of living. In the first instance he became an assistant to a picture dealer, under whom he acquired a considerable knowledge of the old masters, and the pecuniary value of their works. He afterwards took to scene painting, in associa- tion with Charles Tomkins and Clarkson Stanfield : and during Madame Vestris's first lesseeship of the Olympic Theatre, he painted most of the scenery for her. The natural bent of his genius, however, was for pastoral landscape, and the varied pictur- esque features of English scenery ; and his little fresh, green, and true bits of nature soon at- tracted admirers and purchasers. As time went on, his talent became manifestly more matured, and he was noted, amongst other things, as an ex- cellent painter of distances. ' The Vale of Clwyd,' exhibited in 1847, created a considerable sensa- tion, and was purchased by an Art Union prize- holder for three hundred g-uineas ; and Allen repeated it twice in smaller dimensions, for other purchasers. ' Leith Hill,' in the following year, was almost equally successful. His subjects were usually well chosen, and consisted chiefly of views in North Wales, Cheshire, Yorkshire, and the mid- land counties. Allen took an active part in the establishment of the ' Society of British Artists,' of which he became the secretary, and attached himself to its interests with such devotion that he latterly refused to exhibit anywhere else in London than at its Gallery in Suffolk Street. There is little doubt that his influence tended much to heighten the repute for landscape painting which the ex- hibitions of this Society have generally enjoyed. He was also professor of drawing at the City of London School, from its foundation. He died in 1852. ALLEN, Thomas, was an English marine painter, who flourished in the middle of the 18th century. He painted scenes from Queen Charlotte's voyage and arrival in England. Allen's works were en- graved by P. C. Canot. ALLET, Jean Charles, a draughtsman and en- graver, was born at Paris about the year 1668. He resided a long time in Italy, and is supposed to have died at Rome in 1732. Owing to his liaving marked his plates sometimes Jean Charles Allet, and sometimes Carolus Alet, collectors were for some time inclined to believe that they were two distinct artists ; but from the evident similarity of style, it is no longer doubted that all those plates are by the same hand. Allet engraved portraits and subjects from sacred history, and appears to have wished to imitate the manner of F. Spierre and Cornells Bloemaert, but his imitation has not been very successful. His principal plates are the following : PORTRAITS. Andrea Pozzo, Jesuit and architect ; dated 1712. Cardinal Aloisio Amadei ; after J. Moratidi, 1690. Ferdinand Charles Gonzaga, Duke of Mantua; after Ant. Lesnia. Pope Alexander VIII. ; after S. Calendriicci. 1695. St. Aloysius Gonzaga, Jesuit ; oval. St. Ignatius ; after P. Lucatelli ; oval. SUBJECTS FROM SACRED HISTOBT. The Conception of the Virgin ; after And. Puzzo ; oval. The Adoration of the Shepherds ; after S. Cantarint. Tlie Virgin Mary and St. Joseph adoring the Infant Jesus ; after the same. The Savioilr brought before Pilate ; after P. de Pietri. Ananias restoring sight to St. Paul; after Pietro da Cortona. The Vision of St. Paul ; after the same painter. The last two plates are considered his best his- torical works. The Death of a Saint, in presence of tlie Virgin, St. Joseph, and St. Francis Xavier. The Death of St. Stanislaus Kostka ; after P. Le Gros, sculptor, St. Gaetan, accompanied with a figure of Religion, and Clirist holding His Cross ; after Laz. Baldi . St. Andronicus, and St. Athanasia after F. B. Ziic- I'hezzi. St. Augustine with a child, getting water from the sea ; after J. B. Leonardi. St. Rosa, crowned by angels; Carolus Allet, del. $ sculp. Twelve plates of the Life of Christ; after Passeri, engraved in conjunction with A. v, Westerhuut. ALLOM, Thomas, architect and landscape painter, was born in March, 1804. He was articled to Francis Goodwin, the architect, in 1819; and, while his pupil, was engaged upon the Manchester Town Hall, Derby Gaol, West Bromwich Church, and many other public build- ings. He also assisted in making designs (1834) for the then-existing Parliament Houses, which were lithographed by him by order of the House of Commons. Wishing to travel, with the object of gaining a more enlarged knowledge of his pro- fession, he turned his attention to painting views for the purpose of publication. The first illustrated work which made its appearance under these cir- cumstances was ' The Scenery of Devonshire and Cornwall.' This was followed by a similar work on the 'Lake District, and Northern Counties,' 'Scotland Illustrated,' the historical portion of which was written by Dr. Beattie. In producing these illustrations he endeavoured to give the scenes additional interest by depicting the cele- brated historical incidents connected with them . — thus, in the ' View of Lochiel,' is represented the gathering of the clans of Prince Charlie ; in that of the ' Castle of Doon ' we see prisoners taken at the battle of Falkirk; 'Linlithgow Palace' is represented as being burnt by Hawley's dragoons. His more strictly professional engagements, however, inter- fered with the completion of these works, and he was obliged to give up a portion to other hands. Soon after this a proposal was made to him to go to the East, and this, being more in accordance with his legitimate profession, was too tempting to be refused. His work on ' Constantinople and Asia Minor' was the result of this journey, in which he again introduces historical events, such as the unfolding of the standard of the Prophet in the mosque of Sultan Aclmiet previous to the massacre of the Janissaries by Mahnioud. His subsequent work on France is, perhaps, liis best work, and in this his intimate knowledge of architecture proved of the greatest advantage. In 1846 he had an audience of Louis-Philippe at Paris, when the king expressed his great appro- bation of the work, and invited him to visit St. Cloud the following season, and requested him to make drawings of the king's own estate at Dreux, with monuments to the royal family. In 1846-8 his designs of proposed improvements on the banks of the Thames were exhibited by him in London, 25 A BIOGRAPHICAL DICTIONARY OF Manchester, and Paris, and a diploma of merit was forwarded from the last of these. He was one of the founders of the Institute of British Architects. Amongst his architectural works are : Christ- church, Highbury, the Cambridge Military Asylum at Kingston, Kennington Workhouse, and St. Peters Church, Notting Hill. Amongst his paint- ings, which exhibit true feeling and nice execution, are those of the ' Cities of the Seven Churches of Asia Minor,' which were engraved in the 'Art Journal ' in 1862-3. He died at Barnes, in October, 1872. ALLORI, Alessandbo, also called Alessaxdko Broxzixo, was born at Florence in 1535. He was the son of a painter ; but having the misfor- tune, when he was only five years of age, to lose his father, he was placed iinder the care of his uncle, Agnolo Bronzino, who brought him up with aU the affection of a parent. Before he was seven- teen years of age, he had made such prtigress under this able master, that he painted, from his own design, an altar-piece representing the Cruci- fixion, a composition of several figures, ingeniously arranged and well coloured. When he was nine- teen, he visited Rome, where he remained two years. The chief objects of his admiration and study in that city were the works of Michelangelo, and the grand style of that master is discernible in his pictures. On his return to Florence, he was greatly occupied for the churches and other public edifices. He was, however, occasionally prevailed on to paint the portraits of some of the distin- guished personages of his time, which he treated in a great and admirable style. In 1590, he published Dialogo sopra l arte del elisegnare le Figure, illustrated with anatomical plates. " Some of his pictures in Rome, representing horses, are beautiful. His ' Sacrifice of Isaac,' in the Royal Museum, is coloured almost in the Flemish style. He was expert in portrait painting, but he abused his talent by introducing portraits in the modem costume in ancient histories, a fault not uncommon in that age. On the w-hole, his genius appears to have been equal to every branch of painting ; but it was unequally exercised, and consequently un- equally expanded " {Land). In the Berlin Gallery there is a female portrait by him, probably repre- senting Bianca Cappello, wife of Francis II. of Tuscany ; and there are no less than sixteen works by him in the Ufiizi, Florence. He died at Florence in 1607. ALLORI, Akgiclo, called II Bkonzino, an eminent Florentine painter and poet, was bom at Monticelli near Florence in 1502. He studied first under an obscure painter, then under Raffaelino del Garbo, and subsequently became the favourite disciple of Jacopo Carrucci, called Pontormo, and assisted that master in some of his most consider- able undertakings, particularly in the chapel of San Lorenzo at Florence, which he was employed to finish after the death of that master. He ap- pears to have studied with attention the dignified style of Michelangelo, and there is something of the grandeur of that master discernible in all his productions. His principal works are at Florence and Pisa. He worked both in fresco and oil. He also excelled in portraits, and painted the most celebrated personages of his time, among whom were Dante, Boccaccio, and Petrarch. He frequently painted the portraits of Cosimo I., Grand Duke of Tuscany, and his wife Eleonora, and there are many replica besides. He died at Florence in 26 1572. The following are some of hie moat im- portant works : Dresden. Gallery. Florence. Academy. Badia. S. Loren:o. S. GiroJamo d. Poverino. Fitti Pal. rffzi. London. Xat. Gall. Lucca. Communal Gal. „ Royal Palace. Madrid, jfuseum. Paris. Louvre. Petersburg. Hermitage. „ Leuchtenberg Col. Rome. Borqhese Pal. Vienna. Gallery. Portrait of Cosimo I. Portrait of his wife, Eleonora. Pieta. Cartoon for the 'Descent into Hades.' St. Benedict on thorns (fresco). Martyrdom of St. Laurence (fresco). I Noli me tangere (fresco). Holy Family. Portrait of Cosimo I. Portrait of Francesco I. de' Me- dici, and others. The Descent into Hades (his masterpiece) Portrait of Pontormo. De.scent from the Cross. Annunciation. Pieta. BEOZ: FAC: An Allegory — Prosperity crowned by Victory. BEOZ : fac : Portrait of Eleonora, wife of Cosimo I., and others. Portrait of a Lady. Venus, Cupid. Folly, and Time. A Knight of St. Stephen. Portrait of Cosimo I. Portrait of Piero de Medici. Portraits of two children. Portrait of Cosimo I. Portrait of Cosimo I. The Violin-player. Male portrait. Portrait of a Lady. Portrait of a Lady. Portrait of a Lady, beonzino f. Portrait of Cosimo I. Holy Family. BBdzrso noEEK- TIKO. ,1 ,1 Portrait of Cosimo I. ., „ Portrait of his wife Eleonora, ALLORI, Ceistofako (sometimes called Bbon- ziNo), the son of Alessandro, was born at Florence in 1577. He was for some time instructed in the art by his father, but he afterwards studied under Santi di Tito, and finally improved himself in colouring by imitating the harmonious tinting of Lodovico Cardi, called Cigoli. He painted several considerable works for the churches and convents at Florence, and for the palace of the Medici. He was also a very celebrated portrait painter; and many of the distinguished persons of his time were painted by him. Owing to vicious habits that often seduced him from his labours, his works are extremely rare, and he himself comparatively little known. The 'St. Julian' of the Pitti Palace is the grandest effort of his genius; his picture of 'Judith with the head of Holofemes,' also in the Pitti Palace, is, however, of wider acquaintance. Judith, so beau- tifully and magnificently attired, is a portrait of his mistress ; the attendant is that of her mother, and the head of Holofemes that of the painter. Numerous copies of this fine work (which has been engraved no less than thirteen times), and duplicates of his most celebrated pictures, are scattered over Italy ; the productions of his scholars Tanteri, Bruno, Certosini, Cerrini, and others. He died in 1621 at Florence. AUori made several copies, with slight alterations in the background, of Correggio's ' Reading Magdalene,' which were such good imi- tations that they have passed as replicas by Cor- reggio's own hand. In addition to the works already noticed may be mentioned : ANGIOLO ALLORI BRONZING Biogi fhoto\ FERDINANDO DE' MEDICI [JJffiii Gallery, Florence PAINTERS AND ENGRAVERS. Florence, l/ffizi. His owu Portrait. „ „ Adoration of the Magi. „ „ The Magdalene. „ „ Infant Christ sleeping. Ijondon. JVat. Gall. Portrait of a Lady. Paris. Louvre. Isabella of Aragon at the feet of Charles VIII. ALLSTON, Washington, one of the chief painters of the American school, was born at Waccaniaw in South Carolina, in 1779. After the completion of his university career at Harvard, he took up his abode at Cliarleston, where he, however, did not long remain, as he desired to go to Europe for the improvement of his art. He arrived in London in 1801, and at once entered the Royal Academy Schools, where he became acquainted with his fellow-countryman, West, who was then president. In 1804, Allston went with his friend Vanderlyn and with C. R. Leslie to Paris, and thence to Rome, where in the follow- ing year he painted his ' Joseph's Dream.' At Rome, Allston commenced with Washington Irving a friendship which lasted for life. He also became acquainted with Coleridge, and the Danish sculptor, Thorwaldsen. In 1809, he went back to America, married a sister of Dr. Channing, and then returned to London, where he produced his ' Dead Man touching Elisha's bones,' which gained a prize of two hundred guineas from the British Institution. It is now in the Pennsylvania Academy of Fine Arts at Philadelphia. Then followed the ' Liberation of St. Peter by the Angel,' which was taken to America in 1859, and presented by Dr. Hooper in 1877 to the Wor- cester Lunatic Hospital, U.S. ; ' Uiie! in the Sun,' in the possession of the Duke of Sutherland ; and 'Jacob's Dream,' in the Petworth Gallery. In 1818, Allston returned to America, and settled at Boston, his health weakened by sorrow for the death of his wife, and by overwork. In the same year he was elected an Associate of the Royal Academy. Of the works which he executed in the following years, we may notice, tlie ' Prophet Jeremiah,' now in Yale College ; ' Saul and the Witch of Endor ;' 'Miriam's Song;' and ' Dante's Beatrice.' In 1830, Allston married again. His second choice wa.s the daughter of Chief Justice Dana, of Cambridge, Massachusetts, where he settled. There he spent the remainder of his life in secluded industry, occasionally in- terrupted by illness. He then produced one of his best known works, ' Spalatro' s Vision of the Bloody Hand,' from ' The Italian ' by Mrs. Rad- clifEe — especially remarkable for the effects of light and shade, and for the expression of fright and a guilty conscience on the face of Spalatro, and the firm determination visible on the counten- ance of the monk. This work, wliich was painted for Mr. Ball, of South Carolina, is now in tlie Taylor Johnston Collection in New York ; it has been engraved by W. J. Linton, His ' Rosalie,' executed late in life, is also worthy of mention. Allston died at Cambridge in 1843, leaving unfinished a large work, on which he had been engaged at various times for about forty years. It represents 'Belshazzar's Feast,' and is now in the Boston Athenaeum, where there is also a ' Portrait of Benjamin West,' which, with that of the poet Coleridge, in the National Portrait Gal- lery, proves that Allston excelled in portraiture as well as in historic painting. The works of this artist, the pride of his country, the ' American Titian,' are especially remarkable | for beauty and power of colouring. His fondness for the terrible is especially noticeable in ' Spa- latro's Vision,' in ' Saul and the Witch of Endor,' and in the unfinished ' Belshazzar's Feast.' ALMELOVEEN, Jan, a Dutch painter and engraver, of Mijdrecht, near Utrecht, flourished towards the close of the 17th century. He is better known by some etchings of landscapes, executed with great lightness and intelligence, after the manner of Saftleven, than by anything he has left us as a painter. Among his plates are : A portrait of Gisbert Voetius ; signed J. Almeloveen, inv. ctfec. A set of twelve landscapes, with small figures ; J. Almeloveen, inv. etfce. Six mountainous landscapes, with figures ; Joan, ah Almeloveen^ inv. et fee. The Four Seasons; after H. Saftleven. Twelve Views of Dutch Villages ; after the same. ALOIS. See Alovigi. ALOISI, Baldassare, called II Galanino, was born at Bologna in 1578, and was brought up in the school of the Carracoi, to whom he was related. He was little inferior to the ablest of his fellow-students ; of this he has given proof in several of his works in the churches at Bologna, particularly his admired picture of tlie ' Visitation,' in La Carita, so highly commended by Malvasia ; and the ' Virgin and Infant, with St. Jolin the Baptist and St. Francis,' in San Paolo in Monte. He visited Rome during the pontificate of Urban VIII., and here, according to Baglioni,hewasmuch employed in painting portraits of the most illus- trious personages of his time, which were admired for the force and truth of their colouring, and for their extraordinary relief. He also painted some works for the churches at Rome, of which the principal was the great altar-piece in the church of Gesii e Maria, representing the 'Coronation of the Virgin.' He died at Rome in 1638. He was also an engraver, and imitated Lanfranco, Badalocchio, and Guide Reni. He engraved fifty plates of Rapliael's works in the Loggie, in the Vatican. Aloisi had two sons, ViTO Andrea and Giosekpo Carlo, who were painters. ALOVIGI, Andrea (or Aloisi, Aloysii, and Di LniGl), of Assisi, called L' Ingegno, was born about the year 1470. He is said by Vasari to have been a fellow-pupil with Raphael under Perugino, and to have assisted the latter in the Cambio at Perugia, at Assisi, and in the Sistine Chapel. Ingegno, Vasari adds, became prematurely blind, and received a pension from Pope Sixtus IV. This last statement Runiohr points out to be an error, as the Pope died in 1484, and Raphael did not enter Perngino's studio till about 1496. Numerous pictures — scattered throughout Europe — are attributed to Ingegno, amongst them a ' Madonna and Child,' in the National Gallery, which is now ascribed in the catalogue to Pinturiochio. Most of his works are in the manner of Fiorenzo di Lorenzo Vasari is the only early writer who mentions this painter, and Rumolir has shown that part of the little he lias said of him is incorrect. That there was such a painter is certain, but at present no picture can be pointed out as indisputably the work of his hand. ALS, Peter, a Danish historical and portrait painter, born at Copenhagen in 1725, studied for some time under C. G. Pilo. After gaining the first great prize given by the Academy at Copenhagen in 1755, he went to Rome and entered the school of Mengs. He occupied himself chiefly 27 A BIOGEAPHICAL DICTIONARY 0¥ in copying the pictures of Raphael and Andrea del Sarto, which, it is said, he did with great accuracy. He also copied Correggio and Titian. On hi*: return to his own country he painted some good portraits ; but his colouring was too sombre to give a pleasing effect to his pictures of females, and his work was frequently so laboured as to be deprived of all animation. Copies of the works of the old masters by Als are to be seen in Denmark. He died in 1775. ALSLOOT, Denys van, a portrait and landscape painter, who flourished towards the close of the 16th and the beginning of the 17th century, was born at Brussels, but the date is nowhere recorded, and but little is known of his life. He was, about 1600, painter to the Archduke Albert of Austria, and his pictures were purchased for high prices. He died in the year 1626, or earlier. A landscape with the storj' of Cephalus and Procris, in the Vienna Gallery, is dated 1608. The figures are by H. de Clerck. Two pictures by him are in the Brussels Gallery : they represent the Procession of St. Gudule at Brussels. By mistake, a second painter, Daniel van Alsloot, has been recorded by Bome writers ; but he apparently never existed. ALT, Jakob, who was bom at Frankfort-on-the- Main in 17811, received his first instruction in art in his native city, and then removed to Vienna and entered the Academy, and soon rose to fame as a landscape painter. He then made various journeys throughout Austria and Italy, painting, as he went along, views in the neighbourliood of the Danube and in the city of Vienna. In later life Alt painted much in water-colour; he was also an engraver on stone. He died at Vienna in 1872. One of his be.st works is a ' View in Venice,' in the Belvedere Gallery, signed and dated 1834. He was employed by the Emperor Ferdi- nand to paint in water-colour a series of views of Rome. ALTDORFER, Albrecut, a painter, engraver, and architect, was born not later than 1480. In 1505 he was enrolled a burgher of Ratisbon, in which connection he was described as " a painter of Amberg, twenty-five years of age." It is not certain, however, whether this description proves more than that he had fully attained the age (twenty-five years) at whicli the freedom of the city could be granted ; and, as the registration took place immediately upon his arrival from Amberg, it is possible he was older than the letter of the record appears to state. The place of Altdorfer's birth has not been determined, though there are grounds for believing that he was of Ratisbon stock and probably of Ratisbon birth, Amberg being only the home of his young man- hood. But, uncertain though it be whether the migration to Hatisbon in 1505 was a bold adventure among strangers or merely a return home, it is indisputable tluit events soon justified the young burgher's choice of a city. In 15 '8 he received an official appointment, and in 1509 the city council gave ten gulden towards the expense of a picture which he painted for the choir of St. Peter's clmrcli. Four years later he was in a position to buy a house with a courtyard and a tower, the first of four houses purchased by him during his thirty years of citizensliip. Of the furnishing of these houses his will gives some inkling, with its notices of chests, pictures, weapons, gems, stuffs, coins, silver goblets, and of " a horse with trappings." His worldly prosperity and opulent surroundings account for a great deal both in the form and in the matter of his art, while his practical activity as city architect explains not a little more. The bastions which he erected against the Turks have been swept away, but the public slaughter-house built from his designs is still standing ; while the important arcliitectural elements of ' Susannah,' ' Poverty and Riches,' ' The Birth of the Virgin,' and other painting,s, prove that he was not merely a perfunctory Baumeister but an enthusiast for builded stones. Nor was it only as painter and architect that Altdorfer served Ratisbon ; he was a city councillor, and it is characteristic of " Meister Albrecht " that when a mob burned down the Jews' synagogue — a building of which he had twice made etchings, and which he had used for a back- ground in several pictures — it was " Meister Albrecht's " hand which signed the decree for the Jews' expulsion. By virtue of so wide a knowledge of the world, this wealthy burgher and busy man of affairs was bound to differ strongly from mere studio-artists, and, as the artist in him always had the upper hand — this appears from many incidents, sucli as his retirement from higli office while he was painting 'The Battle of Arbela' — his variegated and energetic life was almost wholly to his artistic advantage. The widespread belief that Altdorfer, in respect of technical mastery, lags fir behind the great artists who devoted themselves almost wholly to their art, is not shared by any competent person who has made it his business to examine dis- passionately the whole body of this master's work. Paintings, drawings, etchings, and woodcuts in turn exliibit an extraordinary sense and domination of the particular medium. As a colourist he must be placed very high indeed among the Northern Masters, and his work is full of air. As for his drawings, of which the Berlin Print Room has the most important collection, they are so highly charged with poetical feeling, and are so remark- able for technical accomplishment, that these almost unknown works should alone suffice to lift their creator out of his low estate as a mere " Little Master." The etchings, especially the landscapes and the woodcuts, some at least of which appear to have been cut by his own hand, further establish his right to be ranked immediately after Diirer and Holbein in German art. Altdorfer has been called "the Giorgione of the North," and the phrase fits its subject neither better nor worse than do most other phrases of the kind. But to his other style of "the Father of Landscape" he can make good a strong claim. His ' St. George ' at Munich astounds the eye which has noted its age (nearly four hundred years) by its overwhelming landscape interest. Five-sixths of the superficial inches of the canvas are covered by the innumerable leaves and twigs of trees crowding up to the edges of the picture on every side, and allowing only a peep through the trunks at the sky low over a rooky horizon. Nearly half of the great ' Battle of Arbela ' is a confusion of clouds and morning light, which Turner might have painted; and the 'Nativity' at Bremen is hardly less wonderful. The etchings of mountains and of fir-trees are as picturesque as these paintings, and only a leisured and curious townsman could have seen and rendered their content of natural beauty. In expressing the human figure, and especially the forms of children, Altdorfer was often highly successful, though here also impatience with PAINTERS AND ENGRAVERS. uncouth and sluggish German types has led admirers of the more gracious southern models to reject his achievements as unbeautiful in con- ception, and unskilful in execution. From this sluggishness of his types arises also the frequerit denial, which is equally ill-grounded, of Altdorfer's dramatic power. In the woodcuts the German and burgher feeling is naturally stronger than in the paintings and drawings, and a want of sym- pathy with that feeling no doubt accounts for the comparative indifference to his fine sequence of forty small cuts devoted to ' The Fall and Redemption of Man.' Altdorfer died on the 12th or 14th of February in 1538. His wife had predeceased him in 1632, and both their bodies were laid in the church of the Augustines, the painter having been bursar of the Augustine priory during the last four years of his life. Part of his tombstone was preserved when the Augustines' church was secularized and dis- mantled in 1840. He, who had painted hundreds of their happy faces more engagingly than any other painter, left no children ; but his was not the childless man's hard heart, and it is worth noting that he bequeathed to the poor a silver tankard which had been his wedding gift to his bride. Altogether about thirty pictures by Altdorfer are extant. Among them may be named : Augsburg. Gallery. Triptych — Crucifixion and Annun- ciation. 1517. „ „ Birth of the Virgin. Berlin. Museum. Diptych — St. Francis and St. Dominic {siqyied and dated- 1507). „ „ Landscape with Figures (sii/ned and dated 1507). „ „ Best on the Flight into Egypt (signed and dated 1510). „ „ The Nativity. „ „ Landscape with Figures, ' Der BetteU sitzt auf der Schleppe der Hoffart' (siqned and dated 1531). Bremen. Nativity. Glasgow. St. Hubert. Munich. Pinakoihek. The Battle of Arbela (dated 1529). „ „ Susannah at the Bath (signed and dated 1520). „ „ Coronation of the Virgin. „ „ Pieta. „ „ St. George ami the Dragon (signed and dated 1510). „ „ Landscape with figures. Nuremberg. St. Mau- A man and two women rescuing the rice. body of St. Quirinus from the water. (Three pictures.) „ GermanMus. Crucifixion (tiatea! 1506). Katisbon. Bathsheba. Sieua. St. Quirinus. (Two pictures.) Vienna. Nativity. „ Virgin and Child, St. Joseph and St. John. The entire catalogue of his engraved designs, including Passavant's additions to Bartsch, is given below. His monogram occurs in the accompanying forms : ^ ^ LIST OF ENGRAVINGS. (From Meyer's ' Kunstler-Lexikon.') ON COPPER, MANY OF THEM ETCHINGS. Religious Subjects. 1. Judith with the head of Holofernes. 2. Samson with the gates of Gaza. 3. Delilah cutting ofi: Samson's hair. 4. Solomon's idolatry. 5. The Repose of Joseph and Mary. 6. Virgin, seated, holding the Infant Saviour. 7. Virgin, seated on a throne, holding the Infant Sa\iour, with Angel. S. Virgin in profile, standing ; with the Infant Saviour. Anna introduced. 9. Virgin and Child, seated. The Infant stretches his arms towards two children, one of whom otiers a vessel (signed and dated 1507). 10. The Virgin standing, off eriug an apple to the Infant (signed and dated 1509). 11. The Virgin sitting, the Infant on her knees, giving the blessing. 12. The Virgin holding the Infant, standing on a crescent. 13. The Virgin with the Infant seated on clouds, a Saint to the right. 14. The Infant SaWotir ; the right hand blessing, the left holds a world. 15. Our Lord driving the merchants from the temple 10. Ovu: Lord crowned with thorns, meeting Mary. 17. The Little Crucifixion. 18. The Great Crucifixion. \9. St. Christopher. 20. St. George and the Dragon. 21. St. Jerome reading. 22. St. Jerome writing. 23. St. Sebastian fastened to a tree. 24. St. Sebastism fastened to a pillar. 25. St. Catherine, sword and wheel. 26. The Nunnery. 27. Two Hermits. 28. Mercury, springing from a tree into the sea. 29. Neptime, on a sea-mouster. 30. Rape of a Nymph. 31. Venus, standing. Two Cupids ; one holds a tablet. 32. Venus seated in a bath ; Cupid on a pedestal, after Marcantonio. 33. Venus emerging from the bath ; Cupid on the left, after Marcantonio. 34. Versus on a lawn, with two Cupids. 35. Judgment of Paris. 36. Triton, Nereid, and Dolphins. 37. Man and Satyr struggling for a Nymph, after Marcantonio. 3S. Thisbe and Pyramus. 30. Infant Hercules and the Snakes. 40. Hercules subduing the Nemean Lion. 41. Hercules with the two pillars. 42. Hercules with a cornucopia ; a Nymph with a lyre on the left. 43. Centaur, bearing a vessel with fire. 44. Winged Genius, holding a bubble. 45. Winged Genius, riding on a stick. 40. Winged Genius, blowing a bagpipe (dated 1521). 47. Fortune, standing on a globe (signed and dated 1511). 48. Pride, regarding herself in a mirror. 49. Pride, seated on a winged serpent, holding a mirror (siqned and dated 1506). 50. Nude female figure on a star ; the right hand hold- ing a torch, the left a sceptre (on some examples the legend Lascivia occurs). 51. Dido on the funeral pile. 52. Lucretia seated, holding the dagger (copied with variations from Marcantonio, doubtful). 53. Mutius Scsevola. 54. The Roman lady, on a pedestal, from the mediaval story of Virgil : male figures fetching fire from her. 55. Soldiers Standing, one drawing his sword. frofiU, looking to the left. 56. The'Warrior, a pole on his shoulder. Profile, looking to the right. 57. The Warrior. Front view, holds sword and halhert. 58. The Knight. One hand holds a vessel, the other a loaf. 59. The Drummer. Marching to the right (signed and dated 1510). 60. The Little Standard-bearer. Hilly landscape in back- ground. 61. The Great Standard-bearer. Background clear (siqned and dated 1508 or 1510). 62. The Fiddler. Left hand holds the haw. 29 A BIOGBAPHICAL DICTIONARY OF 63. The Contemplative Man, sitting on a stone. Sas been supposed to be the Artist's portrait. 64. The Standard-bearer on the right, the 'Woman on the left. 65. A Man on the right, grasping a curtain, a woman on the left. 65. (a) The Piper. A warrior, with a hat and feather, is Mowing on a Jiute {signed and dated 1510). 65. (J>) Winged child, leaning forward, holding a shield. 66. A Woman, with hat and feather, half-length. 67. A Woman bathing her feet. 68. A Woman seated on some armour, and holding a vessel ; after Beham. 69. A nude female figure, with a candlestick. 70. Interior of the old Synagogue at Katisbon, with an inscription. 71. Vestibule of the above, with two figures, and an inscription. 72. Martin Luther. Profile, to the right, bearing in- scription D. L. M, Probably after Cranach or Hopfcr. 73. Head of a yoimg man, with long hair, and no beard {signed and dated 1507). Beyond these, Meyer mentions 28 various plates of Ornaments, Cups, and Vases, and ten Landscapes. ON WOOD. Isos. 1 to 40. A series of cuts representing the Fall and the Eedemption, all marked with monogram. 41. Abraham's Sacrifice. 42. Joshua and Caleb with the fruit. 43. Jael and Sisera. 44. The Annunciation {dated 1513). 45. The Adoration of the Shepherds (signed). 46. The Murder of the Innocents (signed and dated 1511). 47. A magnificent Font in a chapel, with angels and other figures (siffned). 48. The Eesurrection (signed and dated 1513). 49. The Virgin, in a church, with the Infant on her arm. 50. The Virgin, seated as on an altar, with the Infant on her arm, a Deacon praying before them. 51. The Virgin and Child, by an altar, on the left of which are figures of St. Christopher and St. Barbara, on the right those of St. George and St. Catherine. 52. Our Lady of Eatisbon : a balustrade in front mth a vase of flowers, with the legend — " Gantz schon bistu mein frundtin vnd ein mackel ist nit in dir. Aue MariaP 53. The Decollation of St. John Baptist (signed and dated 1512). 54. A Decollation of St. John Baptist {signed and dated 55. St. Christopher stooping to take up the Infant Jesus. 56. St. Christopher carrying the Infant Jesus across the stream (signed and dated 1513). 57. St. George on horseback thrusting his lance into the Dragon's throat (signed and dated 1511). 58. St. George standing, the Dragon imder his feet 59. St. Jerome in a cave, before a crucifix. 60. St. Jerome. A crucifx rests against a rock on the left. 61. St. Catherine with a wheel. Two Angels with musical instruments ; others hold a crown above her head. (Passavant notes this cut, but no copy of it is now known to exist.) 62. Judgment of Paris (signed and dated 1511). 63. Thisbe and Pyramus (signed and dated 1513). 64. A Standard-bearer in a landscape. 65. Two lovers seated in a landscape ; a horse tied to a branch of a tree on the right (signed and dated loll). 66. A title-page. Angels playing music ; a Holy Family represented below on the left. 67. Three plates representing peasants (attributed to Altdorfer by ffesseleg, who praises them highly). 68. A richly ornamental gate ; the ornaments filled in with black. To this list should be added ten of the eleven subjects which adorn the round towers of " The 30 Triumphal Arch of Maximilian " (dated 1515), and thirty-eight subjects in "The Triumphal Pro- cession of Maximilian." K J. 0. ALTDORFER, Ebhard, a painter and engraver on wood, was, in all probability, brother of the well-known artist Albrecht Altdorfer, in whose will, dated 12th Feb. 1538, he is mentioned as a citi- zen of Schwerin. He was court-painter to Duke Henry the Peaceable, and accompanied him, in 1512, to a royal marriage at Wittenberg. There he appears to have made the acquaintance of Lucas Cranach, as the influence of this master is seen in his productions. He painted at Sternberg in 1516 an altar-piece (now no longer in existence), for which Duke Henry engaged to pay him 150 Rhenish florins. In 1552 he describes himself in a letter to the yoimg Duke John Albert of Mecklenburg as ' Baumeister,' so that he appears to have followed the profession of an arcliitect as well as his brother. We know him only by his woodcuts, two of which are indicated by a mono- gram composed of the letters £ and S combined. His work consisted principally of title-pages and illustrations for various works, among which may be noticed the Liibeck Bible of 1533, and an edition of ' Reineke Fuchs,' containing 35 cuts, published at Rostock in 1539. ALTHAM, — , a German painter, who flourished about 1660, painted landscapes and marine subjects with considerable ability. He is reported to have studied with Salvator Rosa. Works by him are in the Colonna Collection at Rome. ALTICHIERO D.4 ZEVIO (or Aldighiebo), who was bom at Zevio, a village near Verona, painted, with Avanzi, the decoration of the chapels of SS. Felice and Giorgio, at Padua. While the principal part of the frescoes in the chapel of San Giorgio is attributed to the latter artist, for the former are claimed the first seven pictures in the chapel of San Felice — formerly San Jacopo — illustrating the life of St. James the Greater ; and from documents it appears that the payment for the frescoes in San Felice was made to Altichiero. But authorities differ much as to the authors of the various works in both chapels. Liibke saj-s tliat Altichiero displayed in his works a lively conception and a rich finished colouring, ind, indeed, with the exception of Orcagna's, his paintings, together with those of Avanzi, were, up to that period, the best productions since the time of Giotto. It is not known when this artist died. He painted as late as 1382. ALTISSIMO, Ckistofano di Papi, dell'. See Papi. ALTSL4NN, Anton, who was born in Vienna in 1808, studied from nature, and under the instruction of Mossmer at the Academy. After being instructor in drawing to Count Apponyi in Hungary, he settled in Vienna, and became famous as a landscape painter. He died there in 1871. Among his most important works are the following: Cloister of the Convent ' Maria Schein,' in Be bemi> 1838. Forest Scene. 1840. Marshy Landscape. 1846. Evening Landscape. 1847. Spring in a Forest. 1851. The MiU. 1851. Altmann executed landscapes in water-colour ; and also etched from his own designs. ALTMANN, Karl, who was born at Feucht- wangen in 1800, studied from 1819 to 1822 in the PAINTERS AND ENGRAVERS. Academy at Dresden. He then went to Munich, where he resided until his death in 1861. He represented scenes from Bavarian peasant life, with much humour and originality. ALTOBELLO, Francesco Antonio, a Neapo- litan painter of the 17th century, was a scholar of Carlo di Rosa, who had studied under Massimo Stanzioni. Altobello used ultramarine excessively in his pictures, contrary to Stanzioni's practice. ALTOBELLO da MELONE. See Melonb. ALTOMONTE, Andrea, perhaps a son of Mar- tino Altomonte, flourished at Vienna from about 1728 to 1763, at which date he was draughtsman to the Hoftheater. He engraved Teniers's pic- ture of ' Abraham and Isaac kneeling to sacrifice the ram,' in Prenner's 'Vienna Gallery.' ALTOMONTE, Martino. See Hoheneerg. ALTZENBAGH, Wilhelm, an engraver, who, according to Heineken, flourished about the middle of the 17th century. He worked at Strasburg, Cologne, and Paris, and, in conjunction with his son, executed twenty plates of Bible subjects. ALUNNO, Niccol6. See Libebatore, Niccol6 DI. ALVAREZ, Lorenzo, studied at Valladolid and Madrid under Bartolome Carducho ; he established himself at Muroia, about 1638, and executed several works of merit in the convents there. ALVAREZ, Ldis, was born at Oviedo in 1841, and studied at the Higher School of Painting, Madrid, and under Rainiundo Madrazo. In 1857 he went to Rome, and later on became a Director of the Museum of the Prado, Madrid. He obtained medals at Madrid in 1862, 1864 and 1890, and at Munich, Berlin, and Paris in 1890. Two of his works are in the Museum of Modern Art, Madrid, and many in private collections in America. He died in 1901. AMALTEO, Girolamo, the brother of Pnmponio, was instructed by him, and gave proofs of a noble genius, which is manifested in his works of design in small pictures, which appeared like miniatures, in several fables executed in fresco, and in altar- pieces which he painted in the church of San Vito. He is hi|;hly commended by Ridolfi and Renaldis. He flourished in the 16th century, and died when still young. Graziano, in his poem of ' Orlando,' styles him "Girolamo Amalteo de vita santa." AMALTEO, PoMPONio, who was born at San Vito, a town in Friuli, in the year 1505, was the scholar and subsequently son-in-law of Porde- none. He painted several historical works in fresco in the churches and public places in the vicinity of Friuli. At Belluno, there are some pictures painted by this master, it is said in 1529, representing subjects of Roman history. In 1532 he was employed at Udine, and in 1533 he painted for the duomo of San Vito, a votive St. Roch, with SS. Apollonia, Sebastian, and two other Saints. In the choir of the church of Santa Maria de Battisti, at San Vito, are frescoes by him, dated 1535, representing scenes from the ' Life of the Virgin,' &c. , which are now much injured by time and decay. In 1555 he painted the organ shutters at Udine, with scenes from the ' Life of Christ ; ' and in 1576 he executed ' The Entombment,' in the Monte di Pieta at Udine. Many of the churches and public buildings in and around Friuli and Treviso possess frescoes and paintings by him. The frescoes of ' Daniel and Susanna,' and the ' Judgments ' of Solomon and Trajan, in the town- hall at Ceneda, supposed by Ridolfi to have been painted by Pordenone, were really the work of Amalteo, and finished by him in 1536. He died at San Vito, in 1584. AMAND, Jacques FBANgois, who was born at Gault, near Blois, in 1730, studied under Pierre, and became a good historical painter. In 1756 he gained the Prix de Borne for his 'Samson and Delilah ; ' he afterwards exhibited at the Salon numerous subjects from ancient history and mythology. He also engraved several of his own compositions. He died at Paris, in 1769. AMANN. See Amman. AMATO, Francesco, an Italian engraver of the 17th century. Of his paintings little is known ; but he has left some slight etchings, which are executed with spirit, in the style of Biscaino, among which are the following: St. Joseph seated, reading a book, with the Infant Jesus near him — an upright plate; inscribed Franciscus Amntus, inv. The Prodigal Son. AMATO, Giovanni Antonio d', called 'the elder,' was born at Naples about the year 1475. He was the disciple of Silvestro Bruno, or Buono, an old Neapolitan painter then in repute, but did not study long under him, as the latter died when Amato was young ; he afterwards applied himself to the study of the works of Pietro Perugino, whose manner he followed. Tliere are several of his works in the churches at Naples. In San Do- menico Maggiore, in the chapel of the family of Carraffa, is a picture by this master of 'Tlie Holy Family.' He worked botli in oil and in fresco, and, being an artist of considerable eminence, had a great number of scholars, amongst whom were Giovanni B. Azzolini, Pietro Negroni, Simone Papa the younger, Cesare Turco, and others. Though, professionally a painter, his favourite study was theology ; and he was celebrated for his expositions of many obscure passages of Scrip- ture. He died in 1555. AMATO, Giovanni Antonio d', 'the younger,' nephew of the elder Araato, was born at Naples, in 1535. He excelled chiefly in colouring, and some of his pictures are as richly coloured as those of Titian. His best work is tlie large altar-piece of the Infant Christ in the church of the Banco de' Poveri at Naples, in whicli city he died in 1598. AMATRICE, Dell'. See Dell' Amatrioe. AMAYA, — , an historical painter, scholar of Vincenzo Carducho, and rival of Lorenzo Alvarez, painted at Segovia, in 1682, several pictures illus- trating the Life of St. Martin, remarkable for their correct design and colour. He died about 1690 or 1692., AMBERES, Francisco de, a painter and sculp- tor of Toledo, the cathedral of which he orna- mented with his pictures in 1502. From 1508 to 1510 he painted, in conjunction with Juan de Bor- goiia and Juan de Vil'oldo, the arabesque chapel, which is still an interesting object. AMBERES, Miguel de — called in Spain, Miguel el Flamengo — is also the same person as Miguel Manrique. He was born in PLnnders, and learned his art tliere under Rubens, and afterwards, at Genoa, from Giovanni Andrea de' Ferrari, and Cornells Wael. He subsequently obtained a com- mission as captain of a troop in the Spanish service, and went to Spain and settled in Malaga, where are several works by him in the churches and else- where. His portraits are executed in a style similar to that of Van Dijck. Miguel de Amb^res 31 A BIOGRAPHICAL DICTIONAUT OF died ID Spain in the latter half of the 17th cen- tury. AMBEEGER, Chbistoph, was born about the year 1490, or later. Nuremberg, Ulm, and Am- berg are all given by various authors as his birth- place ; and some writers say he studied imder his father, one Leonhard Amberger. Certain it is, however, that Augsburg was the scene of his labours. He was, Doppelmayer says, the disciple of Hans Holbein the elder. " He probably studied under Hans Burgkmair, and the paintings of Hans Holbein the younger had an evident effect on his style, so much so that his works have been some- times mistaken for those of Holbein. He painted a set of twelve pictures representing the ' History of Joseph and his Brethren,' which gained him great reputation. He succeeded, however, better in portraits than historical subjects. In 153"2 he painted the portrait of the Emperor Charles V. ; and Sandrart tells us that this portrait was con- sidered by that monarch equal to any of the pictures painted of him by Titian. He certainly honoured the artist by giving him a gold chain and medal on the occasion. The original is in the Institute of Fine Arts at Siena, and is there ascribed to Holbein. The one at Berlin is a replica, by Amberger. He died at Augsburg, in 1563. From amongst Amberger's pictures, which are rarely signed, the following may be selected as some of the best : Augsburg. Cathedral. Virgin and Child. Berlin. JIuseum. Portrait of Charles V. {signed). „ „ Portrait of Sebastian Munster (dated 15521. Frankfort. Stddel. Portn^it of a young man. Vienna. Galttry. Portrait of Martin Weiss (jiairi^td i;i 1554). „ „ Six other portraits. AMBLESTG. See Amlixg. AMBKOGI, DoiiEXico, called Mexichixo del Bbizio, from the master imder whom he studied, Francesco Brizio, was bom at Bologna, about the year 1600, and distinguished himself as a painter of history, both in oil and in fresco. He also excelled in representing landscapes, and per- spective and architectural views, and was much employed in the churches and palaces at Bologna. In the UflSzi there are two landscapes containing sacred subjects by him. In San Giacomo Mag- giore, is a picture by Ambrogi of the 'Guardian Angel,' and in the Annunziata, ■ St. Francesco,' with a glory of angels. In 1653 he published some woodcuts, from his own designs, printed in chiaroscuro, of which one, mentioned by Heineken, represented a woman in a triumphal car, holding two flambeaux and a serpent, and conducted by Neptune. By him are also a drawing for the Thesis of Julius Calaverius, and ' Painting and Sculpture.' Amongst the pupils of Ambrogi were Giacinto and Pier Antonio Cerva, Giovanni Antonio Fumi- ani, and Giacinto Campana. AMBROGI, Marco degli. See Degli Amebogi. AMBUOZY, Wen-zel Berxhard, who was bom at Kuttenberg, in Bohemia, in 1723, received in- struction in an at Prague from his brother Joseph, who was a miniature painter. He was court- painter to Maria Theresa, and the last president of the Painters' Guild at Prague. He painted por- traits and altar-pieces in oil ; but was also famous 32 for his frescoes, which adorn many of the churches and castles of Prague, and other places in Bohemia. He died in 1806. AMEDEE DE NOE (' Cham '). See Noe. AMELSFOORT, Quibisus van, was bom at Bois- le-Duc in 1760, and died there in 1820. He painted allegories, history, and portraits ; in the last the likenesses were remarkable for their truth. AMERIGI, Michel Axgiolo, da Cabavaggio, (or Amebighi, or Mobigi), was born at Caravaggio, a village in the Milanese, in 1569. He was the son of a mason, and was employed when a boy to pre- pare the plaster for the fresco painters at Milan. The habit of seeing them work inspired him with the ambition of becoming an artist ; and without the instruction of any particular master, he attached himself to a faithful imitation of nature, and formed to himself a manner which, from its singu- larity, and a striking effect of light and shadow, became extremely popular. For a few years he confined himself to painting fruit, flowers, and portraits, which were much admired for the fidelity of their resemblance. Such was his rigid ad- herence to the precise imitation of his model, that he copied nature even in her deformities, and he afterwards continued the same slavish mechanism in the higher department of historical painting. After five years of steady application in Milan, Caravaggio removed to Venice, where he greatly improved his colouring by studying the works of Giorgione ; and the pictures painted in his earlier manner are infinitely preferable, in point of colour, to his later works. From Venice he went to Rome, in which city, finding himself, through poverty, unable to gain a livehhood as an independent painter, he engaged himself to Cesare d'Arpino, who employed him to execute the floral and orna- mental parts of his pictures. Caravaggio, how- ever, was soon enabled to paint for himself. The novelty of his maimer both pleased and surprised ; and his works soon became so generally the objects of public admiration, that some of the greatest artists then in Rome were induced to imitate, with- out approving, the new style of Amerigi. Guido and Domenichino, to gratifj- a corrupt public taste, were for some time under the necessity of abandoning their suavity and their grace, to follow this vulgar though vigorous trickery of Caravaggio. This in- fatuation did not, however, continue long ; the attractions of the grand and the beautiful resumed their sway over public opinion. After executing many important works, Caravaggio was obliged to leave the city on accoimt of the death of a friend, whom he had killed in a fit of anger ; he repaired to Naples, whence he went to Malta, where he was patronized by the grand-master Vignacourt, whose portrait he twice painted. Once more, through his hot and fiery temper, Caravaggio was driven from the town of his choice. He quarrelled with a knight, who threw him into prison. Caravaggio, however, escaped from captivity and fled to Syra- cuse, whence he went to Naples by way of Messina and Palermo. Having obtained, through the in- fluence of his friends, the Pope's pardon for the manslaughter of his companion, Caravaggio" set sail from Naples for Rome, but he was taken prisoner on the way by some Spaniards, in mistake for another man. On being set at hberty, he had the misfortune to find that the boatmen had gone off with the felucca and his property. He con- tinued his way as far as Porto Ercole, where, partly from his loss, and partly from the heat of the MICHEL ANGIOLO AMERIGHI lALI.EII CARAVAGGIO Hanfstingl photo] [ / 'ienna THE LUTE-PLAVER PAINTERS AND ENGRAVERS. weather, he was taken ill, and died in 1609. The merit of Caravaggio is confined to colour, and to an extraordinary effect, produced by a daring con- trast of light and shadow, which only belongs to nature in abstracted situations. To give it veracity we must suppose the light to proceed from a partial and prescribed aperture, which alone can sustain the illusion. He seldom ventured on works that required the arrangement of a grand composition, for which his wantof academic study rendered him totally inadequate ; he contented himself with subjects he could represent in half- length figures, and which did not demand a correct delineation of the nude. Berlin. Museum. Love as aniler; Conquered Love; Phyllis (from the Giustiniani Collection), Card-players ; Four others. Christ and the two Disciples at Emmaus. Death of the Virgin ; The Fortune- teller; A Concert; Portrait of Alof. Petrsburg. Hermitage. Ecce Homo ; Martyrdom of St. I \ Martyrdom of St. Peter ; ^0^ ) Conversion of St. Paul. Jt^ »■ ^ The Entombment (his masterpiece). Dresden. Gallery. Ijondon. Nat. Gall, Paris. Louvre. Home. S. Maria del \ Popolo. „ Vatican Mus. AMERLING, Friedrich, painter, was born at Vienna, April 14, 1803. After some hard struggles occasioned by narrow means, he succeeded in entering the Vienna Academy as a pupil, and completed his training under Lawrence in London and under Vernet in Paris. On his return to Vienna he gained the first prize at the Academy with his ' Dido forsaken ' and ' Moses the Law- giver.' He several times visited Italy. He became a very popular portrait painter in his native city, but continued to paint occasional historical and subject pictures. Among his best known works in each genre we may name : portraits of himself, of the Emperor Francis I., of Thorwaldsen, of Franz Grill- parzer, and of Prince Windischgratz, also 'Judith,' ' Ophelia,' ' The Widow,' ' Roman Woman with her Infant.' Amerling was a member of the Vienna Academy. He died at Vienna in January, 1887. AMICI, Francesco, was an Italian engraver, of Florence, of the 18th century, who engraved some small plates of sacred history subjects, among which are : Christ on the Mount of Ohves; Christ before Pilate; Christ bearing His Cross ; The Entombment of Christ, AMICO. See Aspertini. AMICO Di SANDRO. See Filipepi. AMICONL See Amigoni. AMIDANO, GiULio Cesare (wrongly called PoMPONio), was a native of Parma, and painted from about 1560 to 1628. From the resemblance of his works to those of Parmigiano, he is sup- posed to have frequented his school. If not his disciple, he was certainly one of the most success- ful followers of his style. His heads are noble and graceful, and his design full of taste. His best performance was his picture painted in the church of the Madonna del Quartiere, which has been mistaken by good judges for the work of Parmigiano. Orlandi relates that many of the pictures of Amidano were purchased by foreigners. AMIEL, Loois Felix, a French portrait painter, was born at Castelnaudary (Aude) in 1802. He was a pupil of Baron Gros, and died at Joinville- le-Pont in 1864. AMIGAZZI, Giovanni Battista, a painter of D Verona, who flourished about the middle of the 17th century, was a scholar of Claudio Ridolfi ; his chief talent consisted in the excellence of his copies, and several of his works have been mis- taken for those of his master. A copy which he made of Paolo Veronese's ' Supper in the House of the Pharisee ' is not only finely drawn, but its colours are fresh and vivid even at the present day. AMIGONI, Jaoopo, (or Amiconi), was born at Venice in 1675. Ho painted historical subjects and portraits. His first works at Venice were two altar-pieces in the church of the Fathers of the Oratorio, and a picture of ' St. Catherine and St. Andrew,' for the church of St. Eustache. He afterwards visited Rome, and from thence went to Munich, where he settled for some time ; but his chief performances are in England, whither he came in 1729 ; he resided here ten years. Whatever may be the merit of his works, they were for some time in great vogue. He was employed by several of the nobility in ornamenting their houses. After leaving England in 1739 he retume4 to Venice, where he remained till 1747 ; he then went to Spain, and resided there until his death, which took place at Madrid in 1752. He etched a few plates in a tame, spiritless style ; the following are the principal : Salvator Mundi ; half length. Jupiter and Callisto. Zephyrus and Flora. Batbsheba in the Bath. Madonna and Child. Narcissus. AMIGONI, Ottavio, (or Amiconi), was born at Brescia in 1605, and was a scholar of Antonio Gandini. His chief excellence was in fresco painting, which he treated with great ability, in the manner of Paolo Veronese. In the Carmelite Church, in his native city, is a very considerable work in fresco, executed in conjunction with Bernardino Gandini, the son of his master, which is much extolled by Averoldi. The subjects were taken from the Life of St. Alberto. He died in 1661. AMIL, G. P. DE LA VILLA. See De la Villa- Amil. AMLING, Carl Gustav, (or Ambling), a draughtsman and engraver, was born at Nurem- berg in 1651. He was taken under the protection of Maximilian II., Elector of Bavaria, who sent him for improvement to Paris, where he received the instruction of F. de Poilly, whose manner he fol- lowed, but whose excellence he never equalled, although he became a very good artist. After a few years he returned to Munich, and was ap- pointed court-engraver to his patron, Maximilian Emmanuel, whose portrait he engraved, as well as those of many members of the electoral family. Amling died in 1703. He engraved a great num- ber of plates of historical subjects and portraits, but was much more successful in the latter, many of which have great merit. His drawing, par- ticularly in the nude, is not correct ; and in all his prints, except his portraits, there is a want of effect. The following list comprises all his plates, except those he engraved for the academy of Sandrart, and some prints after tapestry, which were private plates in the possession of the Elector of Bavaria : PORTRAITS. Maximilian Emmanuel, Elector of Bavaria; after T. Macolitiut, dated 1670, an oval very scarce. 33 A BIOGRAPHICAL DICTIONARY OF Maximilian Emmanuel; after J. B. Champagne ; one of his best works. Equestrian statue of Masdmiljan Emmanuel ; after Ah- leititer. Henrietta Maria Adelaide, Duchess of Bavaria ; after Delamonce^ 1675 ; oval. Ferdinand Maria, Duke of Bavaria, 1676 ; oval. Count Johann von Berlo de Brus, Stadtholder of In- goldstadt, 1680 ; large oval. Alexander Sigismund, Bishop of Augsburg; P. F. Hamilton^ ptjix, Eomain Liberiet, Abbot of St. Ulrich, Afra, and in Augsburg; after himself ; a fine portrait; oval. Petrus Marinus Sormannus ; in a medallion. Livio Prince Odescalchi ; in a medallion. Marcus ab Aviano, 1680 ; oval. A young prince conducted to the throne by Hercules and Nestor; at the foot of the throne is inscribed, Ungaria. Two plates of statues ; engraved for Sandrart's Deutsche A.hademie. SACRED AND HISTORICAL SUBJECTS. The Virgin and ChUd, with two portraits ; after J. A . Wolff ; a very large plate. The Image of the Virgin of Consolation ; 1682 ; large plate, oval. Vero Eitratto di S. Francesco d'Assisi. St. Nicholas of Tolentino; after J. A. Wolff, 1691; large plate. Vrai Portrait de St. John de S. Facundo ; after the same; large oval. St. Godard kneeling before the Virgin ; /. Drentwet, del. Ten plates in folio — Of a triumphal arch in honour of the Elector Maximilian Emmanuel. Grand Thesis, dedicated to the Emperor Leopold and his son Joseph ; i?. P. Antonius LumtinsJcy, del. Another large plate, representing the Virgin Mary treading on the Serpent, accompanied by the four Doctors of the Church. AMMAN, Jeremias, an engraver of portraits, who worked at Schafihausen from about 1660 to 1670, executed, in conjunction with his son, Johann Amman, the plates to Patin's Impfvatorum Ro- vianorum 2^umismata (1671), chiefly from the drawings of F. Chauveau. AMMAN, Johaxn', a son of Jeremias Amman, ■was a native of Schaffhausen, and flourished about the year 1700. He engraved a few portraits, among which is one of John Locke. AMMAN, JoHAVTN, a German engraver, who was living at Hanau about 1640. Previously he engraved a set of small woodcuts, representing the Passion of our Saviour. They are executed in a neat and spirited style, and possess considerable merit. They were published at Amsterdam in 1623, witli Latin verses. AMMAN, JosT, was a painter as well as en- graver, but owes his reputation chiefly to his excellence in the last-mentioned branch of art. He was born at Zurich in Switzerland, in 1539. The name of his instructor in art is not recorded. In 1560, he left Zurich, and went to Nuremberg, where he worked until his death, in 1591. Of his paintings we have no further account, than that his works in stained glass were richly and bril- liantly coloured. His pen-drawings partake of the spirit and neatness of his prints, and are preserved in the portfolios of the curious. As an engraver, he was one of the most laborious of the industrious artists of his country, who have so ably and amply contributed to the advancement of the art. The number of his plates is prodigious, and his work amounts to upwards of five hundred and fifty prints, many of which being of a diminutive size, he is sometimes ranged among the artists denominated 34 the Little Masters. He engraved on wood and on copper, but the productions from the latter are ' very inferior to those from the former. His draw- ing, in general, is tolerably correct ; and his exe- cution, particularly in his animals, is smart and spirited ; his manner of engraving is neat and decided. This artist used no less than twelve dif- ferent marks in his plates, but they all consist in a cipher composed of the letters /and A, as follows : c^ 0^ X\ c,?^ ^K COPPER PLATES. Twelve small plates, arched— Of illustrious women of the Old Testament, beginning with Eve : title, Eva die Gebererin. Jost. Amman, fee.; Stef. Herman, exc. Eight figures of warriors in ancient costume, small upright plates ; marked, Jost. Amman, Inventor. 1590. Eight plates — Of persons fighting with swords and sticks ; small plates, lengthways ; marked with his cipher. Six very small plates of friezes. Hunting scenes. Eight small plates, lengthways, the Four Seasons, and the Four Elements. 1569. Twelve small upright plates arched — Of the months in the year, represented in full-length figures; Jo. Amman, fee. A set of plates for a Bible published at Frankfort. 1571. The Bombardment of a Town ; Jo. Amman, fee. 1570. Large plate, lengthways. Admiral de Cohgny ; fecit Norimbergis, Jost. Amman, Tigurinus. 1573. WOODCUTS. The Creation, large print ; marked /. A. An oval print, the Diet of the Empire ; large, length- ways. The Marriage of Cana middle-sized print, lengthways, J. A. A set of one hundred and fifteen prints of arts and trades, first printed under the title, Ilai/o-jrXta, om- Ki'«»i illiberalium, meehanicartim, out sedentariarum artium genera continens, printed at Frankfort in 156S. This edition is very scarce ; the book was reprinted in 1574. A set of one hundred and three prints of subjects from Soman History, published at Frankfort, in 1573, with the portrait of S. Feyrabend, the celebrated bookseller. A book of hunting ; entitled Newe Figuren von allerlei lag und Weidttcerck. Frankfort, 1582. A set of one hundred and three prints for a work en- titled Cleri totius Romante Ecclesite stibjecti, ifc. Frankfort. 1585. A set of one hundred and twenty prints for a book entitled Gi/n- tion most probably relates to the picture from which it was designed. Amongst Andrea's pupils may be mentioned Vasari, Jacopo da Pontormo, Domenico Puligo, Giorgio Vasari, F. Salviati, and Squazella. The following is a list of several of his most important easel-pictures : Berlin. Museum. Virgin and Saints (dated 1528). Dresden. Gallery. Sacrifice of Abraham. „ „ Marriage of St. Catherine. Florence. Z7}^2i. His own Portrait. „ „ St. Giacomo. „ „ Madonna ' di San Francesco' {dated 1517) — his tnasterpiece. „ Pitti Pal. Dispute on the Holy Trinity. „ „ „ Deposition from the Cross. ,, ,, „ Annunciation {with theAngel Gabriel, folloioed by two other angels). ,, „ „ Annunciation (3 cOjO;/ is tK Mc XoMire). „ „ „ Assumption of the Virgin. „ ,, „ Portraits (2) of himself. ,, „ „ JS'xne other paintings. London. Nat. Gall. Holy Family. „ „ „ Portrait of himself {signed with mono^ gram given above}, Madrid. Gallery Virgin and Child with St. Joseph and an angel. ,, „ Portrait of his wife.Lucrezia del Fede. Paris. Louvre. Charity {signed and dated 1518). „ „ Holy Family. „ „ Jiolj Va.m\\y {signed in full with the monogram of the crossed A). Petrshg.JSermitage. Virgin and Infant, and St. Catherine. Vienna. Gallery. Pieta. See— Guiness, H., ' Andrea del Sarto.' London : 1899. Heumoat, A.,' Andrea del Sarto.' Leipsig: 1835. Crowe and Cavalcaselle, ' History of Painting in Italy.' London: 1866. Biadi, Buigi, ' Notizie inedite della vita d' Andrea del Sarto.' Firenze: 1832. Breton, Ernest, 'Notice sur Andrea Vannucchi, dit Andrea del Sarto.' Paris : 1848. 'Gazette des Beaux-Arts,' /oi- 1876 and 1877. ANDREA DEL CASTAGNO. See Castagno. ANDREA DI BERTHOLOTTI. See Bertho- LOTTI. ANDREA DI CIONE. See Cione. ANDREA Di COSIMO. See Feltrini. ANDREA Di LEONE. See Leone. ANDREA DI LUIGI. See Alovigi. ANDREAE, Tobias, who was born at Frankfort in 1823, studied under J. Becker, and then went to Munich, where he made the acquaintance of Rahl and Genelli. In 1853 he visited Italy, and painted landscapes, into which he occasionally introduced moonlight efEects. Andreae died at Munich in 1873. ANDREAE, T., is mentioned by Strutt as the engraver of a plate representing an emblem- atical subject, in which a woman is lying on the ground, in the front of the print, and another female is standing over her, holding in her hand a book, inscribed Giulio Cesare opei'a. It is slightly etched, in a very inditt'erent style, and is signed T. Andreae, inv. et fee. ANDRE-BARDON, Michel Francois, ar. his- torical painter and etcher, was born at Aix, in Provence, in 1700. He himself signed his name Dandr^-Bardon, or D. Bardon, because his uncle, Louis Bardon, made him his heir on condition that he continued the name of Bardon ; but his real name was Andr6, as the registers of the church of St. Madeleine testify. Michel Francois was des- tined by his parents for jurisprudence, and studied 37 49SS4 A BIOGRAPHICAL DICTIONARY OF at Paris. In 1719 he began to design during his leisure hours under the direction of J. B. van Loo, and studied painting with J. F. de Troy. His progress was so rapid, that he obtained, in 1725, the second prize at the Royal Academy. He went afterwards to Rome, and after being there six years he returned to France, through Venice, where he stayed six months. He painted the Palais-de- Justice, the Hotel -de - Ville (which perished in 1792), and the church of St. Jerome, at .Aix. He went to Paris, where he displayed his talents, not only as a painter and etcher, but also as a poet and writer. In 1735 he became a member of the Academy ; in 1752 professor ; afterwards secre- tary ; and finally teacher of historical painting. He was also the founder of the Academie des Beiiux-Arts at Marseilles. Andre designed with great facihty, and was a perfect master in repre- senting the nude. He died at Paris in 1785. The following are his best works : Aix. Museu/n. The Emperor Augustus ordering the punishment of the robbers of the State money. (Signed Dandee- BaEDON AQnSEXTIEXSIS PIN-XIT KOSLE .ETAT. SU-E 29 ANNO 1729.) ., Palais-de-Jnstice. Allegorical Figures of the Virtues. Marseilles. 3Ius. Christ on the Cross. Montpellier. Mus. Tullia driving over the dead body of Serrius TuUius. The work which he executed of ' Jason plough- ing,' intended for the tapestry manufactory at Beauvais, has disappeared. The following are his most important etchings : The Dead Body of Christ. Two Dead Children at the entrance of a vault. The Burial of the Dead. Johannes Snellinks ; after Van Dijck. ANDKEANI, Andrea, a painter, and very cele- brated engraver, was born at Mantua, according to some biographers, about the year 1540, others say 1546 ; but Brulliot saj's his birth did not take place until 1560, which seems the more likely, for his earliest work bears date 1584. His works as a painter are little known, as he appears to have devoted himself to engra\'ing at an early period of his life, when he settled at Rome, some time after the art of chiaroscuro on wood had been first practised in Italy by Ugo da Carpi. His works are confined to woodcuts, which are printed in chiaroscuro, and he carried that branch of engrav- ing to a much higher degree of perfection than it had reached before. His drawing is correct, his execution is strong and spirited, and in a very masterly style. The number of prints attributed to this master is very considerable, as he is reported to have procured the blocks executed by other artists, and after retouching them, to have published them as his own. He died in 1623. His works have frequently been confounded — _— with those of Albrecht Altdorfer, from his WT having used a similar cipher. ■^ "" The following is a list of his known works, all copies from his contemporaries or painters then lately deceased : The pavement at Siena, two immense prints ; after the design of Bomenico Beccafumi ; very scarce : dated 1587. The Deluge, large print, in four sheets ; after Titian, with his cipher. Pharaoh's Host destroyed in the Red Sea, large print, in four sheets ; after the same, 1585, with his cipher. The Adoration of the Magi ; after Parmigiano, 1585, with his cipher. The Purification; after Salviati, with his cipher. 1608. 38 The Virgin and Child, with a bishop kneeling ; after A. Casolaiii, with his cipher. 1591. The Virgin and Child, with St. John presenting a bird, and a female saint holding a lily ; after Giac. Ligozzi, with his name. Christ curing the Leper; after Parmigiam, with his cipher. Christ curing the Paralytic ; after Franc, de Kauto da Sttbaudia. The Miraculous Draught of Fishes ; after Raphael, 1609, with his cipher. Christ departing from Pilate, who is washing his hands ; after a basso-rilieio of Jean Boulogne, with the name of the engraver ; in two sheets. This is one of his most finished prints. Christ bearing His Cross ; after A. Casolani, with his cipher. 1591. The Entombment of Christ ; after G. Scolari, with his cipher. Another Entombment, half figures ; after RaffaelU) Motta, with the name of the engraver. St. Peter preaching; marked with the name Polidoro, and his cipher. 1608. St. Sebastian ; marked Fridericus Barotiua Urbinaa, with his cipher. 1608. The lower part of the picture of St. Nicholas, by Titian, with the cipher of Andreani. The Triumph of the Church ; Christi Triumphus, large frieze, in eight sheets ; after Titian, dedicated to the Duke of Mantua in 1599, and published by CaUsto Ferrante at Eome in 1608. An emblematical print, of a Christian after life received into Heaven, and crowned by Jesus Christ ; marked B. F. for Baptista Franco, and the cipher of the engraver. An. m.dc.x. Mantoua. The Picture of Human Life, represented by a woman at the foot of a rock, assailed by the passions ; marked Jai^. Ligotius, inv. et Andreani, 1585. Firenze. Three prints, after a marble group by Gio. da Bologna, seen on three sides, representing the Eape of the Sabines ; inscribed Rapta Sabiiium a Jo. Bolog. marm SfC. M.DXxxxiin. Another Eape of the Sabines : after Jean Boulogne, in three sheets ; inscribed Andreas Andreanus Mantua- ni/s aeri incidit, ^-c, m.d.lxxxv. Florenti{e. Clelia on horseback, with one of her attendants, going to cross the Tiber ; marked with the name of Matu- rino, and his cipher. 1608. Mucins Scaevola holding his hand over a brazier ; marked with the name of Bald. Peruxzi, and his cipher. 1608. The Triumph of Julius Caesar, with the title ; a series of 10 prints ; very fine ; after And. Mantegna. M.D.XCVIII. Venus and Cupid, with nymphs bathing ; after Parmi- giano, with the cipher of Andreani. 1605. Circe giving drink to the companions of Ulysses ; oval print ; after Parmigiano, with his name. 1602. A Woman warming herself before the fire ; marked Bernard Malpitius, inv., vrith his cipher. The scene of a comedy represented before the Grand Duke Cosmo X. ; after a design of Bart. Neroni, large piece. 1579. The Triumph of Death, a Sepulchral Monument, repre- senting a kind of rock, on which are the three Fates ; after Fortuna Fortiinio, with the cipher of the en- graver Christian Virtues, sis pieces ; also Force, Truth, and Virtue ; all after Parmigiano. W. B. S. ANDREASI, Ippolito, who was born at Man- tua in 1548, was an imitator of Giulio Romano : he painted pictures of merit for the churches of his native town, where he died in 1608. The Louvre possesses a ' Holy Family ' by him. ANDRES, Fray Leon de, a Spanish painter of the 16th century, is celebrated for the miniatures he executed in 1568 for choir-books — especially that of ' El Capitulario ' — now in the Escorial. He died in 1580. ANDREWS, George Henry, was born at Lambeth in 1816. Though an engineer by pro- PAINTERS AND ENGRAVERS. fession he devoted most of his time to painting, and exhibited first in 1840. He painted chiefly marine subjects in water-colour, and became successively Associate, Exhibitor, Member and Treasurer of the Royal Water-Colour Society. He drew for the 'Illustrated London News' and the ' Graphic,' and died at Hammersmith in 1898. ANDRIESSEN, Anthonie, who was born at Amsterdam in 1746, painted, in conjunction \vith his brother Jurriaan, under whom he /V\ studied, landscapes and figure-pieces. _/j\\_ He died at Amsterdam in 1813. ANDRIESSEN, Christiaan, who was born at Amsterdam in 1775, was the son and scholar of Jurriaan, and became a good painter of history, genre subjects, landscapes, views of towns, and occasionally portraits. Among his works may be mentioned a Panorama of Amsterdam. ANDRIESSEN, Hendkick, who was surnamed 'Mancken Heijn' (The Limper), was born at Antwerp, probably in the year 1607. He was a painter of still-life ; composed with great skill, and finished his pictures artistically. He died in Seeland in 1655. ANDRIESSEN, Jurriaan, born at Amsterdam in 1742, was a scholar of A. EUiger and J. M. Quinkhardt. He was an able artist in decorative painting ; the decorations of the new theatre at Amsterdam were executed by him and Numan. Several distinguished modern Dutch painters are from his school. He died at Amsterdam in 1819. ANDRIOLI, GiROLAMO, a pupil of Brusasorci, was a painter of Verona. His name, with the date 1606, was inscribed on an altar-piece of 'St. Dome- nick and other Saints ' formerly in the church of Santa Caterina di Siena at Verona. ANDRIOT, FRANgois, a French engraver, who was born in Pnris about 1655, practised both in France and in Italy, especially in Rome. He fol- lowed the style of F. de Poilly, and among his works are : Two Annuuciations, after Alhano ; a Magdalene, ff/^CT- Guido ; Madonna and Child, after Guido ; The Holy Family, with a rose, after Raphael; The Crowning with Thorns, after Domenichino ; and the same, after Ann. Carracci ; The Good Samaritan, after I'ovssin; and other subjects of sacred history, after Guille- baultj and other masters. ANDRODET-DUCERCEAU, Jacques, was an architect and engraver of whom but scanty records have survived. His parents' name was Androuet, but they acquired the affix ' dw Cerceau' from a hoop which they hung on their house as a dis- tinguishing mark, and the double name was adopted by their son. Jacques was born about 1510, pro- bably at Paris, but it was at Orleans, the home of his family, that he spent the greater part of his life ; and most of his works bear the date of that city. He is said to have studied under Etienne Delaulne ; but the strong resemblance of his style to that of Leonhard Thiry, another artist of Fon- tainebleau, has led to the belief that he formed his manner from the artists of that school. He visited Italy with George d'Armagnac, ambassador of Francis I. to the Venetian Court, and on his return in 1546-47 he was patronized by the royalty and nobility of France. It is supposed that he retired to Annency, or Geneva, towards the close of his life, and died there — after 1584. As an engraver his subjects were various — mythological, architect- ural, perspective, trophies, arabesques, friezes. Caryatides, vases, furniture, &c. : we mention : The Marriage of the Virgin ; after Parmigiano (Fran- ciscHS Parmensis hiventor). The Birth of Christ ; unsigned. The Gods of Heathen Mythology; aftir Rosso; 20 plates. The Loves of the Gods; after Perino del Vaga and Rosso ; 20 plates. The Labours of Hercules ; after Rosso ; 6 plates. The Life of Psyche ; after Raphael ; 32 plates. The Dog of Montargis fighting his Master's Murderer {faict d Montargis). Plans of Antwerp, Jerusalem, Rome, &c. Landscapes, 24 plates. ' Le Premier Volume des plus Excellents Bastiments de France.' Paris, m.d.lxxvi. ' Le Second Volume des plus Excellents Bastiments de France.' Paris, m.d.lxxix. Both volumes are dedi- cated to Catherine de Medicis, for whom they were executed. ANEDA, Juan de, was bom at Burgos, where he painted in 1565, in conjunction with Juan de Cea, several pictures, which are still to be seen in the cathedral. ANESI, Paolo, landscape painter and etcher, was born at Rome about the year 1700. He painted landscapes with considerable success at Florence and at Rome. The frescoes in the Villa Albani, near Rome, are done by him, in conjunc- tion with Antonio Bicchierai and Niccold Lapic- cola. They bear the date 1761, with the signature Paolo Anesi fece. He was, Lanzi tells us, one of the masters of Francesco Zuccarelli. He painted ancient ruins in the manner of Pannini, and his works have been much confused with those of that artist. FcLr small landscapes, by Anesi, are in the Hohenzollern-Hechingen Gallery at Lowenberg. ANGARANO, Conte Ottavio. According to Zanetti, this artist was of a patrician family of Padua, aTid flourished at Venice in the second half of the 17th century. It is not mentioned by whom he was instructed in the art, but he was a reput- able painter of history, and acquired considerable celebrity by a picture he painted for the church of San Daniele, at Venice, representing the 'Nativity,' which is highly commended by his biographer, and of which there is an etching, as some say, by liim- self ; but Bartsch ascribes it to Giuseppe Diaman- tini. Angarano painted in the manner of the followers of Caravaggio. ANGE, FKANgois l'. See L'Ange. ANGEL, J. X. See Ximenez Angel. ANGEL, Pedro (or Angelo), the first of Spain's good engravers, flourished at 'Toledo at the end of the 16th and beginning of the 17th century. The frontispiece to the ' History of Our Lady of Gua- daloupe,' containing the portrait of that ungainly idol, published in 1597, is one of his earliest works. The elegant armorial design in the title, and the fine portrait of Cardinal Tavera in ' Salazar's Chronicle,' published 1603 ; and the still finer and rarer portrait of Cardinal Ximenez de Cisneros in Eugenio de Noble's 'Life,' published 1604, are by Angelo. He likewise engraved a title-page for Luis de Tena's ' Commentary on St. Paul's Epistle to the Hebrews,' 1611-17 ; a print of ' Our Lady of the Conception,' and other devo- tional subjects. ANGEL, Philips, who was born at Middelburg, in the early part of the 17th century, painted at Haarlem (where he entered the Guild in 1639), at Leyden, and afterwards in Ispahan, and in Batavia, where he probably died — after 1665. His only known work — a picture of still-life, signed P. Angel, 1650 — is in the Berlin Museum. If this 39 A BIOGRAPHICAL DICTIONARY OF date is correct it must have been painted while he was in the East. ANGELI, Battista. See Angolo. ANGELI, Finppo de Liano d', was called II Napoletano, from his being sent to Naples when he was very young. He was bom at Rome towards the end of the 16th century, and was tlie son of an artist who was employed under Sixtus V. He excelled in painting landscapes and battles, and, according to Baglioni, was much employed in ornamenting the palaces and villas at Rome. He frequently painted architectural views, with a number of figures arranged and composed with great ingenuity. He died at Rome during the pontificate of "Urban VIII., about 1640. The Louvre has a ' Satyr and Peasant ' by him, and his own portrait is in the Uffizi at Florence. ANGELI, GiuLio. See Angolo. ANGELI, GiULio Cesare, bom at Perugia about 1570, studied in the school of the Carracci, at Bologna. He was more remarkable for his colour than design, and excelled rather in the draped than the naked figure. There is a vast work by him in the oratory of Sant' Agostino in Perugia, where he died in 1630. ANGELI, Giuseppe, a Venetian painter, scholar of Piazzetta, whose style he imitated, was born about 1709. He painted cabinet pictures, and some altar-pieces. His heads have considerable ex- pression, and his extremities are well drawn. The painting in the cupola of San Rocco at Venice is one of his best works. He executed numerous decorations in the churches and pubHc buildings of Padua and Rovigo, as well as of Venice. He died at Venice in 1798. In the Louvre there is a ' Little Drummer ' by him. ANGELI, Marco. See Angolo. ANGELI, Niccol6, an Italian engraver, flour- ished about the year 1635. He was a disciple of Remigio Canta-Gallina, and, in conjunction with his instructor, engraved, from the designs of Giulio Parigi, a set of plates representing the festivals which took place at Florence on the occasion of the marriage of the Prince of Tuscany. ANGELICA, a miniature painter of Tarragona, executed, in 1636, the illuminations of the cathe- dral choir-books with great neatness and skill. ANGELICO, Fra (Giovanni da Fiesole). See FlESOLE. ANQELINI, SciPioxE, who was born at Perugia in 1661, was a skilful painter of flowers ; in his pictures they appear newly plucked, and sparkling with dewdrops. He painted a great number, which he sold to dealers, who exported them to England, France, and Holland. He practised at Rome ; and died at Perugia in 1729. ANGELIS, Pierre. See Angillis. ANGELL, Helen Cordelia, nt'e Coleman, was born in 1847, and early distinguished herself as a brilliant and original painter of flowers and kindred subjects, which she was among the first of modern English painters to treat with breadth and vigour. She first exhibited at the Dudley Gallery in 1866. She became a member of the Institute of Painters in Water-Colours, but seceded in 1879, on being elected an associate exhibitor of the Suciety of Painters in Water- Colours, of which she afterwards became a member. She married, in 1875, Mr. W. T. Angell, and died March 8, 1884. Her last picture was exhibited at the Dudley Gallery in the winter of 1889. 40 ANGELO, Michael. See Buonabroti. ANGELO, Pedro. See Angel. ANGELO DEL MORO. See Angolo del Moro. ANGELDCCIO, a scholar of Claude Lorrain, was living in 1680, but died young. He is men- tioned as an artist of considerable talent ; bis works are perhaps sometimes mistaken for his master's. ANGIER, Paul, an engraver, of whom little more is known than that he resided in London about the year 1749, and that he was instructed in the art by John Tinney. He was chiefly em- ployed in engraving for the booksellers, and executed several small plates, principally land- scapes, in a neat style, but without much taste. His best print is a ' View of Tivoli,' after Mouche- ron. There is a print, dated 1749, by him, of a view of Roman ruins, after Pannini, very neatly engraved. ANGILLIS, Pierre, (wrongly called Angelis), was bom at Dunkirk, in 1685. After learning the rudiments of design in his native town, he visited Flanders, and resided some time at Antwerp, where he was made a master of the Guild of St. Luke in 1715-16. He painted landscapes with small figures, into which he was fond of introducing fruit and fish. He came to England about 1719, remaining till 1727, when he set out for Italy. On his return he settled at Rennes, where he died in 1734. His style was a mixture of those of Teniers and Watteau, with more grace than the former, and more nature than the latter. ANGIOLILLO, called Roccadirame, was a Neapolitan, and flourished about the year 1450. He was a disciple of Antonio Solario, called II Zingaro, and, according to Dominici, painted several pictures for the churches at Naples. One of his most esteemed works was a picture in the church of San Lorenzo, representing the ' Virgin and Infant Jesus, with St. Francis, St. Anthony of Padua, and St. Louis.' He died about the year 1458. ANGLUS, Benjamin. This artist is mentioned by Heineken as the engraver of two emblem- atical subjects, one after Antonio Tempesta ; the other is probably from his own design, as he adds the word fecit to his name. ANGOLO del MORO, Battista, (commonly called Angeli, and occasionally Angelo and Agnolo), was born at Verona, about the year 1512. He was a .scholar of Francesco Torbido, called II Moro, whose daughter he married, and whose name he added to his own. He improved his style by studying the works of Titian, and painted several pictures, both in oil and fresco, for the churches at Verona, and sometimes in compe- tition with Paolo Veronese. In Sant' Euphemia he had painted a fresco of ' Paul before Ananias,' which, on the demolition of the wall on which it was painted, was sawn out with great care, and removed to another part of the church. His colouring is more vigorous than that of his in- structor, and his design more graceful. Such is his picture in San Stefano of ' An Angel pre- senting the Palms of Martyrdom to the Inno- cents.' He also painted much in Venice, Mantua, and Murano. We have several slight but spirited etchings by this master, in which the extremities of the figures are drawn in a very masterly style. In conjunction with Battista Vicentino, he en- graved a set of fifty landscapes, mostly after Titian, which are executed in a bold, free style. PAINTERS AND ENGRAVERS. We have also the following plates as specimens of his work in this line : The Nativity, or Adoration of the Shepherds; after Parmigiayw. The Virgin, with the Infant Christ and St. John ; B. A. del Mora, fee. The Holy Family, with St. Elisabeth and St. John; after Raphael. Another Holy Family ; after the same. The Martyrdom of St. Catherine; after Bernardini Campi. The Baptism of Christ by St. John ; after the same. ANGOLO DEL MORO, Giulio, (commonly called Angeli), the brother of Battista, was a sculptor, architect, and painter. He was a native of Verona, but laboured chiefly at Venice, and in the churches and the Doge's Palace of that city he has left several pictures. He flourished in the 16th cen- tury and the beginning of the 17th. There is no record of him later than 1618. There was a third brother, Girolamo, who was also a painter, but of no great merit. ANGOLO DEL MORO, Marco, (commonly called Angeli), the son and pupil and assistant of Bat- tista, flourished in the latter half of the 16th century at Venice and Verona. He assisted liis father in his wall decorations at Murano. He also practised the art of engraving with consider- able success. ANGUISCIOLA, SoFONiSBA,(or Angosciola, also written Anguisola, Angussola, and Anguscinola). This celebrated painter, the eldest of six sisters, was born of an ancient family at Cremona, about 1535. She received her first instruction in the art from Bernardino Campi, to whom she went in 1546, but afterwards became a scholar of Bernardo Gatti, called Sojaro. After leaving those masters, her first efEort in art was an effusion of filial affection, expressed in a portrait of her father and two of his children. This performance was uni- versally admired, and she was soon considered as one of the most eminent portrait painters of her time. She did not, however, confine herself to portraits, but painted some historical subjects of a small size, that were highly esteemed, and established her reputation. The fame of this painter induced Philip II. of Spain, the great encourager of art in his time, to invite her to Madrid, where she arrived about the year 1560, attended by three of her sisters. One of her first works in Spain was a portrait of the Queen Isa- bella, which was presented by the king to Pope Pius IV., to whom she was nearly related, accom- panied by a letter addressed to his Holiness by Sofonisba, to which that pontiff replied in an epistle, highly extolling her performance, and assuring her that he had placed it amongst his most select pictures. She was married twice : first to Don Fabricio di Moncada, a Sicilian nobleman, after whose death she returned to her own country by way of Genoa. There she married as her second husband Orazio Lomellini, the captain of the galley in which she made the voyage. Her portrait at the age of ninety-six, together with a long account of her, is to be seen in the Van Dyck Sketchbook at Chatsworth, and is reproduced in the facsimile of this Sketchbook issued in 1901 by George Bell and Sons, London, Plate XXXVIII. It was drawn by Van Dyck on July 12, 1624, when the artist was at Palermo, and he states in the in- scription that when " I was making her portrait she gave me many hints, such as not to take the light from too high, lest the shadows in the wrinkles of old age should become too strong, and many other good sayings by which I knew that she was a painter by nature and wonderful, and the greatest trouble she had was that from lack of sight she could paint no longer, though her hand was firm without tremor of any sort." She died in Palermo soon after the visit of Van Dyck, in 1626. A drawing has been discovered lately at Palermo which closely resembles the sketch at Chatsworth, and is attributed to Van Dyck with some definite assurance. The following may be noted among the most important of her paintings : Portrait of herself, seated at a clavecin {signed). In a private collection in Bologna. Portrait of herself (similar to the Bologna picture). In the possession of Lord Spencer at A Ithorpe. Portrait of herself. At Nuneham Park. Portrait of herself painting a picture (signed). In the UJJi^i, Florence. Portrait of herself holding a book (signed and dated 1554). In the Gallery ^ Vienna. Three of her sisters playing chess (formerly tn the collection of Lucien Buonaparte ; one of her best works). In the possession of Count Raczynski at Berlin. Portrait of a mm (signed). In the possession of the Earl of Yarborough. Portrait of a man. At Burleigh House. Portrait of a Venetian Ambassador (signed^. In the Brignoli Gallery at Brescia. Madonna and child (dated 1559), In the Bresciani Collection at Cremona. ANGUISCIOLA. All the five sisters of Sofo- nisba painted with more or less success. Elena, the next in age to Sofonisba, after having studied with her under Campi and Gatti, entered the con- vent of San Vincenzo, at Mantua, where she was still living in 1584. Lucia, the tliird in age, who died in 1565, distinguished herself both in painting and music ; a portrait of the phj'sician 'Pietro Maria of Cremona ' by her, signed ' Lucia Anguisola, Amilcaris filia, adolescens, fecit,' is in the Madrid Gallery. Minerva died young. Europa and Anna Maria painted subjects from sacred history for churches. ANGUS, William, an English designer and en- graver of landscapes and buildings, was bom in 1752. He was a pupil of William Walker. He engraved and published a great number of views of gentlemen's seats in England and Wales, which were executed by him in a delicate and pleasing manner. He was also employed on many other topographical publications of the period. He did not confine his graver to his own drawings, but exercised it on those of Stotliard, Paul Sandby, Edward Dayes, George Samuel, and others of high repute. He died in 1821. ANICHINI, Pietro, a Florentine engraver, of whose life we have no particulars. He is said by Basan to have been born in 1610 ; he died in 1645. Among other plates engraved by him, we have the following : A Holy Family ; small plate, lengthways ; dated 1644. The Good Samaritan ; small, lengthways. Cosmo Prince of Etruria. Evangelista Torricelli, the mathematician. ANIELLO. See Portio. ANIEMOLO, Vincenzo, (or Ainemolo_), called Vincenzo Romano, was born at Palermo towards the end of the 15th century. After having studied for some time in his native town the works of Perugino and other masters, he went to 41 A BIOGBAPHICAL DICTIONARY OF Rome, where, if he did not receive personal in- struction from Raphael, the works of that master had a great effect on his style. Aniemolo left Rome at the time of its pillage and went to Messina ; thence he returned to Palermo, where he lived until his death, which occurred in 1540. He has left in the churches of his native town many pictures of merit. Of these we may mention the 'Virgin and Child between four Saints,' in San Pietro Martire : the ' Virgin of the Rosary,' dated 1540, in San Domenico ; and the ' Sposalizio,' in Santa Maria degli Angeli. All bear strong traces of the influence of Raphael. ANISUIOFF was a Russian genre painter, who obtained a reputation in the course of the first ten years of the 19th century by the execution of a number of spirited pictures depicting scenes from Russian popular life. ANJOU, Rene of. See Rene. ANNA, BALDASS.4RE d', a Fleming by birth, but of the Venetian school of painting. He was a pupil of Corona of Murano, and after his master's death completed several of his works. He also produced many original pictures for the Servi and other churches, which, tliough inferior to those of Corona in the selection of forms, surpass them in the softness, and sometimes in the force, of the chiaro- scuro. He flourished toward the close of the 16th and the beginning of the 17th century. The last record we have of him is in 1639. ANNELLA Di MASSIMO. See Beltrano. ANNIS, \V. T., an English mezzotint engraver, of whom very little is known. He exhibited landscapes at the Royal Academy between the years 1798 and 1811, and engraved the following plates in Turner's Liber Studiorum: Svmset ; No. 40. Chepstow Castle ; No. 48. Also Mary Wollstonecraft Godwin ; after Opie. ANNUNCIA^AO, Thomaz Jos6 da. See Da ANNr>jciA(;'AO ANRAADT, Pieter van, flourished at Amster- dam, where he settled in 1672, and married the daughter of the Dutch poet Jan van der Veen. Notwithstanding the merit of this master, little is known of the circumstances of his life. Accord- ing to Houbraken, he was a very eminent his- torical painter, and that author mentions a picture of ' Regents' painted by him for the ' Huiszitten- huis ' at Amsterdam. Balkema describes him as a painter of portraits, animals, and conversation- pieces. ANSALDO, Andrea, was bom at Voltri, a small town near Genoa, in 1584. He was at first a scholar of Orazio Cambiaso : but becoming im- pressed with the beauty and splendour of the works of Paolo Veronese, he studied them with great attention, and formed for himself an excel- lent style of colouring, both in oil and in fresco. His chief work was an 'Assumption of the Virgin,' in the cupola of the church of the Annunziata at Genoa. Many other works of tliis master are in the churches and palaces in that city, and of his native town. He possessed a fertile invention, and his compositions are decorated with architec- ture and landscape, introduced with a very happy effect He died in 1638 in Genoa, having acquired the reputation of being one of the best painters of his time. ANSALONI, ViNCENZo, was a native of Bologna, and a disciple of Lodovico Carracci. Under so able 42 an instiiictor he became a reputable painter of history. Malvasia speaks in very favourable terms of an altar-piece by this master, in the chapel of the family of Fioravanti, in the church of St. Stefano at Bologna, representing the ' Martyrdom of St. Sebastian.' His chef-d'oeuvre is a picture in the church of the Celestine Monks, representing the Virgin Mary with the Infant Saviour in the clouds, and below, St. Roch and St. Sebastian. According to Zani, he flourished about 1615, and died young. ANSANO DI PIETRO (di Menico or Domenico). See Sang di Pietro. ANSDELL, Richard, was born at Liverpool May 11, 1815, and baptized at St. Peter's Church there. He was educated at the local Bluecoat School from 1824 to 1828, from which it may be inferred that his father was dead and his relatives were in poor circumstances. His grandfather had owned salt-works near Northwich. Ansdell is said to have shown skill in drawing when at school, and when he left in 1828 it was to go to W. C. Smith, profile and portrait painter, at Chatham. Later he returned to Liverpool, where, after some experience of commercial employment, he, at the age of twenty- one, definitely set up as an artist. He attended the classes of the Liverpool Academy, of wliich he afterwards became a member, and event- ually president ; the bent of his mind, however, was towards animal painting, and he probably learned most in the school of natiu-e. His first appearance at the Royal Academy was in 1840, when ' Grouse-shooting ; lunch on the Moors ' and ' A Galloway Farm,' the property of the Marquis of Bute, were hung. He was then at Liverpool, which remained his address until 1847, when he had removed to Kensington. In the interim he had been represented every year at Somerset House : in 1841 and 1845 by sporting portrait groups ; in 1842 by the liistorical subject, 'The Death of Sir William Lambton at the Battle of Marston Moor ' ; in 1843 by 'The Death'; in 1844 by 'Mary Queen of Scots returning from the Chase to Stirling Castle' ; and in 1846 by 'The Stag at Bay.' The equally popular 'The Combat' and 'The Battle for the Standard ' followed in 1847 and 1848. In the meantime Ansdell had commenced exhibiting at the British Institution in 1846, to which, in all, he sent thirty works. Ansdell achieved an early and enduring popularity, and the ready sale of his pictures, combined with the profits from engrav- ings, must have yielded him a large income. He painted a wide range of animal subjects, much in the vein of Landseer; although without high ex- cellence as a painter, he had facility and skill in composition, which, with his happy knack in choice of effective subjects, sufficed for the very large public that likes animal pictures seasoned with a dash of theatrical human sentiment. In 1849 there appeared 'The Death of Gelert' and ' The Wolf Slayer ' ; and, in 1850, ' The Rivals.' In the fol- lowing year the number of his pictures at the Royal Academy was three, and during the remainder of his life he seldom bad fewer and usually more. In 1869 and 1871 he showed sis, and in 1872 eight works. His total contributions from 1840 to 1885 numbered 150, and he only missed one year, 1880. In 1851 Ansdell exhibited the first of several pic- tures painted in collaboration with others, "The Shepherd's Revenge,' the background of which was supplied by T. Creswick, R.A. elect. In 1855 the same artist was his fellow-worker in ' The Nearest PAINTERS AND ENGRAVERS. Way in Summer-time,' while ' Feeding the Calves ' was in part by W. P. Frith, R.A. In the same year he won a third-class gold medal at Paris with ' The Wolf Slayer ' and ' Turning the Drove ' (R.A. 1851). In 1856 he made his first visit to Spain with J. Phillip, and at the Royal Academy he showed ' Going to be Fed,' to which that artist had contributed. In the two following years Ansdell's pictures were all from Spanish subjects. In 1861 he was elected A.R.A., and exhibited his ' Hunted Slaves,' a very effective and popular piece of melodrama, which now represents him in the public collection of his native place, along with ' A Mastiff ' and ' A Shooting Party in the High- lands — Halting for Lunch.' In the following year he was at Kensington, although a good deal of his time was spent at a little lodge built for him beside Loch Laggan. Ansdell became R.A. in 1870, and towards the end of his life he established himself at Farnborough, where he died in 1885. It has been stated that during his last quarter of a century he showed 181 pictures in London, and received for them an average price of £750 each. A ' View of St. Michael's Mount, Cornwall,' realized £1410 10s. at Baron Grant's sale. Mr. J. G. Millais, a critic peculiarly well qualified, has pronounced the ' Combat of Red Stags ' the best picture of a deer by Ansdell — a canvas that might well have come from the brush of Landseer ; for in it there is a splendid amount of " go " and action. As a rule, though Ansdell excelled in the grouping of his subjects and execution of detail, neither his large animals (except dogs) nor his birds completely satisfy. His deer are too obviously drawn from dead ones, and with regard to birds, he, like Reinagle, followed too closely the inaccuracies of the bird-stuffers. ANSELIN, Jean Lodis, a French line-engraver, who was born in Paris in 1754, was a pupil of A. de Saint-Aubin. He became engraver to the king, and died at Paris in 1823. Among his best works are the following ; La Marquise de Pompadour ; after Van Loo. The Siege of Calais ; after Berthilemy. Moliere reading his ' Tartuffe ' at the house of Ninou de Lenclos ; after Monbiau. The Sleeping Child; after Donato Creti ; for Laurent's Musee Fran(;ais. ANSELL, Charles, flourished towards the close of the 18th century. His name occurs only twice — 1780 and 1781— in the catalogues of the Royal Academy. He was celebrated for his drawings of the horse, but also drew domestic subjects. His ' Death of a Race-horse ' was engraved in six plates, and published in 1784. ANSELMI, Giorgio, born at Verona, in 1723, was a pupil of Balestra. His masterpiece is the painting in fresco in the cupola of Sant' Andrea at Mantua. He died in 1797. ANSELMI, Michelangelo, called 'Michel- angelo da Lucca,' was born at Lucca, in 1491, and was a disciple of Bazzi. He principally resided at Parma, where one of his first performances was a considerable work painted from a design of Giulio Romano, representing the 'Coronation of the Virgin.' He painted several pictures of his own composition for the churches in Parma, some of which bear a resemblance to the style of Cor- reggio. He died in 1554, at Parma. The following are his best works : Florence. Uffizi. Nativity. London. Northbrook Coll. Madonna and Saints. Paris. Louvre. Virgin in Glory. Parma. Cathedral. Madonna and Child. ,, Gallery. Christ on the way to Calvary ^^Itec^ta^' \ Coronation of the Virgin. Eeggio. S. Prospero. Baptism of Christ. ANSIAUX, Jean Joseph Eleonoke Antoinb, a French historical and portrait painter, a scholar of Vincent, was born at Liege, in 1764. His works, taken from sacred and profane history, and poetical subjects, are numerous, and place him among the best artists of the French school in the 19th century. He also painted portraits of several distinguished persons, ministers, and generals of Napoleon. He died at Paris in 1840. The following are some of his best works : Angers. Cathedral. Arras. Cathedral. Bordeaux. Museum. Le Mans. Cathedral. liege. Cathedral. lille. Hdtel-de- Ville Museum. Metz. Cathedral. Paris S.Etienne-du-Mont, Raising of the Cross. 1827. Kesurrection. Richelieu presenting Poussin to Louis XIII. 1817. Adoration of the Kings. Ascension. 1812. Conversion of St. Paul. 1814. Ketum of the Prodigal Son. 1819. St. John rebuking Herod. 1822. Finding of Moses. 1822. The Flagellation. St. Paul preaching at Athens. ANSUINO (or Ansovino), of Forli, who flourished about 1455, was one of the pupils of Squarcione, a fellow-worker with Mantegna in the frescoes in the Eremitani Chapel at Padua ; and his work bears traces of the influence of that master. The inscription Opus Ansvini is attached to the repre- sentation of ' St. Christopher.' ANTHJ3NISSEN, H. (? Hendrik) van, a Dutch marine painter who flourished about the middle of the 17th century. He painted in the style of J. van Goyen and Jan Parcellis. He is the author of sea paintings, in the Hermitage, St. Petersburg, and the Prague Gallery, which through their signatures have been ascribed to a mythical Hendrik van Antem. ANTHONISZOON, Cornelis, (or Antoniszoon), was born at Amsterdam, about the year 1500. He excelled in representing the interior views of towns, which he did with uncommon fidelity. In the H6tel-de-Ville at Amsterdam is a picture by this master, representing that city as it was in 1536. He afterwards painted twelve views of the same city, with its principal public build- ings, which he engraved on twelve blocks of wood. These prints are now rare. He was also known as Tednissen — the abbreviation of his name. Hence his monogram. In f-'^.'ji Meyer's ' Kiinstler-Lexikon ' is a hst of Wll his engravings. ANTHONY, George Wilfred, landscape painter, was bom at Manchester, where he studied landscape painting under Ralston, and afterwards under Barber of Birmingham. After travelling about for some time, he finally settled at Man- chester as a drawing-master. He was also an art-critic, and wrote several very able reviews of local exhibitions for the ' Manchester' Guardian.' He died at Manchester, in 1859. ANTHONY, Mark, bom at Manchester in 1817, of Welsh descent. Trained for the medical profession, and at sixteen placed with a doctor, at Cowbridge, Glamorganshire ; who, being an amateur painter of some skill, encouraged the artistic leanings of his assistant. Having some 43 A BIOGRAPHICAL DICTIONARY OF private means, Anthony abandoned medicine and went abroad to pursue bis studies at Paris and the < Hague. He is said to hare remained about ten years on tlie Continent, making Paris his head- quarters. The dates are uncertain. In 1837 he showed at the Royal Academy a view on the Rhaidba {gic) Glamorganshire, which suggests recent residence at Cowbridge, and in 1843, when he next exhibited at Somerset House, be had a fixed address in London at 28, Sussex Street. His name in the catalogues of that and several subsequent years was given as H. M. Anthony. In, or about, 1837 be came in contact with Diipre and Corot at Fontainbleau and was considerably affected by them. In 1840 be first exhibited at the British Institution, and in 1845 he became a member of the Society of British Artists. For their exhibi- tions he painted 'Harvest Home' (1847) 'Prayer for the Absent' (1848) 'An Old Country Church- yard' (1849), and 'Tlie Elm at Eve' (1850). Meantime, after missing two years, he showed, in 1849, 'Sunshine and Showers' at the Royal Academy. He was then at 18, Monmouth Road, Westbourne Grove. After another lapse of two years, he asain bad a picture in the Royal Academy in 1852, and thereafter with one exception (1862) he had either one or two pictures annually at Somerset House until 1866. In 1852 he had resigned from the British Institution, hoping for an associateship of the Academy : this, however, he never obtained. Although never a practitioner of the pre-Rapbjelite methods, Anthony was on intimate terms with that group and their friends ; especially Madox Brown, who esteemed him highly. In January 1855 Brown, in bis diary, wrote, apropos of Anthonj''s pictures, " He has a habit (of late particularly) of making bis skies so heavy that they quite spoil all the fine qualities otherwise evinced in his works. The picture of Stratford Church, however, is magnificent in every respect, save the sky ; which, if he can paint, it will be one of bis finest works. It is admirable colour, but his other works look somewhat opaque." Brown was an excellent critic, and here be has summarized the merits and faults of Anthony. From one of Brown's letters in the autumn of 1855 to Lowes Dickinson, it appears that Anthony had been very successful indeed, and was then in Ireland ; and from another to the late Mr. George Rae in 1868 we learn that " Anthony has been again to Spain : '' this perhaps accounts for the lack of anything at the Royal Academy until 18G9, when 'The City and Fortress of Lerida' was exhibited. In 1873 he showed 'Evensong' (Chingford Church, Essex), one of his best pic- tures, which, being sent in the same year to the Liverpool Autumn Exhibition (to which Anthony had contributed from the commencement, in 1871), was purchased for the Permanent Collection. This, however, was not his first Liverpool recog- nition, for in 1854 he was awarded the annual prize of £50 for the "best" picture in the Exhibition of the Liverpool Academy. This was ' Nature's Mirror,' now in the possession of Mr. Albert Woods. In the latter part of his life, Anthony withdrew more and more from social intercourse, and eventually he discontinued exhibiting at the Royal Academy after 1879. He continued to exhibit at Liverpool so long as the exhibitions of the Academy were continued, and afterwards when they were resumed under the auspices of the corporation, until his death, which took place 44 on the 2nd of December 1886. From 1858 he had resided at the Lawn, Hampstead. His pictures are for the most part English landscapes, poectical and triste in sentiment, but well painted though unequal in merit. He occasionally touched genre, and in 1865 exhibited a sheep-washing subject. Most of bis works are in private collections. His rather theatrical ' Harvest Festival ' (probably the 'Harvest Home' of 1847) is in the Salford Public Art Gallery. His ' Deserted Church ' and ' Erith Church ' were in the Manchester Jubilee Exhibition of 1886. A recent tendency to spell tliis painter's name Antony appears to have no justification. His first baptismal name was probably Henry. ANTIDOTUS, a disciple of Euphranor, and the instructor of Nicias the Athenian, flourished about B.C. 336. He was more remarkable for the labori- ous finish of his encaustic paintings than for the ingenuity of his invention. His colouring was cold, and his outline hard and dry. Among the few pictures by him which have been noticed, were ' A Warrior ready for Combat ; ' 'A Wrestler ; ' and ' A Man playing on the Flute.' Pliny is the only writer who has mentioned him. ANTIGNA, Jean Pierre Ales-ixdre, was born in 1818 at Orleans, at the college of which city he was educated. He was taught drawing by Salmon, a professor of merit, who, discover- ing the talent of bis pupil, induced him in 1836 to enter the studio of Norblin. After remain- ing here a twelvemonth he placed himself under Delaroche, from whom he received, during seven years, instruction and counsel. Under his influ- ence he made, in 1841, his debut in religious subjects, which he continued to paint until about 1846, when he turned his attention to genre paint- ing, and it was in this branch of art that he achieved his reputation. He was awarded medals at the Salons of 1847, 1848, and 1851, and he also obtained a medal at the Paris Exhibition of 1855, which included a good collection of his works. He was decorated with the Legion of Honour in 1861. He died on the 27th of Felsruary, 1878. His chief works are : Angers. Museum. The Mirror of the Woods. 1865. Avignon. Museum. Vision of Jacob. Bordeaux. Museum. Episode of the Vendean War. 1864. Orleans. Museum. The Chimney Corner. „ „ The First Plaything. „ „ The Storm. „ „ "Women Bathing. Paris. Luxembourg. The ¥iie. 1850. 0. J. D. ANTIPHILUS, a painter of Egj-pt, was of Greek extraction, and a pupil of Ctesidemus. He flourished in the time of Ptolemy Philopator, at the close of the third century before Christ. He invented the caricatures known as ' Grylli,' — a kind of grotesque monsters, part animal or bird and part man. Quintilian praises him for his facility in painting, and he is also noticed by Pliny and Lucian. Amongst his works mentioned are a 'Satyr with a Panther-bide,' a ' Boy blow- ing a Fire,' and portraits of Philip of Macedon and Alexander the Great. ANTIQDUS, Johannes, was born at Groningen in 1702, and learned from Gerard van der Veen the art of painting on glass, which he practised for some years ; but he afterwards became a scholar of Jan Abel Wassenberg, a respectable painter of history and portraits, under whom he studied some rime. He aftenvards went to France, where he was much employed as a portrait painter, but did ANTONELLO DA MESSINA Ha nj'sta ngl photo\ ST. JEROME IN HIS STUDY ^National Gallery, I ondo. PAINTERS AND ENGRAVERS. not long remain at Paris, being desirous of visiting Italy. He resided chiefly at Florence, where he was employed by the Grand Duke of Tuscany for six years. His principal work was a large picture of the ' Fall of the Giants,' wliich was esteemed of sufBcient merit to occasion the sketcli of it to be placed in the Florentine Academy. After passing several years in Italy, he returned to Holland, where he met with a very flattering reception, and was employed by the Prince of Orange in the Palace of Loo, where he painted a large picture of ' Mars disarmed by the Graces,' and several other works. He was a correct draughtsman and a good colourist. He died in 1750. His brother Lambert was also a painter of merit. He was living at Groningen as late as 1751. ANTOINE, S^BASTIEN, an engraver of no great celebrity, was born at Nancy, in 1687. We have by him a portrait of Augustin Calmet, a large oval plate, dated 1729 ; the ' Enterprise of Prometheus,' from the ceiling at Versailles, painted by Mignard ; and a representation of the crown of Jewels used at the coronation of Louis XV. in 1722. He worked chiefly with the graver, in a slight, feeble style. He is known to have engraved as late as 1761. ANTOLINEZ, Jos6, was born at Seville in 1639. At an 'early age he was sent to Madrid to study under Francisco Rizi, one of the painters of Philip IV. He painted history and portraits, and was also admired for the landscapes he introduced into his works. Palomino spoke favourably of two pictures by this master, which were in the church of La Magdalena at Madrid ; they repre- sented the ' Miraculous Conception,' and the ' Good Shepherd.' He died, from the effects of wounds received in a duel, at Madrid in 1676. ANTOLINEZ y SAKABIA, Francisco, who was born at Seville in 1644, was nephew of 3osi Anto- linez. He was an historical and landscape painter, and studied in the school of Murillo, whose style and manner of colouring he followed. He went to his uncle at Madrid in 1672 ; but notwithstand- ing his having already distinguished himself as a painter, he left the profession for literary pursuits, and for the purpose of obtaining a lucrative situa- tion at the bar, having been originally educated at Seville for the law. Being unsuccessful, he was compelled again to have recourse to painting as a means of subsistence. It was then that he pro- duced those small pictures from the Bible and the life of the Virgin, which are so much admired by amateurs for their invention, colour, and facility of execution. He died in 1700 at Madrid, regretted by the true friends of art, who lamented the mis- application of those talents with which he was endowed. ANTON VON WORMS. See Woensam. ANTONAZO (or Antoniacci). See Aqdilio. ANTONELLO da MESSINA. See Antonio, Antonello d'. ANTONIANUS, Silvands. According to Pa- pillon, this artist was an engraver on wood, and flourished about the year 1567. He executed a set of cuts for a book of Fables, published at Antwerp in 1567, entitled Centum FahulcB ex antiquis auctoribus delectae, et a Gahriele Faerno Cremo- nensi carminihis explicatcB. He usually ^^ marked his prints with a monogram com- /j posed of an S and an .4. t/ * } ANTONIASSO (or Antoniacci). See Aquilio. ANTONIO, Antonello d', (or Degli Antonj), commonly known as Antonello da Messina, played an important part in the introduction of oil paint- ing into Italy. We have few authentic details of this artist's life. He was bom at Messina about the middle of the 15th century (some writers say in 1414, others in 1421. &o.), and studied art in Sicily, where he painted some time. According to Summonzio, lie was a scholar of Colantonio, an obscure artist. He went subsequently to Naples, and having seen there, in possession of AKonso of Aragon, a painting by Jan van Eyck, he was so struck by it, that he left everything and went to Flanders, where he studied princi- pally after the works of Van Eyck, and became acquainted with his disciples, in conjunction with whom he is supposed to have executed several works. After having thus acquired the art of painting in oil, he returned to Italy about the year 1465, and it is quite certain that he was at Messina in 1472 and 1473, when he painted in San Gregorio a triptych, representing the Virgin and Child enthroned, with two Angels holding the crown, between St. Benedict and St. Gregory. In 1473 he visited Venice, where he painted a ' Ma- donna and St. Michael,' in San Cassiano, now lost, which was long considered the chief ornament of that church ; besides this he executed excellent portraits of a small size, for which he had high reputation. His introduction of painting in oil made a great sensation among the artists at Venice, and he soon became followed by Bartolommeo and Luigi Vivarini, Giovanni and Gentile Bellini, Car- paccio and Cima. He is also said to have visited several towns in Lombardy between 1480 and 1485, and to have been known at Milan as an artist of merit. The exact date of his death is uncer- tain, but it probably occurred at Venice about 1493. Antonello was the first Italian painter who prac- tised Van Eyck's method of painting in oil. He was an eminent colourist, and bis tones are so warm, clear, and bright that he almost surpassed Van Eyck. As an Italian he tried to unite a certain simplicity and natural beauty with the character- istic Fl ;mish execution of the details ; but he did not su jceed, and for that reason his outline is sometimes stiff and hard. His portraits were entirely successful, and possessed, in spite of all the detail, a certain idealism. The following is a list of some of his authentic paintings, compiled for the most part from Meyer's ' Kiinstler-Lesikon :' Antwerp. Museum. Berlin. Jfiiseum Dresden. Gallery. Genoa. Sphwla Pal. London. Nat. Gallery. Messina. S. Greyorio. „ & Niccolv. Paris. Louvre. Rome. Pal. Borghese Venice Academy. Christ on the Cross between the two Thieves, with the Virgin and the Evangelist. 1475. The Virgin with the ChiM in aland- scape {signed). St, Sebastian (signed). A man's portrait {signed 1445 ; originally 147S?). St. Sebastian. Ecce Homo. Salvator Mundi. 1465. The Crucifixion. St. Jerome in his Study. The Virgin and Child between St. Gregory and St. Benedict. 1473. . St. Nicholas. Portrait of a man, dated 1475 {vnr- chased at the Ponrtales safe in 1865,/or frs. 113,500 = £4540). Portrait of a man in a red dress. 1475. Christ bound to the pUlar. A Nun in tears. 45 A BIOGEAPHICAL DICTIONARY OF Venice. Academy. A Virgin reading at a desk. „ Casa Giovanelli. The portrait of a young Patrician. Vienna. Gallery. The dead body of Christ supported by three Angels. ANTONIO, GiROLAMO da, a Carmelite Friar, who entered his order in 1490, at Florence, and ■n-orked in it and for it until his death in 1529. He is known chiefly by two works — the one a picture of ' Christ as a Man of Sorrows,' signed and dated 1504, in the Carmine : the other, an altar-piece, representing ' Christ adored by the Virgin and St. Joseph,' signed and dated 1519, in the Scuola della Carita, at Sarona. ANTONIO, Pedeo, was born at Cordova in 1614, and was a scholar of Antonio del Castillo. Some pictures which he painted for the convent of San Pablo at Cordova, established his character as a good colourist. He died in 1675 in his native city. ANTONIO DA FERRARA. See Ferrara. ANTONIO DA MONZA, Fra. See Monza. ANTONIO DA MDRANO. See Murano. ANTONIO DA TRENTO. See Teento. ANTONIO DE HOLANDA. See Holakda. ANTONIO DE SAN ANTONIO. See San An- tonio. ANTONIO VENEZIANO. See Veneziano. ANTONISSEN, Heneicus Josephds, a painter of landscapes and cattle, was born at Antwerp in 1737. He entered the studio of Balthazar Beschey, in 1752-53, and three years later he was free of the Guild at Antwerp of which he was twice Dean. His works are mostly in private collections on the Continent. In the Stadel Gallery at Frankfort there is a ' Landscape \\-ith Cattle' by him ; signed and dated 1792. He died at Antwerp, in 1794. He instructed numerous scholars, and amongst them the celebrated Ommeganck. ANTONISZOON, Corxelis. See Anthoniszoon. ANTONJ, Degli. See Antonio, Antonello d'. ANTDM, Aart van, was a Dutch marine-painter, who flourished from about 1630 to 1640. A sea- piece by him, signed A- A., is in the Berlin Museiun. APARICIO, Josfi, a Spanish historical painter, was bom at Alicante, in 1773, and studied in Paris under David. His chef-d'oeuvre, ' The Redemption of Algerian Captives,' is in the Madrid Gallery. He died in Madrid, in 1838. APELDOORN, Jan, a landscape painter and designer, was scholar to Jordan Hoorn, at Amers- foort, where he was born in 1765. He painted but few pictures in oil. He resided nearly fifty years at Utrecht, but died in his native town in 1838. APELLES, the greatest of all Grecian painters, was probably born at Colophon in Ionia, although, according to Pliny and Ovid, he was a native of the isle of Cos ; whilst Strabo and Lucian call him an Ephesian. Neither the date of his birth, nor that of his death, is known ; it is only certain that he flourished from before B.C. 336 until after B.C. 332. He was a disciple of Pamphilus, and was probably of a distinguished family, as no student of mean birth was admitted into the school of that master. Combining in himself all the excellences of the artists who had preceded him, and endowed with a genius capable of contending with the most arduous difBculties, Apelles is generally supposed to have carried art to the highest attainable per- fection. He not only excelled in composition, design, and colouring, but also possessed an un- bounded invention. He was select and beautiful in his proportions and contours, and, above all, his 46 figures were always distinguished by an unspeac- able grace, which was peculiar to him, and may be almost said to have been the efEect of inspiration. No painter ever applied to the study of his art ^vith more persevering assiduity than Apelles. He never permitted a day to pass without practising some branch of his art ; hence the proverb, Nulla dies sine lined. His extraordinary talents, and the polished accomplishments of his mind, secured him the patronage and esteem of Alexander the Great, from whom he received the exclusive privilege of painting his likeness. Among others, was a por- trait of Alexander holding a thunderbolt, painted on the walls of the temple of Diana, at Ephesus : which was so admirably executed, that Plutarch reports that it used to be said there were two Alexanders, one invincible, the son of Philip, the other inimitable, the work of ApeUes. For this picture he received twenty talents (£4320). But his most admired production, which is said to have cost the enormous sum of 100 talents (£21,600), was a picture of Venus rising from the sea, called ' Venus Anadyomene,' which was painted for the temple of .3)sculapius at Cos, and which Ovid has celebrated in his verses : Si Venerem Cois nunquam pinxisset Apelles, Mersa sub aequoreis ilia lateret aquis. Pliny asserts that Alexander permitted his fa- vourite mistress, the beautiful Campaspe, to sit to him for his Venus, and that the painter became so enamoured of his model, that the conqueror resigned her to him. Other writers pretend that Phryne served him as a model for his Venus. We are told by SAis.r\, in his ' Various Histories,' that, having painted a portrait of Alexander on horse- back, which was not so much admired as it de- served by the monarch, whose horse neighed at the sight of the charger in the picture, Apelles said to Alexander : '• Sire, it is plain that your horse is a better judge of painting than your Majesty." One of this painter's disciples having shown him a picture of Helen, which he had loaded with gold, "Yoimg man," said the painter, "not being able to make thy Helen beautiful, thou hast resolved to make her rich." One of the chief excellences of Apelles in por- trait painting was to give so perfect a resemblance of the person represented, that the physiognomists were able to form a judgment as easily from his pictures as if they had seen the originals. This readiness and dexterity in taking a likeness was oi lingular utility to the painter, in extricating him from a very perilous dilemma into which he was thrown at the court of Ptolemy. When that prince reigned in Egjrpt, Apelles, who had not the good fortune to be in favour with Ptolemy, was driven by a storm into the port of Alexandria, where his enemies suborned a mischievous fellow, who was one of the king's bufEoons, to play a trick upon him, by inviting Apelles, in the king's name, to supper. On his arrival, finding Ptolemy surprised, and not very well pleased with his visit, he apologized for his coming by assuring the king that he should not have presumed to wait upon him but by his own invitation. Being re- quired to point out the person who had thus im- posed upon him, he sketched his portrait from memory, with a coal upon the wall, which Ptolemy instantly recognized to be his buffoon. This ad- venture reconciled him to Ptolemy, who after- wards loaded him with wealth and honours. PAINTERS AND ENGRAVERS. Antiphilus, a painter of reputation, though greatly inferior to Apelles, who was then at the court of Ptolemy, accused him of having been implicated in the conspiracy of Theodotus, governor of Phoenicia, affirming that he had seen Apelles at dinner with Theodotus, and that, by the advice of that painter, the city of Tyre had revolted, and Pelusium had been taken. The accusation was totally groundless, Apelles never having been at Tyre, and having no acquaintance with Theodotus. Ptolemy, however, in the height of liis resentment, without examining into the affair, concluded him guilty, and would have punished him with death, had not an accomplice of the conspirators declared his innocence, and proved that the accusation originated in the jealousy and malevolence of Antiphilus. Stung with confusion at having listened to so infamous a slander, Ptolemy restored Apelles to his favour, presented him with a hundred talents, to compen- sate for the injury he had sustained, and con- demned Antiphilus to be his slave. On his return to Greece, as a memorial of the persecution, and to avenge himself of his enemies, Apelles painted an allegorical picture representing ' Calumny,' in which he seems to have exerted all nis inventive faculties. - Of this ingenious compo- sition, Lucian has furnished us with the following description : " On the right of the picture was seated a person of magisterial authority, to whom the painter has given large ears, like those of Midas, who held forth his hand to Calumny, as if inviting her to approach. He is attended by Ignorance and Suspicion, who are placed by his side. Calumny advanced in the form of a beau- tiful female, her countenance and demeanour ex- hibiting an air of fury and hatred. In one hand she held the Torch of Discord, and with the other dragged by the hair a youth, personifying Inno- cence, who, with eyes raised to heaven, seemed to implore the succour of the gods. She was pre- ceded by Envy, a figure with a pallid visage and an emaciated form, who appeared to be the leader of the band. Calumny was also attended by two other figures, who seemed to excite and animate her, whose deceitful looks discovered them to be Intrigue and Treachery. At last followed Re- pentance, clothed in black, and covered with con- fusion, at the discovery of Truth in the distance, environed with celestial light." Such was the ingenious fiction which indicated the vengeance of Apelles, and which may be regarded as one of the most admirable examples of emblematical painting that the history of the art affords. Raphael made a drawing from Luoian's description of this picture ; it is now in the Louvre. It was customary with Apelles to exhibit his pictures publicly, not for the purpose of being flattered with the incense of applause, but with an intention of profiting by whatever just criticism might be made on the work. That the public might feel themselves at liberty to express their sentiments freely, he usually concealed himself behind a panel, that his presence might not be a restraint on the expression of their judgment. On one of these occasions, a cobbler found fault with some incorrectness in the representation of a slipper, and Apelles, convinced of the judicious observation of the artisan, made the necessary alteration. The picture being again offered to public view in its improved state, the cobbler, proud of the success of his first criticism, ventured to find fault with the leg, when Apelles, discover- ing himself, addressed to him the well-known sentence which has since become proverbial, Ne supra crepidam sutor. The modesty of this great painter was not less worthy of admiration than his extraordinary talents. Far from being jealous of his contemporaries, he not only extolled their merit, but, favoured as he was by fortune, made use of his wealth in promoting the interest of his rivals. His generous conduct to Protogenes is generally known, and is more particularly noticed in the account of that painter. Apelles wrote a work on painting, which has unfortunately been lost. APENS, C, a Dutch engraver, who worked at Groningen in the second half of the 17th century. He engraved the portraits of Samuel Maresius, D.D., and other persons. APOLLODORUS, a Greek painter, was a native of Athens, and flourished about B.C. 408. He was the first who succeeded in the blending of t, Sea-port. Vienna. Gallery. Landscape. „ Liechtenstein Coll. lta.\ia.nsea.--poTt (almost a replica of the Berlin picture). ASSELT, Van der. See Van der Asselt. ASSEN, Jan van, who was born at Amsterdam in 1635, was a good painter of history, portraits, and landscape, in the Italian manner ; he studied particularly the works of Tempesta. He died at his birthplace in 1695. ASSEN, JoHANN Walter van, is a name which has been given, rightly or wrongly, to the artist who used the accompanying mono- gram, which is found on several _ luk Vw paintings as well as on some wood- \ /VA /l cuts. See Cornelisz, Jacob. ASSERETO, Giovacchino, (or Axareto,) who was bom at Genoa, studied under Borzone and Ansaldo, by whose instructions he profited so well, that at the age of sixteen he painted a picture of the ' Temptation of St. Anthony,' for the oratory of Sant' Antonio Abate in Sarzano. He painted much in the churches and palaces of Genoa, and there are still pictures by him in several churches and rehgious houses in that city. He painted from 1600 to 1649. ASSERETO, Giuseppe, son and scholar of Gio- vaochmo Assereto, painted historical subjects in the style of his father. He died after 1650, when still young. ASSISI, Andrea da. See Alovigi. ASSISI, TiBERio da, was a scholar and imitator of Perugmo. His works, which are not of great merit, may be seen in the churches of Perugia and the neighbourhood. A fresco is at San Martino, outside Trevi ; a lunette containing a ' Virgin and Child,' with a ' Madonna between two Saints,' dated 1510, and five scenes from the life of St. Francis, dated 1512, are still at Montefalco. AST, B. VAN DER. See Van der Ast. ASTA, Andrea dell'. See Dell' Asta. ASTLEY, John, an English portrait painter, was born at Wem, in Shropshire, about 1730. He was a scholar of Hudson, and afterwards visited Italy, about the same time that Sir Joshua Reynolds was at Rome. He possessed talents of a superior order, and painted portraits with great reputation and success. A lady of large fortune. Lady Daniell, whose portrait he had painted, con- ceived an affection for him, and offered him her hand : on his marriage he relinquished the profes- sion. He died in 1787. (For further details of his somewhat romantic life see Redgrave's Dic- tionary.) ASTOR, Diego de, of Toledo, studied under Domenico Theotocopuli, and in 1606 engraved, under his superintendence, a ' St. Francis,' after Nic. de Vargas. Astor was engraver to the Mint of Segovia, and was also employed to engrave the royal seals. Of his plates we may notice the title- page to Colmenares' ' Historia de Segovia ' (Ma- drid, 1640), and that to Bonet's book on 'Speech for the Dumb,' one of the best works of the kind. ATHENION was a native of Maroneia, in Thrace, and was a disciple of Glaucion of Corinth, a painter of whom no other mention is made. Athenion appears to have been a contemporary of Nicias, as his works are compared by Pliny to those of that painter, and without any disparity, for he adds, " If he had lived to maturity, no one would have been worthy to be compared to him." Though his colouring was more austere than that of NiciaS it was not less agreeable. He painted for the temple of Eleusis a picture said to have been a portrait of Phylarchus the historian ; and at Athens, ' Achilles disguised as a girl, discovered by Ulysses.' ATKINSON, John Augustus, who was born in London in 1775, went, when quite young, with his uncle to St. Petersburg, where he studied in the picture galleries. In 1801 he returned to England, and in 1803 published 'A Picturesque Representation of the Manners, Customs, and Amusements of the Russians,' in 100 plates, drawn and etched by himself. He afterwards painted a ' Battle of Waterioo,' which was en- graved by John Burnet. He also painted in water-colours. His last contribution to the Aca- demy exhibirion was in 1829. The date of his death is not recorded : he was still living in 1831. ATKINSON, Thomas Witlam, who was bom of humble parents about 1799, began life as an ecclesiastical stone-carver. In 1831 he published his ' Gothic Ornament,' and afterwards settled in Manchester as an architect. In 1840 he went to London, then through Hamburg and Berlin to St. Petersburg, where he obtained permission to travel in the more unfrequented parts of the Russian Empire in Asia. He made many drawings and sketches, and on his return to England published the following works, illustrated by his hand : Oriental and Western Siberia. 1858. Travels in the Region of the Upper and Lower Amoor. 1860. Recollections of the Tartar Steppes and their Inhabit- ants. 1863. Atkinson died at Little Walmer in 1861. 67 A BIOGRAPHICAL DICTIONARY OF ATTAVANTE (or Vante), a friend of Gherardo, and an imitator of Bartolommeo della Gatta, was employed by Matthias Corvinus, King of Hungary, for whom he executed a missal, now in the Royal Library at Brussels. There is another breviary by him in the National Library at Paris, executed in the manner of the Ghirlandaj. Other missals in Florence and Rome are also ascribed to him. Attavante, who was a miniature painter of great merit, worked at Florence towards the close of the 15th century. ATTIRET, Jean Denis, who was bom at Dole in 1702, studied art first under his father, an un- known painter ; and then improved his style by a visit to Rome. On liis return he painted portraits at Lyons and at Dole. When little more than 30 years of age he entered the order of Jesuits, and during his noviciate painted four works for the cathedral of Avignon. In 1737 Attiret went to China, rose to high honour at court, and was ap- pointed painter to the Emperor. He painted numerous portraits, pictures for churches, battle- scenes, landscapes, and fruit and flower pieces. Works by him are in the Royal Palace at Pekin, where he died in 1768. ALBERT, AuGUSTiN Raymond, who was bom at Marseilles in 1781, studied at first imder Guenin, and subsequently with Peyron, in Paris, to which city he went in 1802. He soon, how- ever, returned to his native town, and in 1810 was made Director of the School of Design, and in that capacity directed the studies of numerous pupils who afterwards became celebrated. He painted history, landscape, and portrait subjects with much success. The museum and churches of his native town possess several good examples of his art. Some of his chief pictures, taken from sacred history, are of large dimensions. He died on his estate, near Marseilles, in 1847. ALBERT, Jean, a French engraver, flourished in Paris from about 1720 to 1741, in which year he died. His prints are little more than sUght etch- ings, and without much effect. He engraved the Portrait of Gillot; some Academy figures, after Edme Bouchardon ; and a ' Drawing-book,' from Raphael and other masters, after drawings by Bouchardon. He was also an architect. ALBERT, Michel. This artist was bom in Paris about 1704. He engraved portraits and his- torical subjects. His manner is slight and free, and in some of his historical prints he appears to have imitated the style of Gerard Audran, but not with very great success. He died in Paris in 1757. His plates are : POBTBAITS. Elizabeth, Queen of England ; 4to. Charles Emmanuel, Duke of Savoy ; after Van Dycli. Victor Amadeus, King of Sardinia ; after Ferrand. James I., King of England. Philip of France, Duke of Orleans ; after Nocret. Marquise de Montespan. Louis XV. on horseback ; after Le Sueur. Louis, Dauphin of France, on horseback ; after the same. Two portraits — The Dauphin and the Dauphiness ; aftt r La Tour. Portrait of Charles Stuart, oval ; after the same. Sixty-two portraits for jy ^rgenville^s Abrigt de la Vie des plus fa»ieux Feintres. SUBJECTS AFTER DIFFERENT MASTERS. The Circumcision ; after Ciro Ferri, St. Francis ; after Cfuido ; arched. 58 Pan instructed by Cupid, half-length figures; afttr Annibale Carracei. St. George kneeling before the Virgin Mary and Infant ; after Farmigiano. Mars and Venus, bound by Love; after Faolo Vero- nese, for the Crozat Collection. Mars disarmed by Venus ; after the same, for Die aomf Vanity, an allegorical subject ; after Bouchardon. Venus reposing with Cupid ; after Boucher. The Death of Adonis ; after the same. Laban seeking for his Gods ; after Jeaurat. The KeconciUation of Jacob and Esau ; after the tame. The Promenade on the Kamparts; after Watteau. The Rendezvous de Chasse ; after the same. ALBERT, Pierre Eugene, a French engraver 1 and pupil of Scheuder, was born in Paris in 1789, 1 and died there in 1847. His best work is a ' ' View at Samboanga in the island of Mindanao,' after E. GoupU ; he also engraved ' Llysses and Nausicaa,' after the picture by Rubens in the ] Aguado Gallery. ALBERTIN, FBANgois, who was bom at Metz I in 1773, began life as a soldier, but subsequently ] became an engraver in aquatint, in which pro- i cess he made certain technical improvements. He | worked at Dresden, Berlin, Paris, and at Ghent, ' where he died by suicide in 1821. AubertinJ engraved plates after Berohem, Paul Potter, C. Vanloo, Dietrich, and others. ALBIN, AuGUSTiN DE SAINT. See Saint- AUBIK. ALBRIER, — , was a French engraver of the 18th century (?) by whom we have a portrait ofj Cesare Borgia, Duke of Valentinois. ALBRIET, Claude, who was born at ChSlons- sur-Marne about 1665, studied under Jean Joubert,] and became famous for his drawings of plants. In 1700 he accompanied the botanist Tournefortj to the Levant, and on his return was made, by | Louis XIV., painter at the Jardin du Roi. He] died in Paris in 1742. The national libraries of Paris and Gottingen possess botanical drawings j by his hand. ALBRY, Abeahaji, was a native of Oppenheim, I and flourished about the year 1650. He studied j under his elder brother Peter, and assisted him in 1 his publications in Strasburg. He also carried on j a considerable business as a printseller. He resided I at Strasburg, Nuremberg, Frankfort - on - Main, } and Cologne, and, FiissH tells us, was still living inj 1682, He engraved, besides other prints, eleven ofj the twelve plates representing the ' Twelve Months! of the Year' (1653), after Sandrart; the monthj of Jlay was engraved by F. Brun. ALBRY, Etienne, who was born at Versailles'] in 1745, studied under J. A. Silvestre and Joseph! Vien, and soon became noted for his portraits and! genre subjects. He exhibited several works of f great merit at the Salon ; but his life was cut 1 short in its prime in 1781, in which year he had j exhibited the 'Parting of Coriolanus from hisj Wife.' ALBRY, JoHANN Philipp, an engraver and] printseller, who resided at Frankfort about the] year 1670, and was a relative of Peter and Abra- ham Aubry. He engraved a great number of j plates for the booksellers, as well as for his own] collection. They chiefly consist of portraits, and! are executed in a very indifferent style. ALBRY, Louis Franijois, who was bora in ) Paris in 1770, studied under Vincent and Isabey, and became celebrated as a portrait painter. He exhibited at the Salon of 1810 portraits ofj PAINTERS AND ENGRAVERS. the King and Queen of Westplialia, which were praised for their colouring. He died about 1850. AUBRY, Peteb. According to Huber, this artist was born at Oppenheira, about the year 1596. He was the elder brother of Abraham Aubry, and was also established at Strasburg as a printseller. He is said to have died there in 1666, but a print bearing date 1668 has his name as publisher. He engraved a great number of portraits of eminent persons of different countries, a long list of which is given by Heineken. They are executed with the graver in a very indifferent style. Among others are the following : Oliver Cromwell. Ferdinand Ernest, Count of "Wallenstein. Johannes Schmidt, D.D., -Professor of Theology at Strasburg. Michael Virdung, Professor at Altdorf. AUBRY-LECOMTE, Hyacinthe Louis Victor- Jean Baptiste, draughtsman on stone, was bom at Nice in 1797. He studied under Girodet-Trio- son, and became a draughtsman of great merit, and did much for the improvement of the art. He died in Paris in 1858. Many of Aubry-Lecomte's engravings are from works by his instructor : he also engraved after Prud'hon, Gerard, Dejuinne, Vernet, Greuze, and other French painters. He executed a lithograph of the ' Madonna di San Sisto,' from the copy of Raphael's picture whicli is in Rouen. The subjects of his works are various — historical, both sacred and secular, allegorical, portraits, and of a genre character. AUBUISSON, Jdlien Honoe^ Germain, Mar- quis d', who was born in 1786, painted and exhi- bited, from 1812 to 1822, in the Paris Salon, several poetical and historical pictures ; namely, ' Paris taking leave of Helen,' ' Hector forcing Paris to quit Helen,' 'Alexander and Bucephalus,' and the ' Punish '.ient of Hebe.' AUDEBERT, Jean Baptiste, a French painter and etcher, was born at Rochefort in 1769. He engraved the plates of the ' Histoire Naturelle des Singes,' published in 1800, and the ' Histoire des Colibris,' published in 1803. He particularly ex- celled in drawing and engraving animals, and other objects of natural history. He died in Paris in 1800. ADDEN-AERD, Robert van, (orOuDEN-AERD,) was a reputable painter, and a still more cele- brated engraver. He was born at Ghent in 1663, and was first a scholar of Francis van Mierhop, but he afterwards studied under Hans van Cleef. When he was twenty-two years of age he went to Rome, where he became a disciple of Carlo Maratta. Under this master he became a good painter of historical subjects. He amused himself with the point in his leisure moments, and some of his plates were shown to Carlo Maratta, who recom- mended hira to devote himself entirely to the art of engraving. He, however, painted several pic- tures for the churches of his native city, to which he returned after an absence, it is said, of thirty- seven years. He died at Ghent in 1743. His best work is the altar-piece of the high altar in the church of the Carthusians at Ghent, represent- ing ' St. Peter appearing to a group of Monks of that order.' In the church of St. James is a picture by him of ' St. Catharine refusing to worship the False Gods.' Several other works by this master are in the churches and convents of his native city, all of which are painted in the style of C. Maratta. The plates which he executed entirely with the 'graver are not considered equal to those in which he introduced the point. His drawing shows a perfect acquaintance with the human figure, and is very correct. The principal part of his prints are after the pictures of Carlo ^-^-^ at- i /-» Maratta. The following is a /?)A( VtS list of the more important : J- vZV\-« xVi portraits. The Cardinal Sacripante ; after G. B. Gaulli. 1695. The Cardinal Taurusi ; after the same. The Cardinal Ottoboni ; after the same. The Cardinal F. Barberini ; after G. Maratta. The Cardinal Henri de la Grange d'Arquien ; after F. Desporles. 1695. The Cardinal Giuseppe Archinto ; after G. Passeri, The Cardinal Andrea di Santa Croce ; after the same. The Father Francesco Caraccioli ; after A. Froeaceini. sdbjeots after carlo maratti. Hagar and Ishmael in the desert ; etching. The Sacrifice of Abraham; etching. Kebekah and the servant of Abraham ; etching. David with the head of Goliath ; etching. Bathsheba in the bath. The Annunciation. The Adoration of the Magi ; etching. The FUght into Egypt ; same. The Kepose in Egypt ; octagon. Our Saviour on the Mount of Olives. The Crucifixion. The dead Saviour in the lap of the Virgin, with the Marys and St. John. The Death of the Virgin. The Assumption of the Virgin. The Virgin Mary with the Infant Jesus distributing chaplets to nuns. Mary Magdalene penitent. The Martyrdom of St. Blaise. St. Anthony of Padua kissing the Infant Jesus. St. Philip Neri. Janus, first King of Italy, received amongst the Gods. Eomulus and Eemus. Apollo and Daphne, in two sheets. The Pope Innocent XII. on his throne, at his feet Heresy subdued, and the Four Quarters of the World pros- trate. SUBJECTS after DIFFERENT ITALIAN MASTERS. The Triumph of Julius Caesar, a series of ten plates ; after A. Mantegna. The Nativity ; after Pieiro da Cortona. Five etchings — Of the life and death of St. Bibiana ; three after Pietro da Cortona, and two after Bernini. Hippomenes and Atalanta, a group ; after Bernini. The Rape of a Sabine woman; after Giovanni da Bologjia. St. Facimdo ; after Giae. Brandt. The Birth of the Virgin ; after Ann. Carracci. The Scourging of St. Andrew; after Domeiiichino. St. Andrew Jed to crucifixion ; after the same. St. Andrew transported to Heaven ; after the same. St. Luke painting the portrait of the Virgin; after Marc Antonio Franceschini. The Wrath of Achilles ; after G. B. Gaulli ; in three sheets. AUDINET, Philip, of a French family which came to this country at the revocation of the Edict of Nantes, was bom in Soho, London, in 1766. He was apprenticed to John Hall, and was first employed to engrave the portraits in Harrison's ' Biographical Magazine,' &c. Among his larger works are portraits of Sir Benjamin Hobhouse and Sir William Domville, and an excellent engraving of Barry's unfinished portrait of Dr. Johnson. He died in London in 1837. AUDOUIN, Pierre, an eminent French en- graver, and pupil of Beauvarlet, was bom in Paris in 1768, and died there in 1822. He engraved for 59 A BIOGRAPHICAL DICTIONARY OF the ' Muste Prancais,' published by Laurent, several of the finest works of the Italian and Dutch masters. The following are fine specimens of his talent : Jupiter and Antiope ; after Correggio, La belle Jardiniere ; ajter Baphael. The two portraits called Raphael and his Fencing- master ; ascribed to Raphael. The Entombment of Christ ; after Caravaggio. Charity ; after Andrea del Sarto. Melpomene, Erato, and Polyhymnia ; after Le Sueur. Two subjects, after Terborch ; one after Mieris ; and one after I^etscher. Marie Theresa Charlotte, Duchess of Angooleme ; after Dermont. Madame Le Brun ; after herself. Louis SYIII. in his coronation robes ; after Le Gros. AUDRAN Family, the. Charles (1694_10r4l Claude I. (1697—1677) Germain (1631—1710) Clauile II. (1039—1684) Gfrard (1640-1703) Claude III. Benoit I. Jean Louis (1068-1734) (1661—1721) (1CC7— 1766) (1670—1712) Benoit n. (1698—1772) ATJDR.4N, Benoit, 'the elder,' the second son of Germain Audran, was born at Lyons in 1661. He received his first instruction in the art of en- graving from his father ; but had afterivards the advantage of studying under his uncle, the cele- brated Gerard Audran. Although he never equalled the admirable style of his uncle, he engraved many plates of historical subjects and portraits, which have justly established his reputation. His style, like that of Gerard, is bold and clear ; his draw- ing of the figure is very correct ; and there is a fine expression of character in his heads. He was received into the Academy in 1709, and was appointed engraver to the king, with a pension. He died in 1721, in the village of Ouzouer, near Sens. His portrait, after J. Vivien, has been en- graved by his nephew Benoit, the younger. The following are his principal plates : PORTRAITS. Charles le Goux de la Berehere, Archbishop of Nar- bonne ; after L. de Boulogne. Jean Baptiste Colbert ; after C. Lefebvre ; oval. Joseph Clement of Bavaria, Elector - Archbishop of Cologne ; after J. Vivien. Henri de Beringhen ; after Nanfeuil. 1710. Samuel Frisching, General of the Swiss; after J. Huber. 1713. J. F. A. Willading ; after J. Huber. 1718. Equestrian Statue of Louis XIV. ; after Deajardins ; by B. and J. Audran. SUBJECTS AFTER VARIOUS MASTERS. The Baptism of Jesus Christ ; after Albani. David with the Head of Gohath ; after a picture m the Louvre, formerly attributed to Michelangelo, but now ascribed to Daniele da Volterra ; two plates, engraved in 1716 and 1717. Moses defending the Daughters of Jethro; after Le Brun. The Espousals of Moses and Zipporah ; after the same. The Elevation of the Cross ; after the same. 1706. The Descent from the Cross ; after the same. An allegorical subject — Holland accepting Peace ; after the same. Zephyrus and Flora ; after Ant. Coypel. The Pleasures of the Garden ; two friezes ; after Mig- nard ; engraved by Benoit and Jean Audran. 60 The Saviour with Martha and Mary ; after Le Sueur. St. Paul preaching at Ephesus ; after the same. Alexander drinking the Cup which his Physician pre- sents him ; after the same. The Accouchement of Marie de Medicis ; after Rubens. The Exchange of the Two Queens ; after the same. [The two last form part of the Luxembourg Gallery.] Several other prints by this artist are specified in the ' Dictionnaire des Artistes,' by Heineken, and in Meyer's ' Allgemeines Kiinstler-Lexikon ' upwards of two hundred are enumerated. AUDRAN, Benoit, called ' the younger,' to dis- tinguish him from his uncle, was born in Paris in 1698, and died there in 1772. He was the son and pupil of Jean Audran, and engraved in the same manner as his father. He engraved prints after Paolo Veronese, Poussin, Natoire, Lancret, Watteaii, and other French artists. AUDRAN, Charles. This artist was the first of the Audran family who became eminent in the art of engraving. He was bom in Paris in 1594. In his boyhood he showed a great disposition for the art ; he received some instruction in drawing, and wlien still young went to Rome to perfect himself : there lie produced some plates that were admired. He adopted that species of engraving that is entirely performed with the graver, and appears to have formed his style by an imitation of the works of Cornells Bloemaert. On his return to France he lived for some time in Lyons, but finally settled in Paris, where he died in 1674, aged 80. He marked his prints, which are very numerous, in the early part of his life with a C, until his brother Claude, who also engraved a few plates, marked them with the same letter ; he then changed it for A'., as the initial of Karl. The following are his principal prints : PORTRAITS. Henri of Conde, with the Four Cardinal Virtues ; K. Audran, sc. ; oval. Andre Laurent, physician to Henry IV. ; oval. Pierre Seguier ; oval, with ornaments ; after Chaiiveau. An allegorical subject, of two Portraits, with a Genius painting a third Portrait ; inscribed on the pallet, unus ex duobus; signed C. Audran, fecit. SUBJECTS AFTER DIFFERENT MASTERS. The title for the Gallery of the Great Women, repre- senting Anne of Austria and nineteen other eminent women, with a subject from their life in the back- ground ; after Pietro da Cortona. The Annunciation ; inscribed Spiritus Sanctus, ^c. ; after Lodovico Carracci, incorrectly attributed on the plate to Annibale ; very fine ; it is the picture in the Cathedral at Bologna. The Baptism of Christ ; small oval ; after Ann. Car- racci ; no name. St. Francis de Paula ; after Mellin ; marked Carl. Au- dran, sc. The Stoning of Stephen ; after Palma ' the younger.' The Conception of the Virgin Mary ; after Stella. The Nativity ; after the same. The Holy Family, with St. Catharine and Angels ; afier the same ; fine. The Virgin and Infant Jesus, St. John presenting an Apple, and St. Catharine kneeling; after Titian; very firie. The Virgin Mary and Infant Jesus treading on the Serpent ; after G. L. Valesio. A Thesis, representing Religion as the true Knowledge ; inscribed iVb>? J»rficrtWi;/5, <§rc.; after C. Vignon. St. Francis de Paula in ecstasy before the Sacrament ; after S. Vouet. Frontispiece for a Book, Fame holding the Portrait of Cardinal Mazarin ; after the same. The Assumption of the Virgin" after Domenichino ; very fine. PAINTERS AND ENGRAVERS. In Dr. Meyer's ' Kunstler-Lexikon ' is a list of 223 of his works. AUDRAN, Claude, 'the eldest,' the brother (or, as some say, the cousin) of Charles, was bom in Paris in 1597. After receiving some instruction from Charles, he removed to Lyons, where he died in 1677. Whether he visited Rome or not is uncertain. His engravings, which are signed either Claude Audran, or CI. Audran, are executed after the manner of Cornells Cort and F. Villa- mena. They are chiefly portraits and allegories. He left three sons, Germain, Claude the younger, and Gerard. AUDRAN, Claude, 'the younger,' the second son of Claude 1., was born at Lyons in 1639. He studied drawing with his uncle Charles in Paris, and sub- sequently went to Rome. On his return he was engaged by Le Brun at Paris, and assisted him in his pictures of the 'Passage of the Granicus,' the ' Battle of Arbela,' and in many other of his works; and was an imitator of his style. He painted also in fresco, under the direction of Le Brun, the chapel of Colbert's Chateau at Sceaux, the gallery of the Tuileries, the grand staircase at Versailles, and other works. He drew well, and had great facility of eexcution. He died in Paris in 1684. AUDRAN, Claude, called ' the third,' to dis- tinguisli him from his grandfather and his uncle, was born at Lyons in 1658. He was the eldest son of Germain Audran, from whom he received instruction in art; he studied also under his uncles, Claude II. and Gerard. He was appointed cabinet painter to the king ; and also held for twenty-nine years the sinecure office of keeper of the Luxem- bourg Palace, where he died in 1734. He painted in oil and frescoes in several of the royal resid- ences of France. The ' Twelve Months,' which he executed for tapestry for the king, were engraved by his brother Jean. ClaudeAiidran was instructor to the celebrated painter Watteau. AUDRAN, GERARD, the third son of Claude I., was born at Lyons in 1640. After learning the first principles of design and engraving from his father and from his uncle Charles, he was sent to Paris, and received instructions from Le Brun, who gave him some of his pictures to engrave. He after- wards, in 1667, visited Rome for improvement, and he is said to have studied under Carlo Maratti. During a residence there of three years, he executed some plates which gained him great reputation, particularly a portrait of Pope Clement IX. The fame of Gerard Audran induced Louis XIV. to invite him to return to Paris ; and soon after his airival he was appointed engraver to the king, with a considerable pension, and apartments in the Gobelins. He now applied himself with great as- siduity, and renewed the connection with the cele- brated painter Charles Le Brun, whose principal works are the subjects of some of his finest plates. ' The Battles of Alexander ' will ever be regarded as a lasting monument of their fame. About the year 1675, he apparently paid a second visit to Rome, for his ' Four Cardinal Virtues,' after the picture by Domenichino, in St. Carlo a' Catinari, at Rome, are signed, ' G. Audran sculp. Romae, 1675.' He died at Paris in 1703, aged 63. The name of this distinguished engraver is familiar to every admirer of the art, which he may be said to have carried to the highest pitch of perfection, particularly in his large plates of historical sub- jects. The following is a list of his principal works: they are signed variously G- A.F.: G. Au. /■ : Gir. Audran : Audran. Ge Audran: and Gerardus PORTRAITS AND SUBJECTS PBOM HIS OWN DESIGNS. Pope Clement IX., of the family of Rospigliosi. Andrea Argoli of Padua. Samuel Sorbiere ; engraved at Rome in 1667. Henri Amauld, Bishop of Angers. Benoit Langlois, Capuchin. Francois du Quesnoy, called Flamingo, sculptor. St. Paul preaching at Athens, vignette ; inscribed Non enim, ^c. Wisdom and Abundance, above two Genii with a Ban- ner ; inscribed Louis le Grand. Frontispiece, 1680. SUBJECTS FROM VARIOUS ITALIAN MASTERS. Jiueas saving his father Anchises ; after Domenichino. The Mystery of the Rosary ; after the same. The Martyrdom of St. Agnes ; after the same. The Temptation of St. Jerome ; after the same. The Four Cardinal Virtues, from the paintings in the church of St. Carlo a' Catinari, at Rome, representing Justice, Temperance, Prudence, and Fortitude ; after the same. 1675, Two friezes, St. Paul preaching, and the Descent of the Holy Ghost, on one plate ; after Pietro da Cortona. Sixteen prints— Of the History of .^neas, in the Pam- phili Gallery ; after the same. Three plates— Of the Triumph of David, in the Sac- chetti Palace ; after the same. The Death of St. Francis ; after Ann. Carracci. The Martyrdom of St. Sebastian; after the same. The Temptation of St. Anthony ; after the same. The Discovery of Achilles disguised ; after the same. St. Hyacinth ; an etching ; after Guercmo. The Magdalene, half length ; after Guido. St. Peter walking on the Sea ; after Lanfranco. The Nativity, a small plate ; after a drawing by Palma * the 1/oiwger.' Thuteen Hieroglyphical Figures ; after Raphael, in the Vatican. Fourteen plates, called Emblems, or Cupid and Psyche ; after Raphael ; in a loggia in the Famese garden ; dedicated to Charles le Brun. Moses and the Burning Bush ; after Raphael. Paul and Barnabas at Lystra ; after the same. The Death of Ananias ; after the same. The Descent of the Saracens in the Port of Ostia ; from a drawing by Raphael; etching, without his name. The Clemency of Scipio; after a drawing by Raphael; etching, without his name. St. Ignatius beaten by Demons ; after a drawing by Rubens, and not after Raphael, as expressed on the plate ; it is St. Ignatius, and not St. Paul. Jesus Christ giving the Keys to St. Peter in presence of the Apostles ; a fine etching ; R. V. inv., G. Au., sc. ; very scarce. Silenus drinking ; after Giulio Romano ; etching. The Rape of Deianeira ; after the same. Ganymede ; after Titian ; an octagon. SUBJECTS FROM VARIOUS FRENCH MASTERS. Moses taken out of the River Nile ; after Jf. Poussin ; engraved by BenoSt and Jean Audran, and retouched by Gerard. St. John baptizing the Pharisees in the Jordan ; after N. Poussin ; two sheets ; very fine. The Woman taken in Adultery ; after the same ; fine. St. Frances, a Roman Saint, kneeling before the Virgin Mary ; after N. Poussin ; copied from a print by P. del Po. The Flight of Pyrrhus; after the same ; in two sheets; fine. Coriolanus appeased by his Family ; after the same. Furius Camillus delivering up the Schoolmaster to his Pupils ; large plate ; after the same. Rinaldo and Armida; after the same, engraved by Gerard, assisted by Jean and Benoit Audran. Daphne changed into a Laurel ; after the same. Narcissus ; after the same. The Empire of Flora ; after the same. The Plague at Rome ; after the same, 61 A BIOGRAPHICAL DICTIONARY OF Time discoTering Trnth ; after N. Foustin ; a ceiling. The Plague; after P. Mignard. In the first impres- sions of this plate, the figure in the clouds is Juno with a Peacock ; in the latter the figure is changed to that of the destroying Angel. Christ bearing His Cross; after the same. Three plates— Of the ceiling of the lesser Gallery at Versailles ; after the same ; Apollo and the Muses, Prudence and Vigilance. Six plates — Of the ceiling of the Val de Grace, repre- senting the Felicity of the Blessed. The Martyrdom of St. Laurence ; after Le Sueur. The Martyrdom of St. Gervais and St. Protais ; after the same The Aurora; after the same; inscribed Zucerna pe- dibus. Time and Truth dispersing the Clouds of Ignorance ; after L. Testellin. Pharaoh's Host destroyed in the Red Sea ; after F. Verdier. Flight into Egypt ; after the same. Battle of the Saracens ; after Bourguignon. Taking of the Town of Damietta. The Judgment of Solomon ; after Ant. Coypel. The Deluge ; after La Fage. The Passage of the Bed Sea ; after the same. The Rape of Proserpine ; after the marble by Girardon. Moses and the Burning Bush ; after Chas. le Brun. The Descent of the Holy Ghost "; after the same. The Stoning of Stephen ; after the same. Four sheets— Of the triumphal Entry of Constantine into Rome ; after the same. Five sheets — Of the Ceiling of the Chapel of the chateau of Sceaui ; after the same ; very fine. Six sheets — Of the Pavilion of Sceaux, called the Pavilion of Aurora ; dedicated to Louis XTV. ; after the same. Thirteen large sheets, making together the four prints of the Battles, &c. of Alexander ; after le Brun. 1. The Passage of the Granicus. 2. The Defeat of Darius at Arbela. 3. Porus brought before Alex- ander after his Defeat. 4. The triumphal Entry of Alexander into Babylon. To these are added. The Family of Darius ; engraved by Gerard Edelinck, and noticed under his nanie. [The best impressions of these superb prints are those marked with the name of Goyton, the printer.] AUDRAN, Gekmaix, who was born at Lyons in 1631, was instructed by his uncle Charles in the art of engraving in Paris. He died at Lyons in 1710. His merit was considerable, although very inferior to that of some others of his family. Ger- main had four sons, Claude III., Benoit I., Jean, and Louis. He engraved several plates, consisting of portraits, and a variety of ornaments, ceilings, and vases, amongst which are the following : Portraits of Charles Enmianuel II. of Savoy, and his wife, in an oval ; after F. de la Jlonce. Portrait of Cardinal de Richelieu, in an oval. Portrait of Theophile Reynauld. 1663. Six sheets of Ceilings ; after George Charmeton. Six ornaments of Vases ; after N. Mobert. A book of Friezes ; after La Fage. A book of views in Italy ; after Fancus. Six Landscapes ; after Gaspar Foussiii. Thirty-one designs — Of Fountains, Friezes, &c. ; after Le Brun. His plates are signed with his surname, and with his Christian name, in the following forms : G : Ger : Germ : and in full. AUDRAN, Jean, the brother of Benott, and the third son of Germain Audran, was born at Lyons in 1667 : h'.ving learned the rudiments of the art under his father, he was placed under the care of his ur.cle, the famous Gerard Audran, in Paris. Before he was twenty years of age he displaj'ed uncommon ability, and became a very celebrated engraver. In 1706 he was made engraver to the 62 king, with a pension and apartments at the Gobe- UnB. The hand of a great master is discernible in all his plates ; and without having attained the extraordinary perfection of Gerard Audran, his claim to excellence is very considerable. He died in 1756. His principal prints are : PORTRAITS. Louis XV. ; full length ; after Goberi. Maximilian Emmanuel, Elector of Bavarin, with his Page ; full length ; after J'ivien. Clement Augustus of Bavaria, Elector-Archbishop of Cologne ; after the same. The Duke d'Antin ; after Sigaud. The Abbe Jean d'Estrees ; after the same. Victor Marie, Duke d'Estrees, Marshal of France ; aft0r LargiUiere. Cardinal Pietro Ottoboni ; after Trevisani, Francois de Saliguac de la Motte Fenelon, Archbishop of Cambray ; after Vivien. Francois Pierre Gillet ; after Tortebat. Fran(;ois Robert Secousse, sitting ; after Bigaud. Peter Paul Rubens ; after Van Dyck ; for the Luxem- bourg Gallery, Noel Coypel, Painter to the 'K^ing ; after Coypel. Antoine Coysevox, Sculptor to the Kmg ; after Bigaud. [The two last were engraved by Audran for his recep- tion at the Academy in 1708.] SUBJECTS AFTER VARIOUS MASTERS. Our Saviour preaching to the Multitude ; after Raphael. The Infant Saviour regarding the Cross presented by Angels ; after Albani. The Nativity ; after Fietro da Cortona ; oval. The Good Samaritan ; after Ann. Carraeci ; arched. St. John administering the Sacrament to the Virgin; after Lcdovico Carracei. Our Saviour on the Mount of Olives; after Bomeni- ehino. St. Andrew led to Crucifixion ; after Guido. The Martyrdom of St. Peter ; after Guido ; on the plate improperly called after Domenichino. St. Paul preaching at Athens; after Ciro Ferri ; a small frieze. The Triumph of Galatea ; after Carlo Maratta ; for the Crozat Collection. The Miracle of the Loaves ; after Claude Audran. Six plates — Copies of the large Battles of Alexander ; by G. Audran. St. Augustine ; after P. de Champagne. Simeon holding the Infant Jesus ; after M. Comeilk. Moses saved from the Nile ; after Ant. Coypel. Jacob and Laban ; after the same. Athalia and Joash ; after the same. Esther before Ahasuerus ; after the same. The Resurrection ; after the same. Cupid and Psyche ; after the same. Our Saviour curing the Sick ; after Ant. Dieu. Christ bearing His Cross ; after the same. The Elevation of the Cross ; after Van Dyck. The Crucifixion ; after the same. The French Parnassus ; after the bronze by Gamier. The Miraculous Draught "of Fishes; after Jouvenet. The Resurrection of Lazarus ; after the same. The Queen Blanche inspired with the Holy Spirit ; after the same. Acis and Galatea ; after F. Marot. Venus punishing Psyche ; after J. M. Nattier. Psyche consoled by Cupid ; after the same. The dead Christ, with the Marys, St. John, and Nico- demus ; after Foussin. The Rape of the Sabines; efter Foussin; his most esteemed print. St. Scholastica at the point of Death ; after J. Restout. Andromache entreating for her Son ; after L. Silvestre. Henri IV. deliberating on his future Marriage ; after Euhens. Henri IV. departing for the German War; after the same. The Coronation of Marie de Medicis ; after the same, [The three last form part of the Luxembourg Gallery.] AUDRAN, Louis, the fomth and youngest son PAINTERS AND ENGRAVERS. of Germain Audran, was bom at Lyons in 1670, and instructed in engraving by his uncle Gerard. He did not execute many plates, but assisted his brothers in forwarding theirs. He died atParis about 1712. He engraved some copies of the large plates executed by his relatives. There is a set of seven middle-sized plates by him of the ' Seven Acts of Mercy,' after Bourdon. He also engraved after the works of Le Brun, Poussin, and other French painters. AUDRAN, Prosper Gabriel, the grandson of Jean Audran, born in Paris in 1744, was a pupil of his uncle Benoit II., but having no vocation for art, he abandoned it for the law. He after- wards became teacher of Hebrew in the College de France, which ofiSce he retained until his death in 1819. He etched some studies of heads. AUER, .loHANN Paul, who was bom at Nurem- berg in 1636, studied from 1654 to 1658 under Georg Christoph Eimmart at Ratisbon. In 1660 he went to Venice, and there received instructions from Pietro Libri. He then went to Rome, where he stayed upwards of four years, and thence through Turin and Lyons to Paris, and so home to Nuremberg in 1670. He died in 1687. Auer painted historical, landscape, and genre pictures, besides portraits of many famous personages, for which he was very celebrated. ADERBACH, Johann Gottfried, was bom at Miihlhausen, in Thuringia, in 1697. He went to Vienna, where he subsequently rose to great fame as a portrait painter. He was court-painter to the Emperor Charles VI., and also to the Empress Maria Theresa. He died in Vienna in 1753. In the Bel- vedere Gallery there is a portrait of Charles VI. by him : he also painted, in 1728, the heads of Charles VI. and Count von Althan, in the large picture by Solimena, in the same gallery, which represents the Emperor receiving from the Count the inventory of the Royal Picture Gallery. A ' St. Anne,' by Auerbach, is in the church of St. Margaret in Vienna. He engraved a plate of him- BeK painting the portrait of his wife. AUERBACH, Karl, son of Johann Gottfried Auerbach, was bom at Vienna in 1723, and became, imder his father's instruction, a talented painter of portraits and history. The cathedral of St. Stephen in Vienna possesses an altar-piece and a ceiling- painting by him. At Hetzendorf and Innsbruck there are also examples of his art. Karl Auerbach died in Vienna in 1786 (or 1788). AUGUSTIN, Jean Baptiste Jacques, a minia- ture painter in enamel, was born at St. Die (Vosges), in 1759. He went to Paris in 1781, where he struggled against the bad taste then prevailing, and regenerated the almost forgotten art practised by Petitot. In 1819 he was appointed miniature painter to the King, and in 1821 was honoured with the title of Chevalier de la Legion d'Honneur. His miniatures, which are distinguished by purity of design, vigour of tone, and richness of colour, are eagerly sought for by collectors. Amongst the finest portraits produced by him are those of 'Napoleon I.,' 'The Empress Josephine,' 'Louis Buonaparte,' 'Caroline Murat,' 'Louis XVIII.,' ' The Duke of Angouleme,' ' Baron Denon,' ' Gi- rodet the Painter,' 'Lord William Bentinck ; ' and especially his female portraits after Greuze. He died of cholera in Paris in 1832. AUGUSTINI, Jan, who was bom at Groningen in 1725, studied under Philip van Dijk. He painted flowers with some degree of merit ; and his portraits were considered to possess an astonish- ing resemblance. He died at Haarlem in 1773, according to Van der Willigen and Van Eynden, although Terwesten says he was still living there in 1776. AULNE, De l'. See Delaune. ADROUX, Nicolas, an engraver, who was bom at Pont-Saint-Esprit (Gard), worked in Lyons and Turin in the middle of the 17th century. Heineken speaks of four portraits by him, and a print of the ' Virgin Mary holding the Infant Saviour, with St. John kissing His foot.' There is also a Frontis- piece by him to the second volume of Daniel Sennert's Opera medica; dated 1650. In Meyer's ' Kiinstler-Lexikon ' there is a list of 30 engravings by him. AUSTIN, Richard T., who flourished in London in the beginning of the 19th century, studied under John Bewick, and became a wood-engraver of moderate abihty. He was chiefly employed by the booksellers. He executed the cuts for Linnjeus's 'Travels in Lapland,' published in 1811, and occasionally painted landscapes. AUSTIN, Samuel, was in early life a banker's clerk in Liverpool. In 1824 he went to London and joined the Society of British Artists, with whom he exhibited for three years. He then, in 1827, became an associate member of the Society of Painters in Water Colours, and contributed landscapes and sea-side pictures to their exhibi- tions, until his death in 1834. AUSTIN. William, an English engraver, bom in London in 1721. He was instructed in the art by George Bickham, and has engraved some plates of landscapes, after Van der Neer, Ruisdael, and Zuccarelli. His ptincipal works were a set of six plates of ' Views of Ancient Rome,' and four of the ' Ruins of Palmyra.' He died at Brighton in 1820. AUSTRIA, Don Juan of. See Juan. AUTGUERS, G., a French engraver, who resided at Lyons about the year 1623, worked chiefly for the publishers, and engraved some portraits and other book plates, which are very indifferently executed. AUTISSIER, Louis Marie, who was born at Vannes, in Brittany, in 1772, studied art under Vautrin, and then passed some time as a soldier. He afterwards settled at Brussels, and devoted himself to miniature painting, and became famous for his portraits. The following years of his life were divided between Belgium, Holland, and France. He exhibited works at Brussels, Ghent, Antwerp, Amsterdam, and Paris ; and was much employed in painting miniature portraits of the sovereigns, nobility, and celebrities of Belgium and the Netherlands. Autissier occasionally exe- cuted historical works also in miniature. He died at Brussels in 1830. At one time of his life he adopted the Christian names of Jean Prangois, which his father bore. AUTREAU, Jacques, a French portrait painter and dramatic poet, was bom in Paris in 1657. He died in 1746. His portrait of himself is in the Musee of Versailles. AUTREAU, Louis, the son of Jacques Autreau, painted portraits and genre subjects. He was born about 1692 in Paris, where he died in 1760. It is doubtful whether some portraits are by the father or by the son. AUVRAY, Joseph F^lix Henri, a French his- torical painter, was bom at Cambrai in 1800. He was a pupil of Momal in Valenciennes, and after- 63 A BIOGRAPHICAL DICTIONARY OF ■wards of Gros in Paris. He exhibited in 1824, •St. Louis a Prisoner,' and in 1827, ' Gautier de Chfitillon defending St. Louis against tlae Saracens,' now in the Museum of Cambrai ; ' St. Paul at Athens,' &c. He died in 1833, in his native city. ADVRAY, PiEBRE Laubent, a French engraver, who was bom in Paris in 1736, studied the art of engraving under Cars. He practised in Paris and in Basle. He engraved portraits of French come- dians and other subjects. AUZOU, Pauline, -nJee Desmabqdets, a distin- guished paintress of familiar subjects and portraits, was born in Paris in 1775. She was instructed by Regnault ; and several of her interesting pic- tures, purchased by the French Government, the Duchess de Berri, and the Society of Friends to the Arts, have been engraved. Two scenes fiom the Life of the Empress Marie-Louise, by her, are dt Versailles. Madame Auzou died in 1835 in Paris. AVANZI, Degli (or De Avaciis). See Degli AVANZI. AVANZI, Giuseppe, was born at Ferrara in 1645, and studied under Costanzo Cattaneo. He painted many pictures for the churches and con- vents in that city, which are particularly noticed in Guarini's description of the pictures and sculp- ture of Ferrara. In the church of the Madonna della Pieta are four pictures of subjects from the hfe of St. Gaetano, and in the church of San Doraenico is the ' Marriage of St. Catharine,' con- sidered his best work. In San Giuseppe are tsvo scenes from the life of St. Thekla, the • Annuncia- tion,' and ' Visitarion of the Virgin,' scenes from the ' Life of Christ,' and other pictures. Numerous other churches in Ferrara possess examples of the art of Avanzi, who was one of Ferrara' s best painters. He died in 1718. AVANZI, Jacopo, (or Da Vanzo,) of Verona, has long been confused with Jacopo degli Avanzi of Bologna; but the remains of an inscription in the CappeUa San Giorgio point to Verona as the birthplace of Avanzi. He painted decor- ations, in conjunction with Alrichiero da Zevio, in the CappeUa San Felice and the Cappella San Giorgio in the church of Sant' Antonio at Padua, in 1377. It appears that the principal frescoes in the CappeUa San Felice were the work of Alti- chiero ; and of those in the CappeUa San Giorgio, which were recovered from oblivion in 1837 by Dr. E. Forster, the part to be assigned to Alrichiero has given rise to much dispute ; but it is thought by some authorities that Avanzi executed the principal portion. The frescoes represent tlie earlier part of the ' History of our Lord,' the 'Coronation of the Virgin,' the 'Crucifixion,' and ' Legends of St. George, St. Catharine, and St. Lucy.' They prove the painter to have been an artist of no common genius, and Kugler, in his description of them, speaks of his art as being above that of his contemporaries. Avanzi also painted two triumphal processions in a public hall of Verona, which have long since perished. He died about the end of the 14th century. AVANZINO, Nucci, called from his birthplace ' Avanzino da Citta di Castello,' was bom in 1551. When he was still young he visited Rome, and became the pupil, and subsequently assistant, of Niccolo Pommerancio. During the pontificates of Sixtus V. and Clement VIII. this painter was held in great esteem, and employed in the loggie of San Giovanni in Laterano. He also painted many pictures for the churches in Rome, of which 64 Baglioni gives a particular account. Among his best works may be considered his paintings in fresco in San Paolo fuori le mura, representing the ' Miracle of the Serpent in the Isle of Malta,' the ' Decollation of St. Paul,' and his ' Taking up into the third Heaven.' Avanzino died at Borne in 1629. AVECEDO, Ceistobal, a Spanish painter, some- time scholar of Bartolom^ Carducho at Madrid. A Slurcian bom, he is enumerated with the nobilities of the city by the narive poet, Jacinto Polo de Medina. He painted for the chapel of the College of San Fulgencio, in Murcia, a large picture of that saint adoring the blessed Virgin ; this, with other works executed for convents, gives a favourable impression of his powers. He flour- ished in the beginning of the 18th century. AVED, Jacques Akdbe Joseph, who was bom at Douai in 1702, received his first instruction in art from Bernard Picart. After some time spent in travel- ling in the Netherlands, he went in 1721 to Paris, and entered the studio of A. S. BeUe. At that time he enjoyed the friendship of Carle van Loo, Boucher, Chardin, and other celebrated painters. He soon rose to great fame through his portraits, which he painted finely and carefully. In 1738 Rousseau sat to him ; in 1751 he went to the Hague, and painted the portrait of William IV. Soon after he executed the portrait of Louis XV., and weis made painter to the king. Aved exhibited, at intervals, at the Paris Salons from 1737 to 1759. He died at Paris in 1766. A portrait by him of the Marquis de Mirabeau is in the Louvre. His works have been engraved by Balechou, L^picid, MeUini, Daul6, and others. AVEELEN, Jan van den. See Van den Aveelen. AVELINE, Antoine, a French designer and engraver, bom in Paris about the year 1691. He was probably the son and pupil of Pierre Aveline, 'the elder,' ^vith whom he has been confused by Heineken, Le Blanc, and others. Antoine died in Paris in 1743. He engraved a number of plates of landscapes, and views of the palaces and chSteaux in France and other parts of Europe, executed in a neat and agreeable style. The following are worthy of notice : Innocence ; after F. Boucher. Six volumes "of Ornaments and Figures a Is mode ; after Mondon,JUs. Eight Views of French Chateaux. Four Views of French Towns. Four Plates for ' Nouvelle Description de la Ville de Paris,' bi/ Germain Brice. AVELINE, Francois Antoine, who was bom in Paris in 1727, was the son of Antoine, and cousin and scholar of Pierre ' the younger,' but did not equal him in talent. He worked chiefly for the booksellers at Paris, and afterwards removed to London ; but either had not sufficient abiUty or industry to succeed, for he died there in indigence in 1762. We have the foUowing plates by him : Neptune calming the raging waves ; after Boucher, The Four Seasons ; copied from Pierre Aveline. Chinese figures ; six plates ; after Botieher. The Chinese Bark ; after the same. The Spanish Musician ; after J. J'elsen. The Flemish Musician ; after D. Tefiiers. View of a Port in the Levant ; after Vernet. Chinese figures and subjects ; siiplates ; after Pillement. London, 1759. AVELINE, Pierre, ' the elder,' was bom in Paris in 1660. He studied under Adam PereUe, and engraved landscapes, views of towns, and garden PAINTERS AND ENGRAVERS. ■cenes in the maimer of his master. He died, according to Mariette, in 1722. The following are gome of his best plates • Nine Costvune plates. Six Sea-riews (with Fouard) ; after J. van Seecq. Eighteen Landscapes ; marked Aveline inv : etfec. Numerous Views in Paris. Numerous Views of French Chateaux. AVELINE, Pierre Alexandre, 'tne younger,' a French designer and engraver, was born in Paris in 1710. He was a nephew of Antoine Aveline. He was instructed in the art by Jean Baptiste de Poilly. His drawing, though not very incorrect, is rtifE and formal. It is, however, to be regretted that he did not make a better selection of subjects for the exertion of his talent, and that he employed a great portion of his time in triiiing and insig- nificant sketches. He died in Paris in 1760. The following are his prints most worthy of notice : SDBJECTS FROM HIS OWN DESIGNS. Foot plates of the Seasons, represented by Children. Five Plates of the Senses. Four Plates of the Quarters of the World. Venus at her Toilet. ' Bacchus and Ariadne. SDBJECTS AFTER DIFFERENT MASTERS. The Cardinal de Fleury, accompanied by the Virtues ; after Chevallier. The Wrath of Neptune ; after Albani ; inscribed Qms ego. Jupiter and lo ; after Schiavone ; for Crozat CoUeetion. Diana and Actseon ; after J. Bassano; for the same. The infant Moses brought to the Daughter of Pharaoh after Giorgioyie. Departure of Jacob ; after Castiglione; \ for the Dres- Noah entering the Ark ; after the same; ( d^n Gallery. The Death of Seneca ; after Luca Giordano. Christ healing the Sick ; after Jouveiiet. A Landscape ; after Nicolaas Berchetn ; fine. The fortunate Accident ; after Van Falens. Folly ; after Corn. Visscher. The Birth of Bacchus ; after F. Boucher. The Rape of Europa ; after the same. Three Subjects of Cupid ; after the same. La Belle Cuisiniere ; after the same. Venus and Cupid ; after the same. The prudent Shepherdess ; after the same. The Rape of Helen ; after Deshayes. Maeas succoured by Apollo ; after the same. Hans Carvel's Ring ; after J. L. Laurain. La Place Maubert, Paris ; after Jeaurat. The Flemish Trio; after A. van Ostade. A Dog, with Game ; after Oudry. A pair — One, a Boy with a Mouse ; the other, a Girl with a Cat ; after 0. Parrocel. Diana at the Bath ; after Watteau. The Rape of Europa ; after the same. The Charms of Life ; after the same. Italian Recreation ; after the same. AVELLI. See Xanto Avblli. AVELLINO, GiULio, or Giacinto, d', called II Messinese, was a SicOian, bom at Messina about the year 1645. He is said to have been a scholar of Salvator Rosa, at Naples, and painted landscapes in the grand style of that master. After visiting Rome, Venice, and other important cities of Italy, he settled at Ferrara, where landscape painting, since the time of Dossi, had been almost abandoned, and was much employed by the nobility of Ferrara, as well as of Cremona, and it is in those cities that his works must be sought. He enriched his landscapes with ruins, architecture, and figures, spiritedly designed, and boldly touched. Avel- lino's works are highly prized and much sought after. He died in 1700, at Ferrara. AVELLINO, Onofrio. According to Dominici this painter was bom at Naples in 1674 ; he studied under Lnca Giordano, and subsequently with Francesco SoUmena. He afterwards passed some years at Rome, where he painted the vault of the church of San Francesco di Paola, which is considered his best performance. In the church of Santa Maria di Monte Santo is an altar-piece by this master, representing a subject from the Life of St. Albert. He died in 1741. Avellino's copies of the works of his masters were so successful that they have passed for originals. AVELLO, Franc. Santo. See Urbino, Rov. da. AVEMANN, Wolf, a native of Nuremberg, was a pupil of Hendrik van Steenwijk, and painted interiors of churches and other buildings in the manner of his master. After the year 1620 he left Nuremberg and went to Hesse, where he met with a violent death. AVERARA, Giovanni Battista, (or Averakia, or Avernaria,) was bom at Bergamo about t'le year 1608. The name of his instructor in art is not known, but he formed his style of colouring from the works of Titian. Ridolfi mentions some fresco paintings by this master in favourable terms, particularly two pictures in the church of San Francesco, at Bergamo ; he also executed works in the Palazzo del Podesta in that city. He painted landscape and architecture, and was greatly cele- brated in his day for his observance and skilful representation of nature, not only in the scenery, but in the figures and animals with which he orna- mented his pictures. The beauty of his tints, the design of his infant figures, and the nature of his landscapes, all 8ho\^ that he aspired to the Titian manner. Muccio, in his ' Teatro di Bergamo,' calls him a universal genius. He died in 1548. AVERCAMP, Hendrik van, was sumamed 'de Stomme van Kampen' ('the Mute of Karapen '), — a name Immerzeel tells us he obtained on ac- count of his taciturnity. He was probably bom at Kampen about the end of the 16th century, and lived, it is said, at the Hague. He produced many pictures, principally landscapes ornamented with cattle, and marine subjects ; but they have lost much of their value on account of their change of colour. His favourite subjects were winter scenes. The Dresden Gallery has two Dutch Kermesses on the ice ; and other paintings by him are in the Galleries of Berlin, Rotterdam, Antwerp, and in many private collections in Germany. His draw- ings with the pen, and in black chalk, are still held in great estimation. They are met with in several of the collections of Germany and Holland; the Stadel Collection at Frank- t TTT y y fort; the Albertina Gallery at \ j \ \ UJ Vienna ; the Berlin Museum, and *i J. X elsewhere. AVERNARIA. See Averara. AVIANI, Francesco, a native of Vicenza, flour- ished about the year 1630. He excelled in paint- ing perspective and architectural views, which were frequently embellished with figures by Giulio Carpioni. Hia pictures usually represent the most remarkable views in Venice. He also produced some landscapes and sea-ports. AVIBUS, Gaspako ab. See Osello. AVICE, Chevalier Henri d'. This amateur etched for his amusement some piates in a slight, though spirited style, after N. Poussin, and other masters ; of these the most esteemed is a middle- sized plate of the ' Adoration of the Magi,' after 65 A BIOGRAPHICAL DICTIONARY OF Poussin. Avice flourished in the middle of the 17th century. AVIGNON, MiGNARD d'. See Mignard. AVILA, AndrSs Sanchez d'. See Sanchez d' AVILA. AVILA, Francisco, was a portrait painter of Seville, who flourished in the 17th century, and was distinguished for the suavity of his colour and the truth of his likenesses. AVILA, Hernando de, painter and sculptor to Philip II. of Spain, flourished in the middle of the 16th century. He was a pupil of Francisco Comontes. He executed, in 1568, an altar-piece of ' St. John the Baptist,' and the ' Adoration of the Kings,' for the cathedral of Toledo. AVISSE, FRANgois Remi Joseph, a French genre painter, who was born at Douai in 1763. He studied in Antwerp, and died in his native town in 1843. AVOGADRO, PlETRO, was a native of Brescia, and flourished about the year 1730. He was a scholar of Pompeo Ghitti, whose style he foUowed with a mixture of Venetian colouring, especially in the carnations. The contour of his figures is graceful, and the general effect of his pictures is harmonious and pleasing. His principal work is the 'Martyrdom of SS. Crispin and Crispinian,' in the church of San Giuseppe, at Brescia. In the church of San Francesco are five pictures illustrating the 'Life of St. Peter,' in the chapel dedicated to that saint. Works by him are in other churches of Brescia. Lanzi observes that, in the opinion of many, Avogadro holds the first place in Brescian art, after the three great painters in Brescia — Bon\'icino, Gambara, and Savoldo. AVONSTERN. See Seuter, Dan. AVONT, Peeter van, was baptized at Mechlin on the 14th of January, 1600 ; the day of his birth is not recorded. His teacher's name, too, is not known. In the year 1622-23 he was made free of the Guild of St. Luke at Antwerp, and his name occurs at intervals in its records, as well as in those of the city, till liis death, which took place at Deume, near Antwerp, in 1652. He painted land- scapes, enriched with figures well drawn, and touched with great spirit. He frequently decor- ated the landscapes of Vinckenboons, Jan Brueghel, the elder and theyoimger, Jan WUdens, Lodowijck de Vadder, and other painters. Three signed land- scapes by him are in the Belvedere Gallery, two with ' Holy Families,' and one with ' Flora and Genii.' The Munich Gallery has a ' Holy Family,' in a landscape, the joint production of Avont and Jan Brueghel, the elder. The Liechtenstein Gallery also has three pictures by Avont. Antwerp, in its churches and private collections, has examples of his art. The etchings of Avont are rare, and not all which are ascribed to him are genuine. The following are some of the plates j a T T /A which have been engraved after 7 Ar V ^-\ his works: L /\ V V The Virgin Mary, with the Infant Jesus, St. John, and St. Elisabeth. The Virgin suckling the Infant, with St. John and an Angel. The Virgin and Infant in the Clonds : inscribed Segina Cceli. The Magdalene ascending to Heaven. Twenty-four email plates of Children, on each plate a Child and an Angel. They were entitled Ptedopa- gnion, and engraved by Hollar. The Four Elements, represented by Four Children. 66 Two Bacchanalian subjects of Children ; one, Bacchos drawn in his Car ; the other, Bacchus carried by Fear Children; Pet. van Avont, inv.,fec., et exc. AVRIL. Jean Jacques, ' the elder,' was bom at Paris in 1744 ; he was a scholar of J. G. Wille, and has engraved several plates, which are de- servedly admired. He died in Paris in 1831 . By him we have about 540 pieces, some of large dimensions, among which are : La Vierge au linge ; after Raphael. Mars going to Battle ; after Rubens. Mars returning from Battle ; after the same. A Shepherd and Shepherdess ; called the Croo-en-jamh» after the same. Apollo with the Seasons, dancing ; after Poussin. Diana and Actseon ; after Albani. Diana and Callisto ; after the same. Venus revenging herself on Psyche ; after De Troy. Pygmahon and Galatea ; after Marillier. St. Genevieve ; after C. van Loo. Fishermen returning ; after Vernef. Travellers in a Storm ; after the same. The Shipwreck; dated 1775 ; after the same. The Double Recompense of Merit; after P. A. Wille, 1784. French Patriotism; after the same. 1788. The Taking of Courtrai ; after Van der Meulen. 1782. The Passage of the Rhine ; after Berchem. Catherine II. on her Travels ; after F. de Megs. 1790. Ulysses and Penelope ; after Ze Barbier. Combat of the Horatii and Curiatii; after the same. 1787. AVRIL, Jean Jacques, ' the younger,' who was born in Paris in 1771, was the son of J. J. Avril, the elder. He studied under Le Barbier, Suvee, and Bervic, and engraved some excellent plates from pictures by the old masters, as well as many plates of sculpture in the Louvre, for the ' Musee Fran9ais.' He died in Paris in 1835. AXARETO, Giovacchino. See Assebeto. J AXELT, Johann. See Azelt. I AXMANN, Joseph, an engraver, who was born at Briinn in 1793,first studied drawing and painting under J. J. Weidlich, and, later, engraving under Blascloke at Vienna. He died at Salzburg in 1873. Among his works are : Landscape ; after J. d'Arthois. Samson ; after Van Dijck. Moonlight Scene ; after Van der Keer. The Styrian Charcoal Burners ; after Gauermann. Madonna ; after Murillo. Francis I., Emperor of Austria; after Schiavone, and after Sckicager. Elizabeth, Empress of Austria ; after Sehwager. AXTMANN, Leopold, a clever animal painter, born at Fulnek, in Moravia, in 1700, was the pupil of John George Hamilton of Vienna, and rivalled him in reputation. He settled at Prague, and died there in 1748. He excelled in painting dogs and horses ; there are several good pictures by him in Bohemia. AYALA, Bernabe, an historical painter, who was born at Seville in the begiiming of the 17th century, studied under Zurbaran, and imitated his manner in his tints and draperies. No doubt many of his pictures are now mistaken for the work of his master. He was one of the founders of the Academy at Seville in 1660, and was a member of it until 1671 ; but as his name does not appear with the subscribers to the statutes in 1673, it is supposed that his death occurred between those years. The Museum of Seville has six of his works, and there are others in the churches of that city and of Madrid. AYBAR XIMENEZ, Pedro, a Spanish painter, PAINTERS AND ENGRAVERS. was pupil of F. Ximenez, whose style he imitated. He painted historical subjects, and the pictures he produced in Calatayud, in 1682, are praised for their composition, design, and colour. There is no account of him after that year. AYERBE. See Arbos. AYLESFORD, Heneage Finch fourth Earl of, previously Lord Guernsey, who was bom in London in 17.51, practised art as an amateur with much success. He was an honorary exhibitor at the Royal Academy from 1786 to 1790. His works are chiefly water-colour drawings of architectural and rural subjects: he also executed several etchings. He died in 1812. AZEGLIO. See Taparelli d' Azeglio. AZELT, JoHANN, (or Axelt,) who was born in 1654, appears in Nuremberg records under various names— Arzold, Arzoldt, and Atzold. He seems to have confined himself almost entirely to por- traits, which are but indifferently executed. He engraved : The Emperor Joseph I. ; after A. Manneman. Georg Friedrich, Prince of Waldeck. A set of Portraits of the Kings of Spain, Himgarj, and Bohemia, &c. ; and many of the plates in Freher^s Thiatrum Virorum Eruditione Clatorum. AZZERBONI, Giovanni, an Italian engraver, was a pupil of Guglielmo Morghen. He worked at Rome towards the end of the 18th century, and appears to have died before 1810. He engraved ' The Magdalene,' after Guercino. AZZOLINI, Giovanni Bernardo, or Bernardino, — called Mazzolini or Massolini — was born at Naples about the year 1560. He went, in 1610, to Genoa, where there are several of his works in the churches and convents, and in private collections. Two pictures by him, in Genoa, are mentioned by Soprani as works of great merit : the one an ' Annimciation,' painted for the high altar of the ' Monache Turchine,' and the other a ' Martyrdom of St. Apollonia,' in the church of San Giuseppe. Azzolini also worked in Naples and Rome. He excelled in wax-work, and formed heads with an absolute expression of life. B BAADE, Knud, a marine and landscape painter, was bom in Skiold, in South Norway, in 1808, and removed, while still a boy, with his family to Bergen, where he received his first instruction in art. In 1827 he went to Copenhagen, and there studied at the Academy for about three years, when want of means compelled him to go to Christiania and commence portrait-painting : thence he went to study in Bergen, where the mountain-topped fiords and rocky bays afforded ample subjects for his pencil — and he also travelled northward to Dront- heim in search of material for his pictures. In 1836 he was persuaded by his countryman, Dahl, the well-known landscape painter, to go to Dres- den, in which city he studied for three years^ returning to his native country in 1839 on account of a disease in his eyes. In 1846 he went to Munich, and soon earned as a landscape painter a reputation, which he increased year by year, executing paintings of his native country and the scenes around his native coasts, which he mostly depicted with moonlight effects. Though but an invalid, he laboured at Munich continually until his death, which occurred in that city in 1879. F 2 Baade was painter to the Court of Sweden, and a member of the Academy of Arts at Stockholm. The following are among his best works: Christiania. Nat. Gallery. "Wood at North Kyst. London. South Kensington \ r^^^ -Wreck Museum^ J Munich. Pinakothek. Scene from Norse Mythology. Stockholm. Nat. Gallery. Ship by Moonlight. BAADER, Amalie, was bom at Erding, in Bavaria, in 1763. She studied engraving under J. Dorner, the director of the gallery at Munich, and practised it for amusement, not as a profession. Her mark, an A and B interlaced, is found on copies after Rembrandt, G. F. Schmidt of Berlin, and some Italian masters. After her marriage she was known by her husband's name, Van Schat- tenhofer. Slie died at Munich in 1840. BAAK HATTIGH, Jan, a painter of Utrecht, lived in the middle of the 17th century, as we find by a picture in the hospital of St. Job in that city, with the date 1642. It is a landscape with figures in the manner of Poelemburg, and ap- proaches so near to that master, that it may be concluded he was one of his scholars. BAAN, J. DE, (or Baen). See De Baan. BABEL, P. E., a French designer and etcher, was bom in Paris in the early years of the 18th century (perhaps in 1720), and flourished there as late as 1755. He is said to have died in 1761. He has left numerous plates of ornamental decora- tion — some after his own designs— chiefly for the embellishment of books. Heineken says that he was also a goldsmith. Among his productions are : The plates for Bloudel's ' Architecture francjaise.' 1752-56. Seventy-two vignette illustrations,/ro7re his oion designs^ for * Traite de perspective a I'usage des artistes,' by B. S. Jeaurat. Paris. 1750. Three plates of a Salon for the Princess SartorinsH, of Poland; after J. A. Meissonnier. Seven plates of decoration for the H6tel de Soubise, Paris ; after Boffrand. BABUREN, Theodor van, (or Babeur,) a Dutch painter, who was bom in 1570, was a scholar of Pieter Neefs. He painted interiors and churches in the manner of that master; but more frequently made choice of such subjects as admitted of mirth and conviviality ; and his pictures generally repre- sent musical assemblies, card-players, &c., painted in a free, bold manner, in which his drawing is preferable to his colour. His chef-d^xuvre is an ' Entombment,' in the style of Caravaggio, in San Pietro in Montorio, at Rome. His only etching, and this is rare, is from this picture. He died at Utrecht in 1624. BABYLONE. See Barbarj. BACAREEL. See Backereel. BACCARINI, Jacopo, was bom at Reggio about the year 1630. He was a scholar of Orazio Talami, and painted history in the style of that master. Two of his most esteemed pictures, a ' Repose in Egypt,' and the ' Death of St. Alexis,' are in the church of San Filippo at Reggio. He died in 1682. BACCHIACCA, II. See Ubertini. BACCHIOCCO, Carlo. According to Averoldo this painter was a native of Milan. That author, in his ' Scelte Pitture di Brescia,' mentions several of the pictures of this master in the churches and convents in that city, particularly in the church of SS. Giacomo e Filippo. BACCI, Antonio, a native of Mantua, or of Padua, 67 A BIOGRAPHICAL DICTIONARY OF was bom about 1600. He was a still-life and flower painter, and was living at Venice in 1663. BACCIARELLI, Maecello, was bom at Rome in 1731. and studied under Benefial. In 1750 he was called to Dresden, where he was employed by King Augustus III. ; after whose death he went to Vienna, and thence to Warsaw, where he was much patronized. He painted a set of the Polish kings, from Boleslau6 Chrobry downwards. That of Stanislaus II. (Stanislas Augustus Poniatowski) has been engraved by A. de Marcenay de Ghuy, Kiistner. and A. Fogg. BacciareUi also painted scenes from the History of Poland. He died at Warsaw in 1818. BACCIO BELLA Porta (Fra Baetolommeo). See Baetclommeo di Pagholo. BACCIOCCHI, Fra Feeraxte. This painter was a monk, of the order of the Philippines. Some of his works are noticed in Barotti's account of the paintings and sculpture at Ferrara. One of his best pictures was the ' Stoning of St. Stephen,' in the church of San Stefano in that city ; and in Santa Maria del Suifragio there was a 'Holy Family' bj- him. He flourished in the 17th cen- tury. BACH, Eabl Daniel Fbiedrich, who was bom at Potsdam, in 1756, studied and painted in Berlin, and in Italy, where he was much influenced by the works of Raphael. He subsequently became pro- fessor in the Art Academy at Breslau, where he died, in 1826. He painted historical subjects, por- traits, and animals, and he also used the etching- needle. BACHELEY, Jacques, a French designer and engraver, was bom at Pont I'Eveque, in Normandy, in 1712. He studied under Philippe le Bas. He was a member of the Academy at Rouen, where he died in 1781. We have by him several prints of landscapes after the Dutch masters ; amongst which are the following : View in Italy ; after Bart. Breenberg. View on the Tiber ; after the same. View of the Bridge of Voges ; after the same. View of Rotterdam ; after Van Goijen. The Castle of Byswick ; after Ruisdael. View near Utrecht ; after the same. A Storm on the Coast of Greenland ; after J. Feters. The Kedoubt of Schenck ; after B. Peters. The Mouth of the Meuse ; after the same. The View of Havre de Grace; after his own drawing. BACHELIER, Jean Jacqttes, was bom in Paris in 1724. He was received into the French Academy as a flower painter in 1751, and again as an historical painter in 1763, in which year he painted the ' Death of Abel.' His picture of 'Cimonin Prison, nourished by his Daughter,' exhibited in 1765 as ' Charite Ro- maine,' was allowed to replace the former work in the Louvre. In 1765 he founded a school of design for artisans, still in existence. He died in Paris in 1805. He was for fourty-four years Director of the Porcelain Factory at Sevres, and was £iIso Director of the Academy of Painting, Sculpture, and Naval Architecture at Marseilles. BACHICHE, Le. See Gaulli. BACHMANN, Georg, also written Pachmanx, was bora probably in 1600, Ln Friedberg, Bohemia. He worked for many years in Vienna, and the churches of that city contain examples of his art. He died there in 1652. Besides pictures of sacred history, Bachmann also executed portraits of no mean merit. BACICCIO. See Gaulli. 68 BACKER, Adbiaas, the nephew of Jacob A. Backer, was bom at Amsterdam in 1613. He was sent to Italy when he was young, where he studied several years, and acquired a taste and correctness of design, not very common in the artists of his country, which is discernible in all his works. His most esteemed picture is in the old town-hall at Amsterdam, representing the ■ Last Judgment ; ' it is an ingenious composition, and is painted in a good style. A ' Rape of the Sabines,' signed by him and dated 1671, is in the Brunswick Gallery. An allegorical picture of ' Painting, Peace, and Justice ' is in the Antwerp Museum. He died at Amsterdam in 1686. BACKER, Bt. (Baetholom^us, or Baeent), was an engraver, who flourished at Amsterdam in the middle of the 18th century. He executed plates of portraits and views in a neat, finished manner. BACKER, Franz de. See De Backer. BACKER, Jacob A., or Bakkeb (not to be con- founded with Jacob de Backer, of Antwerp), was bom at Harlingen in 1608 or 1609 ; he studied under Lambert Jacobsz at Leeuwarden, and then with Rembrandt, whose studio he entered between 1632 and 1634. His chief residence was at Amster- dam, where he distinguished himself as a portrait painter. Such was the extraordinary facility and rapidity of this artist, that Houbraken asserts that he finished the half-length portrait of a lady, dressed in a troublesome drapery and loaded with jewels, in one day. He also acquired great reput- ation as a painter of history ; and his picttu-es were extolled in the poetry of Vondel, his country- man. He died in 1651, at Amsterdam, in the forty-second year of his age. The following are some of his most important works : Amsterdam. Town hall. An Archery-piece ; signed J.B. 1642. „ Galltry. Sis Kegent?. 1676. >, „ The Regents of the Work- honse. Brunswick. Museum. Portrait of himself. ji „ Sleeping Nymph. Dresden. Galltry. Two Portraits. He also etched some plates from his own designs. BACKER, Jakob de. See De Backer. BACKER, Nicolas de. See De Backer. BACKEREEL, Gilles. (or Bakebeel.) who was bom at Antwerp in 1572, studied in Italy and then returned to his native city, the churches of which formerly possessed a number of his works. In the Brussels Museum are an 'Adoration of the Shepherds,' and the ' Vision of St. FeUx,' and in the Vienna Gallery a ' Hero mourning Leander.' Backereel's name is also frequendy distorted into Baccarelles, Bakanel, Baccarelli, Bacareel, and* Bakkarell. The date of his death is not recorded. BACKEREEL, Willem, brother of Gilles, was bom at Antwerp in 1570. He went to Italy to study, and stayed there until his death, in 1600. He painted historical subjects and portraits. BACKHDIZEN, Hendrik van de Sande, whose mother's name was Van de Sande, was bom at the Hague in 1795. He studied under J. Heijmans, but derived most of his art instruction from nature, and soon became noted for his land- scapes, usually containing figures or cattie. In 1822 he was elected a member of the Academy at Amsterdam; and in 1847 he was made a Knight of the Order of the Lion. He died in his native city in 1860. His works are seen in the public PAINTERS AND ENGRAVERS. and private collections of Holland and Belgium. Two winter-landscapes by him are in the Pina- kothek at Munich. BACKHUYSEN, Ludolf. See BAKHniSEN. BACLER d'ALBE, Louis Albert Guillain, Baron de, a French artist, was born in 1761 at St. Pol (Pas de Calais). He was a brigadier-general, and held other military and civil offices under Napoleon. He painted, during the invasion of the French, in 1797, several views in Italy : the ' Battle of Lodi,' the ' Passage of the Po,' and several other victories of tlie French armies. He also painted some interesting landscapes and clas- sical sublets, such as the ' Death of Paris,' and ' (Edipus wandering in Greece.' He also etched and lithographed a large number of landscapes. He died at Sevres in 1824. BACON, Fkederick, engraver, born in London in 1803, was a student of the Royal Academy for some time under Fuseli, and afterwards became a pupil and assistant of the Findena. He engraved, on his own account, illustrations for the Waverley Novels, and for Heath's Annuals, &c., and was much employed by Messrs. Colnaghi and Puckle, and for the Art Union. In 1869 he retired from the active exercise of his profession, and in 1882 left England for California, where he invested in a property, and where he died in 1887. BACON, Sir Nathaniel, who was bom in 1547, was a half-brother of the great philosopher, Lord Chancellor Bacon. He practised art for his amuse- ment, after the manner of the Flemish school. There exist pictures by him at Gorhambury, the family scat, consisting of a whole-length portrait of himself, a half-length of his mother, and a ' Kitchen-maid with Fowls,' admirably painted. Several others are at Redgrave Hall, Suffolk. He died in 1615. His monument in the chancel of Culford church has, in addition to his bust, the emblems of a palette and pencils. BACQUOY. See Baquoy. BADALOCCHIO, Sisto — called by Malvasia, SiSTO Rosa — was bom at Parma in 1581, and was educated in the school of Annibale Carracci. He went with that great master to Rome, and assisted him in some of his celebrated works in that city, notably in the Farnese Palace. He was an ac- complished designer, and possessed an inventive genius. After the death of his master, in 1609, Badalocchio returned to Bologna, where he was much employed. He also worked at Gualtieri, Reggio, and Parma. He died at Bologna in 1647. One of his best works is a ' St. Francis,' in the Parma Gallery. In the Verospi Palace at Rome he painted in fresco, after Albani, ' Polyphemus seated on a Rock, with Galatea and her Nymphs ; ' 'Poly- phemus hurling a Rock on Acis and Galatea ; ' ' Mercury and Paris,' and the ' Judgment of Paris ; ' which have been engraved by Giovanni Girolamo Prezza. Sisto Badalocchio etched several plates in a free and masterly style ; they are generally more finished than those by Guido Reni, though not quite so 'elegantly or so carefully drawn. His ordinary mark was S- B., f. We have among others the following plates by him : The Statue of the Laocoon ; after the antique marble {his best work). The Apostles and St. Thomas Aquinas; from the Cupola of the Cathedral at Parma; after Correggio, Twenty-three plates of Eaphael's Bible ; after the frescoes in the Loggie of the Vatican. The Holy Family, with St. Joseph and St. John ; after Schidone. BADAROCCO,GlovANNl Raffaello, the son and scholar of Giuseppe Badarocco, was bom at Genoa in 1648. After studying some time under his father he went to Rome, and entered the school of Carlo Maratti. Aiming at a freer and bolder style, he appears to have preferred the works of Pietro da Cortonato those of his master. He also painted in Naples and Venice, whence he returned to Genoa. There is great suavity and a fine impasto in his colouring, which a profusion of ultramarine has preserved in all its brilliancy. He was much employed in easel historical pictures. Two of his largest and best works were in the Certosa at Polcevera. He died in 1726. BADAROCCO, Giuseppe, who was bom at Genoa in 1588, became a scholar of Andrea An- saldo, under whose tuition he remained some years. He was called, from his difficulty of hearing, ' 11 Sordo.' After leaving the school of Ansaldo he visited Florence, where he was so much struck with the beauty of the works of Andrea del Sarto, that he applied himself with assiduity to the study of the pictures of that admirable artist. He proved a very good painter of history, and executed several works for the churches and public edifices at Flor- ence, where he died of the plague in 1657. BADENS, Feans, was bom at Antwerp in 1571. He was the son of an obscure artist, by whom he was instructed in the principles of design, but he afterwards had the advantage of visiting Italy, where he remained four years. On his return to the Netherlands he gave ample testimony of the advantages he had derived from his studies. Van Mander speaks of him in very favourable terms as a painter of history-and portraits, and says that he excelled in painting what are called ' Conversation Pieces.' His style of design partook of the taste he had acquired in Italy, and, like most of the painters of his country, he was an excellent colour- ist. His works have now entirely disappeared. It is supposed that he died at Amsterdam, but the year is not recorded. BADENS, Jan, was the younger brother of Frans Badens, and was also instructed in art by his father. He was born at Antwerp in 1576, and following the example of Frans, he went to Italy at an early period of his life, where he resided several years. He afterwards visited Germany, and acquired in that country both fame and fortune. Returning to his native country, he was robbed and pillaged by banditti of all he possessed. This event occasioned his death in 1603, at the age of 27. BADESLADE, Thomas, a landscape artist, made many drawings of the country-seats of the English nobility and gentry, which were published in various county histories between 1719 and 1750. BADIALE, Alessandro, a painter and engraver, was born at Bologna in 1623. He was a disciple of Flaminio Torre, and painted several pictures for the churches and public edifices at Bologna. He was accidentally shot at Bologna in 1668. He etched several plates in a slight, free style, from the designs of himself and others. He marked his prints with the annexed monogram. We "TTp have the following prints by him ; ./j3 The Virgin Mary seated, with the Infant Jesus on her lap, between St. Phihp Neri and St. Anthony of Padua ; after Flaminio Torre. The Holy Family ; after the same. Christ taken down from the Cross ; after the same. Madonna with Child, who holds a cross and an apple — half-length — after Carlo Cignarti. 69 A BIOGRAPHICAL DICTIONARY OF BADILE, Giovanni, a painter of Verona, flour- ished in the first half of the 15th century. A signed altar-piece by him of the ' Madonna and Saints,' in seven compartments, is in the Verona Gallery. Records of him exist from 1418 to 1433. BADILE, Giovanni Antonio, the great-grand- son of Giovanni Badile, was bom at Verona in 1480. He was, according to Lanzi, the first of the Veronese painters who divested himself entirely of the Gothic manner that prevailed before him, and was superior to his contemporaries in the expression of his heads and the delicacy of his colouring. He was the first teacher of his nephew, Paolo Vero- nese. His pictures of the ' Raising of Lazarus,' in the Verona Gallery, and ' The Virgin and Infant in the Clouds, with several Saints,' so highly praised by Ridolfi, are worthy of the in- , structor of Paolo Veronese and Zelotti. //uZ\ Badile died in 1560. ^ BADOUX, Robert de, a native of Brussels, was a marine painter and engraver who flourished in the first half of the 17th century. He engraved some plates for the 'Academie de I'Epee,' pub- lished in 1628. BAECK, Elias, of Augsburg, called 'Helden- muth,' who was born in 1679, was a painter and engraver. He worked for some time in Rome, then in Laybach, but finally returned to Augsburg, where he died in 1747. His chief works — botli in painting and engraving — were portraits and landscapes. His engravings are sometimes marked .B. £. a. H. (Elias Baeck, alias Heldenmuth). See Meyer's ' Kunstler-Lexikon.' BAECK, JoHANN Geobg, an engraver of Augs- burg, worked from about 170O to 1729. He engraved portraits, of which a great part are men- tioned by Heineken. Amongst these are ' George I.' of England and ' Louis XIV.' of France. His mark is J. B. or B. fe. BAEHR, JoHANN Karl, who was bom at Riga in 1801, studied under Matthaei in Dresden, and completed his art education by a sojourn in Italy. He finally settled at Dresden, and in 1840 was made a Professor at the Academy of Fine Art. He died there in 1869. Baehr produced, besides many portraits, numerous historical works of merit. He was also the author of several literary productions. The following are some of his best paintings : Virgil and Dante. The Anabaptists in Monster {lithographed hy Hanfstdngl, and hy Teichgrdher), Iwan the Cruel, of Bussia, warned of his death by a Finnish Magician {signed and dated 1850) ; in the Dresden Gallery, Christ and St. Thomas {at Kiev). Christ on the Cross {at Zschopau). Portrait of Julius Mosen {lithographed by Han/siangl). BAEN, J. DE, (or Baan). See De Baan. BAENER, JoHANN Alexander, a German en- graver, flourished about the year 1670. Among other plates he engraved an emblematical subject, representing a man kneeling at the feet of another man, with a book before him ; and a hand, holding a sword, is striking from the clouds at the latter. It is executed with the graver in a coarse, heavy style. BAERSTRAET. See Beebstbaaten. BAESTEN, Maria, whose maiden name was Ommeganck, painted landscapes and cattle. She was a member of the Academy at Antwerp in 1784. BAGELAAR, Ernst Willem Jan, who was bom at Eindhoven, in Holland, in 1775, first entered the 70 army, but early acquired a liking for the fine arts, and instructed himself in that of etching. He acquired further knowledge by travelling through Germany, and by a stay in Paris. Giving up soldiering, he retired to his property at Zon, near Eindhoven, where he died in 1837. His etchings, which are numerous, are executed in imitation of drawings. Many of them are landscapes from his own designs. The style of Jan Luyken had a special charm for him, and Jje possessed a con- siderable collection of his drawings. The follow- ing will show the variety of his subjects : Ruth and Boaz ; after Luyken. Daniel in prayer ; after the same. The sleeping Jew ; after Rembrandt. Portrait of J. W. Pieneman ; after J. W. Pieneman. Portrait of the poet Janus Secimdus; after J. van Schoreel. View of Arnheim ; after Schelfhout. Sea-piece ; after Van Goijen. Storm at Sea ; after L. £aiJtuisen. A set of six plates of Cows ; after A. Cuyp {one of his best works). Two Cows; after A. van de Velde. A Sheep ; after Berchem. A Sheep; after Dujardin EAGER, JoHANN Daniel, who was bom at Wies- baden in 1734, was a fruit and flower painter. He worked some time at Frankfort, where he died in 1815. Two works by him are in the Stadel Gallery in that city. BAGLIONI, Cesabe. This artist was born at Bologna, about the middle of the 16th century ; he was the son of an obscure painter, Giovanni Pietro Baglioni, from whom he received some instruc- tion ; but he had the advantage of being a con- temporary of the Carracci, and without being a disciple of that school, he adopted their style, particularly in landscapes, in which he excelled. He was a universal artist, and painted history, animals, and fruit ; in all of which, according to Malvasia, he possessed considerable merit. The principal works of this master were at Bologna and Parma, where they were highly esteemed. In the church of the Madonna del Soccorso, at Bologna, he painted a picture of the 'Ascension,' and in San Giorgio an altar-piece, representing ' St Anthony • and St. Martha.' Baglioni was employed in 1610 I by the Duke Ranuccio Famese at Parma to paint ■ the church or oratory of Stirone, dedicated to the Blessed Virgin, which was destroyed in 1812. BAGLIONI, Cavaliere Giovanni, called 'II Sordo del Barozzo,' was bom at Rome in 1571, and was a scholar of Francesco Morelli. He was employed in many considerable works at Rome during the pontificates of Clement VIII. and Paul V. In the church of Santa Maria dell' Orto, he painted a chapel in fresco, where he repre- sented the ' Life of the Virgin ; ' and in San Niccol6 in Carcere there is a fine picture of the 'Last Supper.' But his most esteemed performance, which now no longer exists, was his picture in St. Peter's, of that Saint raising Tabitha from the dead, for which he was made a Knight of the Order of Christ by Pope Paul V. He also painted a ' St. Stephen,' in the cathedral of Perugia, and a ' St. Catharine,' for the cathedral of Loretto. He died at Rome in 1644. He was the author of the ' Lives of the Painters, Sculptors, and Architects.' who flourished at Rome, from the Pontificate of Gregory XIII. until that of Urban VIII., from 1573 to 1642. BAGNACAVALLO. See Ramknghi. PAINTERS AND ENGRAVERS. BAILEY, John, designed and engraved the illustrations to Hutchinson's ' Histories of Northum- berland and of Durham,' published between 1778 and 1784. He was afterwards the author of various works on agriculture. BAILLEUL, F. This artist was a native of France, and resided in Paris about the year 1722, where he engraved some of the plates which were published at that time, representing the ceremonies of the coronation of Louis XV. BAILLIE, Alexander, an engraver, who flour- ished about the year 1764, was born in Scotland. After practising his art in Rome, he returned to Edinburgh, where he engraved a few portraits, and where, it is believed, he died. He engraved a plate representing a half-length figure of 'St. Cecilia,' and a 'Holy Family,' both after Francesco Fernandi, and both signed with his name, and the above date. BAILLIE, Captain William. This well-known amateur acquired a distinguished reputation as an engraver. He was born at Killbride, County Car- low, in 1723, and passed the early part of his life in the army, from which he retired with the rank of captain of cavalry. On leaving the service Captain Baillie devoted his life entirely to the arts, and was for many years considered one of the most enlightened connoisseurs of his time. By this gentleman we have several plates en- graved in various manners ; but his most admired productions are those he executed in the style of Rembrandt, and his charming copies after the etchings of that master. He died in 1810. The works of Captain Baillie were published in two folio volumes by Boydell, in 1792, entitled, 'A Series of 225 Prints and Etchings after Rembrandt, Teniers, G. Dou, Poussin, and others.' The following are the principal, some of which are signed with his name, and some marked with the cipher annexed : Bust of an Old Man, with a gold chain, in the manner of Eemhrandt ; two plates, one without the chain. Landscape, with a Stone Bridge, engraved 1764 ; scarce. Landscape, with the Kuins of a Temple, in the manner of Claude. Portrait of Sofonisba Anguisciola, painter ipsa pinxit. Landscape by Moonlight; after A. Cuyp The Pen-cutter ; after Gerard I)ou, The Lacemaker ; after the same. The Mother of Gerard Dou ; after the same. Susannah justified by Daniel ; after 0. ran den Hclehont. Four Officers, two playing at Trictrac ; after Marc Geerarts; scarce. Portrait of Frans Hals, painter ; F. Sals, pinxit. Portrait of Frans van Mieris ; after himself. Peasants saying Grace ; after Moleiiaer. A Musical Assembly ; after the same. James, Duke of Monmouth, on Horseback; after Net- seher. Literior of a Dutch Chamber, with Feasants regaling ; after A. Ostade. 1767. Interior, with Peasants smoking and drinking; after the same. 1765. Christ healing the Sick, commonly called the Hundred Guilder Print. The original plate by Eemhrandt, pur- chased by Captain Baillie in Holland, and admirably retouched by him. Beggars at the Door of a House ; after Rembrandt's etching. The Gold-weigher; finely copied from Eembrandt's etching. The Three Trees ; Landscape ; after the same. An Old Man, half-length, with a Beard and Cap; W. Maillie, 1765 ; after Jiembratidt. The Entombment of Christ ; two plates varied. An Old Man, half-length, with a large Beard, and his Hands in the Sleeve of his Robe. 1771 Landscape, with a Horse lying; after Eembrandt's print. The Holy Family; after Schidone. Interior of a village Alehouse; after Teniers ; fine. A Student sitting before a Table with a Globe and Books; after Terborch. ■William, Prince of Orange, on Horseback; after thi same. Soldiers quarreUing at Dice ; after Valentin. Three Sea-pieces; after draioixgs by W. van de Veldt, BAILLID, B. and P. db. See De Bailliu. BAILLU, Ernest Joseph, (or Bailly,) who was born at Lille in 1753, studied first in tha Academy of Ghent, then at Antwerp, and sub- sequently at Paris. In 1777 he returned to Ghent, and was soon afterwards commissioned by the magistracy to paint four portraits of the Emperor Leopold II. He also painted a portrait of Maria Christina of Austria. In 1792 he gained a prize, at the Academy of Ghent, for his ' (Edipus Colo- neus,' and in 1811 he received a gold medal for an ' Allegory on the Birth of the King of Rome ; ' both of these works he presented to the Society of Art and Literature of Ghent. He died in that city in 1823. Baillu devoted himself much to decorative paintings on walls, wainscots, and fur- niture, in which branch of art he became very famous. BAILLY, David, a Dutch painter, was born at Leyden in 1584. After studying under Kornelis van der Voort, he went in 1608 to Italy. He returned to the Netherlands in 1613, having spent some time in Germany, both going and coming. He painted especially portraits, and sometimes per- spective views of the interiors of churches and temples. His portraits were esteemed for their correct likeness, and they were extremely well coloured. His chilrch pieces are much admired, though inferior to those of Steenwijek, or Pieter Neefs. He was still living in 1661. His works are rarely seen in public galleries. A portrait of Maria van Reigersbergen, wife of the celebrated jurist Hugo de Groot,^signed and dated 1624, — is in the Museum at Amsterdam, and a Male Portrait in the Gottingen Gallery. He was also an engraver. BAILLY, Jacques, a miniature painter and en- graver, was born at Gragay (Cher) in 1629. He etched twelve spirited plates, representing bouquets of flowers. His works are very rare. He died in Paris in 1679. BAILLY, Nicolas, son of Jacques, was born in Paris in 1659, and died there in 1736. He painted landscapes, and etched in a neat manner 17 views of the environs of Paris. BAILY, J., an English engraver, practised about the year 1790. He engraved some plates after Morland, as well as landscapes and views in aqua- tint, in a clever manner. BAJARDO, Giovanni Battista. This painter was born at Genoa about the year 1620. It is un- certain under whom he studied, but he was a reputable painter of history, and executed several works for the churches and public edifices at Genoa, which are deservedly esteemed, particularly those in the portico of San Pietro di Banchi, and the monastery of Sant' Agostino. His compositions are judicious, his design graceful, and he possessed great facility of execution. According to Soprani, he fell a victim to the plague, which visited Genoa in 1657, when he was in the prime of life. BAKANEL. See Backereel. BAKER, J., practised as a portrait painter at the begiiming of the 18th century. He was one of Sir Godfrey Kneller's assistants, and is best 71 A BIOGRAPHICAL DICTIONARY OF known by his portrait of Sir Stephen Fox, engraved by Jean Simon. BAKER, John, an English painter of flowers and fruit, bom about the year 1736, was, in early li£e, a painter of heraldic ornaments for coaches. Afterwards he distinguished himself by the brilliancy of his groups of flowers which he con- tributed to the Spring Gardens Exhibition. He was one of the original members of the Royal Academy of Arts, where there is a very creditable specimen of his talents. He died in 1771. BAKER, Joseph, in early life an actor, is men- tioned by Walpole as a painter of the interiors of churches, both in England and Rome. A view of the interior of St. Paul's, by him, was sold at the sale of Sir Mark Sykes's pictures. He also drew York and Lincoln Cathedrals, which were engraved by Vivares. He died in 1770. BAKER, Thomas, who was born in 1809, and died in 1869, practised the art of landscape painting in water-colour in the midland counties with success. He was known as ' Baker of Leamington.' BAKEREEL. See Backebeel. BAKHDISEN, Ltjdolf, (or Backhutsen,) a celebrated painter of sea-pieces and storms, was born at Emden in 1631. He was of a respectable family, and was intended by his parents for a mercantile profession, for which purpose he was sent to Amsterdam. His time was, however, more occupied in the society of the painters than in the counting-house, and he at length became a pupil of Aldert van Everdingen, under whom he remained some time. He also studied, it is said, under Hendrik Dubbels. His fondness for shipping led him frequently to the port of Am- sterdam, where he made drawings of the different vessels. These designs were admirably executed with a pen, and were eagerly sought after by collectors, who purchased them at liberal prices. This encouragement induced him to attempt the representation of simOar objects in painting. His first essays were successful, and his pictures were universally admired. He frequently exposed him- self to the greatest danger, by hiring fishermen to take him out to sea in the most tempestuous weather, to observe the forms of the waves mount- ing to the clouds and dashing against the rocks ; and he has represented these scenes with a fidelity that intimidates the beholder. His pictures of these subjects, though rather dark in colouring, have raised his reputation even higher than that of W. van de Velde, although the works of the latter, which represent the sea when calm, or in light breezes, are much superior. In the latter part of his life Bakhuisen amused himself with etching some plates of views of shipping on the Y, a small arm of the sea upon which Amsterdam is situated. He died at Amsterdam in 1708. Bakhuisen is said to have given instruction in drawing to Peter the Great, when that monarch was studying at Saar- dam. He also practised the art of engraving, and has left several plates of marine views, and his own portrait. His most celebrated works are : Amsterdam. Museum. Embarkation of Jan de 'Witt on the Dutch fleet. n >, Port of Amsterdam (signed and dated 1673). n „ The Zuider Zee {signed and dated 1694), and others. Berlin. Museum. Stormy Sea on a Rocky Coast. •I » Slightly Troubled Sea (signed and dated 1664). Brussels. Museum. The Tempest. 72 Copenhagen. Gallery. Dulwich. Gallery. Florence. Pitti Pal. Frankfort. Stadel. Hague. Gallery, London. Xat. Gall. Pari?;. Louvre. "Pet^Tshrg.Hermitaye. Vienna. Gallery. Sea-pieces and others. Boats in a storm (signed and dated 1696). A Rough Sea {dated 1669). View on the Y (signed and dated 1700). Disembarkation of 'William in. of England in I'Oranje-Polder (signed and dated 1692). Entrance of a Dutch port {signed and dated 1693). View of the Building Yard of the East India Company at Amsterdam {signed and dated 1696). Dutch Shipping {signed and dated 16S3). Six other Sea-pieces. Dutch Squadron {dated 1675), Four other Sea-pieces. A Shipwreck. Portrait of an old man. Port of Amsterdam. 1674. Tiro others. BAKHUISEN, Ludolf, nephew of the great marine painter, was born at Amsterdam in 1717, and died at Rotterdam in 1782. He was a good painter of horses and battles. His brother Gebrit Bakhuisen practised portrait-painting as an ama- teur. He lived at Rotterdam, where he had a tile- kiln, to which after his death his brother Ludolf succeeded. BAKKARELL. See Backebeel. BAKKER. See Backer. BAL, CoBNELis Joseph, who was bom in Ant- werp in 1820, first studied in the Academy there, and then went to Paris and formed his style under Achille Martinet. In 1848 he won the ' Prix de Rome,' and improved his knowledge of art by travelling in Italy and elsewhere. On his retum to Paris he made himself famous by his engrav- ing of Gallait's ' Temptation of St. Anthony.' On the death of Corr, in 1862, he was summoned to Antwerp to fill the vacant post of professor to the Academy. He died in his native city in 1867. Bal received several medals and the order of Leopold. The following are his principal engrav- ings : La Belle Jardiniere ; after Raphael 1856. The Montenegrin Woman and her Child ; after Czermak. The Temptation of St. Anthony ; after Gallait. Jeanne la foUe ; after the same. The Abdication of Charles V. ; after the same (left unfinished at Bal's death). BALASSI, Makio, was bom at Florence in 1604. He was first a scholar of Jacopo Ligozzi, and after the death of that master he studied success- ively under Rosselli and Domenico Passignano, the latter of whom he assisted in the works he executed at Rome by order of Pope Urban 'VIII. He copied the " Transfiguration ' of Raphael, for Prince Taddeo Barberini, who placed it in the Capuchin church at Rome, where it is still to be seen. He afterwards accompanied Prince Ottavio Piccolomini to Vienna, where he painted the por- trait of the Emperor Ferdinand III. On his return to Italy he worked in Prato, Florence, and EmpoU. For the church of Sant' Agostino, in Prato, he painted a picture of ' St. Nicholas of Tolentino,' one of his best works, and for the Society of the Stigmata in Florence, one of 'St. Francis.' In the Vienna Gallery there is a ' Madonna and Child ' by him, painted on stone. He died in 1667. BALDACCI, Mabia Maddalena, a Florentine painter, was bom at Florence in 1718, and died there in 1782. She executed miniatures and crayon PAINTERS AND ENGRAVERS. drawings, and among them the portrait of the Empress Maria Theresa. She is represented in the Dffizi Gallery by her own portrait. BALDASSARE, who worked at Forli about the year 1354, is supposed to be the author of a frag- ment of a series of paintings which once adorned the church Di Schiavonia. That which remains is now in the gymnasium at Forli, and represents the Adoration of the Magi and figures of SS. Peter, Jerome, Paul, Augustin, three figures, and two horses, "creations that do more honour to the school of Giotto in these parts than any assigned to the artists named by Vasari " (Crowe and Caval- caselle, ' A New History of Painting in Italy,' 3 vols. 1864). BALDI, Antonio, a designer and engraver, born at La Cava, in the kingdom of Naples, about 1692. After having passed some time under Solimena he became a pupil of Magliar, to learn the art of en- graving. He chiefly resided at Naples, and was living, Zani says, as late as 1768. He engraved several plates, principally from his own designs, amongst which are : The Emperor Charles VI. ; oval. Don Carlos, King of the Two Sicilies ; oval. Nicholas Cyrillus, physician ; after S. Cyrillus. Maria Aurelia Caraccioli, a Nun ; oval. St. Ignatius Loyola; oval; Ant.Baldi ex Prototypo. The Monk Eaffaele Manca, with an Angel ; oval. The Communion of St. Mary of Egypt; A, Baldi, in. et sc. St. Philip Neri in Heaven ; inscribed Cui nomen dedit, ^e. St. Emilius interceding for the Neapolitans; I)ivo Emigdo in t^rrte^ S;c. St. Gregory, with the subjects of his Miracles, 1738 ; Ant. Baldi, fee. BALDI, Lazzako, was bom at Pistoja in 1624. He went to Rome when he was very young, and became a scholar of Pietro da Cortona. Under so able an instructor he became a very eminent artist, and painted several pictures for the churches and public edifices at Rome, which are particularly described by the Abate Titi. In the pontifical palace at Monte Cavallo there is a fine picture by this master, representing ' David and Goliath,' and in the church of St. Luke an altar-piece of the ' Martyrdom of St. Lazarus.' He also worked in Camerino, Pistoja, and Perugia. He died at Rome in 1703. In the Vienna Gallery there is a picture by him of ' St. Martin, Bishop of Tours, raising a dead child,' which has been engraved by J. Axmann. As an engraver, Baldi is known by one single work, 'The Conversion of St. Paul,' marked Lazzerus. Baldus. Pistoriensis. invenit. et. excudit. BALDINI, Baccio, a Florentine goldsmith and engraver, is a master of whom little is known. Vasari tells us that he engraved after the designs of Botticelli, and that he was a disciple of Maso Finiguerra, who is said to have been the inventor of engraving in Italy. Nothing has been ascertained for certain about Baldini's life, but it is supposed that he flourished from about 1460 to 1485. Almost all the writers on the subject agree that he worked in conjunction with Botticelli, but as their works are executed in the same manner, and bear neither name nor monogram, it is almost impossible to identify them. The following are some which are most frequently attributed to Baldini : Plates for the ' Monte Santo di Dio.' 1477. Nineteen Plates of Dante's Inferno, printed at Florence by Niccolo Lorenzo della Magna, in 1481. Twenty-four of the Prophets. Twelve of the Sibyls. Theseus and Ariadne. Designs for jeweller's ornaments. For an exhaustive list of works attributed to Baldini, and for a further account of the artist, see Meyer's ' Kiinstler-Lexikon.' BALDINI, PiETRO Paolo. According to Titi, this artist was a native of Rome, and was a dis- ciple of Pietro da Cortona. He flourished in the middle of the 17th century. He painted historical subjects, and several of his works in the public edifices at Rome were deservedly admired ; among others, some pictures in the churches of San Nic- colo da Tolentino, and Santa Maria di Loretto; but above all an altar-piece representing the ' Cruci- fixion,' in the church of Sant' Eustachio, finely composed, and designed with great care and cor- rectness. BALDINI, Fra Tiburzio. This painter was a native of Bologna, and flourished in the early part of the 17th century. It is not said under whom he studied ; but, according to Averoldo, he painted several pictures for the churches and convents at Brescia, of which the most esteemed were the ' Marriage of the Virgin with St. Joseph,' and the ' Murder of the Innocents ' in Santa Maria delle Grazie. His taste reminds us of the excellent school that flourished in 1500 — magnificence in the architecture, great copiousness of composition, and clearness of effect ; but in the general tone of his tints, and of his flesh, somewhat of a coldness. BALDINI, VlTTOElo, an Italian printer and engraver on wood, who, according to Papillon, flourished about the year 1600. He died at Ferrara in 1618. Among other prints he executed the woodcuts for an edition of Tasso's ' Aminta,' printed by him at Ferrara in 1599. He worked for the Duke of Ferrara, and for Clement VIII. BALDOVINETTI, Alesso, was born in 1427 at Florence. It is not known who was his master ; Baldinucci supposes that it was Uccelli. About his youth Vasari tells us only that Alesso, being desirous to study painting, left the business of his father, who was a rich merchant. In 1448 he was registered as a member of the Guild of St. Luke: "Alesso di Baldovinetti, dipintore." There exists a curious note-book by the artist (Ricordi di A. Baldovinetti, published by G. Picrotti, Lucca, 1868), wherein some of his lost pictures are mentioned. Albertini states (' Me- moriale,' 1510) that Baldovinetti assisted Andrea del Castagno and Domenico Veneziano in the fresco paintings of Santa Maria Nuova, executed between the years 1439 and 1453, but these have been destroyed. The following are the only pic- tures by the master which are still preserved : In the cloisters of Santa Annunziata he painted between the years 1460 and 1462 a large fresco representing ' The Nativity, with the Adoration of the Shep- herds.' In 1465 he furnished the design for the portrait of Dante, painted by Domenico del Michelino in the duomo of Florence. In 1470 he executed the large panel picture representing the ' Holy Trinity adored by the Saints Gualberto and Benedict,' for the altar of the church Santa Trinita, now in the Academy at Florence. His wall paint- ings, in the choir of the same church, representing scenes from the Old Testament, with many portraits of distinguished contemporaries, were completed in 1496, and valued in the following year by the four great artists — Gozzoli, Perugino, Filippino Lippi, and Rosselli— at 1000 golden florins. These were, however, destroyed in 1760. 73 A BIOGRAPHICAL DICTIONARY OF Baldovinetti is certainly one of the most promi- nent masters of the early Florentine Renaissance. His chief merits lie in the utmost care with which he studied and represented natural objects. The extensive views of his landscape backgrounds are especially remarkable. But the types of his figures, which are taken from common life, are rather un- pleasing, nor is his colour harmonious. He aimed at finding out a new method of mixing colours. Vasari remarks that " he sketched his compositions in fresco, but finished them in secco, tempering his colours with a yolk of egg mingled with a liquid varnish, prepared over the fire." Owing to this peculiar process, which did not prove to be success- ful, his pictures are now in a very bad state of preservation. With better success, Baldo\'inetti devoted himself to works in mosaic, which art had not been practised at Florence for about a century. In 1481 he restored the mosaic picture over the por- trait of San Miniato, at Monte, and in the following years (1482 — 1490) the more important mosaics in the tribuna and in the cupola of the Baptistery. He died at Florence, in the hospital San Paolo, August 29, 1499, and was buried in San Lorenzo. His best scholar was Domenico Ghirlandajo, who afterwards painted his portrait near that of him- self in the frescoes of Santa Maria Kovella (Vasari). Of his works may be mentioned: Bergamo. Gaflerv. His own Portrait. Florence. Uffizi. Enthroned Yirgin and Child, with Six Saints. „ SS. Annujiziata. The Xativity. „ San Jlitiiato. Annunciation. J. P. B. BALDEEY, John, an English painter, was bom about 1760. He exhibited portraits at the Royal Academy in 1793 and 1794, and also engraved a few portraits, and other subjects, in the chalk stj-le. He was living in 1821. Among his best works are the following : Di ana and her Nymphs ; after Carlo Maratti. The Benevolent Physician ; after E. Fenny. Lady Eawdon ; after Set/nolds. The Finding of Moses ; after Salvator Moia, BALDRIGHI, Giuseppe, was bom at Stradella, near Pavia, in 1723. After studjdng for some years at Florence, imder Vincenzo Meucci, and imder Boucher in Paris, he was invited to the Court of Parma, where he was Bopointed principal painter to the Duke. He established a school of painting in that city, which was much frequented. One of his most admired productions is a picture of ' Prometheus released,' in the Academy at Parma ; he likewise painted a large picture of the family of Philip, Duke of Parma, which gained him great reputation. His own portrait is in the UfiBzi, Florence. He died at Parma in 1802. BALDUCCI, GlovAXNi, called Cosci, after his maternal uncle, was, according to BaJdinucci, a native of Florence ; he was a scholar of Battista Naldini. In 1590 he went to Rome, where he was taken under the protection of the Cardinal Alessandro de' Medici, afterwards Leo XI., by whom he was employed for some time. Several of his works are at Rome and Florence. Towards the latter end of his life he visited Naples, where he painted some pictures for the churches. He died there in 1603. BALDDCCI, Matted, a native of Fontignano, was an associate of Bazzi between 1517 and 1523. In the following year he painted an altar-piece in 74 San Francesco di Pian, Castagniano, in Montami- ata ; and works by him are seen in the Academy and churches of Siena. BALDUN6, Hans, (called Gbien or Gbdn, pro- bably from his habit of dressing in green,) was bom at Gmiind, in Swabia, between 1475 and 1480 ; he was a painter, engraver, and designer. Nothing is known of the youth of this important artist, and two altar-pieces in the Convent of Lichtenthal, near Baden-Baden, dated 1496, are thought to be his earliest productions. His first authenticated painting, dated 1501, representing the portrait of the Emperor Maximilian, is in the artist's sketch-book, in the Cabinet of Engravings at Carlsruhe. In 1507 he painted the altar-piece of St. Sebastian, lately in the possession of Herr Fr. Lippmann at Vienna, and probably also the ' Adora- tion of the Magi,' in the Museum at Berlin. It is very likely that Baldung worked at Nuremberg from 1507 to 1509, where he executed under the direction of Albrecht Diirer the copies of ' Adam and Eve,' after that master, in the Pitti Palace at Florence, and also probably assisted him in other works. In 1509 he removed to Strasburg and bought the freedom of that city ; in 1511 he went to Freiburg, but according to the chroniclers stayed subsequently several times at Strasburg, where he died in 1545. He was highly esteemed by the nobility of his time, especially by the Margrave of Baden, and stood on very intimate terms with Albrecht Diirer. Baldung, though he properly belongs to the Swabian school, exhibits in his works a close imitation of the style of Albrecht Diirer. He shows himself as a most energetic and characteristic artist ; he possessed an uncommon gift of invention and expression, but was too capricious and impetuous, and often too fantastic. His colouring is excellent, except in his latest productions, where the carnations are too pale. He painted religious, mythological, and allegorical subjects, and portraits. It may here be added that, if the altar-pieces at Lichtenthal are really by him, there is sufficient proof that he studied first die works of Schongauer. His chef- d'(euvre is an altar-piece in the cathedral of Frei- burg; it bears the inscription, Joannes Baldung Cog. Geien Gamundiantjs Deo et Vibtute Auspi- ciBUS Faciebat 1516. It represents the 'Corona- tion of the Virgin,' on the inside wings the • Twelve Apostles,' and on the outside the ' Visita- tion,' the ' Fhght into Egypt,' the 'Nativity,' and an ' Annunciation,' which Kugler attributes to another painter. His designs, distinguished for their excellent conception and a surety of hand reminding us of Albrecht Durer, are to be met with at Basle, Berlin, Carlsruhe, Copenhagen, Florence, Hanover, Lon- don, Paris, and Vienna. As an engraver on copper, he was not very excellent in the technicalities. The following plates may be mentioned : The Man of Sorrows. The Groom, considered his best ; an etching. An old man kissing a girl ; an etching. 1507. St, Sebastian. He was, however, more excellent as a draughts- man on wood. What has been said of his paintings may be repeated for his woodcuts ; at present we know over 60 prints by him, which are _^ signed with very different monograms, TqN . sometimes the two letters H. B. imited. ALESSO BALDOVINETTI ^■^1 ^1 1 1^. i i fe ii LJ . ' i- ■ LI h^ ' . . ".■ eSi. 1 J il ■ . m 1 1 ^^^^^^^^BjBf ■ B 1' ^_J^ ' S k III i^^i^^**- -""" m ^^^: 'i p "^ T^!^i^?^^^^^*n^^^M ^j '~^^-' ~~ ^^**T^f^iii^,r-*; ^ Anderson photo ^ THE ANNUNCIATION \Uffizi Gallery, Florence PAINTERS AND ENGRAVERS. Adam and Eve in Paradise, Eve plucking the Apple. The Fall of Adam ; inscribed on a Tablet, Lapsus hu- mani generis, 1511. Christ and the Twelve Apostles; in thirteen plates. 1518. The Crucifixion, with St. John supporting the Virgin, and Mary Magdalene behind the Cross ; fine, in chiaroscuro. Illustrations to the Ten Commandments. 1516, 1518, 1531. St. Sebastian, two different prints. 1512 and 1514. A Pieta. Silenus drimk, near a Tun : Cupid insulting him. An Incantation ; in chiaroscuro. 1510. Two Landscapes ; very scarce. The Groom and the Sorceress ; no date. Four small upright prints — Solomon's Idolatry ; Samson and Delilah; David and Bathsheba; and Aristotle and Phryne. Very fine. The Holy Family, with St. Elisabeth and St. Catharine ; half length. 1512. Three prints of Horses in a Forest ; marked Baldunij. 1534. The Fates. The two mothers, called the ' Kinderaue.' Phyllis riding ou Aristotle. The portrait of Luther. The portrait of the Margrave of Baden. . The Virgin with St. Anna, both holding the Infant Christ ; St. Joseph, St. Joachim behind. A large print. The following are his most important paintings : Aschaffenburg. Gait. Christ on the Cross. „ „ Joseph and Mary adoring the Infant Christ. .Basle. Gallery. Death and a Woman Berlin. Museum. Christ on the Cross. 152 — . „ „ Christ on the Cross. 1512. „ „ Triptych. Adoration of the Kings — SS. George and Maurice on the wings, and SS. Catharine and Agnes on the exterior. 1507. „ „ Stoning of St. Stephen. 1522. Darmstadt. Gallery. ' Noli me tangere.' 1539. Frankfort. Stadel. Heavenly and Earthly Love. Freiburg. Cathedral. Altar-piece (see text). Munich. Pinakothek. Portrait of the Margrave Philipp Christoph of Baden. 1514. ScIileissheim.Ga?ZtT^. Portrait of the Margrave Philipp Christoph of Baden. 1515. Vienna, Gallery. Portrait of a young man. 1515. n » His own Portrait — clothed in green. W. B. S. BAL^CHOU, Jean Joseph, a celebrated Frencli engraver, was born at Aries in 1719. He studied first under a seal-engraver named Michel at Avig- non, and afterwards under Lepicie in Paris : but, compelled to leave that city, he returned to Avignon, where he died in 1764. Balechou carried the handling of the graver, as far as regards the clearness of the strokes and brilliancy of colour, to a higher perfection than any engraver of his country that had practised the art before him; and if neatness of execution were the greatest merit of a print, few artists would have an equal claim to distinction ; but if the excellence of the plate consists in expressing the effect produced by the painter, and in giving the true design, and, if it may be so expressed, the colour of the picture, his pretensions to superiority will be considerably diminished. Notwithstanding the fascination of his execution, it will be admitted by every judicious observer, that his flesh appears like marble, and that the deficiency of his drawing incapacitates him from giving the true effect of the style and character of the painter. This defect, it must be confessed, is most discernible in his historical prints and some of his portraits ; and it will be admitted that his three plates after Vernet are among the fine productions of the graver, although they have been so much surpassed by our own incomparable Woollett. The following are his most important works : PORTRAITS. Anne Charlotte Gauthier de LoiseroUe, wife of J. A. Aved ; after Aved. William IV., Stadtholder of the Netherlands, when Prmce of Orange ; after the same. Prosper Jolyot de Crebillon ; 1751 ; after the same; fine. Jacques Gabriel Grillot, abbe de Pontigny; after .Autreait. Charles Kollin ; 1741 ; after C. Coypel. Charles Poree, Jesuit ; after Neilson. Heinrich, Count von Briihl ; after L. Silvestre ; fine ; but it must be before the name of Balechou, as it was ill retouched. Jean de Jullienne, director of the Gobelins ; 1752 ; after De Troy. Madame Jullienne ; after the same. Don Philip, Infanta of Spain, Duke of Parma; after Viahj. Charles Antoine Coypel, painter; after himself. Augustus III., King of Poland ; after Rigaiid ; the first impressions are very fine; the plate was afterwards much altered SUBJECTS AFTER VARIOUS MASTERS. Infancy and Youth ; two fancy subjects ; after D. Bardon. Five fancy subjects ; after E. Jeaurat. Le Terre ; the Portrait of Louisa Elizabeth of France, Duchess of Parma; after Nattier. St. Genevieve ; after C. van Loo. The Storm; after Vernet {his ehef-d'oeuvre). The Calm ; after the same. The Bathers ; after the same. BALEN, Hendrik van, who was born at Ant- werp in 1560, is said to have been instructed in the art by Adam van Noort, who was also the master of Rubens. On leaving that school he went to Italy, where he studied some years, and painted several pictures which were greatly admired. On his return to Antwerp he was so much employed that it was with difficulty he could satisfy the demand for his works. In 1593 he was received into the guild of St. Luke, and in 1609-10 he was dean. Balen was one of the first of the Flemish painters who succeeded in that purity of colour, which was afterwards carried to such perfection by Rubens and Van Byck. In his cabinet pictures he generally made choice of very agreeable sub- jects, and frequently represented the ' Metamor- phoses ' of Ovid, in which the landscapes were generally painted by Jan Brueghel, and the animals sometimes by Snyders, who with Van Dyck was a pupil of Van Balen. His works of this description were extremely popular, and were placed in the choicest collections. He did not, however, confine himself to works of a small size, but painted, with less success however, many pictures for the churches. In the cathedral at Antwerp there is a fine altar- piece by him. The centre piece represents the ' Virgin Mary, with the Infant Saviour and St. John ; ' and on the two folding-doors, which are now in the Antwerp Gallery, a ' Choir of Angels.' For another altar in the same church he painted ' St. John preaching in the Wilderness,' also now in the Antwerp Gallery ; well composed and admirably coloured. Van Balen occasionally painted figures in the landscape pictures of other artists. He died at Antwerp in 1638 (or 1632). The following are some of the best of his works ; they frequently occur in the continental galleries, but he is un represented in the National Gallery : 75 A BIOGRAPHICAL DICTIONARY OF Amsterdam, Bacchus and Diana. Berlin, The "Work- shop of Vulcan (part by Jan Brueghel). Brussels, Plenty (part hi/ Brueghel). Cassel, Diana and Actseon. Dresden, Diana and her Nymphs surprised by Action ; Bacchus and Ariadne (signed). Hague, Offering to Cybele. Munich, A Bacchanalian Scene ; The Feast of the Gods. Paris, A Feast of the Gods (signed). Petersburg, Repose of the Holy Family; Virgin and Child. Vienna, Jupiter and Europa, BALEN, Jan van, the son of Hendrik van Balen, was bom in 1611 at Antwerp, and was instructed by his father. After having made con- siderable progress in the art, his father sent him to Italy, where he had himself derived such advan- tage from his studies. He remained some years at Rome, and appears to have attached himself to the works of Francesco Albani, whose charming style he has imitated without attending to his purity of design. He returned to Antwerp in 1642, and died there in 1654. In all his pictures the style of his country is discernible ; although his colouring is excellent, and his pencil free and flowing, we have always to regret his want of taste, and his inattention to the correctness of his oiitb"ne. He had two brothers, GaspaR (born in 1615) and Hendrik (born in 1620), who were both painters. BALEN, ilAlTHlJS VAN, who was born at Dor- drecht in 1684, studied under Arnold Houbraken, and became a good painter of historical pieces, landscapes, and portraits ; he also practised the art of engraving. He died in his birthplace at a great age. The Darmstadt Gallery has a ' Holy Family ' in a Landscape attributed to him. BALESTRA, Antonio, was born at Verona in 1666. He was first instructed in art by Giovanni ZefSo ; but at the age of 21 he went to Venice, and became the scholar of Antonio Bellucci. After passing a short time vrith this master he went to Bologna, where he remained some time, and afterwards visited Rome, where Carlo Maratti was then in high reputation. He attended the school of that master, gained the prize at the Aca- demy- of St. Luke in 1694, and was employed to paint several pictures for the churches and palaces at Rome. He subsequently resided for many years in Venice, and died at Verona in 1740. His style bears some resemblance to that of Carlo Maratti, and his works are held in considerable estima- tion. He selected the best points from every school, uniting a variety of beauties in a style of his own, wliich partakes least of all of the Vene- tian, though he taught in Venice. He promoted the reputation of that school both by his lectures and example, and left two excellent imitators in his scholars Mariotti and Nogari. In the church of Sant' Ignazio at Bologna is a picture by this master, representing the ' Virgin and Infant, with St. Igna- tius and St. Stanislaus.' The churches of Venice, Vicenza, Padua, Brescia, and Verona also possess examples of his art. Balestra etched some plates from his own designs in a free, masterly style : these are sometimes marked -n-ith his name at length, sometimes with a cipher. We have by him, amongst others : The Sketch of the Head of a 'Warrior. Two Soldiers. The Virgin Mary and Infant in the Clouds, with St. John; ia^cTihed JLiter piilchrte dUectiom's ; Antonim Bill stra in. et fecit: 1702. A Vignette, with two figures holding a Flag; I'erona Jidelis. Portrait of Michele Sanmicheli. BALESTRA, Giovanni, an Italian engraver, was born at Basssno in 1771. He studied under Count Remondini, and in 1803 went to Rome, where he remained until his death, which took place in 1843. Among his principal works are : Christ and the Samaritan "Woman at the Fountain; after Garofalo. The Penitent Magdalene ; after Murillo. Madonna del Rosario ; after Sassoferrato. Aurora and Cephalus; after Annibale Carracci. BALLANTVNE, John, son of Alex. Ballantyne, and a member of the celebrated family of Scotch painters. He exhibited his first picture at the Royal Academy when quite young. He occupied much of his time by copying Old Masters in the principal Galleries on the Continent, and he also executed a series of portraits of celebrated painters in their studios, one of which, that of Sir Edwin Landseer, was presented to the National Gallery by Sir H. Agnew. He was elected a member of the Royal Scottish Academy in 1845, and died in 1897. BALLENBERGER, Karl, who was bom at Ansbach in 1800, went to Munich as a stone-mason in 1831, and was there instructed in drawing by Fr. Hofistadt, and subsequently attended the Academy. He established himself at Frankfort, and became very intimate with Philipp Veit. He followed the romantic style of his time, and studied with the greatest perseverance old German art. His chief paintings are the portraits of Conrad I., Louis of Bavaria, and Rupert of the Palatinate, in the Imperial Hall of the ' Romer,' at Frankfort. He etched a plate of the arms of artists. His ' Death of St. Meinrad ' has been engraved by H. Niisser. He died at Frankfort in 1860. BALLI, SiMONE, a Florentine artist, who, not being duly appreciated in his own city, went to Genoa and practised under Pazzi. His style resembled that of Andrea del Sarto. In addition to his pictures for the churches of Genoa, he painted small works on copper. He flourished about 1600, and died at an advanced age. B.4LLINI, Camillo, the son of Gaspare Ballini, a goldsmith at Venice, and pupil of Jacopo Palma ' the younger,' flourished, according to Zani. about the latter part of the 16th century : he was both a painter and engraver. Lanzi says he painted in Venice in the age of the Mannerists ; Zani speaks .of him as an artist of talent, and Lodovico Dolce commends him for his apphcation and assiduity. Numerous decorative paintings by him are in the Doge's Palace at Venice. BALLIU, P. DE, (or Bailliu). See De Bailliu. BALMER, George, the son of a house-painter, was born at North Shields about 1806. He was brought up as a decorator, and, whOe young, practised at Edinburgh. Always fond of art, he found time to contribute to an Exhibition of Water-Colour Drawings in Newcastle in 1831, and afterwards assisted W. J. Carmichael in painting the large picture, ' The Heroic Exploit of Admiral Collingwood at Trafalgar,' now in the Trinity House at Newcastle. Soon afterwards, Balmer visited Holland, the Rhine, and Switzerland, stay- ing on his way home at Paris, where he studied the masterpieces in the Louvre. On his return he settled in London, and for several years exhibited pictures of the Rhine, coast scenes, and moon- light views. In 1836 he suggested to the Findens the publication of a work on ' The Ports and Har- bours of Great Britain,' for which he made many drawings. Soon after he came into property, and in 1842 retired to Ravensworth, in the county of PAINTERS AND ENGRAVERS. Durham, where he died in the prime of life in April, 1846. BALTARD, Louis Pierre, a French architect, painter, and engraver, was born in Paris in 1764. He occupied himself first with landscape-painting and engraving, and was instructed in architecture by Peyre the younger. In 1786 he went to Rome for two years ; in 1792 he designed decorations for the Opera at Paris. Soon after he was made pro- fessor of architecture at the Polytechnic School, and subsequently at the Bcole des Beaux-Arts. He died in Paris in 1846. He executed part of the plates for the 'Expedition to Egypt,' and began to publish at the same time, in 1803, his ' Paris et ses Monumens.' The work was left unfinished with the 25th part on account of the great expense. His plates are of a light and pure design : among them may be mentioned : Des Monuments antiques de Rome, 48 plates; 1806. Galerie fran^aise des productious de tous les Arts, 14 parts. La Colonne Vendome, 145 plates ; 1810. Es.sai m^thodique sur la decoration des monuments, 120 plates ; 1817. Portrait of N. Poussin. BALTHAZAR, Domenico. See De Costere. BALTHAZAR, Pieter, (Baltens, or Balten.) See De Costere. BALTZ, J. Georges, a painter of miniature portraits and landscapes on porcelain, was born at Strasburg in 1760. He died in Paris in 1831. BALZAC, Charles Lodis, who was born in Paris in 1752, was an architect and architectural draughtsman. He made many drawings for De- non's work on the monuments of Egypt, and also views of various interesting Egyptian buildings, Buch as the interior of the Mosque at Hassan, the Palace of Kamac, the Great Sphinx, and the Pyramids of Ghizeh. Balzac died in Paris in 1820. BALZE, Paul Jean, enamel painter, bom at Rome of French parents in 1815, was a pupil of Ingres. He was best known by copies made in conjunction with his brother Raymond Joseph, of Raphael's frescoes in the Vatican, a work on which he was engaged ten years. He also worked for Parisian churches. He died in 1884 BALZER, JoHANN, a Bohemian engraver, was bom at Kukus, in Bohemia, in 1738. He was first instructed in art by Rentz, but subsequently completed his education by travelling through Germany, where he visited several Academies. He chiefly resided at Prague, where he produced numerous works, mostly portraits, and died in 1799. He left two sons, Anton (1771—1807) and JoHANN Karl (1771 — 1805), who were both en- gravers. In conjunction with his brothers Mathias and Greoor, and his son Johann Karl, Johann Balzer engraved and published several works ; amongst which are the following : A set of fifty plates of Landscapes and Architectural subjects, with Biblical, mythological, and genre groups of figures; after Xorbert Grund, an old German painter. Two sets of Portraits of Artists and Learned Men of Bohemia and Moravia; published at Prague in the years 1773 to 1782 (ninety plates). BAMBERGER, Friedrich, born at Wiirzburg in 1814, was instructed in the principles of paint- ing at Dresden ; he afterwards visited the Aca- demy at Berlin, and became a disciple of Krause, a painter of marine pictures, and at Cassel of Primavesi, an engraver. In 1832 he went to Munich, where he became acquainted with Rottmann, whom he subsequently followed in his landscapes, with great success. In 1845 he visited Normandy and England, and one of his best paintings of that time is the ' Battle-field of Hastings, with a view of the sea.' After a first journey to Spain he settled at Munich, but subsequently paid two more visits to that country. Many of his Spanish landscapes were highly esteemed, but he did not possess the capacity of producing great effects. Several of his productions are in the Pinakothek and the Schack Gallery at Munich. His drawings and studies are of especial merit. He died at Neunenhain, near Soden, in the Taunus, in 1873. BAMBINI, GlACOMO, who was born at Ferrara about 1582, was a scholar of Domenico Mona. There are many of the works of this master in the churches and other public edifices in his native city. In the cathedral are three altar-pieces, re- presenting the ' Annunciation,' the ' Flight into Egypt,' and the ' Conversion of St. Paul.' He died at Ferrara in 1622 or 1628. A particular account of his other works will be found in Barotti's Pitture e Scolture di Ferrara. BAMBINI, CavaUere Niccol6, was born at Venice in 1651, and first studied under Giulio Mazzoni at Venice ; but afterwards went to Rome, where he became a scholar of Carlo Maratti. According to Lanzi, he was a correct and elegant designer, with a chaste and simple principle of colouring. Some- times he designed in the taste of the Roman school, as in his picture of San Stefano, painted soon after his return from Rome ; and at others he imitated the style of Liberi, particularly in the beauty of his female heads. He died at Venice in 1736. He had two sons, Giovanni and Stefano Bambini, who painted in the style of their father. BAMBOCCIO. .See Laar, Pieter van. BAMBSBIER, Johann, a portrait painter, of German extraction, was a disciple of Lambert Lorabardus. He was born in 1500, and died in 1598, at Amsterdam. BAMPFYLDE,CoPLESTONEWARRB,awell-known amateur, of Hestercombe, Somersetshire, was the only son of John Bampfylde, M. P. He was an honorary exhibitor of landscapes at the Academy towards the end of the 18th century, and a few of his works have been engraved by Vivares and others. He died in 1791. BANCHERO, Angelo, was born in 1744 at Sestri, near Genoa, and went to Rome and studied painting under Pompeo Batoni. On his return he executed various pictures for the churches of Genoa. Especially noticed is a ' St. John in Prison,' painted for his native Sestri. Banchero died in 1793. BANCK, Van der. See Van der Banck. BANCKS, Charles, (or, as he usually wrote it, Banks,) was a Swiss by birth, but settled in England in 1746, while still young. He practised the art of miniature painting, and occasionally exhibited at the Royal Academy in the latter part of the 18th century. BANDIERA, Benedetto, was bom at Perugia in 1557. From the resemblance of his works to those of Federigo Barocci, it is supposed he was a disciple of that master. He painted history, both in oil and in fresco, and his pictures were in considerable repute. He died in 1634. BANDINELLI, Bartolommeo, or Baccio, was bom at Florence in 1493. He was a very dis- tinguished sculptor ; and if he was not so success- ful as a painter, he is yet entitled to our notice from the grandeur of his design, although he did not succeed equally well as a colourist. He was 77 A BIOGRAPHICAL DICTIONARY OF extremely jealous of the fame of Michelangelo, and was ambitious of excelling in both arts, in imita- tion of that great master. But it is seldom that human nature is endo-sred with the faculties of that Dlustrious artist, and it is probable that what- ever merit Bandinelli possessed as a painter, was deprived of the tribute to which it might be entitled, by being brought into the lists against so gigantic an adversary. His principal works, as a painter, were the 'Murder of the Innocents,' en- graved by Marco da Ravenna, and the ' Martyrdom of St. Laurence,' engraved by Marc-Antonio. He died at Florence in 1560. A series of Studies of Animals by Bandinelli is in the Louvre, Paris. BANKS, Charles. See Bancks. BANNERMAN, Alexander, was bom at Cam- bridge about the year 1730. He engraved several of the portraits for Walpole's 'Anecdotes of Paint- ers,' and some plates for Boydell's collection, among which are : Joseph interpreting Pharaoh's Dream; after SpagnoUtto. The Death of St. Joseph ; after Velazquez. Children Dancing; after Le Xain. He was Hving at Cambridge in 1770, but the date of his death is unknown. BANNOIS, — . Strutt mentions this artist as the engraver of a portrait of Queen Elizabeth of England. BAPTIST, Jacob. This artist, a native of Deutekom, probably of French extraction, resided at Amsterdam about the year 1720. He engraved principally book-plates, the best known of which are the plates for the ' Histoire du Vieux et du Nouveau Testament,' from the designs of Goer^e and others, published by Mortier at Amsterdam in 1700. They are executed in a very indififerent style. BAPTIST, Jan Caspab, a native of Antwerp, was a scholar of Thomas Willeborts. He visited England during the civil war, and was much em- ployed by General Lambert. After the Restora- tion he became an assistant to Sir Peter Lely, and afterwards to Sir Godfrey Kneller. He drew well, and excelled in making designs for tapestry. The portrait of Charles II. in the hall of the Painter-Stainers' Company, and that of the same king in the hall of St. Bartholomew's Hospital, were painted by him. He died in London in 1691. BAPTISTS. See Monnoteb. BAQUOY, Jean Charles, the eldest son of Mau- rice Baquoy, was born in Paris in 1721. He en- graved book-plates after the designs of Eisen, Gravelot, Moreau, and others, among which are a set of vignettes for the French translation of 'Ovid's Metamorphoses,' published by Basan, which are executed in a finished style, and a set of plates, after Oudry, for the Fables of La Fontaine. He also engraved after Boucher, Watteau, J. Vemet, Wouwerman, and other masters. He died in Paris in 1777. BAQUOY, Maurice, a French engraver, was bom about 1680, and worked in Paris from 1710 to 1740. He engraved a set of vignettes for the ' Histoire de France,' by Gabriel Daniel, from the designs of Boucher. We have also by him a set of landscapes and views, and a naval combat, after P. D. Martin, the younger — one of the four large battle-pieces after Jlartin engraved at Paris for the Czar, Peter the Great. Baquoy died in 1747. BAQDOY, Piebbe Charles, the son and pupil of Jean Charles Baquoy, was bom in Paris in 1759. 78 Besides a variety of book-plates, which are very neatly executed, we have by him several prints after French painters. He died in Paris in 1829. For complete lists of the works of the Baquoys see Meyer's ' Kiinstler-Lexikon.' BAR, BoxAVEXTDBE DE, who was bom in 1700, painted after the manner of Watteau. He became a member of the Academy at Paris in September 1728, or December 1727, and his reception painting, a ' Fete Champetre,' is in the Louvre. He died in 1729. BAR, Jacques Chables, a French engraver, published, in 1778, a series of coloured plates of the costumes of military and religious orders. Besides these he executed several prints, after C. N. Cochin, fils, and one called 'The Village Bath,' in colours, in conjunction with Chatelet. He worked in Paris from 1777 to 1800. BARA, Jan, (or Barba.) a Dutch engraver, who was born about the year 1574. He came to Eng- land, and died in London in 1634. Meyer's 'Kiinstler-Lexikon' erroneously confounds him with Johannes de la Baer, a Flemish glass-painter, who was still living in 1659-60. He appears to have imitated the style of the Sadelers, but he by no means arrived at their exceUence. His works bear date from 1598 to 1632, and among them are the following ; portraits. Christian II., Elector of Saxony. 1605. Prince Maurice of Nassan-Orange. Joachim, Count of Ortenburg. Louis, Duke of Bichmond and Lennox ; after Paul van Somer. 1624. Henrietta Maria, Queen Consort of Charles I. VARIOUS SUBJECTS. Bust of a Man, with two allegorical figures representing Painting and Science. 1622. A Landscape, with Phaeton demanding of Apollo the conduct of his Car ; Jo. Barrafe. The History of Tobit ; after Zapponi ; four plates. Christ and the Apostles ; after Joost van JVingen ; thirteen plates. Christ and His Disciples going to Emmans ; Joann barra fe. A Landscape, with Susannah and the Elders ; Joh. Barra fecit Londini^ 1627. The Five Senses ; Johannes Barrafe.; five plates. The Seasons ; after P. Steevens ; four plates. Susannah and the Elders : after H. Goltzius. 1598. Bathsheba bathing ; after G. Tf'eyer. The Parable of the Sower ; after A. Bloemaert. Herodias, with the Head of St. John the Baptist ; after Johann von Aachen. Twelve plates of Grotesque Ornaments ; after yicasius Sousseel, marked Johan : Barra : sculp. Landinij. 1623. BARABBINO, Simone, was bom at Polcevera, near Genoa, about the year 1585, and was a dis- tinguished scholar of Bernardo Castello. His extraordinary talent alarmed the jealousy of his instructor to such a degree that he expelled him from his Academy. He soon afterwards painted a picture of ' St. Diego,' for the Nunziata del Guas- tato, which Soprani considered equal in merit to the work of Castello. Not meeting with the en- comagement he merited at Genoa, he established himself at Milan, where he received the tribute due to his ability, which his fellow-citizens had denied him. One of the finest works of this painter is the ' Dead Christ with the Virgin, St. Michael, and St. Andrew,' in the church of San Girolamo at Milan. Lanzi says he quitted his profession and turned to merchandise, in which PAINTERS AND ENGRAVERS. he did not succeed, and that he died in prison. He must have been quite old when he died, as Zani says he was living in 1664. BARABE, — , a French architect and engraver, a native of Rouen, flourished about the year 1730 at Paris and Versailles. He engraved prints of architectural subjects, and was one of the first to work in aquatint. BARATTA, Antonio, (or Baraiti,) an Italian designer and engraver, was born at Florence about the year 1727. He engraved several plates for a volume of prints from pictures in the collection of the Marquis Gerini, published at Florence in 1759. He also engraved, among other portraits, that of the painter Giovanni Bettini Gignaroli, after Delia Rosa. BARBALONGA, Antonio, a member of the noble family of the Alberti, is often confused %vith Antonio Ricci. He was bom at Messina in 1600, and was there instructed in painting by Simone Comand^. He went lo Rome, where he became a disciple of Domenichino, whose style he imitated with great skill. He executed a great number of paintings for churches, his chief work being the ' Conversion of St. Paul,' in the convent church of St. Anna at Messina ; others are to be met Avith at Rome, Palermo, and Madrid. He died at Messina in 1649. BARBALONGA, Antonio. See Ricci, Antonio. BARBALONGA, Juan de. See Vermeijen. BARBARELLI, Giorgio, (or Barbarella.) See GlORGIONE. BARBARINI, Franz, an Austrian artist of Italian origin, was bom at Znaim in 1804. He excelled as a painter of landscapes and as an en- graver. He studied at Vienna, under Jos. Kem- pel, a sculptor, but devoted himself afterwards to landscape painting, in oil and water-colour, in which branch he improved himself by visiting Salzburg, the Tyrol, and Switzerland. He died at Vienna in 1873. Among his etchings may be mentioned : A Mountainous Region in Austria. The Country-house. On the Road to Schonbrunn. 1827. The Must Waggon, 1827 ; after J. A. Klein. The Saddled Horse ; after the same. The Country of the Bernese Oberland; after Ville- neuve. A series of 17 landscapes ; after Rothmuller. BARBARJ, Jacopo de', called also Jacob Walch, and the ' Master of the Caduceus,' was born at Ve- nice about 1450, and was working at the beginning of the 16th century. The history of this master has long been a matter of dispute among critics. It now seems satisfactorily established that Barbarj and Walch, who were formerly considered as two different artists, were really the names of the same master, who was simply called Walch (that is, a foreigner), in Germany, because of his Italian birth. The evidence for this birth rests chiefly on a state- ment made by Diirer in a MS. preface to his ' Book of Human Proportions,' preserved in the British Museum. He speaks in this of " a man named Jacobus, born at Venice, a delightful painter," who showed him, when he was quite young, a figure of a man and a woman, drawn to scale, which greatly delighted him, and " moved him to try to arrive at Uke results." When Diirer went to Venice in 1506 he mentions in one of his letters that Jacopo was not there, and indeed it is generally believed that in this year he accom- panied Count Philip of Burgundy to the Nether- lands, stopping on the way at Nuremberg. M. Emile Gahchon, who was the first to throw light on the history of this master, supposes that he first went to Nuremberg at this date ; but an earlier residence there of some length is more probable, considering that Walch is mentioned by Neudorffer, the historian of the Nuremberg artists, as belong- ing to that town. He says also that Hans von Kulmbach was bis pupil. M. Ch. Ephrussi, in his recent EQonograph on Barbarj, considers that he resided in Nuremberg between the years 1494 and 1500, and even an earlier date may well be sur- mised. But some time before 1500 Barbarj must have been back in Venice, for at that date he executed an immense plan or bird's-eye view of that city, which was engraved on wood, and pub- lished by Anton Kolb, the head of the German merchants settled in Venice. After his journey to the Netherlands we lose sight of him, until his name appears in 1510 in the accounts of Margaret, Regent of the Netherlands. He is here called " Valet de chanibre and Court-painter " to this princess, and it is recorded that a sum of seventy- six livres and six deniers was paid to him in order that he might buy a velvet doublet and a robe lined with lamb's-skin. In 1511, also, a yearly pension was accorded to him " in considera- tion of his good, agreeable, and continual service," he being then " weak and old, and receiving no other wage." Before 1516 we know he must have died, for in that year he is spoken of in an inven- tory of the Archduchess Margaret's effects as " the late Master Jacopo." In 1621, when Diirer was travelling in the Netherlands, he saw a sketch- book by Jacopo, wliich he admired so much that he asked the archduchess to give it him, but she said she had already promised it to Bernhard van Oriey. Jacopo de' Barbarj' s art forms a point of contact between the German and Italian schools, but his style is more that of a Germanized Italian than of an Italianized German. His subjects are chiefly chosen from classical mythology, and a classic grace and feeling are seen in his treatment of them, though in execution his prints are often entirely German. Very few paintings can be with certainty ascribed to this master. One of these, a still-life subject, in the Augsburg Gallery, is signed Jac de bai-barj. P. 1504, with the Caduceus underneath on a conspicuous folded sheet of paper, painted in one corner of the picture. There seems, therefore, no doubt about the authenticity of this work, though it is a strange subject (a pair of gauntlets, and a bird, hanging against a wooden wall) to find painted by such a master. Other paintings ascribed to him are : 1. St. Jerome in his Cell ; also ascribed to Van Byck and Memling, and by Crowe and Cavalcaselle to Antonello da Messina. Now in the possession of Lord North- brook. 2. A bust figure of Christ, signed with the Caduceus and the initials I. A. D. B., in the Weimar Gallery. 3. Virgin and Saints, formerly in the Galichon Collec- tion, signed with the Caduceus and initials I. A. F. F 4. A Bust of Christ. \ 5. St. Catharine. VAU in the Dresden Gallery. 6. St. Barbara. ) But it is as an engraver that Jacopo de' Barbarj IS chiefly known. Bartsch enumerates 24 copper- plates by liim, and more recent critics 29. These are : 79 A BIOGKAPHICAL DICTIONARY OF MYTHOLOGICAL SUBJECTS. 1 . Apollo and Diana. 2. Ariadne, also called Cleopatra. S. Mars and Venus. 4. Venus. 5. The great Sacrifice to Priapus. 6. The little Sacrifice to Priapus. 7. The Guardian Angel. 8. Two Tritons caressing in the Sea. 9. A Fnry carried off by a Triton. 10. Pegasus. 11. Fauns. 12. Family of Satyrs. 13. A Victory. 14. Victory and Fame, or Imperial Rome. 15. The Two Doctors. 16. The Two Centaurs. 17. Peasant and Family, called by Bartsch ' Adam and Eve.' 18. Three men bound (Les Supplieies) SACKED SUBJECTS. 19. Adoration of the Magi. 20. Jesus Christ. 21. Sebastian bound. 22. Holy Family, with St. Paul. 23. Another Holy Family (small square plate). 24. Holy FamOy, in an enclosed place. 25. Judith and Holofemes. 26. St. Catharine. 27. St. Jerome. 28. Hagar. The supposition that Jacopo de' Bar- barj was also a sculptor has not been proved. He signed usually with the Caduceus. But it has been supposed that the plates signed with W. which are generally attributed to Wolgemut are also by him. (See article by Dr. Anton Springer, Zeitschrift fur bildende Kunst, October 1876.) Dr. Springer is of opinion that though he signed with the Caduceus in Italy, he adopted the IF. in Germany in reference to his cognomen of Walch. See article by Emile Galichon, in ' Gazette des Beaus-Arts,' September 1873; 'Notes Bio- graphiques sur Jacopo de Barbarj,' by Charles Ephrussi, 1876. It. M. H. BAEBASAN, Louis, was, according to Florent le Comte, a monk of the Abbey of Premontre, and engraved the plan and perspective view of that monastery, from a design of F. Bayette, another ecclesiastic of the same Order. BARBATELLI, Bebnabdixo, called Poccetti, also BeEXARDIXO ' DALLE GbOTTESCHE,' ' DALLE Facciate,' or ' DALLE MusE,' was bom at Flor- ence in 1542 or 1548. He was a scholar of Michele di Eidolfo Ghirlandajo. After quitting the school of Michele, he went to Rome and studied the works of Raphael and other great masters there. He subsequently returned to bis native place, not only a pleasing and graceful figurist, but rich and learned in his compositions ; hence he was enabled to adorn his historical sub- jects with beautiful landscapes, with sea views, with fruit and flowers, draperies and tapestries, which he imitated to admiration. He was more successful in fresco than in oU painting. Very few of his pictures on panel or canvas, but many of his frescoes, remain in Florence. He died at that city in 1612. The following are some of his best works : Florence. iS.^nnun- Scenes from the hfe of the ziata. founder of the Convent of the Servites. „ San Marco. Scenes from the life of St. An- thony (fresco). 80 Florence. Pitti Palace. Life of Cosimo I. {decoration of great Saloon). „ Certosa. Life of St. Bruno. BARBATJLT, Jean, a French painter and en- giaver, who resided some time at Rome, was bom about 1705. As a painter he is little known, but he etched a set of prints of ' Les plus beaux Monuments de Rome ancienne,' as well as two other series of archaeological plates. He likewise executed a few engravings, amongst which are the ' Martjrdom of St. Peter,' after Sublejrrsis, and the 'Arrival of Columbus in America,' after Soli- mena. He died in Rome in 1765 or 1766. BARBE, Jax Baptista, a Flemish engraver, was bom at Antwerp in 1578. In 1595 he entered the studio of Philippe Galle, and in 1610 he was re- ceived as a master into the Guild of St. Luke. He soon afterwards went to Italj- to improve himself in dra^ving, which may account for his being more correct in his design than many of his country men. On his return to Antwerp he engraved several small and middle-sized plates, in a veiy neat manner, and in a style very similar to that of Wiericx. He died at Antwerp in 1649. Van Dyck painted a portrait of this artist, which is engraved by Bolswert. SUBJECTS FROM HIS OWN DESIGNS. The Annunciation ; inscribed Spiritia aanctut. The Nativity; vasmheA Feperit Jilium. The Virgin Mary and St. Joseph arriving at Bethlehem ; inscribed £t reclinavit eum, ifc. The Virgin suckling the Infant Jesus in a Garland of Flowers ; inscribed Beatm venter, Sjc. Christ on the Mount of Olives ; In diebut, ^c. Christ and the Disciples at Enunaus ; £i aperti lunt, ^c. The Crucifixion ; ProhtJili,Ssc. St. Ignatius Loyola kneeling before an Altar. Four Emblematical Subjects of the Christian Virtues. APTEE VABIOUS MASTKBS. The Repose in Egypt ; St. Joseph presenting an Apple to the Infant ; after G. B. Paggi. The Holy Family, with the Infant Jesus embracing St Joseph ; afttr Rubens. Twenty-four plates of the Life and Miracles of Father Gabriel Maria, founder of the Annunciades ; with his Portrait; after A. van Diepenbeeck. The Virgin seated on a Throne, holding the Infant, with a Bird ; after Frans Franck, the elder. In Meyer's ' Kiinstler-Lexikon ' there is a list of 148 of his engravings. BARBELLA, Giovanni Giacomo, was bom at Cremona in 1590, and died in 1656. He is highly extolled by Pasta for his pictures in various churches at Bergamo ; and particularly for an altar-piece in San Lazzaro, representing the titular Saint, remarkable for its dignity of character and decision of hand. BARBER, Charles, was bom in Birmingham, and early in life settled in Liverp^ool. where he became president of the Institute of Art in 1813. He afterwards exhibited landscapes with the Water- Colour Society. He was an occasional contributor to the Royal Academy, sending there — ' A View of Dovedale,' ' Evening after Rain,' and other land- scapes with figures. He died at Liverpool in 1854. BARBER, Charles Burton, an animal painter, was bom at Great Yarmouth in 1845. He studied at the Academy Schools, and in 1864 obtained a silver medal for drawing from the antique. In 1866, when only twenty-one years of age, he exhibited his first picture at the Royal Academy, to PAINTERS AND ENGRAVERS. the exbibitiona of which till his death he was a fre- quent contributor. His pictures, which generally represented children and dogs, were much repro- duced and were very popular. Some of the best- known were, 'Once Bitten, Twice Shy,' 'The Order of the Bath,' ' In Disgrace,' ' Sweethearts,' 'Trust,' and 'A special Pleader.' During twenty-five years Barber executed a large number of pictures for Queen Victoria. He painted most of Her Majesty's favourite dogs, combining many with a group of her grandchildren. His last picture, painted for the Queen in the year of his death, represented her in her pony-carriage surrounded by her grand- children. Barber lived chiefly in London, and died there in 1894. BARBER, Christophee, who was born in 1736, was a celebrated miniature painter of his time, and was especially careful in the preparation of his colours. He was a member of the Incorporated Society of Artists, and an occasional contributor to the Royal Academy, where, in 1808, he exhibited a portrait of himself in his seventy-first year. He died in Marylebone in 1810. BARBER, John Vincent, the son of an artist at Birmingham, made drawings for ' Graphic Illustra- tions of Warwickshire,' which was published in 1829, and exhibited landscapes at the Royal Aca- demy from 1812 to 1830. It is believed that he died at Rome soon after the latter year. BARBER, Thomas, born in Nottingham about 1768, practised in the midland counties as a por- trait painter for many years. In 1819, while residing at Derby, he exhibited at the Royal Aca- demy a portrait of Mrs. Siddons. He died at Nottingham in 1843. BARBER-BEAUMONT, John Thomas. See Beaumont. BARBIANI, Andrea. This painter was bom at Ravenna about the year 1680, and is supposed by Lanzi to have studied under Cesare Pronti. He painted history in the style of that master, and there are several of his works in the churches and public edifices of Ravenna and Rimini, which prove him to have been an artist of considerable ability. Among his most esteemed productions is 'The Four Evangelists,' in the cupola of the cathedral of Ravenna. He died at that city in 1754. BARBIANI, Giovanni Battista, was a native of Ravenna, and flourished about the year 1635. It is not said under whom he studied, but from his maimer it is probable that he was a scholar of Bartolommeo Cesi. His chief works in oil are his ' St. Andrea ' and ' St. Giuseppe,' in the church of the Franciscans, and his ' St. Peter ' in Sant' Agata, at Ravenna. His best work in fresco is the 'Assumption of the Virgin,' in the cupola of the chapel of the Madonna del Sudore, in the cathedral at Ravenna, which Lanzi says may be looked at with pleasure, even after seeing the cupola, by Guido, in that city. BARBIE, Jacques, (or Baebiek,) an engraver, who worked in Paris from 1735 to 1779, and executed among others the following portraits: Louis XVI. when Dauphin; bust in profile. Catharine II. of Eussia ; after J. C. de Mailly. Joseph II. of Austria. 1777. Charles III. of Spain. General Wolfe ; after Sir Joshua Reynolds. BARBIER, Jean Jacques Francois le. See Lebarbier. BARBIER, Nicholas Alexandre, a French Q landscape painter, was born in Paris in 1789. He at first executed architectural subjects, but after- wards joined the realistic school of landscape painting, and exhibited a great number of works at the Paris Salons from 1824 to 1861. He died at Sceaux in 1864. BARBIER-WALBONNE, Jacques Luc, a French historical and portrait painter, was born at Nismes in 1769. He was a pupil of David, and painted several subjects from Roman history, and others of a less heroic kind ; also portraits of the distin- guished generals of France. In the Gallery of Versailles are portraits, bj' him, of Moreau and Moncey. He died at Passy in 1860. BARBIEKE, Alessandro del. See Fel BARBIERE, Domenico del. See Del Babbieee. BARBIERI, Francesco, called Da Legnano, was born in a fortress called Legnano, in the vicinity of Brescia, in 1623. He was first intended for the profession of arms, but having evinced a great desire of becoming a painter, he was placed under Bernardino Gandini. He did not long continue with that master, but became a scholar of Pietro Ricchi, who had studied under Guido Reni. He painted history and landscapes, both in oil and in fresco ; and in all his works showed a ready invention, and a wonderful facility of execution. He died at Verona, according to Orlandi, in 1698. BARBIERI, Giovanni Francesco, (called Guer- CINO, squint-eyed,) was born of humble parentage at the small town of Cento, in the Ferrarese terri- tory, in 1591. Such was the early indication he gave of uncommon genius, that before he was ten years old he painted a figure of the Virgin on the fa9ade of llis father's house, which would have been considered as a very extraordinary pro- duction, even at a more mature age. He was a pupil of Zagnoni at Cento, and of Cremonini and Gennari at Bologna. But he was, in a great measure, the disciple of his own genius and of nature. It is probable that he derived some advantage from studying the celebrated picture by Lodoxnco Carracci, at the Capuchins at Cento, ai which he always spoke in terms of the highest admiration. The works of Guercino are distin- guished by three different styles, which he followed at different periods of his life. In his early works he seems to have been seduced into a violent and daring contrast of light and shadow, from the extraordinary estimation in which the pictures of Caravaggio were at that time held ; and though he is always superior to that master in design and dignity of character, his first productions were infected with the vitiated principles, and something of the vulgarity, of that painter. After having visited Bologna, Venice, and Ferrara, and having made a stay of some duration in Rome, he changed his manner; and his second style is distinguished by a grander and more elevated taste of desigp:i, more amenity and sweetness in his colouring, a fine expression in his heads, and an extraordinary relief, without the aid of harsh and violent con- trast. Such is his masterpiece, the celebrated picture of St. Petronilla,' in the Gallery of the Capitol, Rome: it was formerly in a chapel in St. Peter's, and is now represented by a copy in mosaic ; such are also the ' Aurora,' whiel; he painted in fresco in the casino of the Villa Ludovisi, Rome, his ' St. William of Aquitaine assuming the garb of a Monk,' in the Bologna Gallery, his 'Dido' in the Spada Gallery, Rome; and to his best time also belong his ' Angels weep- 81 A BIOGRAPHICAL DICTIONARY OF ing over the Dead Body of Christ,' in the National Gallery, and a ' St. Peter raising Tabitha,' in the Pitti Palace. On the death of his patron, Gregory XV., in 1623, Guercino left Rome, and removed to Cento, where he spent nearly 20 years. In 1626 he undertook his immense work of the Duomo at Piacenza, where he has carried fresco-painting to the highest perfection, in the beauty and force of his colouring, the boldness of his foreshortening, and the magic of his relief. The cupola is divided into eight compartments, in the upper part of which he has represented the Prophets, accom- panied by Angels ; and in the lower, the Sibyls, and subjects from the New Testament. These admirable performances caused Guercino's powers to rank among those of the greatest artists of his time. In 1642, after the death of Guido, he went to Bologna. Towards the latter part of his life, the celebrity which that painter had acquired by the beauty and suavitj' of his style, induced Guercino once more to alter his manner. He en- deavoured to imitate the grace and elegance of Guido' s forms, and the silvery sweetness of his colouring ; but in attempting deUcacy, he fell into feebleness and languor, and lost sight of the energy and vigour by which his best works are distin- guished. Of the pictures painted in his last and weakest manner, are most of those in the churches at Bologna, the ' Prodigal Son,' in the Turin Gallery, the ' Hagar and Ishmael,' in the Milan Gallery, and several paintings in the Louvre, which gallery contains no less than twelve works by Guercino. He died at Bologna in 1666. He was the head of a numerous school of painters, amongst whom we may notice Benedetto Gennari the younger, and G. Bonatti. In Guercino's best works even, we look in vain for the graces of ideal beauty, or the purest choice of selected nature. His figures are distinguished neither by dignity of form nor nobleness of air ; and there is generally something to be wished for in the expression of his heads ; but he subdues us by the vigour of his colouring: he is brilliant in his lights, tender in his demi- tints, and always energetic in his shadows. His drawing is bold, and often correct, and his execution is of the most prompt and daring facility. Of this we have a convincing proof in the sur- prising number of important works he accom- plished. Malvasia gives a list of them, by which it appears that he painted 106 altar-pieces for churches, 144 large historical pictures, besides his great fresco works, and his numerous Madonnas, portraits, and landscapes, in private collections. The following is a list of several of his best works : C 1/ \ Martyrdom of St. Lawrence. Bologna. Pinacoteca. Tlie Duke of Aquitaine receiving the cloak of St. Felix. *, „ St. Bruno and his companion in the desert. ,1 „ Apollo and Marsjas. Brussels. Jluseum. A young man placed under the protection of the Virgin by his patron Saints, Nicholas, Francis, and Joseph. Dresden. Gallery. Venus finding the body of Adonis. 1647. „ „ Cephalus and the body of Procris. 1M4. „ „ Diana. „ „ Semiramis. „ ,, S^t. Francis. „ „ The Four Evangelists. 82 Dulwich. College. The 'Woman taken in Adultery. Florence. Pitti Pal. St. Sebastian. „ „ Madonna della Rondinella. Uffizi. St. Peter. „ „ His own Portrait. „ „ The Samian Sibyl. „ ,, Endymion Asleep. Genoa. Pal. Brignoli. Cleopatra. „ „ Death of Cato. London. N'at. Gall. Angels weeping over the dead body of Christ. Madrid. Museum. Susannah at the Bath. „ „ Diana. Milan. Brera. Abraham dismissing Hagar. Xaples. Museum. Magdalene. Paris. Louvre. Lot and his Daughters. ,, ,, Virgin and Child. „ „ The Resurrection of Lazarus. „ „ Salome with the Head of John the Baptist. „ „ The Patron Saints of Modena. „ „ Circe. „ „ His own Portrait. n „ St. CecUia. Petersburg. Hermitage. St. Anne, the Virgin, and the Infant Christ. ,, „ Assumption of the Virgin. „ „ Martyrdom of St. Catharine. ,* „ St. Jerome. „ „ Samson and the Honey. Kome. Boryhese. Return of the Prodigal Son. „ Capitol Mus. St. Petronilla raised from the tomb. „ Corsini Pal. Ecce Homo. „ „ Christ at the 'WeU. ,, ^. Ludovisi. AuroradrivingawayNightfyVMco). „ „ Fame with Force and Virtue (fresco). „ Vatican. St. John the Baptist. „ „ The Magdalen. „ „ St. Margaret of Cortona. Vienna. Gallery. Return of the Prodigal Son. This laborious artist left an incredible number of admirable drawings, which are highly esteemed ; many of them were engraved by Bartolozzi. We have a few etchings bj' Guercino, executed with great freedom and spirit ; they are as follow : St. Anthony of Padua ; half-length ; Joan Fr. Cent St. John ; the same mark. St. Peter ; Joan F. Barbieri,/. St. Jerome, with a Crucifix ; the same mark. Bust of a Man with a cap and a beard. Bust o: a Woman. Bust o ■' a Man, in an Oriental costume. A life of Guercino, by J. A. Calvi, was pub- lished at Bologna in 1808. BARBIERI, LucA. According to Malvasia, this paiuter was a native of Bologna, and a scholar of Alessandro Tiarini. He painted architectural views and landscapes, and, in conjunction with Francesco Carbone (who painted the figures), executed some extensive works for the palaces and public edifices at Bologna. He flourished at the end of the 16th and the beginning of the 17th century. He is not to be confused with LoDovico Baebiebi, a painter of Bologna of the same period. BARBIERI, Paolo Antonio. This painter was the brother of Giovanni Francesco Barbieri, called Guercino. He was born at Cento, a village near Bologna, in 1603. The subjects of his pictures are flowers, fruit, and game, but he particularly excelled in painting fish, which he represented with astonishing fidelity. He died in 1649. BARBOR, Lucius, a miniature painter, worked chiefly in enamel, and exhibited at the exhibitions in Spring Gardens, London. He died in 1767. BARBUDO, El. See Vebmeijen. BARCA, Cavaliere Giambattista, (or Babchi,) GIOVANNI FRANCESCO BARBIERI CALLED GUERCINO Alinari phot6\ THE ANNUNCIATION \_Forli Gallery PAINTERS AND ENGRAVERS. was a native of Mantua, but became a citizen of Verona. He flourished about 1650. He is men- tioned by Lanzi and Zani as an artist of great ability. It is uncertain whether he was instructed by D. Feti, for his style was varied, but abounding with pictorial grace and beauty. BARCA, Vicente CALDERON de la. See Caldebon. BARCLAY, HnoH, born in London in 1797, practised as a miniature painter, and was likewise celebrated for his copies of tlie Italian Masters in the Louvre. He died in 1859. BAKCO, Del. See Del Barco. BARDIN, Jean, a French historical painter, born at Monthar in 1732, was a pupil of Lagr^nee. the elder ; and afterwards studied at Rome. He became a popular artist in France, and was ad- nutted into the Academy in 1779. He was made director of the art scliool at Orleans in 1788. His subjects are partly historical, partly poetical, and sometimes religious. He was the instructor, in the elements of art, of David and Regnault. He died at Orleans in 1809. BARDON, Michel FBAvgcis d'ANDRE. See Andbi!:-Bardon. BARDUCCI, V. The name of this engraver is affixed to a portrait of Pascal Paoli, the Corsican General. It is dated 1768. BARDWELL, Thomas, was an English por- trait painter, who died about the year 1780. He painted some portraits of the principal characters of his time, and published, in 1756, ' The Practice of Painting and Perspective made easy.' BAREN, Jan Anton van der. See Van der Baren. BAREND van BRUSSEL. See Orlet. BARENGER, James, a nephew of William Woollett, the celebrated engraver, was born in 1780; and was well known as a painter of race- horses, deer, dogs, and other animals. It is be- lieved that he died soon after 1831, the last year of his exhibiting at the Royal Academy. BARENTSEN, Dirk, was born at Amsterdam, in 1534. He was the son of an artist of little celebrity (perhaps Barent de Dowe, called II Sordo), who taught him the rudiments of drawing. When twenty-one years of age he went to Italy and visited Venice, where he had the good fortune to be admitted into the school of Titian, who con- ceived for him a particular regard, and bestowed on him many marks of friendship. After passing seven years under that great master, he returned to Holland, and met with great success as a por- trait painter. The style he had acquired by a minute study of the works of Titian was peculiarly favourable to him in his portraits ; and in that branch of art he was reputed the ablest artist of his country at the time in which he lived. One of his principal historical works was an altar-piece, representing the ' Fall of Lucifer,' which he painted for the great church at Amsterdam. This picture was destroyed during the religious troubles of his country. He died at Amsterdam in 1592. A por- trait of the Duke of Alva by him is in the Gallery of that city. BARENTZEN, Emilids Ditlev, was born at Copenhagen in 1799. He first studied jurisprud- ence, and then spent five years in the West Indies. In 1821 he entered the Academy at Copenhagen, and studied under Eckersberg. In 1831 and 1832 he visited Paris and Munich; but settling in his native city, he soon rose to great reputation as a G 2 portrait painter, and there executed no less than two thousand works. He died in 1868. BARGAS, a. F., a Flemish draughtsman and engraver, who lived at the beginning of the 18th century. He etched a set of six landscapes, from his own designs, and a set of four landscapes, after Pieter Bout, which are sometimes with . the name of Bargas, and sometimes with- aV. out it. -^ ■*- BARGONE, Giacomo, was a native of Genoa, and studied under Andrea and Ottavio Semini. He became one of the most promising artists of his country. His drawing was remarkably correct, liis execution free and prompt, and the contour of his figures extremely graceful. The possession of such talents excited the jealousy of a contem- porary artist, Lazzaro Calvi, who, as Soprani relates, after inviting him to a repast, mixed a stupefying drug in a goblet of wine, from the effects of which the unfortunate victim perished in the prime of life. He flourished in the 16th century. BARKER, Benjamin, a brother of 'Barker of Bath,' was born in 1776, and became a landscape painter of some note. He exhibited both at the Royal Academy and at the Water-Colour Society, from 1800 to 1821, snd occasionally at the British Institution. He died at Totnes in 1838. BARKER, Charles, was a native of Birming- ham, who during forty years, at the early part of the 19th century, resided at Liverpool, where he ranked high as a teacher of art. He was elected president of the Liverpool Academy, to which he was a regular contributor. He occasionally also exhibited at the Royal Academy in London ; his last works exhibited there were, in 1849, ' Evening after Rain,' ' A Luggage Train preparing to Shunt,' and ' The Dawn of Day, a Foraging-Party Return- ing.' He died in 1854. BARKER, Henry Aston, who was born at Glas- gow in 1774, assisted his father, Robert Barker, in his panoramas, and in time became known for those which he executed by himself. He worked at Constantinople, Paris, Palermo, Copenhagen, Malta, and Venice. He died at Bilton, near Bristol, in 1856, having retired from his profession as early as 1826. The ' Coronation Procession of George IV.' was his last work. BARKER, Robert, inventor and painter of Panoramic Views, was born at Kells, county Meath, in 1739. The first panorama he painted was a ' View of Edinburgh,' exhibited by him in that city in 1788, and in London in 1789. This picturesque mode of exhibiting on a large scale soon became popular ; and Views of London, Dublin, Athens, Lisbon, and other places, quickly followed, until Barker's Panoramas became cele- brated among the fashionable exhibitions of the day. He died at Lambeth in 1806, leaving two sons, who carried on similar exhibitions for many years in the house built in 1793 by their father in Leicester Square. BARKER, Samuel, was a cousin of John Vanderbank, by whom he was instructed in por- trait painting ; but having a talent for painting fruit and flowers, he imitated Jean Baptiste, and would probably have excelled in that branch of art, had he not died young, in 1727. BARKER, Thomas, (called ' Barker of Bath,') a painter of landscape and rural life, was born in the year 1769, near the village of Pontypool, in Mon- mouthshire. His father, the son of a barrister, 83 A BIOGRAPHICAL DICTIONARY OF having run through a considerable property, com- menced practice as an artist, but never attempted more than the portraits of horses. Young Barke' early showed a remarkable genius for drawing figures and designing landscapes ; and on the re- moval of his family to Bath, the liberal encourage- ment of Mr. Spackman, an opulent coach-buildei of that city, afforded him the means of following up the bent of his inclination. During the first four years he employed himself in copying the works of the old Dutch and Flemish masters, which he imitated very successfully. At the age of twenty-one he was sent to Rome, with ample funds to maintain his position there as a gentleman. While in that city he painted but little, contenting himself with storing his mind with such knowledge as might be applied usefully hereafter. In drawing or painting he never took a lesson ; he was entirely self-taught. Barker was an occasional exhibitor at the Royal Academy and the British Institution for nearly half a century, during which period he sent nearly one hundred pictures. His numerous pro- ductions embraced almost the entire range of pic- torial subjects, and have the marks of true genius stamped upon them. Few pictures of the English school are more generally known and appreciated than 'The Woodman,' of which it appears two were painted, both of them from nature, and of life size : the first was sold to Mr. Macklin for 500 guineas ; the second, which realized the same sum, became the property of Lord W. Paulett. In 1821 he painted the 'Trial of Queen Caroline,' in which he introduced portraits of many celebrated men ; but perhaps the noblest efEort of Barker's pencil was the magnificent fresco, 30 feet in length, and 12 feet in height, representing 'The Inroad of the Turks upon Scio, in April, 1822,' painted on the wall of his residence, Sion Hill, Bath, and possessing merits of the highest order, in compo- sition, colour, and effect. While Barker's talents were in full vigour, no artist of his time had a greater hold on popular favour ; his pictures of ' The Woodman,' ' Old Tom ' (painted before he was seventeen years of age), and gipsy groups and rustic figures, were copied upon almost every available material which would admit of decor- ation : Staffordshire pottery, Worcester china, Manchester cottons, and Glasgow linens. At one time he amassed considerable property by the sale of his works, and expended a large sum in erecting a mansion for his residence, enriching it with sculpture and other choice productions of art. He died at Bath in 1847. There are two pictures by Barker in the National Gallery : ' A Woodman and his Dog in a Storm,' and a Land- scape, perhaps on the Somerset Downs. BARKER, Thomas Jones, a popular painter of battle-pieces and military subjects, was the son of " Barker of Bath," from whom he received his first teaching, and was born in 1815. At the age of nineteen he went to Paris, and entered the studio of Horace Vernet, on many of whose pictures he collaborated. His first pictures were exhibited in Paris, among them a ' Death of the Grand Mon- arque ' for Louis Philippe. Among his later works were 'Meeting of Wellington and Blucher after Waterloo,' 'Nelson's Prayer in the cabin of the Victory,' ' The Secret of England's Greatness,' and 'The Riderless Horse, after Sedan.' Barker died March 29, 1882. BARLOW, Francis, an English painter and engraver, born in Lincolnshire in 1626, was the 84 pupil of William Shephard, a portrait painter. He excelled in representing animals, birds, fish, &c., which he drew with great accuracy; and if his colour and touch had been equal to his drawing, he would have ranked amongst the most eminent painters of those subjects. The land- scapes he introduced into his pictures are very pleasing. Hollar engraved in 1671 a set of thir- teen plates, after his own designs, entitled ' Several ways of Hunting, Hawking, and Fishing, in- vented by Francis Barlow.' Some of the plates for Edward Benlowe's divine poems, called 'Theo- phila,' published in 1652, were engraved by Bar- low. He published a translation of ' .^sop's Fables,' in 1665, with 110 plates, etched from his own designs. He also painted ceilings, and designed monuments for Westminster Abbey. He frequently signed his plates F. B., sometimes enclosed in a circle. He died in 1702. BARLOW, J., practised as an engraver in London at the end of the 18th century. He en- graved some of the illustrations to Ireland's ' Hogarth,' published in 1791, and for ' Rees's Cyclopaedia.' BARLOW, Thomas Oldham, a mezzotint en- graver, was bom at Oldham in 1824. He was articled to a firm of engravers at Manchester, and studied in the school of design in that city. His first engraving after his arrival in London in 1847 was from the work of John Philip, the most im- portant of whose pictures he engraved. In 1856 he engraved Millais' ' Huguenots,' and in 1865 his 'My first Sermon.' He subsequently produced plates after the portraits of public characters which were painted by Millais for Messrs. Agnew. In 1873 Barlow was elected an associate engraver of the Royal Academy, in 1876 a full associate, and in 1881 an academician. He died at Kensington in 1889. , . , BARNA (or Berna), of Siena, flounshed in the latter half of the 14th century. He painted at Siena, Cortona, Arezzo, and at San Gimignano, where a much damaged series of frescoes still exists. These frescoes, which are almost all that remain to testify to Barna's art, represent the 'Passion of our Lord,' and are executed somewhat after the manner of Simone Martini. Vasari tells us that Barna died in 1381, from injuries received by a fall from a scaffold, while painting in the church of San Gimignano. BARNABA da MODENA. See Modena. BARNABEI, Tommaso, known as Maso Papa- cello, was a pupil of Luca Signorelli, and aided Giulio Romano at Rome. At about 1523-4 he assisted Giambattista Carporali at the villa of Cardinal Passerini, near Cortona. He painted three pictures, representing the ' Annunciation,' the 'Conception,' and the 'Adoration of the Magi,' in the church of Santa Maria del Calcinaio, near Cortina, and finally settled at Perugia, where he died in 1559. ^ ^ . BARNARD, Frederick, was born m London in 1846. He studied first at Heatherley's Art School in Newman Street and afterwards under Bonnat in Paris. His earliest publication was a set of charcoal drawings, entitled 'The People of Paris.' His first contribution to ' Punch ' appeared in 1863. Barnard's best-known work was the illustration of the household edition of the works of Charles Dickens (1871-9). Many of his drawings appeared in ' Good Words,' ' Once a Week,' and ' The Illus- trated London News.' He illustrated an edition FEDERIGO BAROCCIO ^ -..m^.^^^ m. '^ ^^^^^^^^^^^^^J^^^fl^ry'^ ^^ L ^ ^■F* "'^^^^^^ . HiJK'' 1 K*^ i ' v.^^^^ J^^SI K, Wril^^ Wkdl"^ l*:^ ■^ '■,r 0^ Bragi photo] [Corsini Gallery, Rome THE APPEARANCE OF CHRIST TO MARY MAGDALENE I 4 PAINTERS AND ENGRAVERS. of Bunyan's 'Pilgrim's Progress' in 1880, and about the same time produced his ' Character Sketches from Dickens.' Barnard also painted a few pictures in oil which were exliibited at the Royal Academy. He was suffocated in a fire at a friend's house at Wimbledon in 1896. BARNARD, William, who was born in 1774, was a mezzotint engraver. Among his most suc- ces.sful plates were ' Simimer ' and ' Winter,' both after Morland, and a portrait of Nelson. He died in 1849, having held for some years the post of Keeper of the British Institution. BARNEY, .TosEPH. There are engravings executed in stipple by this artist, after the paint- ings of Bassano, W. Hamilton, and others, which were published at the end of the 18th century. BARNEY, Joseph, a fruit and flower painter, was born at Wolverhampton in 1751. He came to London in early life, and studied under Zuechi and Angelica Kauffmann, and in 1774 received a premium from the Society of Arts. He exhibited historical or poetical subjects, or flower pieces, at the Royal Academy from 1786 until 1827, and, in 1815, received an appointment as flower painter to the Prince Regent. Barney left two sons who followed in his footsteps — Joseph Barney, a flower painter, who lived chiefly at Southampton, and exhibited occasionally at the Water-Colour Society (1815 — 1818) ; and William Whiston Barney. BARNEY, William Whiston, a mezzotint en- graver, was a pupil of Samuel William Reynolds. He is best known by his portraits of Sir Arthur Wellesley, after Hoppner, and the Marquis of Blandford, after Cosway, and by various repro- ductions of Reinagle's sporting subjects. About 1805 he bought a commission in the army, and served with credit during the Peninsular war. BARNUEVO, Sebastiano de HERRERA. See Herrera Barnhevo. BAROCCI, Ambrogio, the father of Federigo, was a sculptor of some note in the 15th century. His portrait, painted by himself, is in the Uffizi at Florence. BAROCCI, Federigo, (orBAROccio) — sometimes called FlOEE — was born at Urbino in 1528. He was the son (?) of Ambrogio Barocci, a sculptor of some eminence, and was placed — after he had received instruction in design from his father- — under Battista Franco, with whom he studied until that painter left Urbino. Barocci then went with his uncle, Bartolommeo Genga, the architect, to Pesaro, where he copied some works by Titian. In 1548 he went to Rome, and studied the works of Raphael. He was favoured with the protection of the Cardinal della Rovere, who received him into his palace, where he painted some pictures in fresco, and the portrait of his patron. After passing four years at Rome, he returned to his native city, where his first work was a picture of ' St. Margaret,' executed for the Confraternity of the Holy Sacrament. This work gained him great celebrity ; and he was invited by Pope Pius IV. to assist in the decoration of the Belvedere Palace at Rome, where he painted the ' Virgin Mary and Infant Saviour, with several Saints,' and a ceiling in fresco, representing the ' Annunciation.' While working in the Vatican he was nearly killed by poison, and though he did not actually lose his life, he was unable to work for four years, and even after that time he could paint no longer than about two hours each day. Having finished these and other works, he returned to Urbino, where he painted a fine picture for the cathedral of San Lorenzo, at Perugia, of the ' Descent from the Cross.' He again visited Rome during the pon- tificate of Gregory XIII., when he painted two admirable pictures for the Chiesa Nuova, represent- ing the ' Visitation of the Virgin Mary to Elisabeth,' and the ' Presentation in the Temple,' which are considered his best productions, and for the Chiesa della Minerva, a fine picture of the ' Last Supper.' Barocci spent nearly all the remaining years of his life at his native Urbino, where he died in 1612, aged 84 years. He was buried in the church of San Francesco, with much honour. In the works of Barocci we admire an elegant taste, and there is great amenity and harmony in his colouring. He seems to have adopted the manner of Correggio as the model for his imitation ; and although he has succeeded in giving a graceful air to his figures, his style must be allowed to partake of something approaching to affectation, and can never be put in competition with the beautiful and touching sim- plicity of that inimitable painter. He was a better draughtsman than many of his contemporaries, but his colouring was not good. Mengs remarks that his pictures lacked yellow tints ; and Bellori says that he used too much vermilion and ultramarine. Among his pictures in public galleries are : Dresden. Gallery, Hagar in the Desert. „ „ Madonna and two Saints. Florence. Ujfizi. Virgin pleading for the poor. „ „ NoU me tangere. „ „ Portrait of the Duke of Urbino. London. Nat. Gallery. Holy Family, del Gatto. Milan. Brera. Martyrdom of St. Vitale {dated - 1583). Munich. Pinakothek. Saviour appearing to the Mag- dalene (dated 1590). Paris. Louvre. The Circumcision (signed and dated 1580). „ „ Madonna in glory, with Saints. Petersburg. Hermitage. Holy Family. „ „ Portrait of a Man. And four others. Rome. Boryhese Pal. Burning of Troy. „ Vatican. The Annunciation. „ „ The Ecstasy of St. Michalina. „ ,, Madonna. Windsor. Castle. Nativity. We are indebted to Barocci for some engravings, which, although not very commendable for the delicacy of their execution, possess the higher qualifications of correctness of design and beauty of expression. He has left us the following plates: The Virgin and our Saviour appearing to St. Francis ; a large plate, arched. His principal plate. The Virgin holding the Infant Saviour; a small plate, of which the lower part is left unfinished. The Virgin in the Clouds, with the Infant Jesus; marked F. B. V. F. The Annunciation ; on the left of the print a Cat sleep- ing ; fine. St. Francis receiving the Stigmata. BARON, Bernard, an eminent French engraver,, was born in Paris about the year 1700. He was instructed in engraving by Nicolas-Henri Tardieu, whose style he followed. He engraved several plates for the Crozat Collection, and afterwards came to England, where he resided the remainder of his life, and died in London in 1766. Many of his engravings are in the Boydell Collection: they are executed in a coarse manner, but are not without considerable merit. The following are his principal works : 85 A BIOGRAPHICAL DICTIONARY OF PORTRAITS. King Charles I. on Horseback, with the Duke d'Eper- non ; after Van Dyck. Charles I. and Queen, with their two Sons ; after the sarM, The Nassau Family ; from Earl Cowper*s picture : after the same. The Pembroke Family; from the picture at 'Wilton; after the same, Henry THI. granting the Charter to the Barber- Surgeons' Company ; after Holbein. The Family of Tan Dyck; after Van Dyck; in the Earl of Pembroke's picture. Robert, Earl of Camarron ; after Van 3yek ; in the same collection. Anna Sophia, Countess of Camavon; after the same; in the same collection. (Jeorge, Prince of Wales, on Horseback ; after Adolph. Comelis van Tromp, Yice-Admiral of Holland; after J. Vanderbank. Dr. Mead ; after A. JRamsaij. The Lord Chancellor Hardwick ; after the same. The Lord Chief Justice Eeve ; after J. Amiconi. The Comaro Family; after Titian; the picture is in the possession of the Duke of Northumberland. Benjamin Hoadly, Bishop of 'Winchester; after Hogarth. SUBJECTS AFTER VARIOUS MASTERS. Nine plates of the Life of Achilles, with the titles ; after Rubens. Belisarius ; incorrectly called after Van Dyck. Charles I. escaping from Hajnpton Court; after J. d'Angelis. Jupiter and Antiope ; after Titian ; for the Crozat Col- lection. This is considered his chef-d^ceuvre. Pan and Syrinx; after Xic. Bertin. The Card-players; after D. Tenters. The Temptation of St. Anthony ; after the same. The Italian Comedians; after ffatteau. The Companion ; after the same. The Two Cousins ; after the same. Soldiers plxmdering a Village ; after the same. The Peasants revenged ; after the same. St. Cecilia ; after Carlo Dolci. Moses exposed on the Nile ; after Le Sueur. Marriage-a-la-mode ; after Hogarth (two of the plates). BARON, Jean, (or Baronius,) a French en- graver, who is sometimes called ' Tolosano,' from his birthplace, was born at Toulouse in 1631. He resided the greater part of his life at Rome, where he worked in union with C. Bloemaert, and engraved several plates of historical subjects and portraits. They are executed entirely with the graver in a neat but dry manner, and are not very well drawn. The following are his best works : pobtraits. Jean Plantavit, Sieur de la Paose, Bishop of Lodeve. Cardinal Aquaviva. Ijeonardo AJberti, architect. 'Vito de Bramante, architect. Giovanni Francesco Rustici, sculptor. Marc Antonio Raimondi, engraver. Raphael d'Urbino. Leonardo da Vinci. SUBJECTS AFTER VARIOUS MASTERS. Judith with the head of Holofemes ; after Domenichino. The Stoning of St. Stephen ; after Niccoli delf Abbate. The Martyrdom of St. Andrew ; after the same. St. Peter and St. Paul in the Clouds ; after Ann. Car- raeei. The Virgin in Adoration ; after Guido Reni. The Virgin ; a small plate ; after Bernini. St, Romualdus, and Monks ; after Andrea Sacehi. The Plagne at Ashdod ; after X. Foussin. BARONI. Giuseppe, was an Italian engraver, who resided at Venice about the year 1720. He en- graved some large plates from the paintings of the 86 Venetian masters ; among which is a print repre- senting the ' Crucifixion, with Angels in the air, and St. John and St. Mary Magdalene at the foot of the Cross.' It is executed in a coarse, unpleasing style, and the drawing is very incorrect. "BARONI-CAVALCABO, Kaspab Anton von, a Tyrolese historical painter, was born at Sacco in 1682. He was instructed in the art by Giovaimi Baroni, a kinsman, and by Antonio Balestra at Verona. He then went to Venice and Rome, where he studied in the school of Carlo Maratti. He devoted his talents chiefly to biblical and re- ligious subjects, and be presented many of his pic- tures to the churches of Sacco, Trent, and Roveredo. During the greater part of his Ufe he lived in Sacco, where he died in 1759. Many of his draw- ings are in the Library at Innsbruck. BAROZZI. See Barocci. BARRA, JoHAN. See Bara. BARRABAND, Pierre Paul, a French painter of flowers, birds, and other subjects in natural history, was born at Aubusson in 1767. He studied under Malaine, the designer of the tapestry manu- factory of the Gobelins. Le Vaillant, the cele- brated traveller, employed him to paint the birds of Africa, parrots, and birds of paradise for his works. He also supplied the illustrations for the edition of BufEon published bySonnini; for the ' History of Insects,' by Latreille, and for the great work of the Institute on Egypt He was professor at the School of Design at Lyons ; and he executed numerous designs for Sevres porcelain, and decor- ated the dining-room at St. Cloud. He died at Lyons in 1809. BARRALET, John James, of French extraction, was bom in Ireland ; he was in early life a draw- ing-master in Dublin, but came to London and practised water-colour painting. He exhibited three landscapes at the Royal Academy in 1770, and occasionally exhibited in succeeding years. He was employed in illustrating books on Irish Antiquities. In 1795 he emigrated to America, where he died in 1812. His brother. J. Melchior Barbalet, was a teacher in the Rojal Academy School, and occa- sionally, between the years 1775 and 1789, sent tinted drawings to the Academy Exhibitions. BARRANCO. Bernardo MARTINEZ del. See Martinez del Barranco. BAERAS, S^BASTiEN, a painter and engraver, was born at Aix, in Provence, in 1653. He was a pupil of Boyer d'Aguilles, and studied for some time in Rome. He died at Aix in 1703. The first edition of the Boyer d'Aguilles Collection, pub- lished in 1709, contained twenty-seven plates in mezzotint, scraped by this master ; they were re- placed in the second edition by plates engraved by Coelemans. The former have become very scarce. He also engraved a portrait of Lazarus Maharky- sus, a physician of Antwerp, after Van Dyck. BARRAUD. Henry, a younger brother of William Barraud, was born in 1812. He ex- celled as an animal painter, and in his later life exhibited pictures which were engraved and be- came very popular. The most important of these were, ' We praise thee, God ' (three choir boys in their surplices), 'The London Season' (a scene in Hyde Park), and ' Lord's Cricket Ground.' He died in 1874. BARRAUD, William, an animal painter, was bom in 1810. The family of this artist came over to England from France at the rime of the Revo- cation of the Edict of Nantes ; his father held an PAINTERS AND ENGRAVERS. appointment in the Custom-house, and his grand- father was a ■well-kno^vIl chronometer-maker in Comhill. His taste for painting was most probably inherited from his maternal grandfather, an excel- lent miniature painter; but it was not fostered very early in life, for, on leaving school, he took a situa- tion in the Customs, where he remained but a short time ; he quitted it to follow the profession most in unison with his feelings, under the guidance of Abraham Cooper, R.A., with whom he studied for a considerable time. Without attaining to the highest rank in his peculiar department, that of a painter of horses and dogs, for to these he chiefly confined his practice, he was always correct in his style of work ; while the subject pictures which he painted, in conjunction with his brother Henry, were far above mediocrity, both in conception and treatment. The two brothers were for many years joint exhibitors at the Royal Academy and the British Institution. William Barraud died in 1850. BARKE, De la. See De la Baer. BARRERA, Francisco, a Spanish fresco-painter, is best known by his eloquent and successful appeal on behalf of his fellow-artists, upon whom in 1640 the Government -ivished to impose the taxes levied upon trade corporations. No details of his life are known. BARRERA, Jacobo de, was a Spanish historical painter, many of whose works, dated 1522, are in the cathedral of Seville. He was a friend and fellow-worker of Covarrubias, and died insane, but in what year is not known. BARRET, George, an eminent painter of land- scapes, was born in Dublin in 1728 (or 1732), and received his first education in art in the Drawing Academy of Mr. West, in that city. Having been introduced by his patron, Mr. Burke, to the Earl of Powerscourt, he passed a great part of his youth in studying and drawing the charming scenery around Powerscourt Park ; and he soon after gained the premium offered by the Dublin Society for the best landscape. Barret came to England in 1762, and two years afterwards gained the fifty pounds premium given by the Society of Arts, fie had the honour of contributing to the establishment of the Royal Academy, of which he was one of the earliest members. He was a chaste and faithful delineator of English landscape, which he viewed with the eye of an artist, and selected with the feeling of a man of taste. His colouring is excel- lent, and there is a freshness and dewy brightness in his verdure which is only to be met with in English scenery, and which he has perfectly represented. The landscapes of this artist are to be found in several of the collections of the nobil- ity ; but his principal works are in the possession of the Dukes of Portland and Buccleuch. His decoration of the great room at Norbury Park, near Leatherhead, will ever rank among his most celebrated productions. He died at Paddington in 1784. There are a few spirited and picturesque etch- ings by him as follow : A View of the DarglcB, near Dublin. A set of six Views of Cottages near London, A large landscape, with Cottages. A View of Hawardeu Castle ; dated 1773. BARRET, George, ' the younger,' a son of the artist of the same name, was born about 1774, and was one of the first members of the Water-Colour Society, on its foundation in 1804, and an exhibitor iu its Gallery for many years. In 1840 he published a series of Letters on the ' Theory and Practice of Water-Colour Painting.' He died in 1842, after a long illness. There are several drawings by him in the South Kensington Museum. His brother, J. Barret, and his sister, M. Babret, were also painters in water-colours, and occasionally ex- hibited their works. Miss Barret died in 1836. BARRET, Ranelagh. This artist is mentioned by Lord Orford as a noted copyist, who made duplicates of several pictures in Sir Robert Wal- pole's collection, and of others in the galleries of the Duke of Devonshire and Dr. Meade. He succeeded especially m reproducing the works of Rubens. He died in 1768. BAKRI, GlACOMO, a Venetian painter and en- graver, flourished about the year 1670. He etched some plates from his own designs, and in 1671 pub- lished a book of some reputation, entitled ' Viaggio pittoresco d' Italia.' He died about 1690. There is a slight free etching by him of the ' Nativity,' after Paolo Veronese. BARRIERS, Dominique, a French painter and engraver, was bom at Marseilles about the year 1622. He chiefly resided at Rome, where he en- graved a considerable number of plates, in a very agreeable style, after Claude and other landscape painters, as well as other subjects. They are neatly etched in the manner of Stefano della Bella. He died in Rome in 1678. He sometimes signed his plates with his name, Dominictis Barriers MassUiensis, and sometimes with the cipher which is the mark used by Domenico del Barbiere, and thus mistakes frequently arise, although TJX their styles are extremely difllerent. Among Q} others we have the" following by him : Portrait of Jean de la Valette ; marked D. B. ; scarce A set of six Landscapes. A set of twelve Landscapes; dedicated to Lelio Orsini 1651. Seven Views of the Villa Aldobrandini. 1649. A Landscape, with the Zodiac ; inscribed Tim profert ubi,i-c. ■' A View of Frascati. Pontana maggiore nel Giardino di Tivoli, with his cipher. Eighty-four Views and Statues of the ViUa Pamphili. Four ; entitled Catafalco e apparato nella chiesa, f c. Sepulchral Monument of N. L. Plumbini ; Dominiciis Barriere Galliis, in. ex. del. et sail. Hercules, after a basso-rilievo in the Medicean Garden. A large Plate ; entitled Circmn Urbis Agonalibus, %c. with many Figures. 1650. Several plates of the History of ApoDo ; after the pic- tures by Bomenichitio and Viola. BARRON, Hugh, the son of an apothecary in Soho, was born about 1746, and became a pupil of Sir Joshua Reynolds. From the year 1766 to 1786 he exhibited many portraits, which were but poor in comparison with the works of his celebrated instructor. He died in 1791. BARRON, William Augustus, a younger brother of Hugh Barron, was a pupil of William Tomkins, A.R.A. He gained a Society of Arts premium in 1766, and started in life as a teacher of drawing. From 1774 to 1777 he exhibited landscape views at the Academy, some of which were engraved and published. On receiving a Government appointment he relinquished his art. BARROSO, Miguel, a Spanish painter, born at Consuegra in 1538. According to Palomino, he was a scholar of Gasparo Becerra.and distinguished himself as an architect, as well as a painter. He was employed by Philip II. in the Esoorial, where 87 A BIOGRAPHICAL DICTIONABY OF he painted, in the principal cloister, the ' Resur- rection,' ' Christ appearing to the Apostles,' the ' Descent of the Holy Ghost,' and ' St. Paul preach- ing.' In 1589 he was made painter to the king. His compositions are copious, and his design cor- rect. Cean Bermudez and Quilliet say that he failed sometimes in vigour and knowledge of chiaroscuro ; but that his colour was that of Barocci, and his forms those of Correggio. He died at the Escorial in 1590. BARRY, Hendbik. See Bary. BARRY, J., was a miniature painter, who exhi- bited at the Royal Academy at intervals from 1784 to 1819 — amongst others the ' Four Seasons,' and various fancy portraits. BARRY, James. This eminent artist was bom at Cork in 1741. He was the son of a ship-master who traded from Cork to England, and was intended by his father to succeed him in that calling; but his decided inclination for dramng induced his parents to permit him to follow the bent of his genius ; and he was educated at the Academy of Mr. West at Dublin, where, at the age of twenty- two, he gained the premium for the best historical work, by his picture of ' St. Patrick baptizing the King of Cashel.' His merit procured him the patronage of Mr. Burke, by whose kindness he was enabled to travel, and to visit Italy, where he remained four years. During his residence abroad he was made a member of the Clementine Academy at Bologna, on which occasion he painted for his diploma picture ' Philoctetes in the Isle of Lem- nos.' He returned to England in 1770, and the year afterwards exhibited at the Royal Academy his picture of 'Adam and Eve' (now in the posses- sion of the Society of Arts), and the following year produced his ' Venus Anadyomene,' a picture which gained his election as Associate of the Royal Aca- demy. In 1773 he became a Royal Academician. In 1775 Barry published a reply to the Abbi5 Winckelmann, who had asserted that the English are incapable of attaining any great excellence in art. on account of their natural deficiency of genius. and the unfavourable temperature of their climate ; it was considered a triumphant answer. He soon afterwards made his proposal to the Society for the Encouragement of Arts to paint gratuitously a series of six pictures, allegorically illustrat- ing the ' Culture and Progress of Human Know- ledge,' which now decorate the great room of the Society. This immense work he accomplished, without assistance, in the short space of three years, and it is sufficient to prove the capacious stretch of his mind and the abundance of his invention. The most important of the series is a view of Elysium (42 feet long), in which the artist painted the portraits of the great and good of all nations. A young lady, after look- ing at it earnestly, said to Barry, " The ladies, I see, have not yet arrived in this Paradise of yours." " Oh, but they have, madam," replied the painter ; " they reached Elysium some time ago ; they are beyond that very luminous cloud, and very happy they are, I assure you." On the resignation of Edward Penny, in 1783, he was elected Professor of Painting to the Royal Academy. It is to be regretted that this artist's undoubted genius and loftiness of mind were accompanied by a fiery and turbulent nature, which frequently hurried him into the most imprudent and outrageous intemper- ance of conduct. This unfortunate disposition produced many unpleasant dissensions with his 88 brother Academicians, and finally occasioned his expulsion from the Academy in 1799. He died in London in 1806 ; his body lay in state in the great room of the Society of Arts, and was buried in the crypt of St. Paul's Cathedral. The principal works of Barry are his pictures at the Society of Arts, in the Adelphi, hiis ' Venus Anadyomene,' ' Birth of Pandora,' and ' King Lear,' for Boydell's ' Shakespeare Gallery.' His engrav- ings of many of his works may be regarded as the productions of a painter inattentive to that beauty and delicacy of execution which are looked for in the productions of a professional engraver. " Barry," says Allan Cunningham, " was the greatest enthu- siast in art which this country ever produced ; his passion amounted to madness." He was a bigoted Roman Catholic, cared little for the society of his fellow-men, and lived alone in a wretched house in Castle Street, Oxford Market, where Burke once helped to cook a steak for their dinner, while Barry went out to fetch a pint of porter 1 Barry's ' Lectures on Painting ' have been frequently reprinted. BARTH.Carl, who was born at Eisfeldin 1782, studied the art of engraving under J. B. von Muller at Stuttgart, and thence went to Munich in 1814, and three years later to Rome, for the im- provement of his art. On his return to Germany he was made director of the Herder Art Institution at Freiburg ; thence he went to Frankfort. He subsequently visited Hildburghausen and Darm- stadt, where first appeared evidences of the de- rangement of mind which caused his death. He died at Guntershausen near Cassel in 1853. Besides his engravings, Barth left a number of portraits, both drawings and paintings. The following are his chief plates : Charity ; afUr Vogd. Christ and the Virgin ; after Holldn. The Seven Tears of Famine : after Overbeck. BARTHELEMY, Antoine, (or Berth^lmy,) a historical and portrait painter, was born at Fon- tainebleau about the year 1633. He was received into the Academy in 1663, and died at Paris in 1 669. Another Antoine Babthelemy, likewise a painter, died at Paris in 1649. There was also Josias Barthelemy, living in 1631, and Jean Babthelemy, mentioned by the Abbe de Marolles, either of whom might have been the instructor of Sebastien Bourdon. BARTHOLOMEW, Anne Charlotte, miniature and flower painter, whose parental name was Fayermann, was born at Loddon, in Norfolk, in 1800. In 1827 she married Mr. Turnbull, the composer of several popular melodies, who died in 1838; and in 1840 she married Valentine Bar- tholomew, who had acquired considerable reput- ation as a flower painter. She died in 1862. Her works were chiefly miniature portraits, and occasionally fruit and flowers. BARTHOLOMEW, Valentine, who was born in 1799, was an early member of the Society of Painters in Water Colours, which he joined in 1835. He had a special talent for flower painting, a branch of art which he pursued with much success, his works being chiefly remarkable for the great care and the large scale on which they were car- ried out, ' Azaleas ' and ' Camellias ' are in the South Kensington Museum. Bartholomew held for many years the post of Flower Painter in Ordinary to the Queen. He died in 1879. PAINTERS AND ENGRAVERS. BARTLETT, William Henry, a topographical landscape painter, was born at Kentish Town in 1809. In 1823 he was articled to John Britton, the architect, and the author of several well - known illustrated works on topography. Here — as the latter in a biographical sketch informs us — Bartlett in the course of the year surpassed his associates in accuracy, style, and rapidity. Appreciating his pupil's talent, Britton sent him successively into Essex, Kent, Bedfordshire, Wiltshire, and other parts of England, to sketch and study from nature. He went next, in a similar way, to Bristol, Glouces- ter, and Hereford, and executed a series of elaborate drawings of the sacred edifices there for Britton's ' Cathedral Antiquities of England.' He afterwards made similar sketches for the work entitled 'Pictur- esque Antiquities of English Cities.' But Bartlett's artistic tours were not confined to the British Empire alone ; they extended to all the four quarters of the globe. Previous to going abroad, he travelled over many parts of England, Wales, Scotland, and Ireland, and next visited France, Spain, Germany, Switzerland, Holland, and Bel gium : the United States and Canada ; Constan- tinople, Asia Minor, Syria, Italy, Greece, and the Grecian Archipelago ; Palestine, Egypt, Sinai, Petra, and the Arabian deserts. He thrice ex- plored the East, first in the years 1834 and 1835, again in 1842 — 1845, and a third time in 1853. He made four voyages to America, between the years 1836 and 1852. No less than nineteen large volumes in quarto, containing more than 1000 engravings from his drawings, are devoted to those countries and districts, nearly the whole of which contain copious and interesting letter-press from the pen of Dr. Beattie, who accompanied the artist in some of his voyages and travels. In addition to these works, Bartlett showed, in the following publications, that he could exercise a skilful pen, as well as a rapid pencil : Walts about Jerusalem. 1845. Forty Days in the Desert. 1848. The Nile-Boat, or Glimpses of Egypt. 1849. The Overland Route. 1850. Footsteps of Our Lord and nis Apostles in Syria. Greece, and Italy. 1851. Pictures from Sicily. 1852. The Pilgrim Fathers. 1853. A new volume, on 'Scripture Sites and Scenes,' was in the press, when the artist died, on board the steamer ' Bgyptus ' on its passage homeward between Malta and Marseilles, in 1854. BARTOLI, DoMENico. See Geezzi. BARTOLI, PiETRO Santi. See Santi. BARTOLI, Taddeo (or Taddeo di Babtolo), was born at Siena about 1363. The earliest specimen of his art is an altar-piece, representing ' St. Peter,' painted for San Paolo of Pisa, and dated 1390 : it is now in the Louvre. In 1395 he finished an altar-piece of the ' Virgin and Child with Saints,' for a chapel in San Francesco, Pisa, which is now in Vienna; he afterwards adorned the entire chapel with frescoes of the figures of Saints, and the ' Life of the Virgin.' In 1400^1401 Taddeo painted in the Palazzo Pubblico and other buildings in Siena; but of the works he executed then only nine small panels, representing nine sentences of the Creed, exist. They are in the cathedral. Soon afterwards he decorated the cathedral with frescoes represent- ing Paradise and Hell. There are preserved in the hall of the Palazzo Pubblico, of the same city, two paintings that were formerly in the cathedral ; the first is an altar-piece representing St. Gimignano, with a model of the town in his hand, giving the benediction ; its side panels contain four subjects drawn from that Saint's life ; the second is a panel with a ' Madonna and Child and four Saints.' In 1403 he painted, at Perugia, an altar-piece repre- senting the ' Virgin and Child, with St. Bernard and two Angels,' which is now in the Academy of that city. A ' Descent of the Holy Ghost,' also painted in 1403, in the church of Sant' Agostino at Perugia, where it may still be seen, is especially to be admired. In 1404 Taddeo had again returned to Siena, and recommenced his works at the cathedral, at his former salary of twelve and a half florins a month. These frescoes have all likewise disappeared. In that same year he was appointed an ■ Executore di Gabella,' and executed the ' Nativity,' still kept in the church of the Servi at Siena. In 1405 Bartoli executed four frescoes behind the high altar, painted the organ-doors, and filled a window in the choir of the cathedral with the ' Ascension of the Virgin.' In the years 1406 and 1407 he was occupied at the renewal of the decora- tions in the chapel of the Palazzo Pubblico, Siena, as also in the passage leading from the Hall of Peace to the Hall of Council, in the same building ; and he adorned the Gallery with figures of Ancient Romans whose characters symbolized best the vir- tues of Magnanimity and Justice ; beneath these effigies ran a sentence exhorting the beholders to imitate these virtues. In 1409 Taddeo painted the ' Annunciation,' between SS. Cosmo and Damian, now in the Academy of Siena. In 1410 he went to Volterra, where he worked for the church, and for the Company of San Francesco. Of these labours, all that now remains is an altar-piece, with the ' Virgin, Child, and four Saints,' in the Cap- pella San Carlo of the cathedral of Volterra. In the years 1412, 1416, and 1420 he was again pro- moted to the Supreme Council of Siena, and he died in 1436(?). Taddeo Bartoli upheld the Sienese school by the excellence of his painting, but he did not raise it above the style of his predecessors. The chief merit of his work lies in the dignity and originality of the invention. Some of his small pictures do him still greater honour than his larger works, and show an imitation of Ambrogio Loren- zetti, his great prototype, and also the subdued and agreeable style of the Sienese school. BARTOLINI, GiosEFFO Maria, was born at Imola in 1657, and studied at Bologna under Lorenzo Pasinelli. There are several of his works in the public edifices at Imola, which are highly esteemed, particularly a picture representing a ' Miracle wrought by St. Biagio,' in the church of San Domenico. He died in 1725. BARTOLO DI FREDI was born at Siena about 13.30, and was registered in the Guild of that city in 1355 ; he had several children, who all died before him, with the exception of Andrea Bartoli. He was the companion of Andrea Vanni from 1353, and was employed in the decorations of the Hall of Council, at Siena, in 1361. In 1362 he went to San Gimignano, where, according to Vasari, he had already in 1356 painted the entire side of the left aisle of the Pieve with scenes drawn from the Old Testament. In 1366 the Council of the city of Gimignano ordered of him a painting, representing ' Two Monks of the Augustine Order,' to be placed in the Palazzo Pubblico, in order to commemorate the settlement of some disputes which had long existed between that order and A BIOGRAPHICAL DICTIONARY OF the city. In the early part of 1367 he returned to Siena, and was employed with Jacomo di Mino in the decorations of the cathedral. In 1372 he rose to a position in the government of the city, and was sent to welcome the new Podesta, on his approach to Siena. In 1381 he was himself made a member of the Council, and in 1382 he executed the ' Descent from the Cross,' now in the Sacristy of San Fran- cesco. Montalcino. The same church also possesses panels painted by him containing the ' Baptism of Christ,' figures of SS. Peter, Paul, and Francis, and five scenes from the life of St. Philip of Montalcino. In 1388 he completed an immense altar-piece for the same church, which was originally in the resemblance of the front of a cathedral, with a central and two side gables, flanked by two towers. The centre gable is still in the church, and repre- sents the ' Coronation of the Virgin ; ' the remaining portions, with scenes from her life, are all in the Academy of Siena. The same gallery also pos- sesses an 'Adoration of the Magi,' by this artist. In 1389 Bartolo, assisted by Luca Thom^, painted the altar-piece for the Shoemakers' Company, in the cathedral, and continued from that year until his death to furnish altar-pieces for the cathedral and other churches of Siena, which have now all disappeared. His death occurred in 1409. In the Louvre at Paris there is a ' Presentation in the Temple,' bv him. BARTOLOME." See Breenbebgh. BARTOLOMMEO della GATTA. See Della Gatta. BARTOLOMMEO Di PAGHOLO del Fat- TCEINO — commonly known as Fra Bartolommeo, or Baccio (the shortened form of Bartolommeo) — was also called della Porta, because he resided near the gate of San Pier Gattolini (now the Port^i Bomana), in Florence. He was born at the village of SofBgnano, near Prato, in 1475 ; and in 148-1 entered the studio of Cosimo Rosselli, at Florence, where he had for a feUow-pupil Albertinelli, with whom he commenced a friendship which lasted until the bonds were broken, in 1515, by the death of Albertinelli. After passing some years under Rosselli. Baccio appUed himself to an assiduous study of the works of Leonardo da Vinci, whose grandeur of relief, and admirable chiaroscuro, were the particular objects of his admiration. In com- pany with his friend, Mariotto Albertinelli, he modelled and copied from the ancient bassi-rilievi, by which he acquired a breadth of light and shade, which is one of the most striking characteristics of his style. His first works were of a small size, and very highly finished, gracefully composed and de- signed. A romantic event in his youth induced him to adopt the monastic life. Whilst still a pupil of Cosimo Rosselli, he listened eagerly to the preach- ing of the fiery Dominican, Fra Girolamo Savona- rola, and became one of his most ardent disciples. He even burnt his studies in the kind of auto-da-fe made by the people on the Shrove Tuesday of the year 1489, in the square before the convent of St. Mark. When, after a reign of three years over Florence, the Italian Luther was obliged to shut himself up in the convent of which he was the prior, and to undergo a siege, Bartolommeo was at his side, and, in the heat of the combat, made a vow to adopt the monastic life if he escaped the danger, and he took the vows in that same con- vent of the Dominicans of San Marco, in 1500. Hence his name of ' II Frate.' He remained four wliole years without touching a pencil, and when he yielded at length to the solicitations of his 90 friends, his fellow-monks and his superiors, it was on condition that the convent should receive all the produce of his labours. In 1498 and 1499 Fra Bartolommeo had painted the celebrated fresco of the ' Last Judgment,' in Santa Maria Novella, the lower part of which was finished by his friend Albertinelli ; and in 1509 he entered into a partnership with that painter. AMien Raphael visited Florence, about 1506, he formed a friendship with Fra Bartolommeo, from whom he received some instruction in the principles of colouring and the folding of draperies, and in return taught the Frate the rules of perspective. About 1514 Fra Bartolommeo went to Rome, where he painted the figure of St. Paul and part of that of St. Peter, which he was obliged to leave to his friend Raphael to finish — it is supposed, on account of ill-health. These two figures are now in the Quirinal. On his return to Florence, Fra Bar- tolommeo executed a few works of great merit, and died there in 1517. His design approached to that of Raphael in grace and grandeur, and he surpassed him in the boldness of his reliefr and the rich impasto of his colouring. Some of his rivals had accused him of being incapable of designing the figure on a large scale, and he refuted the calumny by painting his masterpiece, the celebrated figure of • St. Mark,' in the Florentine Gallery, regarded as a prodigy of art, and which occasioned a learned traveller to remark, that it appeared to him a large Grecian statue metamorphosed into a painting. The jealousy of his opponents charged him ^vith being ignorant of the anatomy of the human body, until he painted a picture of St. Sebastian, so correctly designed, and of so perfect a form, that it excited universal admiration, and was judged by the monks to be too beautiful a figure to be publicly exposed in their church. The following is a list of some of Fra Barto- lommeo's principal works : Berlin. Museum. Florence. Pitti Palace. „ S. 31. Nuota. London. .Vat. Gall. „ Jfond Gall. „ Xorthbrook Gall. Lucca. Museum. The Assumption {part by Alberti- nelli). Marriage of St. Catharine, 1512 {part hi/ Albertinelli), Entombment. Pieta. St. Mark. Patron Saints of Florence (part by Albertinelli). Virgin enthroned with Saints (his last tcork). Salvator Mundi. The Last Judgment. Fresco. Holy Family {there is little of tite artist's own work left in titis picture). Holy Family. Holy Family. God, the Father, adored by St. Catharine of Siena, and Mai-y Mag'lalene {painted in 1509 for San Pietro Martire, Murano). Madonna deUa Misericordia. 1515. Panshanger. (Lord \ g^jy family. 1509. Paris. Covrper) _ Louvre. Petersburg. Hermitage. Pian di Mugnone. Richmond. Sir F. Cook. Rome. Corsini Pal. Vieiina. Gallery. The Virgin and Saints, presiding at the Marriage of St. Catharine. 1511 {oriyinally in San Marco, Florence). The Annunciation {signed and dated 1515). Madonna with Angels. Two frescoes I dated 1515, 1517). Holy Family. Holy Family {dited 1516). Presentation in the Temple. BARTOLOMMEO DI PAGHOLO FRA BARTOLOMMEO Alinari plwtu\ [The Cathedral, Lucca THE VIRGIN AND CHILD ENTHRONED WITH SAINTS i BARTOLOMMEO DI PAGHOLO FRA BARTOLOMMEO PORTRAIT OF SAVONAROLA PAINTERS AND ENGRAVERS. BARTOLOMiMEO di TOMMASO was a painter who flourhihed in the early part of the 15th century, and was of Urabro-Sienese education. He painted a ' Virgin and Saints,' in 1430, for the church of San Salvadore, at Foligno. There also exist other paintings by him in the churches of that city. BABTOLOMMEO, Nerkoccio di. See De' Landi. BARTOLOMMEO VENEZIANO. See Venezi- ANO, BARTOLOMMEO. BARTOLOZZr, Francesco, a celebrated en- graver, was the son of a goldsmith of Florence, where he was born in 1725. He was instructed in drawing by Ferretti at Florence, and learned the art of engraving from Joseph Wagner at Venice. His first productions were some plates after Marco Rioci, Zuccarelli, and others, engraved whilst he was in the employment of Wagner. But the theatre destined for the display of his talents was England, where he arrived in 1764. Soon after, he was appointed engraver to the king with a salary of £300 a year, and in 1768 he was made a Royal Academician. Few artists have reached so distinguished a rank in their profession as Bartolozzi, and that in every species of engrav- ing. His etchings, in imitation of the drawings of the most eminent painters, admirably represent the spirit of the originals, and he was not less successful in the exquisitely finished plates he produced in the various styles he practised. In 1802 Bartolozzi accepted the post of director of the National Academy of Lisbon, where he died in 1815. Indefatigable in the exercise of his art, Bartolozzi has left us a prodigious number of plates, and the only embarrassment we experience is in selecting as copious a list of his works as our limits will permit, without omitting many others quite worthy of notice. PLATES WITHOUT THE NAME OF THE PAINTER, SOME FROM HIS OWN DESIGNS. Abraham and the Angels ; an etching. The Miracle of the Manna ; an etching. Job abandoned by his Friends. Charity, an oval ; inscribed Ipse fecil. The Origin of Painting. 1787. The Virgin and Infant ; circular. PLATES AFTER VARIOUS MASTERS. St. Francis of Sales triumphing over Heresy after Amiconi. St. Luke painting the Portrait of the Virgin; after Cantarini. The Adulteress before Christ; after Agostirw Carracci. Eoland and Olympia; after Annibale Carracci. Clytie ; circular ; after the same. A set of six plates; after origmal drawings by the Carracci ; m the Boyal Collection, in imitation of the drawings. A set of eight subjects ; after Castifflione. The Parting of Achilles and Briseis ; after Cipriani. Hector taking leave of Andromache ; after the same, Chryseis restored to her Father ; after' the same. The Death of Dido ; after the same. Jupiter and Juno on Mount Ida ; after the same. Venus presentmg the Cestus to Juno ; after the same. Venus attired by the Graces ; after the same. Tancred and Herminia ; after the same. Tancred and Clorinda; after the same. Shakespeare crowned by Immortahty ; after the same. Rachel hiding the Idols of her Father; after Pietro da Cortona. Laocoon attacked by the Serpents ; after the same The Death of Lord Chatham ; after Copley. The Virgin and Infant ; after Carlo Bold. A set of thirteen plates from the paintings by I)omem- chino ; in the cloister of Grotta Ferrata. Twenty-three plates, making a part of eighty-one, from drawings by Quercino ; in the Eoyal Collection. A set of Portraits of Illustrious Persons of the time of Henry VIII.; after drawimjs by Holbein; in the Royal Collection. Two Portraits of Henry and Charles Brandon, sons of the Dukes of Suffolk ; after two miniatures by Hol- bein^ executed in coloxu:s ;^ very fine. Socrates in Prison ; after Angelica Kauffmann. Penelope lamenting Ulysses ; after Angelica Kauffmann. Telemachus and Mentor in the Isle of Calypso ; after the same. Paulus Emilius educating his Children ; after the same. Coriolanus appeased by his Family ; after the same. The Interview of Edgar and Elfrida after her Marriage with Athelwold; after the same. This plate was begun by the unfortunate Mylandy and was finished by Bartolozzi for the benefit of his widow. King John ratifying Magna Charta ; after MoHimer ; tlie companion engraved under the same circum- stances. The Portrait of Carlo Cignani ; after C. Maratti. The Portrait of Pietro da Cortona ; after the same. Prometheus devoured by the Vulture ; after Michel- angelo. The Bust of Michelangelo. Cornelia, Mother of the Gracchi ; after West. Mary, Queen of Scots, and her Son ; after Zucchero. A Collection of Gems, designed by various artists, engraved by Bartolozzi. BARTOLOZZI, Gaetano Stefano, a son of Francesco Bartolozzi, was born .in 1757, and was also an engraver, but of no great celebrity. He was the father of the celebrated Madame Vestris. He died in 1821. BARTSCH, Adam, Ritter von, a modern German engraver, was born at Vienna in 1757. He attended the school of engravers in that city, and studied there under Schmiitzer. In 1775 he published designs of medals during the reign of Maria Theresa, and subsequently engraved numerous plates, some from the works of great masters, and some from his own compositions. He died at Hietzing in 1821. He was principal keeper of the Imperial and Royal Gallery at Vienna, and author of that very elaborate, correct, and useful work, ' Le Peintre Graveur,' which may be safely pro- nounced the best account of prints ever published. For this work he etched a series of facsimiles of unique or extremely rare etchings by Dutch and Flemish artists, in which the touch and spirit of the originals are admirably copied. He also pub- lished Catalogues of the Etchings by Rembrandt and his scholars, of the works of Guido Reni, and of those of Lucas van Leyden, and other artists. PORTRAITS. Adam Bartsch. Johann Christian Brand, painter. A Young Lady in a Nightcap. 1785. Michael Wohlgemuth, painter. Antonio Allegri da Correggio ; after Carlo Maratti. Madame Tscida. A Girl reading by CandleUght, said to be after Guido. The Marriage of Alexander and Roxana ; ajter Parmt- giano. A set of thirty-nine plates, in imitation of the drawings of several masters, in the Imperial Collection. Twelve studies of Animals ; after J. H. Roos ; four on each plate. A Traveller passing a Forest, with a Boy holding a Lantern ; engraved in the manner of Rembrandt. The Obsequies of Pubhus Decius Mus, large plate ; after Rubens. Horses ; after Rugendas, Cattle ; after Rubens. Boar-hunt ; after Snijders. His son, Friedrich von Bartsch, published in 1818 a catalogue raisonn^ of all the prints by his father ; they amount to 505 pieces. 'Jl A BIOGRAPHICAL DICTIONARV: OF BARTSCH, Gottfried, a German engraver, was a native of Schweidnitz in Silesia. He settled at Berlin, and was engraver to the 'Great Elector' from 1674 to 16^-1. By him we have a small col- lection of prints from the pictures in the Gallerj- at Berlin. He also engraved the following plates : The Holy Family ; after Van Dyck. Meleager presentiug the Head of the Boar to Atalanta ; afttr Eubens. BARUFFALDI, Axto.nio, was born at Ferrara in 1793, studied at Venice, and died in 1819. The gallery of his native city possesses a ' Virgin read- ing ' iind a ' Tancred and Armida,' by him. BARVEZ. See Bervic. HARWELL, Henry George, was bom in 1829. His picturts, which he painted in water-colours, represent landscapes from English scenery. A few of these, from the year 1878, he exhibited in London at the Royal Institute of Painters in Water- Uolours, and also at the Grosvenor Gallerj'. He lived at Norwich, and died there in 1898. BARY, Hendrik, (or Barry,) an eminent Dutch engraver, was born about the year 1626. He appears from his style to have been either a scholar of Cornells Visscher, or to have formed himself from his manner. We have several plates by him of portraits and various subjects, executed very neatly ^vith the graver, which have great merit, although they are by no means equal to the works of Visscher. He generally marked his plates with his name, H. Bary. and sometimes H. B. By him we have the following : portraits. Dirk and Walther Crabeth, glass-painters. Adriaan Heerebord. 1659. Hieronimus van Bivemink. Desiderius Erasmus, of Rotterdam. ■Willem Joseph Baron of Ghent, admiral of Hollanii Eombout Hagerbeets. Annius MaiLUus Torquatus Severinus Boethius. Jacobus Taurinus. Count Johann Waldstein. La Duchesse de la Valliere. Hugo Grotius ; after Mireielt. Comelis Ketel, painter ; se ipse pinx. 1659. Jacob Backer, painter ; G. Terborch pirut. ; ovai. John Schellhammer, pastor ; Escopius del. John Zas, pastor; C/ir. Pierson pitix. Jacob Batiliere, predicant ; TVesterhaem pinx. Arnold Gesteramus, predicant ; Westerhaem pinx. Michael Ruyter, admiral ; after F. Bol. Admiral Vlugh ; after B. ran der Heist. I*o Aitzema, historian ; after Jan de Baan. George de Mey, theologian ; after C. van Diemen. SUBJECTS AFTER VARIOUS MASTERS, AND AFTER HIS DESIGNS. Neptune, emblematical. Allegorical title for the work of Leo van Aitzema. A Mother suckling her Child. Two Drolleries ; after Brouwer ; H. Barij fee., mthont the name of the painter. A Peasant Family ; after Fitter Aertsen. Summer and Autumn, in one plate, represented by two Children, one holding a handful of Com : after Van Di/ck. ■> A young 'Woman leaning on a Table sleeping, and a young Man laughing ; after the same. A yoimg Lady sitting at a Table, with a Hat and Feathers; after Terborch. BARYE, Antoine Louis, born in Paris in 1795, was a successful sculptor who also painted in water- colours and etched several plates ; he was a pupil of Gros. He received the decoration of an officer of the Legion of Honour in 1855, and was elected 92 a member of the Academy in 1868. He died in Paris in 1875. BAS, Jacques Philippe le. See Le Bas. BAS, Martin, (or Basse.) a Dutch engraver, who flourished about the year 1600. From the style of his plates, it is very probable that he was brought up in the school of Wierix ; his engrav- ings are evidently in imitation of the manner of that master. He was chiefly employed in portraits. We have by him the portrait of Edmund Genungs, Jesuit, prefixed to his ' Memoirs,' published 1591 ; the portrait of Philip Bosqueri, marked Mart. Baase ; and a small frontispiece of ' St. Peter and St. Paul; dated 1622. BASAITI, Marco, a native of Friuli, was bom, according to some authorities, of Greek parents, and flourished from about 1503 — the date of his earliest known work — to 1520. He was a rival of Giovanni Bellini, and if he did not equal that master in every respect, there are some points in which he surpassed him. He was happier in his composition, and understood better how to unite his grounds with his figures. His pictures are signed JI. Baxit, Marcus Baxaiti, or Marcus Basaiti. The fallowing are his best works : Berlin. Museum. Pieta. ,, „ St. Sebastian. London, ^'at. Gall. St. Jerome reading. ,, ,, Infant Christ asleep on the lap of the Virgin {doubtful). Eovigo. Museum. Christ carrying the Cross (prota}?y painted in 1517.) Venice. Academy. Christ praying in tlieGarden((/ditf' died of rapid consumption in 1884. She will be better known by her remark- able autobiographical diary and by her correepond- enceunderaiiorade plumi- with Guyde Maupassant, and by her acqiiaiiiliiiice with Bastien-Lepage, rather than by her own exhibited works, clever as they undoubtedly are. Sop the writings of M. Blind on Marie Baslikirtseff 1890, 1891, and 1892. B.\SILETTI, LuiGl, who was born at Brescia in 1780, and died in 1860, is the author of a ' Cascade at Tivoli ' in the Brera at Milan. BASILI PlETBO Angiolo, was born at Gubbio about 1550. He was first a scholar of Felice Daraiani, but afterwards studied under Cristofano Roncalli, whose manner he followed, though in a more delicate style. His fresco paintings in the cloister of Sant' Ubaldo in Gubbio are much esteemed ; and in the church of San Marziale is a picture in oil of ' Our Saviour preaching,' with a great number of figures. Basili died in 1604. BASILICATA, Pietro della. See Afesa. BASIRE, James, a son of Isaac Basil e, an engraver of maps, was bom in London in 1730. Early in life he went with a patron to Rome and copied the works of Raphael. In 1760 he became engraver to the Society of Antiquaries, and ten years afterwards to the Royal Society. He assisted in the production of Stuart's 'Athens,' and engraved several good portraits of eminent men. He died in London in 1802. Among his other works were: Captain Cook ; after Hodges. Lady Stanhope, as the Fair Penitent ; after B. Wilson. Lord Camden ; after Reynolds. Orestes and Pylades before Iphigenia ; after West. The Field of the Cloth of Gold : the Interview between Henry VIII. and Francis I. ; after the picture at Hampton Court. BASIRE, James, a son of the elder painter of the same name, was bom in 1769, and followed his father's profession. He engraved many of the architectural plates in John Carter's works on ' The English Cathedrals.' He was engraver to the Royal Society and the Society of Antiquaries He died at Chigwell 'Wells in 1822. His son James Basire, born in 1796, was likewise engraver to the Society of Antiquaries, and assisted in many of Richard Gough's architectural works. He died in London in 1869. BASSANO. See Ponte. BASSANO, Cesare, a painter and engraver, was born at Milan about the year 1584. We have no account of his works as a painter, but he engraved the following plates : Portrait of Gaspar Assellius. A Funeral Frontispiece of Francesco Piccolomini. The Nativity. BASSE, Martin. See Bas. BASSELLI, Daniello, is mentioned by Strutt as the engraver of a print representing • Daniel in the Lions' Den,' after P. Caton. It is etched and retouched with the graver in a very slight style. BASSEN, Bartelmees van, painter and archi- tect, flourished from 1613 to 1650. He painted at Delft, at the Hague, and in England. Neither the date of his birth nor that of his death is recorded. He was a Flemish painter of the interiors of churches and other public buildings, which he executed in a very skilful manner, both with re- gard to perspective and lively colouring. The figures in his pictures were frequently executed by eminent painters of his day, to whom he re- turned the compliment by supplying their archi- tectural wants. Among his works are : Berlin. Museum. Interior of a Church ; siijned B. VAN Bassen, 16:24, and undtr- neath F. Franck FiorEAViT. „ „ Interior of a room — withfi/ures. Copenhagen. Gallery. View of a Church, B. van Bassen, 162.S. „ „ An Interior. Darmstadt. Gallery. Interior of a Room with figures, B. T. Bas.sen. Hague. Museum. Interior of a Church ; signed B. VAN Bassen, 1626. BASSEPORTE, Madeleine Fban(;:oise, tlie daughter of a wine-merchant, was born in Paris in 1701. She was a pupil of Paul Ponce Antoine Robert, and afterwards of Charles Aubriet, whom she succeeded in 1741 as miniature painter to the king. She taught the daughters of Louis XV., and executed a large number of water-colour drawings of animals, plants, and flowers, many of which are in the library of the Jardin des Plantes. She engraved some plates for the Crozat Collection and othe"rs. We have by her : The Martyrdom of St. Fidelio de Sigmaringa; after P. P. Robert de Seri. Diana and Endymion ; after a design of Sebastiano Conca. There are also three books of flowers, drawn from nature, by her, and engraved by Avril. Mile. Basseporte died at the Jardin du Roi in Paris in 1780. BASSETTI, Marco Antonio, was born at Verona in 1588, and was a scholar of Felice Ricci. He afterwards visited Venice, and studied the works of the excellent colourists of that school, particularly Tintoretto, whose style he preferred. On leaving Venice he went to Rome, where he remained for a considerable time. On his return to Verona he was employed in painting some pic- tures for the public edifices in that city. For the church of San Tommaso he painted a picture of ' St. Peter and other Saints,' and for Sant' Anastasia, the 'Coronation of the Virgin.' By these and other works, particularly specified by Ridolfi.he acquired reputation as an eminent historical painter, but he was cut off in the prime of life by the plague which visited Verona in 1630. His works were highly prized, but he lei^ very few, as his maxim was, that painting ought not to be pursued by journeymen as a mechanic art, but with the leisure that is bestowed on literature for the sake of the pleasure it affords. In the Munich Gallery there is a ' Martyrdom of St. Vitus,' by him. BASSI, Antonio. Several of the works of this painter are mentioned in descriptions of the pic- tures and sculpture of Ferrara, of which city he was a native. In the church of San Giovanni Battista were two pictures by him, one represent- ing the ' Holy Family reposing in Egypt,' the 93 A BIOGRAPHICAL DICTIONARY OF other, 'Our Saviour and the Samaritan Woman;' and in the church of San Glemente -was the ' Virgin Mary, St. Anne, and St. Joachim.' He died in 1782. BASSI, Francesco, was born at Bologna in 1652 (?), and was, it is said, a scholar of Lorenzo PasinelU. According to other authorities he was a scholar of Cesare Gennari and of Guercino. He painted numerous pictures in the public edifices at Bologna, and also worked at Florence. He died in 1732 (?). He was distinguished as a copyist and imitator of Guercino. BASSI, Francesco Maria, ' the elder,' was born at Cremona in 1642. He acquired the name of ' II Cremonese dei Paesi,' from his eminence in paint- ing landscapes, which he touched with great spirit, and at the same time sufiBciently finished. He decorated them with figures and animals, tolerably drawn, and neatly painted. I'he private collec- tions at Venice possess many of his pictures. He died about the year 1700. His nephew, Francesco Maria, 'the younger,' who studied under him, was a painter of no great note. He worked till 1750. BAST, Dominique de, born at Ghent in 1782, was an amateur painter of landscapes and cattle, and also of marine subjects, in which he was considered to excel, in consequence of his having made many voyages by sea as a merchant. His pictures are chiefly to be seen in Ghent in private collections. BASTARD, a painter, executed about the end of the 17th century a large picture, not without merit, of ' Our Lord served by Angels in the Desert,' for the Jesuits' College of Palma, the capital of the island of Majorca. No other record of his work or life has been preserved. BASTAKO, GiDSEPPE del. See Puglia. BASTARUOLO, II. See Mazzuoli, Giuseppe. BASTIANI, Lazzabo, a Venetian artist, lived in the latter half of the 15th century. His early pictures show his Paduan education. He was an imitator of Vivarini. In 1470, he was an honoured member of the College of San Girolamo, Venice ; and in 1508 was chosen by Bellini to value Giorgione's frescoes ; he also received the com- mission to paint the Portraits of the Doges, in the Hall of the Twenty. The dates of Bastiani's birth and death are unknown. He did not paint much after 1490. The following are some of his best works : Bergamo. Lochis Car- \ Coronation of the Virgin (painted rara Gal. f in 1490). Venice. Academy. The Nativity (painted in 1490), ,> „ St. Cenofrio on his tree (painted in 1490). » „ Gift of the Eelic (painted for the scuola of San Giovanni I^vantjel- ista). „ Correr Mus. The Annunciation. „ Sant'Antonio. The Entombment (his earliest known \cork). Vienna. Belvedere. The Glorification of St. Venaranda (mitch damaged). BASTIANINO. See Filippi BASTIEN-LEPAGE, Jules, painter, was bom at Damvillers, Lorraine, November 1, 1850. His parents were poor, and in his early manhood he had a hard struggle for existence. He began life as a government clerk in his native district, but at nineteen quitted the desk, and coming to Paris, entered Cabeinel's atelier. Associated as his name now is with an art essentially actual and realistic, It IS curious to find him making his debut in pseudo-pastoral in 18th century taste. One of his 94 earliest recorded works is ' Women in a wood attacked by Cupids,' and in 1874 he exhibited at the Salon a peasant girl surrounded by piping Cupids, together with his first notable work, ' Le Portrait du Grandpfere.' The following year was marked by the production of one of his most pathetic and masterly studies of humble life, 'La Petite Communiante.' In this same year he competed for the ' prix de Rome ' with a remarkable work, ' Les Bergers ' (' The Angels appearing to the Shep- herds '). The art section of the Academy awarded it the prize, but their decision was overruled by the majority of the Council. The disappointment, though severe, did him good service. An outcry was raised against the injustice of the reversal, and Bastien-Lepage'snamebecamewell known through- out the country. He himself used to assert that this was the starting-point of his career. For the remaining years of his life he was a prominent figure in the French art world, and became well known in this country as an exponent of the tra- ditions of Millet and Courbet, modified by his own vigorous individuality. He is said to have expressed an ambition to paint a cycle of rustic subjects, setting forth the chief events of peasant Ufe in childhood, maturity, and old age, and such pictures as 'Les Foins,' 'La Saison d Octobre,' ' Le Men- diant,' and ' Pauvre Fauvette ' may be taken as links in the sequence. His ' Joan of Arc ' of 1880, in which, discarding convention, he represents his heroine as a poor and even squalid peasant girl, glorified by a mystic spiritual grandeur, may be said to summarize his artistic idea. He died in Paris of cancer of the stomach, at the early age of thirty-six, December 3, 1884. Besides the works above mentioned, the following are remarkable : The Wood-Cutt«r. My Parents. Kustic Coiu^tship. Portrait of the Prince of Wales. ,, ,, Madame Sarah Bernhardt. „ „ M. Albert Wolf, of the Paris ' Figaro." (See ' Bastien-Lepage,' by Theuriet, London, 1892.) BASTIER DE BEZ, Jean Joseph, French land- scape painter, was born at Le Vigan (Gard) in 1780. He commenced life as a money-changer, but afterwards became a pupil of Watelet, and painted a large number of views in Italy and France. He died about 1845. BASTON, Thomas, an English painter of sea- pieces and shipping, flourished about the year 1721. Several of his pictures were engraved by Kirkall, Harris, and others. He etched a few plates from his own designs ; among them is a print representing the ' Royal Anne,' with other ships. BATEMAN, James, was born in London in 1814, and at first starting in life was placed with a painter on glass. Though very fond of art, this branch was not to his taste. He soon gave it up. and accepted a situation as clerk, which he held till 1837, in which year he received an offer from two gentlemen, who agreed to take all the pictures he produced in the first year, at the same time allowing him £100. He usually painted animals and domestic subjects, with much humour. He first exhibited at the British Institution in 1840, and at the Royal Academy in the following year, continuing to do so until his death, in March 1849. BATHEM. See Battem. BATLEY, an English engraver in mezzotint, POMPEO BATTONI Anderson photo\ [Brera Gallery, Milan THE HOLY FAMILY PAINTERS AND ENGRAVERS. flourished about the year 1770. He was chiefly employed in engraving portraits. BATONI, PoMPEG GiROLAMO, (or Battoni,) who was born at Lucca in 1708, at first followed the profession of his father, who was a goldsmith ; he was afterwards sent to Rome to study painting under Conca and Masucci, but his chief lessons in art were derived from study of the works of Raphael. A peculiar grace and agreeableness, par- ticularly about his heads, rendered his pictures exceedingly popular, and his works were held in considerable estimation all over Europe. It was fortunate for the reputation and success of Ba- toni, that he lived at a period when the arts had fallen to a very 'ow ebb in Italy. Mengs, his only rival, and his superior, was chiefly employed in Spain ; Batoni was thus the only painter of his time at Rome that possessed the least pretension to merit, and he consequently met with great employment. He was more occupied in painting portraits than historical works, although there are several of his pictures in the public edifices at Rome. He painted the portraits of no less than twenty-two sovereigTis. Batoni died at Rome in 1787. The following are among his best works : Berlin. Museum. Dresden. Gallery. Florence. UJizi. Frankfort. Stddel. Milan. Brera. Paris. Louvre. Borne. Corsini Pal. „ S. Maria Mag. „ S. Maria rf' ) Angeli. \ Vienna. Belvedere. Cupid and Psyche (signed and dated 1756). Penitent Magdalene {copied, in 1757, by Dietrich for Frederick JI., King of Prussia). And others. Education of Achilles. Achilles at the Court of Lycomedes. His own Portrait. The five Arts (signed and dated 1740). Madonna and Saints. The Virgin. Nativity. Annunciation. Fall of Simon Magus. Return of the Prodigal Son. „ „ Portrait of Joseph II. A Life of Batoni, by Boni, was published at Rome in 1787. BATTAGLIE, Michelangelo delle. See Cerquozzi. BATTEM, Gerhard van, (or Bathem,) a Dutch landscape painter, who flourished about the year 1650, and died at Amsterdam in 1690. It is sup- posed that he was a pupil of Rembrandt, as some of his pictures bear a resemblance to that master's manner. His subjects are mountainous landscapes with banditti, travellers, and stag-hunts. BATTISTELLO. See Caracciolo. BATTY, Lieutenant-Colonel Robert, the son of Dr. Batty of Hastings, was bom about 1789. He was at one time in the Grenadier Guards, with which regiment he served in the campaign of the Western Pyrenees, and at Waterloo. He was an amateur artist of considerable merit. He published in 1822 'French Scenery;' in 1823 'German Scenery ' and ' Welsh Scenery ; ' in 1826 ' Scenery of the Rhine. Belgium, and Holland,' all of which have been much esteemed ; in 1828 'Hanoverian, Saxon, and Danish Scenery ; ' and in 1832 ' Select Views of the principal Cities of Europe.' He died in London in 1848. BAUDESSON, Nicolas, a French flower painter, was born about 1611, and received into the Academy in 1671. He died at Paris in 1680, leav- ing_ a eon, Jean Feanqois Baudesson, born in Paris in 1640, who was also a painter of flowers and fruit. He became a member of the Academy in 1689, and died in Paris in 1713. BAUDET, Etienne, an eminent French en- graver, was born at Vineuil, in the department of Loir-et-Cher, about 1636. He wa-s a pupil of Sebastien Bourdon and Cornelis Bloemaert, and afterwards went to Rome, and appears to have adopted the manner of Cornelis Bloemaert in his earliest plates, which are executed entirely with the graver. He afterwards on his return to Paris altered his manner, and calling in the assistance of the point, he executed his best prints, which bear a strong resemblance to the manner of Jean Baptiste Poilly. He made an excellent choice in the subjects of his plates, which are from the works of some of the most distinguished masters of Italy and France. He was a member of the Roj'al Academy of Paris, in which city he died in 1711. The following are his principal works : PORTRAITS. Pope Clement IX. Charles Perrault; afler C. Le Briiii. Louisa, Duchess of Portsmouth, as Venus, caressing a Dove; after H. Gaiciir. Bust of the Emperor Adrian, from the antique. Bust of a Boman Lady. SUBJECTS AFTER VARIOUS MASTERS. The Virgin teaching the Infant Jesus to read ; afler Albani. The Woman of Samaria ; after the same. Four plates of the Loves of Venus and Adonis ; afler the same ; engraved at Rome in 1672. Four circular prints of the FoM Elements ; after the same ; dated 1695. The Nativity ; aftef J. Blanchard. The Holy Family ; after S. Bourdon ; round. Six Landscapes ; after the same. The dead Christ on the Knees of the Virgin Mary ; after AnHibale Carracci. The Stoning of Stephen ; after the same. 1677. Adam and Eve ; after Domenichino ; very fine. Six — Of the great Staircase at Versailles ; after Le BruH ; that of the ceiling is engraved by C. Sim- moneau. The Communion of the Primitive Christians ; after G. de la Fosse. Moses treading on the Crown of Pharaoh ; after N. Poussiv. Moses striking the Rock ; after the same. The Worshipping of the Golden Calf ; after the same. The Holy Family ; after the same. Venus reposing ; after the same ; dated 1666. Foiu: Grand Landscapes ; after the same ; dedicated to the Prmce of Cond(5. Dated 1684. Foiu: other Grand Landscapes ; after the same ; dedi- cated to the King of France. The Tribute Money ; after Valentin. BAUDITZ (or Baudies). See Pauditz. BAUDOUIN, Pierre Antoine, the son of Michel Baudodin, an engraver of little note (who died in 1754), was born in Paris in 1723. He was a pupil and imitator of Boucher, whose younger daughter he married in 1758, and through whose influence he was elected an Academician in 1763, as a miniature painter, on which occasion he presented his drawing of ' Hyperides pleading the cause of Phryne before the Areopagus,' now in the Louvre. Baudouin executed idyllic and erotic subjects in water-colours and crayons, but painted but seldom in oil. He died in Paris in 1769. BAUDOUIN, Simon Reni?;. This amateur en- graver, who was born in 1723, was an oflBcer in the French Guards, and amused himself with the point. He etched a set of plates from his own designs, representing the military exercise of the 95 A BIOGRAPHICAL DICTIONARY OF French infantry, he also engraved some prints of battles, after the pictures of Charles Parrocel, and a set of email landscapes, after MicLau and others. BAUDRY. Paul Jacqoes Amt. painter, was born, of humbl.- parentage, at La Roche-sur-Yon, Vendue, November 7, 1828. He first studied under one Sartoris, at La Roche, and was nftersvards sent to Paris with an allowance from his native city. In Paris he became the pupil of Drolling, and in 1850 won the Gran 1 Pris de Rome with a ' Zenobia found on the Banks of the Araxes.' Four years in Rome were spent in the study of Michelangelo, Raphael, Titian, and Correggio, from each of whom he endeavoured to take some characterisiic quality. During his stay in Italy I e sent pictures to the Saion which attracted much attent on, and this success continued after his return to Paris. It was in qu isi-historical, decorative painting, in which his tine sense of balance and his pleasant colour served him well, that he succeeded best, and so, about 1865, he was invited to take part in the decoration of the new Opera. In preparation for this task he revisited Italy, made a series of partial copies from Buonarroti's frescoes in the Sistine Chapel, and studied Raphael at the Stanze. In 1867 he came to England, and finished a series of copies from Raphael's cartoons. The actual decora- tion of the Opera /oyer absorbed Baudry's energies for Some twelve years. The subjects are single figures of the Muses, Polymnia excepted, and various scenes from mythology, legend, and even biblical history. Besides thes • decorations, Baudry painted much for private patrons, and at the Salon of 1881 he obtained the medaille d'honneiir for his ' Glorification de la Loi.' a cei.ing for the Cour de Cassation. Througliout h s career he combined portrait painting with his decorative work. Among his portraits, the best, peihaps, are those of Beul6 (1857), Baron Dupin (1860), Charles Gamier (1868), and Edmond About (1871). In 1870 Baudry was elected a member of the Institute. He died January 7, 1886. BAUDUIN, Akton Frans. See Boudewtns. BAUER, Ferdinand Lucas, who was bom at Feldsburg, in Austria, in 1760, came to England in 1800, and obtained celebrity as a draughtsman for the Royal Botanical Society, and for various botanical publications. On a joumey round the world he staj-ed some time at Botany Bay, and made many valuable drawings. He returned to Austria in 1812, and died at Hietzing, near Vienna, in 1826. A large collection of his drawings may be consulted in the British Museum. BAUER. JoH. WiLH. See Baur. BAUGIN, J., a French engraver, who flourished about the year 1660. He engraved several por- traits, among which is that of H. de la Mothe. BAUGIN, LUBIS, was born at Pithiviers (Loiret) about 1610. He was a member of the Corporation of Master-Painters, and was admitted into the Royal Academy of Painting in 1651. He executed many designs for tapestry. He studied and imitated Parmigiano and Guido. His contemporaries called him ' Le petit Guide." The ' Holy Family,' by him, in the Louvre, has been engraved by F. de Poilly. He died in Paris in 1663. BA L'GN IE r, C, a well-known Belgian draughts- man on stone, who practised chietiy in Paris, and whose portraits were especially noteworthy. He died at Sfevres, July 3, 1886. BAUMANN, Adolph, who was bom in 1829, painted historical pictures in oil and fresco at 96 Munich, where he died in 1865. A ' Madonna and Child,' by him, is in the Pinakothek. BAUMGARTNER, Johann, known by the name of Pater Norbert, was bom about the year 1717. He executed a number of pen-and-ink drawings, as well as historical paintings. He was a member of the Academy of Vieima, in which city he died in 1773. P. Campana engraved his picture at Rome of ' St. Dominic kissing the hand of the Child Jesus.' There also exist by him : Bologna. Capuchin Mon. The Magdalene. Presburg, Academi/. Holy Family. Vienna. Capuchin Mon. Mary when a Child before the High Priest. „ „ Death of St. Joseph. BAUR, Johann Wilhelm, (or Bauer,) a painter and engraver, was born at Strasburg in 1600. He studied painting under Friedrich Brentel, and it was not long before he surpassed his instructor. On leaving that master he went to Italy, and spent some years at Rome, where he painted views of that city and environs, with small figures, neatly touched, which were greatly admired. The Prince Giustiniani favoured him with his protection ; and he was also patronized by the Duke of Bracciano, who allotted him apartments in his palace. In 1637 Baur left Rome, and went to Venice, where his works were equally admired. He after- wards visited Vienna, and was taken into the emploj-ment of the Emperor Ferdinand III., in whose ser\-ice he died, at Vienna, in 1642. His pencil is very neat and spirited, and his colouring warm and glowing. It is to be regretted that he was not more correct in his design. As an en- tjraver, he acquired considerable celebrity, and executed a great number of plates from his own designs, the best of which are those taken from the ' Metamorphoses ' of Ovid. They are sUghtly etched, and finished with the graver. They are very spirited, and resemble the manner of Callot. He marked his plates sometimes with his \W} name, and sometimes with the cipher an- ViJ- nexed. The following are his principal works : Portrait of Don Paolo Giordano U., Orsino, Dnca di Bracciano ; oval ; dated 1636 ; scarce. A set of Habiliments of difierent Nations, with his Portrait ; eighteen prints. A set of Battles ; entitled Caprici di tarie battaglie ; fifteen prints. Another set of Battles ; fourteen prints, with the title. A set of Landscapes, among which are the Four Ble- ments ; twelve prints. Twenty of Battles, for Strada's History of the Belgic War. The Metamorphoses of Ovid ; one hundred and fifty prints, published at Vienna, in 1641. BAUR, NicoLAAS, who was bom at Harlingen in 1767, was the son of Hendricus Antonius Baur. h portrait painter (bom 1736, died 1817). He painted landscapes and views of cities, and many houses in Holland are embellished by his works. He also painted moonlight and winter scenes ; and was particularly successful in marine subjects. He is considered one of the best of the later Dutch marine painters. He died at Harlingen in 1820. BAUSA, Gregorino, a Spanish painter, bom at Mallorca, a town in the vicinity of Valencia, in 1596. He was a scholar of Francisco Ribalta, and was a reputable painter of history. The principal altar-piece in the church of St. Philip of the Carmelites at A'alencia, representing the Martyr- dom of that Saint, is by Bausa. There are also several pictures by him in the monastery of Los Trinitarios Calzados in that city. He died in 1656. PAINTERS AND ENGRAVERS. BADSB, JoHANN Fbiedbich, a German engraver, was bom at Halle, in Saxony, in 1738. He is stated to have learned the art of engraving without the instruction of a master, and to have formed his manner by an imitation of the admirable prints of J. G. Wille. He died at Weimar in 1814. His works, which are very nmnerous, are chiefly exe- cuted with the graver, which he handled with great purity and firmness. The following are his principal plates, except his portraits, which are chiefly of German characters of little celebrity : Damon and Musidora, subject from Thomson ; after Bach. A Moonlight Scene ; after the same. The Magdalene ; from a drawing by Bach, after Batoni. Three Apostles ; after Caravaggio ; etching. Venus and Cupid; after Carlo Cignani. Michael Ehrlich ; after B. Benner ; a mezzotint. The Repentance of St. Peter ; after Dietrich. The Good Housewife ; after O. Dou. Bust of a Girl ; after Greuze. Artemisia ; after Guido. The Head of Christ ; after the same. The Old Confidante ; after Kupetsky. Cupid feeling the Point of an Arrow ; after Mengs. Bust of a Girl, with a Basket of Roses ; after Netscher. The Sacrifice of Abraham ; after Oeser. La petite Rusee ; after Meynolds. A list of his works may be found in Nagler and Heineken. See also Dr. G. Keil's ' Katalog des Kupferstichwerkes von Johann Friedrich Bause,' Leipzig, 1849. His daughter, Juliane Wilhel- MINB Badse, etched, with talent, a number of landscapes after Kobell, Both, and other artists. She was born in 1768, and died in 1837. BAVARESE. See Oefele. BAVIERA, a native of Parma, and one of the pupils of Raphael. Of his work nothing is known, and details of his relations with Sanzio are of the scantiest, but that he was a trusted friend and con- fidant of the master appears from the fact that to him Raphael gave the copper-plates of the en- gravings executed for him by Marc Antonio, that his name figures as signatory to a contract con- cluded on behalf of Raphael in 1515, and that before his death Raphael confided to his care his mistress, the famous 'Fornarina.' He is further mentioned by Vasari as having come to the aid of his fellow-pupil, Perino del Vaga, when the latter was rendered destitute by the sack of Rome in 1527. BAXAITI. See Basaiti. BAXTER, Charles, an English portrait and subject painter, was bom in London in 1809. He commenced life as a bookbinder, but afterwards studied under Clint. He exhibited at the Royal Academy, where his first picture appeared in 1834, and at the Society of British Artists, of which he became a member in 1842. His first works were miniatures and portraits in oil, but his greatest success was in fancy portraits. He died at Lew- ieham in 1879. Amongst his works are: The Dream of Love. Olivia and Sophia (London Exhibition, 1862). Peasant Girl of Chioggia. 1869. Rich and rare were the gems she wore. 1872. BAXTER, George, a wood-engraver, who was bom at Lewes in 1804, went in 1827 to London, where he became celebrated for a method of print- ing in oil-colours, which he placed on the market in 1834. His best works were a copy of 'The Descent from the Cross,' by Rubens; 'The Open- ing of the First Parliament of Queen Victoria,' for which he was awarded the Austrian gold medal ; I H the 'Queen's Coronation, and a miniature of 'The Baptism of the Prince of Wales.' He once ex- hibited in the Royal Academy. He died at Sydenham in 1867. BAXTER, Thomas, a native of Worcester, bom in 1782, excelled in fruit and flower pieces, which ne painted in water-colours. He also assisted John Britton in his work on Salisbury Cathedral. He died in London in 1821. BAY. See Debat. BAYER, August von, who was bom at Ror- schach in 1804, first studied architecture under Weinbrenner, at Carlsruhe. He visited Munich and Paris, and subsequently devoted himself to painting interiors of churches, chapels, cloisters, halls, &c., in which he produced very happy efiEects. In 1853 he was appointed conservator of the monuments and antiquities in the Grand Duchy of Baden, and died at Carlsruhe in 1873 (or 1875). Among his best works are : The interior of the Frauenkirche at Munich. A portion of the Cathedral at Chur. The Convent of Maulbronn. The Organ Player {lithographed by Fr. Sohe). An interior of a Cloister {lithographed by Fr. Hohe) . There are four works by him in the Pinakothek at Munich. BAYER, Hieronymus von, born at Bauris, Salz- burg, in 1792, was an excellent etcher, a master of the University at Landshut in 1809, and subse- quently a professor, and a member of Council at the University of Munich. He etched a large number of landscapes of great finish. BAYER, Josef, who was bom at Vienna in 1804, became a painter of merit, but died there when still young, in 1831. In the Belvedere there are two works by him — a ' Portrait of a Boy,' signed and dated 1829, and ' The Flight into Egypt,' signed and dated 1830. BAYEU Y SUBIAS, Francisco, was bom at Saragossa in 1734. He was first instructed by Luzan, in Tarragona, and having gained the pre- mium at the Academy, he was allowed a pension, to enable him to visit Madrid, where he entered the school of Gonzales Velazquez. His merit attracted the notice of Raphael Mengs, who recom- mended him to the protection of Charies III., and that monarch employed him in the Pardo, and in the palaces at Aranjuez and Madrid, where he also painted several pictures for the churches. In 1766 he was received into the Academy at Madrid, and in 1788 was made painter to the king. He died at Madrid in 1795. He etched a few plates. The following are a few of his best paintings : Madrid. New Palace. The Conquest of Granada. I. „ Apotheosis of Hercules. The Fall of the Giants. ,» „ And others. „ Museum. Sacred and Genre pictures (28). Works by him are to be seen in the Carthusians, Madrid, — the ' Life of St. Bruno,'— and frescoes in the churches of Toledo and Saragossa. BAYEU Y SUBIAS, Ramon, was born at Sara- gossa in 1746, and was instructed in art by his brother Francisco. He is principally to be noticed as an assistant to his brother in his fresco works. He died at Aranjuez in 1793. BAYNES, James, a water-colour painter, was born at Kirkby Lonsdale in 1766. and early in life became a student of the Royal Academy. In after years he exhibited views in North Wales, and in 97 A BIOGRAPHICAL DICTIONAEY OF Norfolk and other English counties, frequently introducing cattle. He died in 1837. BAYDCO, JnAN Bahtista, was a painter of some repute at Valencia, where he was born in 1664. His best works were his pictures in the cloister of the convent of St. Sebastian, illustrative of the ' Life of San Francisco de Paula.' BAZAN, Mariana SILVA. See Silva Bazan. BAZICALUVE, Ebcole, (or Bazzicaluve,) an eminent engraver of Pisa, and pupil of G. Parigi, flourished about the year 1640, and became cas- tellan of the castle of Leghorn. Bartsoh describes seven of his prints, and Brulliot others which had escaped the notice of that writer. Of his works may be mentioned a ' Triumphal Procession,' and twelve landscapes. BAZIN, Charles Louis, a French painter, sculptor, engraver, and lithographer, was bom in Paris in 1802, where he died in 1859. He was a pupil of Girodet-Trioson and of Gerard, after the latter of whom he engraved a portrait of Albertine de Stnel, Duchesse de Broglie. BAZIN, Nicolas, a French engraver, was born at Troyes, in Champagne, in 1633, where he died in 1710. He was a pupil of Claude Mellan, and estab- lished himself in Paris as an engraver and print- seller. He worked principally with the graver, in rather a stiff, dry manner, and published several plates, executed by himself and others, chiefly engraved by the young artists he employed. His plates are portraits and historical subjects, of which the following are the principal : PORTRAITS. Madame Helyot, an abbess ; after his own design. Madame Guyon, a celebrated visionary. Jean du Houssay de Chaillot, a hermit. Father Emanuel Magnan. Father Anthony Verjus, a Jesuit ; after J. P. de Cany. Jean Crasset, a Jesuit ; after I>u Mee. St. Francis Xavier. St. Ignatius de Loyola, founder of the Jesuits. Louis XrV., on horseback. 1682. Maria Theresa of Austria, wife of Louis XIV. ; after Le Febure. 1631. Louis, Dauphin of France ; after Martin. 1686. Frani^ois Barreme, arithmetician. VABIODS SUBJECTS. St. Francis receiving the Stigmata ; /ifter Barocd. St. Isabella, foundress of the Abbey of Longchamps; after rhilippe de Chaynpague. The Virgin Mary suckling the Infant Saviour ; after Correggio. Two Ladies, one going into a Bath ; after J. Dieu. St. Anne teaching St. Elisabeth to read ; after Le Brun. St. Mary, of Egypt, and St. Zozima ; after the same. St. Jerome and St. Peter, two plates ; after Lichery. The Holy Virgm. The Annunciation. Christ crowned with Thorns. The Crucifiiion. BAZZANI, Giuseppe, was born at Reggio in 1701_ (or 1690), and was a scholar of Giovanni Canti. According to Lanzi, he studied the works and imitated the style in which Rubens had painted in Italy; at Mantua and in the neigh- bouring convents he executed many frescoes with great spirit and freedom. He was director of the Academy at Mantua, in which city he died in 1769. BAZZI, Giovanni Antonio, or de' BAZZI (fre- quently miscalled RAZZI, and generally known as 'Sodoma'), was born at Vercelli, in Piedmont in 1477. His father, Giacomo de' Bazzi (who, it has been suggested, was a humble cadet of the noble 98 Piedmontese house of Tizzoni, since his son in later days lays claim to that name), was a shoe- maker, who, coming from Briandate, had married and settled in Vercelli. Giovanni Antonio, his eldest son, was, on November 28, 1490, at the age of thirteen, apprenticed for seven years to a glass painter from Casale of the name of Martino Span- zotti, whose only known work may be seen (acquired quite recently) in the Public Picture Gallery in 'Turin. With this artist he removed to Casale until the end of his articles, and his father dying that same year, he appears to have finally left home for Milan, where even if not actually his pupil he came under the direct influence of Leo- nardo da Vinci, and received from that master artistic impressions of such strength that, during the whole of his subsequent career, they are never entirely absent from his works. About the year 1500-01 he came, at the invitation of certain Sienese merchants named Spannocchi, who had agents in Milan, to their city ; which, in spite of frequent absences, became henceforth his home and the scene of his greatest achievements. Vasari com- plains that he wasted too much of his time on his first arrival in making drawings from the sculptures, then recently executed, by the famous Giacomo della Querela, especially those on the celebrated Fonte Gaia in the Piazzo del Campo ; and that this influence was very visible in his early paintings. However, nearly all the works recorded as having been executed during this period seem to have dis- appeared or perished. The most important one generally supposed to have originated at this time is the great ' Deposition from the Cross,' painted for the church of St. Francesco, and now in the Siena Academy. Other smaller paintings, which probably belong to the same period, exist, but upon this point authorities difler. In 1503 he adorned the refectory of the small Olivetan Convent of St. Anna in Creta, near Pienza, with charming frescoes, the largest of which is the ' Miracle of the Loaves and Fishes,' in three sections. Here his Lombard instincts may be seen struggling with local Tuscan influences. In 1505 he was further employed by the Mother-Convent of Monte Oliveto Maggiore, near Chiusure, to take up the work com- menced by Signorelli, and to continue the series of ' Scenes from the Life of St. Benedict ' frescoed in the cloister there. There he not only painted twenty- five subjects from the Life of this Saint, but also other works in the same medium in various parts of the Convent. In these frescoes he showed, in spite of great inequality in execution, at the same time his unsurpassable feeling for beauty of a most exquisite, even sensuous type ; his vigorous power of portraiture, and his ungovernable passion for rolhcking humour and jokes of every description. This last trait won him the nickname of ' U Mat- taccio' (the Arch Fool) from the Olivetan brethren. About 1507 he was attracted to Rome among the bevy of artists employed by Julius II. to adorn the Vatican Palace. There he designed and executed the ceiling of the Camera della Segnatura, portions of which, however, were by the Pope's orders removed to make way for other work by Raphael, but of which the centre panel, the decorative grotesques, and some of the smaller scenes still remain. Authorities differ as to Bazzi's Roman visits, but it is generally considered that, after leaving for Siena about 1510, he returned again be- tween 1513 and 1515 to execute for Agostino Chigi, the wealthy Sienese banker, the beautiful frescoes GIOVANNI ANTONIO BAZZI SODOMA Lombardi photo\ iFalazzo Ftibblico, Siena SAINT VICTOR PAINTERS AND ENGRAVERS. from the ' Life of Alexander,' which adorn the state bedroom in the Villa Faniesina. Of these the finest still existing are 'The Marriage of the Hero to Roxana,' and ' The Family of Darius kneeling at his feet.' The former, in spite of numerous faults, is one of the chefs-d'oeuvre of the Italian Renaissance, and is almost unrivalled. It is generally supposed that in 1517 he painted in tlie cloister of St. Fran- cesco, in Siena, that stupendous, but alas 1 cruelly injured 'Christ bound to the Column,' of whicli but a fragment remains in the Siena Picture Gallery. In the following year he executed, iu rivalry with Domenico Beccafumi and Girolamo del Pacchia, three scenes from the 'Life of the Virgin' (the ' Presentation,' the ' Visitation,' and the ' Assump- tion '), and three figures of Saints ('Francis of Assisi,' ' Anthony of Padua,' and ' Louis of Tou- louse ') in the Oratory of St. Bernardino in Siena ; completing the series fourteen years later (1532) with the ' Coronation.' Here again, amid much careless work, there are some exquisitely beautiful heads and figures. In that same year he painted, for two brothers of the name of Arduini, the mag- nificent panel of the 'Adoration of the Magi,' now in the Piccolomini Chapel in St. Agostino, at Siena, and also a panel of the ' Roman Lucretia stabbing herself,' presented to Pope Leo X., who conferred upon the artist in reward the title of Cavalier of Christ. Between the years 1518 and 1525 he seems to have been absent from Siena, perhaps in Lombardy, to which fact certain docu- ments and pictures seem to point. In 1525 he, assisted by various pupils, adorned the now desecrated church of the Compagnia di Santa Croce. Two fragments of these works, now in the Siena Gallery, ' The Descent into Limbo ' and the 'Agony in the Garden,' are of extraordinary beauty. The figure of Eve in the former and of the sleeping Apostle in the latter being worthy of special note. In this same year also the lay com- pany of St. Sebastiano, in Camellia, commissioned him to execute that wonderful banner which now hangs in the Uffizi Gallery in Florence : a figure of their patron saint unsurpassed, or even equalled, by any other artist. On the back is a Madonna and Child in glory with saints and worshippers, inferior in merit, but full of charm. This work, we learn, was left uncompleted by Bazzi, and was finished by his rival Beccafumi. In 1526 were executed the famous frescoes from the ' Life of St. Catherine of Siena,' in the chapel in St. Domenico, where is preserved her head, one of which, her ' Fainting when receiving the Stigmata ' (Lo Svenimento), is perhaps the most celebrated and best known of the painter's works. Between the years 1529 and 1537 he painted a number of works in fresco in the Palazzo PubbUco, viz. single figures of SS. Ansano and Vittorio, and the Blessed Bernardo Tolomei, the Resurrection, and the Madonna and Child, with SS. Ansano and Galgano. In the chapel of the same place there is also a panel, painted at about the same period, representing ' The Holy Family with St Leonard,' originally executed for the altar of St. Calixtus, in the Duomo. In 1530 the Spanish residents in Siena engaged him to decorate their chapel in St. Spirito. Here are frescoes of SS. Sebastian, Anthony the Abbot, and James on horseback trampling on the Turks, and panels of SS. Michael and Nicolo di Tolentino ; while in a lunette, on another panel, the Virgin, attended by various female saints, is clothing St. Ildefonso in an episcopal habit. This picture is said to have been much admired by tho Emperor Charles V., who, at about this date, conferred on the painter the rank of Count Palatine. During the next year he accomplished the enormous, but now almost entirely destroyed, fresco of the 'Nativity' over the Porta Pispini of the city. In 1536 he was visiting and working for, though none of his work there is now to be found, his benevolent friend and patron, James V., Prince of Piorabino ; and in 1540 he was visiting also Lorenzo di Ga- leotto dei Medici at Volterra, where again all artistic trace of him is lost, except the figure of the Infant Christ, inserted i)y him into the large painting of the ' Circumcision,' by Signorelli (now in the National Gallery, London). Thence, in 1541, he went to Pisa, where he painted two pictures (the 'Sacrifice of Isaac 'and the 'Entomb- ment ') for the Duomo, and a ' Madonna and Saints,' now in the Pisa Public Gallery, for St. Maria della Spina. Tlie first of these three pictures was carried to Paris by Napoleon in 1811, and remained there three years. He then visited Lucca, and finally returned to Siena, where he died on Feb. 14, 1549 ; though probably not, as Vasari tries to make out, in poverty and distress. Although Bazzi introduced an entirely new life into Sienese art, falling, as it was fast doing, into narrow antiquated grooves, and although his influence is very strongly marked throughout all subsequent art in that city, it would be incorrect to say that he in any sense founded a school. His actual pupils were very few — he was far too erratic to keep any for long together — though his followars and imitators were many. His chief merits are ease of drawing, a certain poetic feeling that runs through all his work, and the irresistible charm of his beautiful heads, espe- cially those of women, youths, and children. His schemes of colour are frequently very pleasing, particularly in his frescoes, which are his strongest point ; but in panels and canvases it has too often become blackened and discoloured by the action of time and weather on ill-chosen and prepared pig- ments. That he was very much influenced by Leonardo, and, to some extent perhaps, also by Raphael, is evident from tije fact that his works — drawings especially — have been often attributed to these more celebrated masters. Vasari evidently cordially disliked him, for, though compelled in justice to praise him sometimes, he loses no oppor- tunity of raking up and inventing malicious reports about him, some of which are palpably untrue. Besides the works already mentioned, the following are worthy of note : Siena. Picture Gallery. Gallery of St. Maria sotto le Volte del Ospedale. Chapel of SS. Giovanino ^ Gennaro. „ Chapel of the Piazza. ,, Casa Bamha- yini Galletti (outside) Florence. Uffizi. Holy Family with an Angel (tondo). Four Bier heads for the Com- pagnia di Fonte-Giusta. Holy Family. Pitti. >Four Bier-heads. > Madonna with Saints (fresco). I Pieta. ' Madonna del Corvo ' I (fresco). Portrait of himself. Ecce Homo. Portrait. Ecce Homo. 99 A BIOGRAPHICAL DICTIONARY OF Florence. Convent of") Porta St.\ (•^'■«-'")- Frediano). J Naples. Picture Gallery. The Kesurrection. Rome. Villa Bonjhese. Holy Family. „ ., Pieta. „ Palazzo Spada. St. Clmstopher, (on theback) St. Lnke. „ Palazzo Cliiai. Rape of the Sabines (?). Villa Malta (Bo- ] ^^^-^^^ ^^^^^. Turin. Fictnre Gallery. Holy Family. „ „ Madonna with Saints. ,, ^ Lucretia stabbing herself. Asinaluuga. Colleyiata. Madouna entluoned with Saints. Trequauda. „ Ascension (fresco), Moutepulciano. Picture ) tt i -n. m Gallery. \^°^y^'"^'^y- Milan. Brera. Madonna and Child ,, Castello (Jlluseo} oi in- i i Civico}. j St. Michael, ,, Collection ) nc i i /-« -u Gi„houlhiac. I Madonna and Child. Collectior,, | Magdalen. ,, ColltCtiOJl. / TT 1 T< -1 Vittadini. j Holy Family. Vaprio d'Adda VillaMelzi. Madonna and Child (large (near Milan). fresco). Bergamo. Collection Mo-'^ vein ( Pub. \ Madonna. Gall.). j „ ,, ,, Portrait of a man. Vercelli. Coll. Aw. > Madouna and Child and an Borcjoyna. J angel. Munich. Pinakuthek. Holy Family. Vienna. Ivtpcrial Gallery . Holy Family. Frankfort. Sladel Gallery. Portrait of a lady. Hanover. Kestner Museum. Lucretia. „ Coll. Cumberland. Holy Family. Berlin. Museum. Caritas. Hamburg. Weber Coll, Lucretia. London. JVat. Gallery. Madonna and Child with Saints [small). }t ). it Head of Christ. „ Coll. Dr. L. Mond. St. Jerome. „ n M Ecce Homo. », }, M Madouna and Child. „ ,, Mr. Walter ) „ i i. -i tiickert. j Holy Family. " " Richte'r I Madonna and Child. >, „ „ Dead Christ. „ „ Dorchester ) Holy Family with Angels House. J (tondo). „ Surrey House. Madonna and Child. Rich- „ SirF. Cook. ) „, ^ j i., t^ mQ^j } bt. George and the Dragon. High Leigh, Co?. Cor-niTO??, J -,,._,•. Cheshire. Leiyh. ' j Holy Family ((o,iA,). Gosford House. Coll. Earl 1 „ i t. -, , Longniddry. of Wemyss. f ^oly Family (tondo). Corsham CoH. Lord ) _ -, Court. Methuen. j ^'"'<' ^omo. Paris. Coll. Count Costa rfi) „, . ^ , . „. „ Beaure,,ard. \ ^hnst bearing His Cross. Brussels. Coll. Baron ) , i ^ i, „ de Somzee. j ^'^^ ^''^ t^« Swan. ■ > „ Pieta. R.H.H.C. BEACH, Thomas, w^s born at Milton Abbas, in Dorsetshire, in 1738. He was a pupil of Reynolds, and became distinguished as a portrait painter. He lived for many years at Bath, and sent his pictures to the exhibitions of the Incorporated Society of Artists, and afterwards to the Royal Academy. Three of liis works were included in tlie Exhibition of National Portraits, 1867. His picture of 'John Kemble and Mrs. Siddone, in 100 ' ' " Macbeth," ' is his most celebrated production. He died at Dorchester in 1806. BEALE, Mart, an eminent portrait painter, was born in Sufiolk in 1632. She was the daughter of the Rev. J. Cradock of Walton-on-Thames, and having shown a great inclination for art, she was placed under Sir Peter Lely, and soon became proficient. By copying several paintings by Van Dyck, she acquired a purity and sweetness of colouring for wliich her portraits are distin- guished. Of an estimable character, and very amiable manners, she was patronized and em- ployed by many of the most distinguished persons of her time. Her husband was also a painter, but of no celebrity. Mrs. Beale died in London in 1697. In the National Portrait Gallery, London, there are by her two portraits — one of Charles II., and the other of Abraham Cowley. (See Walpole's 'Anecdotes.') BEARD, Thomas. This engraver was a native of Ireland, and flourished about the year 1728. He worked in mezzotint, and engraved principally portraits ; among which are the following : The Archbishop of Armagh ; after P. Ashton. The Countess of Clarendon ; after Knellcr. John Sterne, Bishop of Clogher ; after Carlton. BEARD, William H., was an American, born at Painsville, Ohio, in 1821, his grandfather having been a Judge of the Supreme Court, but liis father a ship's captain. From his earliest youth he delighted in drawing, especially of odd, grotesque or dreadful figures, and it was this ability which caused him in later years to become the clever humourist of America. He began as a portrait painter, but the comic element was too strong in him for success in that branch of art, and he speedily turned to works of imagination. His delineations of animal life and his rebukes of the frailties of human nature under the transparent guise of animal scenes rendered him very popular in his ow^n country, where he rose to the highest honours and became one of the earliest associates of the National Academy of Design. His work is but little known in England, but is full of subtle analysis of character, profound satire and clever colouring. Imagination, humour and satire are the qualities by which his work is distinguished. His drawing was too often weak and at times in- accurate, but his works were always impressive and often dramatic. He died in 1900. BEARDSLEY, AnsREY, was one of the most original draughtsmen who have ever lived. He attained his utmost celebrity before he was twenty- two years old, and he was but twenty-five when he died. He was really never more than a wonder- ful precocious boy all his life, with all the frank merriment, enthusiasm and exuberance of a boy. His earliest pulilished work was a programme and book of words for the annual entertainment of the Brighton Grammar School in December 1888. There were eleven drawings in the book, 'the work of a boy at the school,' as the programme stated, and they were all strikingly individual and instinct with life and movement. His next published work was in the 'Bee' magazine, Blackburn, December 1891, and at that time he was a clerk in the Guardian Fire Office. He was always in the very worst of health, suffering from frequent attacks of haemorrhage, but during his evenings found time to prepare a large portfolio of draw- ings. These attracted the attention of Mr. Aymer Vallance, and later on of Mr. Pennell, and it was PAINTERS AND ENGRAVERS. owing to the very urgent persuasions of these two friends that he eventually relinquished his occupation, entered at Mr. Fred Brown's Studio at Westminster, and finally decided to give his attention to illustration. At the age of nineteen he accepted the tremendous task of illustrating the 'Morte d'Arthur,' and after considerable labour carried it through. When still quite a lad he had attracted the attention of Sir E. Burne-Jones and also of Puvis de Chavannes, and it said much for his genius that it should have received encourage- ment from two men so different in their aims and practice as were these two. His special qualities were thus described by Hamerton in his eulogy of the artist: "Extreme economy of means, the perfection of discipline, of self-control and of thoughtful deliberation, at the very moment of invention." In 1893 appeared the famous article on Beardsley in the pages of the 'Studio,' and from that moment the lad was famous. His success was the most unfortunate thing which happened to him, as he became involved with the " latest charlatanisms of the hour," and was claimed by the artists of the decadent movement as one of themselves. His illustrations to the three vols. of Bona Mots,' and to 'Salome,' 'The Kape of the Lock,' and 'The Savoy,' are works of remarkable genius, but those in the ' Yellow Book ' and many of his single illustrations did not add to his fame, and in some cases were distinguished by a vicious and ignoble quality, together with a peculiar disposition to represent types without intellect and without morals, which later on he regretted with all his heart. His latest works were the ' Book of Fifty Drawings,' the illustrations to ' Mademoiselle de Maupin,' and to ' Volpone,' all executed when he was seriously ill with that illness from which he never recovered. He was, however, neither depraved nor immoral, but was unable to withstand the desire to do clever, mischievous things, and to shock persons of narrow opinions. His work in the 'Savoy' and the 'Yellow Book' were mis- understood, and were thought to be the work of a man of evil disposition, but it was not so. He would have been better had he restrained his mischievous disposition, and had he lived he would have restrained or left it behind him, but in any case the existence of this curious quality, much as the artist afterwards regretted it, must not be put down to actual vice. Beardsley was always a man of religious temperament, of deep and serious aims and of earnest feelings. In the last few years of his life he became a Catholic, and in that faith he died at Mentone in March, 1898. His drawings were fuil of imagination and of delicate fancy. There were often the faults of eccentric proportions and tricks and mannerisms of style, but with all there was a marvellous knowledge of the quality of line, an exquisite portrayal of texture, a vigour, inventiveness and daintiness which are almost unapproachable in the work of any other man. His sense of beauty was a very real and powerful one, and there is an earnestness about his work and a desire not alone to be quaint and fanciful, but also to realize the hidden depths of beauty which deserves fuller recognition than it has received. The horror and evil of many of the faces, the cunning and malice depicted in some of them, have been too much considered, to the detriment of the greater qualities which Beardsley undoubtedly possessed. His technique was masterly; there was, as has been well said, "a serene surety in his drawing and a superb sense of style." No artist so rapidly reached so universal or contested a fame, few have had so wide an influence, few have been so much misunderstood, and few have been so profoundly original. There is an excellent sketch of his life, written by his friend Arthur Symons, and articles on his work by Aymer Vallance and Margaret Armour are to be found in the ' Magazine of Art,' and by Pennell and others in the ' Studio ' and 'Artist.' From these and from personal knowledge the above notice has been written. G. C. W. BEATRICIUS. See above. Master of the Die. BEATRIZET, Nicolas, (Beauteizet, or Bea- TRICETTO,) a French engraver, was born at Lune- ville in or before 1520. From his style it has been conjectured that he was a scholar of Ghisi, and of Agostino Veneziano de Musis. From 1540 to 1560 he engraved under the direction of Michelangelo. He died at Rome after 1560. His works are more indebted, for the estimation in which they are held, to the subjects he has selected, than to the merit of their execution. He usually marked his plates with the letters N. B. L. F. Their number is con- siderable, but most of them are "NO Tv"D T comprised in the following list : _[\Jj JVj I ' POETKAITS. Bust of Pius III. Pope Paul III., an oval. Pope Paul IV. ; dated 1558. Henry II., King of France ; N. B. F. Lot f. 1558. Another Portrait of Henry II. ; dated 1556. Hippolita Gonzaga. Juan Valverdus, Spaniard. Antoine Salamanca'J engraver and dealer in prints. Don Juan of Austria, an oval, on a monument ; inscribed Generate della Legha. The Genealogy of the first twelve Emperors and Em- presses, with their Portraits, from medals ; two sheets. The Kings of Poland, in medallions ; inscribed Reges Folonia. SUBJECTS OF SACRED HISTORY. Cain killing Abel ; inscribed Fratricida Abelis, A. S- ex. 1540. Joseph explaining the Dream ; after Maphael; marked iV. £. F., and his name ; one of his best plates. The Nativity of the Virgin ; after Baccio Bandinelli ; inscribed Kicolaus Beatricius restituit et formis suis exc. The Anmmciation ; with the names of Michelangelo and Beatrici. The Adoration of the Magi ; after Parmigiano, N.B.L.F. The Holy Family, with St. John ; Jerom. Mutian,pinx., Nicolaus Beatricius Lotaringus, incidit, ^c. The Good Samaritan ; Michelangelo, inv. Christ on the Mount of Olives ; after Titian ; marked N.B.F. The Cruciiision, with the Virgin, Magdalene, and St. John ; with the Sun and Moon on each side ; Muci- anns Brixianus, inv., Nicolaus Beatricius, SjC. exc. The Mater Dolorosa ; after Michelangelo ; N. B. Roma:. 1547. The taking down from the Cross; after Circignani ; marked B. Romtc. Christ dehvering the Souls from Purgatory ; with the names of Raphael and Beatrici. The Ascension ; after Raphael, with his cipher. 1541. The Conversion of St. Paul ; Michelangelo, pinx., 4r«. ; marked N. B. St. Michael overcoming the Evil Spirit ; after Raphael ; marked N.B. L. The Virgin seated on a Throne, distributing Rosaries ; inscribed Nicola^is Beatricius, §c. exc, oval. The Cross worshipped all over the world ; arched plate, marked N. B. F., and inscribed Crux illustris, tjc. MDLTII. The prophet Jeremiah ; after Michelangelo. A BIOGRAPHICAL DICTIONARY OF St. Jerome kneeling before a Crucifix; after Titian; marked N. B. L. F. St. Elizabeth, Qyeen of Hungary, relieving the dis- tressed ; after ilutiano. The Last .Judgment; after Michelangelo. Dated 1562. In nine sheets. SUBJECTS OF PEOFAls'E HISTORY. The Sacrifice of Iphigenia; on the altar is inscribed Iphigenia ; it is marked N. B. X. F. Ganymede; after Michelangelo ; inscribed Gaiiimedes Juvenis^ S^c. The Fall of Phaeton ; after Michelangelo ; retouched by Beatrici. Tityus devoured by a Vulture; after the same ; Ant. Salamancha, ei. Silenus carried by Children ; after the same ; N. Bea- trice^ fee. The Dream of Human Life, emblematical subject ; after the same. Shooting at a Target ; after the same. Vertumnus and Pomona ; after Pontormo. Keason combating Love ; after B. BandineUi ; with his cipher. A Combat between five Men and five WUd Beasts ; after Giulio Romano. 1532. The Battle of the Amazons ; after a basso-rilievo ; in- scribed Amazonttm pitgna, ^-c. 1559. The Battle of the Dacii ; after the basso-rilievo of the Arch of Constantino; marked Jf. B. and inscribed Tabula Marmora, Igc. The Emperor Trajan triimiphant ; after a basso-rilievo. 1560. The Pantheon of M. Agrippa ; marked N. B. F. The Temple of Fortune; after a drawing by Raphael; marked N. B. F. The great Circus; marked jV. Beatrizet Loiaringia ; two sheets. The Front of the Farnese Palace ; after the design of Michelangelo. IMS. Statue of Moses ; after Michelangelo ; inscribed Moysis ingens, §c. Statue of Jesus Christ ; after Michelangelo ; with his name. Equestrian Statue of M. Aurelius. 1558. Statue of a Philosopher reading ; inscribed Aiiaximenes, 4'C. : the plate was afterwards retouched, and the Philosopher changed into St. Paul. The Castle of St. Angelo. The Siege and Taking of Luneville ; A"ic. Beatrizet Lo- taringas, incidet. 155S. BEAU, Pierre Adrien le. See Le Bead. BEAUBRUN, Henri, a French portrait painter to the king, and a member of the Royal Academy of Painting in 1648, was born at Amboise about 16U3; he died in 1677. Charles Beadbrun, his cousin and fellow-worker, also a portrait painter, was born at Amboise in 1604, received into the Academy in 1651, and died in Paris in 1692. Works by them are in the Madrid Gallery. Mathieu Beaubbdn, the fatlier of Charles and brother of Louis, was likewise a painter. He died in Paris in 1642. LODIS Beaubrun, a portrait painter of the 16th century, an imitator of the Pourbus, was uncle of Charles iind Henri, and died in Paris in 1627. In 1616, on the occasion of the entry of Louis XIII. and Anne of Austria into Paris after their marriiige, Louis Beaubrun executed a large alle- gorical painting for the decoration of the Porte St. Jacques, which he himself engraved. BEAUCLERK, Lady Diaka, a daughter of Charles Snencer, second Duke of Marlborough, was bom in 1734, and became an amateur artist of some celebrit}'. She married, in 1757, Frederick, second Viscount Bolingbroke, from whom she was divorced in 1768. Two days after she married the celebrated wit, Topham Beauclerk, by whom she was left a widow in 1780. Her illustrations of 102 Burger's 'Leonora' (1796), and Dryden's 'Fables' (1797), are well known to book collectors. She also designed groups of young Bacchanals, and other bas-rehefs for Wedgwood. She died in 1808. BEAULIEU, Anatole Henri de, a French painter of historical, genre, and military subjects, was born in Paris in 1819, and was a pupil of Dela- croix. He died in 1884. BEAUME, Joseph, a French historical painter, born at Marseilles in 1796, was a favourite pupil of Gros, and a frequent contributor to the Salon between 1819 and 1878. In the time of Louis PhiHppe he was commissioned to paint several large battle-pieces for Versailles. His ' Henri III. on his Death-bed ' is in the Luxembourg. He died in September, 1885. BEAUMEZ, Jean de, is recorded to have been "painter and valet" to Philip the Hardy, for whom he painted numerous works, and decorated, among other chapels, that of the Castle of Argilli, in Bur- gundy. Jean de Beanmez was employed by his patron from about 1375 to 1395. BEAUMONT, Cavaliere Claudio, was bom at Turin in 1694. After studying some time in his native city, he went to Rome, and applied himself to copying the works of Raphael, the Carracci, and Guido. He appears to have had Little respect for the Roman painters of his time, except Trevisani. whose manner he imitated in the vigour of his tints. On his return to Turin, he was employed in decorating the royal palace, where he also painted in fresco, in the library, various symbolical subjects, relative to the Royal Family of Sardinia ; and in the other apartments he represented the ' Rape of Helen,' and the ' Judgment of Paris.' In the Chiesa deUa Croce is a fine picture of the ' Descent from the Cross.' The King of Sardinia conferred on him the order of knighthood in 1766. BEAUMONT, Charles Edouard pe, painter, was a native of Lannion (Cotes de Nord), and a pupil of Boisselier. He painted genre pictures, generally of a humorous character, both in oils and water-colour, and gained medals in 1870 and 1875. He was president of the Society des Aquarellistes Franpais at the time of his death, which took place in January, 1888. BEAUMONT, Sir George Howland, Baronet, an amateur painter, was bom at Dunmow, in Essex, in 1753. He was a liberal patron of artists, and very fond of their society. He was a great admirer of Claude and of Wilson ; and painted in a respectable manner scenes at Coleorton and the groves at Charnwood. In 1826 he presented sixteen pictures to the National Gallery, which collection he greatly helped to establish. The Gallery also possesses two landscapes by him, presented after his death by his widow. He died at Coleorton, Leicestershire, in 1827. BEAUMONT, Jean Francois ALBANIS de. See Albanis de Beaumont. BEAUMONT, John Thomas BARBER, who was bom in London in 1774, was in earlj' life a miniature painter; and from 1794 to 1806 exhi- bited his works under his original name. Barber, at the Royal Academy. He subsequently adopted the name Beaumont in addition to Barber. He is best known as the originator and manager of the County Fire OfSce and of the Provident Life OfiBce. He died in London in 1841. BEAUMONT, Pierre FRANgois, a French en- graver, was horn in Paris about the year 1720. He PAINTERS AND ENGRAVERS. executed some plates, chiefly after Jan Brueghel and Ph. Wouwernian. Three Views in Flanders ; after Brueghel. Four Hunting Pieces ; sfter N. N. Coijpel. The Angel appearing to the Shepherds ; after Wouuer- man. rhe Thirsty Traveller ; after the same. Running at the Ring ; after the same The Swimmers ; after the same. Cavalry defiling ; after the same. Halt of Cavah^ ; after the same. The Blacksmith ; after the same, BEAUNEVEU, Andre, a painter of miniatures, was employed in the early part of the 15th cen- tury in illustrating for the Duke Jean de Berry a Psalter, now in the National Library at Paris ; which for its beauty of conception and careful exe- cution will bear favourable comparison with the works of Meister VVilhelm. The miniatures in a Prayer Book of this duke, now in the Royal Library at Brussels, are also attributed to Beauneveu. BEAUTRIZET. See B^ateizet. BEAUVAIS, DAUPHIN de. See Dadphin de Beauvais. BEAUVARLET, Jacques Fibmin, a celebrated engraver, was born at Abbeville in 1731. He went to Paris when young, and was instructed in the art by Charles Dupuis and Laurent Cars. His first manner was bold and free, and his plates in that style are preferred by some to the more finished and highly-wrought prints that he afterwards pro- duced, although it must be confessed that the latter are executed with great neatness and delicacy. Beauvarlet married, in 1761, Catherine Jeanne Fran9oise Deschamps, a young lady who possessed some skill in engraving, but who died in 1769 at the age of thirty-one. He married again in 1770, but became for a second time a widower in 1779. Eight years later, in 1787, he married Marie Catherine Biollet, who, like his first wife, was an engraver. She was born in Paris in 1755, and is said to have died in 1788. Beauvarlet himself died in Paris in 1797. The following are his principal works : portraits. Marie Adelaide, daughter of Louis XV. ; after Nattier. Louis Joseph Xavier, Duke of Burgundy; after Fredou. Mile. Clairon, actress ; after Van Loo ; by Laurent Cars and Beauvarlet. The Abbe NoUet ; after La Tour. Edme Bouchardon. sculptor : after Drouais. 1770. Jean Baptiste-Poqaelin de Moliere ; after S. Bourdon. The Marquis de Bomballes ; after Ltosliii and Fernet. Catharine, Princess Galizin ; medallion. Ferdinand, Duke of Brunswick. Madame du Barry ; after Drouais. SUBJECTS AFTER VARIOUS MASTERS. Lot and his Daughters ; after Luca Giordano. Susannah and the Elders ; after the same. Perseus, combating Phineus, shows the Head of Medusa ; after tlie same. Aas and Galatea ; after the same. The Judgment of Paris ; after the same. The Rape of Europa ; after the same. The Rape of the Sabiues ; after the same. Susannah and the Elders ; after Guido Canlasst. The Sewers ; after Guido Reni ; very highly finished. The Incredulity of Thomas ; after Calabrese. Venus lamenting the Death of Adonis ; after A. Turchi. La Rusee ; after C. Vega. The Double Surprise ; after Ger. Don The Fisherman ; after H. Carre. The Tric-trac Players ; after Tenters. The Bagpiper ; after the same. The Burgomaster ; after Osiade Diana and Actseon ; after Rottetihammer. The Bathers ; after Boucher. The Trap ; after the same. Cupid chained by the Graces ; after the same. The Children of the Count de Bethune ; after Drouain, Le Colin Maillard ; after Fragonard. The Chastity of Joseph ; after Nattier. Susannah and the Elders ; after Vien. The Offering to Venus ; after the same. ' The Offering to Ceres ; after the same. Cupid holding his Bow ; after C. van Zoo. La Confidence ; after the same. The Sultana ; after the same. Lecture Espagnole ; after the same. Conversation Espagnole ; after the same. Telemachas in the Island of Calypso ; after Raoux. The Toilet, and the Return from the Ball ; two com- panions ; after De Troy. Seven prints of the History of Esther ; after J. F. de Troy. A Subject from an Antique Painting at Herculaneum. A catalogue of his works was published at Abbe- ville in 1860 by I'Abbe Dairaine. BEAVIS, Richard, was born at Exmouth in 1824, and spent his early life at Sidmouth. His boyish leanings towards art were sternly repressed by his father, and it was not until 1846 that, en- couraged and assisted by some friends, he made his way to London and became a student in the Government School of Design, Somerset House. In 1850 he became designer to a firm of decorators in Parliament Street, and his earliest exhibited works at the Royal Academy, in 1855, 1858 and 1860, were schemes of decoration executed for them. He continued at the same time during his leisure moments to practise both in oils and water- colours, and after exhibiting several times at the British Institution, obtained the admission to the Royal Academy, in 1862, of two pictures, 'A Mountain Rill' and 'Fishermen picking up Wreck at Sea.' The success, financial as well as artistic, of these works was sufBcient to justify him in devoting himself thenceforward to purely artistic production, and he became a regular contributor to the exhibitions, residing or travelling abroad for many years and choosing his subjects accordingly, in France, Holland, and Egypt. He was elected an associate of the Royal Society of Painters in Water-Colours in 1882, a member in 1892, and died on November 13, 1896. BECCAFUMI, DoMENico Di Pace, was the son of a certain Giacomo (Jacopo) di Pace, a labourer on the property of the Sienese noble, Lorenzo Beccafumi, at Cortine, near Montaperto, in the Province of Siena, and was born there in 1486. The boy early showed remarkable artistic promise, and used to amuse himself modelling animals, flowers and leaves in clay. His father's employer having seen these works, and being struck with their merit, took him into his house as a sort of servitor, and gave him there opportunities for studying Art. Near his home there was then hving an artist, named Mecarino, of poor abilities and circumstances, but possessing a fine collection of drawings by good masters. These the young Domenico di Pace studied carefully, and on Mecarino's death, by the artist's special wish, assumed his name. He is therefore frequently referred to in Sienese Art-History as B, Mecarino (sometimes spelt Mecherino) ; the surname of his first patron Beccafumi being assumed in later years. Vasari tells us that it was while at work in Rome that he heard of the artistic fame of the 103 A BIOGRAPHICAL DICTIONARY OF Vercellese Giovanni Antonio Bazzi, newly arrived in his native city ; reports, which brought him home to study for a time under that painter, whose influence his works so strongly betray, but whose bitter rival he subsequently became. In Rome he studied carefully the works of Raphael and Michael- angelo, but liis best works are to be found in Siena itself. He was largely employed by his fellow-townsmen, not only in executing works of art of all kinds, but as critic, valuer of, and authority on, the works of other artists. Ex- amples of his work as a bronze founder may be seen in six angels holding lamps in the choir of the Cathedral at Siena, for which he received 11,600 lire. His most highly-praised works : 'Scenes from the Old Testament,' &c., inlaid on the Pavement of the Cathedral, are hardly worthy of the lavish encomiums that have been expended upon them. The drawing in them, which may be better enjoj-ed from the Cartoons, some of which are still existing in the Siena Academy, and from the large woodcuts by Andrea Andreani, which may be seen in the Uffizi Gallery and Marucelliana Library in Florence, is remarkably fine ; but his attempts to produce a tour de force with chiaroscuro effects in parti-coloured marbles are not altogether satisfactory, and do not com- pare to advantage with the simpler work of his predecessors in the same place. His paintings, clearly influenced by the stronger artistic per- sonalities with whom he came in contact at various times, are generally unpleasing ; his figures being often curiously elongated. His composition and colouring, however, occasionally have considerable merits. In 1513, in rivalry with Bazzi, he decorated in fresco the fagade of the Palazzo dei' Borghesi in Siena. In 1318, in competition with Bazzi and Girolamo del Pacchia, he executed certain scenes from the ' Life of the Virgin ' (her Marriage and Death), and also an altar-piece for the Oratory of St. Bernardino. In 1529, and again in 1535, he was employed to decorate the Sala del Concistoro of the Palazzo Pubblico: and in 1536 he was associated with Anton Maria Lari (nicknamed il Toi:o), in designing and erecting a triumphal arch, a vast papier-mache horse and other decorations in honour of the visit of the Emperor Charles V. Several of the private palaces in Siena contain wall and ceiling decorations by this master : and we read that he was also employed to complete the famous banner, painted by Bazzi in 1525, for the Compagnia di S. Sebastiano in CamoUia. By some authorities he is said to have died on May 19, 1550 ; others state that his death did not OLCur until the following year. His principal works, exclusive of those already mentioned, are to be found : Pisa. Cathedral. Scenes from the Old Testament, and the four Evangelists. Florence. Pitti. Holy Family. Genoa. Palazzo ) rr i t i Siena. Academy, Descent into Limbo. „ ,, Fall of the Rebellious Angels. „ ,, St. Catherine receiving the Stig- mata. „ ,, The Birth of the Virgin. the Cmife. } S*- ^ctael subduing Satan. Munich. Pinakothek. Holy Family. houdon.A'at. Gallny. Marriage of St. Catherine (?). K.H.H.C. 104 As an engraver, we have by him some excellent woodcuts ; and he engraved some plates, both etched and with the graver only, which show the hand of a great master, although they may not be so pleasing to those who are accustomed to look for neatness of handling. He sometimes marked his prints with his name, Micarino fe., and some- ■tiraes with a B, divided in the middle, thus ,T> , We have the following prints by him: JJ Paulus III. Poiitifex Maximus : without a name. 1515 An Old Man standing, and a Young Man lying down ; Micarino^ fee. Three Academy Figures ; without a name. The Nativity ; after Titian ; a woodcut, fine. The Virgin embracing the Infant Jesus ; a woodcut, three tints. St. Peter holding a Book and the Keys ; a woodcut, in chiaroscuro. St. PhiUp holding a Book and a Cross ; the same. St. Andrew, with his Cross ; the same. A Philosopher, with a Cloak, sitting ; the same. St. Jerome kneeling before a Cmcifix ; a woodcut. Ten subjects of Alchemy, on the first is inscribed Meca- ritius de Sitiis inventor. BECCARDZZI, Feancesco, was bom at Cone- gliano, in the Friuli, and was a disciple of Porde- none, whose manner he followed : he painted with considerable reputation, both in oil and in fresco. Many of his works, in the churches and convents at Trevigi, are described by Ridolfi. One of his best performances, according to that author, was the picture he painted for the church of the Francis- cans, at Conegliano, representing St. Francis re- ceiving the Stigmata, with several Saints. Becca- ruzzi flourished in the 16th century. BECERRA, Gasparo, a Spanish artist of great celebrity, wEis bom at Baeza, in Andalusia, in 1520. He excelled as a painter, a sculptor, and an architect. The patronage bestowed on the arts by Charles V. induced Becerra to visit Rome for improvement ; he went at a time when Michelangelo was in the zenith of his fame ; and it is said by Palomino, that he had the advantage of studying under that great master. He was much influenced by the works of Raphael and of Daniele da Volterra. On his return, in 1556, he was taken under the protection of Philip II. , and executed some works in fresco, in the palace at Madrid, which attracted general admiration. In 1563 he was appointed painter to the Court. He was one of the first reformers of the Spanish school, by introducing a superior style, founded on that of Buonarroti. Many of his works are in the public edifices at Madrid, Valladolid, Astorga, and Zamora. He died at Madrid in 1570. The designs of Becerra are very rare, and are much esteemed for the great care he bestowed on them ; for he justly considered design as the foundation of painting. [For a full account of his works in the public buildings, see Bermudez's ' Diccionario historico.'] BECHON, J., a native of France, who flourished about the year 1670, engraved several plates of landscapes, executed in a clear, neat style. BECK, August, a designer and painter, bom at Basle, in Switzerland, in 1823, studied art at Dussel- dorf ; his works chiefly represent horses and battle scenes. From 1859 up to 1871 he drew for the illustrated paper of Leipsie. He died at Thun in 1872. BECK, David, was bom at Amheim (or Delft) in 16:21. He had the advantage of being a scholar of Van Dyck, and became one of his ablest disciples. He was at least the most successful. King Charles < u u w o u I— I o Q < u K H fa O en W n < W K H Q en W en O O o H CO PAINTERS AND ENGRAVERS. I. favoured him with his patronage, and he was appointed to instruct the Prince of Wales and Duke of York in drawing. Beck is said to have painted with unusual promptitude and facility, ■which, being remarked by the king when sitting to him, occasioned that monarch to tell him pleasantly that he believed he could paint if he were riding post. After passing some years in England, he visited Sweden, where he was received with dis- tinction by Queen Christina, who appointed him her principal painter and chamberlain. Notwith- standing the flattering protection he received from the queen, his desire to revisit his native country prompted him to solicit permission to return to Holland, which he with difliculty obtained, under a promise to return. His attachment to his country prevented his fulfilling his engagement, and he died at the Hague in 1656. BECKENKAMP, Caspar Benedict, who was bom, in 1747, in the valley of Ehrenbreitstein, near Coblence, studied under his father and Jan Zick, at Coblence. At first he devoted himself to painting landscapes, after C. G. Schiitz ; but afterwards changed to portraiture. He settled at Cologne, and imitated with success the style of painting of the old German masters. He died in that town in 1828. Several portraits by him are in the Wallraf Museum, Cologne. For the church of Santa Maria in Littore, Cologne, he painted a copy of a PietA — once in that church, and now in the Stadel Gallery — formerly ascribed to Schoreel, but now given to Mabuse. BECKER, August, landscape painter, was born at Darmstadt in 1822. He studied in his native town under Schilbach, and afterwards settled at Diisaeldorf. He several times visited Queen Vic- toria at Balmoral, where he painted a series of pictures of Highland scenery, and gave lessons to the young princesses. In 1862 he became teacher to the Hereditary Princess of HohenzoUern. He died at Dusseldorf in December, 1887. BECKER, Ferdinand, was bom at Gousenheim in 1846. He entered the studio of Steinle, at Frankfort, in 1868, and afterwards removed to Mayence, where he painted his most celebrated work, ' Juden im Dom.' He also illustrated the German ' Mahrchen.' He died in 1877. BECKER, Jakob, born at Dittelsheim, near Worms, in 1810, learned the rudiments of painting in his native town. He went to Dusseldorf in 1833, and painted under Schirmer first landscapes, afterwards romantic pieces, and finally genre, in which latter branch he especially excelled. In 1840 he became Professor at the Stadel Institute at Frankfort, and was subsequently elected a member of the Academies of Berlin and Brussels. He died at Frankfort in 1872. Amongst his best works may be mentioned : A Farmer's family praying for the 6ick mother. Evening at the Well in the Westerwald. The Warrior returning home. The Wounded Poacher (in possession of the Count Maczynski, Berlin), A Shepherd killed by lightning {painted in 1844. Stadel Institute). The returning home from the harvest-field (engraved by Steifensand). BECKER, Louis Hugo, a painter and etcher, born at Wesel in 1834, studied landscape painting under Schirmer and Gude, at Dusseldorf, about 1852. He afterwards visited Westphalia, the Upper Rhine, the Moselle, Switzerland, Normandy, and the neighbour- hood of the Baltic. In 1861 he obtained a medal at Metz. He died at Dusseldorf in 1868. Among his landscapes the most important are : The Sacrifice of the Old Germans (in possession of Gl V. Grbben). The Passing Storm. Sunday Morning. The Shepherd on the Pasture. Christmas Eve. The Vine-crop on the Moselle. BECKER, Philipp Jakob, a German painter, was born at Pforzheim in 1763. At seventeen years of age he went to Rome, where he studied and formed his style under Raphael Mengs and Maron. In 1785 he returned to Carlsruhe, having acquired in Italy a high degree of skill in every technical requirement of his art. But he was want- ing in poetic fancy, and did not succeed in any remarkable manner in oil-painting. He died at Erlenbad in 1829. He left a large number of drawings in crayons and sepia, many of them copies, but all admirable for the taste and finish displayed in their execution. He was for many years Director of all the collections of paintings and engravings of the Grand Duke of Baden. BECKET, Isaac. This artist was one of the earliest mezzotint engravers in England. He was born in Kent in 1653, and was bred to the busi- ness of a calico-printer ; but becoming acquainted with Lutterel, who had made some progress in the art of mezzotint engraving, he learned from him the process, and executed in that way several plates, of which some are portraits. We have the following by him :" PORTRAITS. Sir Godfrey Kneller ; from a picture hy Kneller. Charles II. ; after Kneller. James, Duke of York ; after the same. Henry, Duke of Grafton ; after T. Ilaivher. The Duchess of Grafton ; after Wissing. Charles Melford ; after the same. Sir Peter Leiy ; Seipse, pinx. George, Prince of Denmark ; after Riley. Henry Compton, Bishop of London ; after the same Christopher, Earl of Albemarle ; after Murray. George, Duke of Buckingham ; after Verhelst. John Maitland, Duke of Lauderdale ; after Eiley, Henry, Duke of Norfolk. Thomas Cartwright, Bishop of Chester ; very scarce Lady Williams ; full length. Adrian Beverland, drawn from a statue. SUBJECTS AFTER VARIOUS MASTERS. The Virgin Mary and St. Joseph, with the Infant Jesus asleep, with two Angels ; without name of painter. Time cutting the Wings of Love. A Landscape, with a Shepherd and Shepherdess. The Dutch Schoolmaster ; after Beemsherk. The Village Barber Surgeon ; after J. Lingelbach. BECKMANN, Karl, landscape and architectural painter, was born in 1799, at Berlin. He received his art education chiefly in the studio of Wach. During 1824 he spent a short time in Paris ; and passed the period between the summer of 1828 and the spring of 1833 in Italy. He was afterwards appointed Professor of Architecture and Perspec- tive to the Royal Academy of Berlin. For his pure art-tendency, although he was engaged in other departments, he was indebted to Wach, and his residence in Italy increased his powerful com- bination of form and colour, which give to those pictures of his, which treat chiefly of architectural subjects, such a solid vigorous stamp. He died at Berlin, in 1859. A ' View of the cloister of San 106 A BIOGRAPHICAL DICTIONARY OF Benedetto, near Subiaco, by him, is in the National Gallery at Berlin. BECKWITH, Thomas, a native of Yorkshire, was first apprenticed to a house-painter at Wake- field, but soon displayed talents as a portrait painter; he also made many drawings of the churches in the neighbourhood. He latterly re- sided t York, where he died in 1786. He pub- Ushed ' A Walk in and about the City of York.' BEDAFF, Antonie Aloisids Emanuel van, an historical and portrait painter, was born at Ant- werp in 1787. Three of his works, 'The first Meeting of the Estates at Dordrecht,' 'The Last Interview between the Prince of Orange and Count Egmont,' and ' The Confederation of the Nobles,' are in the Gallery at Haarlem. He died at Brussels in 1829. BEDUSCHI, Antonio, a native of Cremona, born in 1576, was a scholar of Campi, whose manner he imitated. He is mentioned by P. Carasi, and two pictures, painted by him in his 26tli year, are commended for the promise they give of future excellence : one is the ' Martyrdom of St. Stephen,' and the other a ' Pieta,' for San Sepolcro in Piacenza. The time of his death is not stated, but he was li\nng in 1607. BEECHEY, George D., a son of Sir William Beechey, followed his father's profession. From the year 1817, he was a frequent exhibitor at the Royal Academy. About 1830, he went to India, where he attained great celebrity, and was made portrait painter and Controller of the Household to the King of Oude. A j 'rtrait of Hinda, an Indian lady whom he married, was exhibited in the Royal Academy, London, and created a great sensation at the time ; but he died early, in India, about 1856. BEECHEY, Sir William, an English portrait painter, bom in 1753, was a native of Burford in Oxfordshire. In early life he was placed with a solicitor at Stow, but becoming acquainted with some of the painters of the day, he took a fancy to art, and began the practice of portrait painting. In this he distinguished himself so much that he was patronized by George the Third, and was made portrait painter to Queen Charlotte, and lived much at Windsor as instructor to the princesses, who entertained the strongest regard for him to the end of his life. He was elected an Associate of the Royal Academy in 1793, and an Academician in 1798. He painted, in 1798, a ' Review of the Horse Guards,' in which the portraits of George the Third, the Prince of Wales, and the Duke of Y'ork, were introduced, and for which he was knighted. This picture is now at Hampton Court. He at one time attempted fancy subjects, and ' The Morning Star ' and ' The Evening Star,' the portraits of his daughter Lady Grantley as Hebe, of Lady Georgina Bathurst as Adoration, are beautiful examples of his skill in this direction ; but finding the painting of good likenesses was more profitable, he confined himself latterly to that style. He died at Hampstead, in 1839. In sixty-four years he sent no less than 362 portraits to the exhibitions of the Royal Academy. Dulwich. Gallery. Portrait of Charles Small Pybus,M.P. ■> .1 Portrait of John Philip Kemble. >i ,. Portrait of Sir P. F. Bourgeois, R.A. Hampton Court. ) , t. . . , „ Palace, j ■*■ ^^view of the Horse Guards London. Nat. Gall. Portrait of Joseph Nollekens, E.A., the sculptor. 106 The portraits of Sir William Beechey, which still adorn the public halls and family residences of the country, are celebrated for their truth to nature, and for the freshness of colour which they still retain. BEECK, Jan, was born at Looz, and was a monk of the convent of St. Lawrence, near Lifege, of which he became the abbot in 1509. He is con- sidered, after the brothers Van Eyck, to be the most distinguished among the ancient painters of Liege. He painted the greater number of the pic- tures in the church of his convent, and died in 1516. BEECQ, JKiN Charles Dominique, a Dutch marine painter, who was born at Amsterdam about 1640, established himself in Paris about 1680, and became a member of the Academy in 1681. He died, probably in Holland, in 1722. Some of his sea-pieces have been engraved by Fouard. BEEKE, A. VAN, who lived in the middle of the 17th century at Bodegraven, in Holland, was an excellent painter of fruit-pieces, dead birds, &c. In the Royal Gallery at Vienna is a still-life subject. BEELDEMAKER, Frans, the son of Jan Beelde- maker, was born at the Hague, in 1669, and was first instructed by his father ; he then studied under Willera Doudyns, an historical painter of some celebrity. After passing some years in Italy, he returned to Holland, where he was employed in painting liistorical subjects and portraits. He was admitted a member of the Academy at the Hague. In 1717 he left the Hague and went to live near Rotterdam, where he died at a very advanced age. BEELDEMAKER, Jan, a Dutch painter, was bom at the Hague in 1630, and died in 1680. It is not said by whom he was instructed, but he excelled in painting boar and stag hunts. They are chiefly of small dimensions, and are frequently seen in England. BEERINGS, Gregorius, was born at Malines about 1500, and died in 1570. He studied in Italy, and produced some good pictures of landscapes with architectural ruins ; but being of dissipated habits, his talents were never fully developed. BEERSKI, Count de, miniature painter, was a Russian nobleman, the owner of an estate near Moscow, who, on the accession of the Emperor Nicholas, was obliged to leave Russia on account of his liberal views. Being entirely ruined by his enforced exile, and having a taste for drawing, he took to miniature painting, residing in Paris, Ham- burg, and London. At the Great Exhibition in 1851, some of his paintings were exhibited and ob- tained first-class honours. He emigrated to America in 1859, and died at Rochester, U.S., in 1869. BEERESTRAATEN, Alexander, is the name given to the author of three paintings, signed A. Beerestraaten, in the Galleries of Berlin, St. Peters- burg, and Copenhagen. M. Havard denies his existence, and considers the Berlin and St. Peters- burg pictures to be by the hand of Jan Beere- straaten, of whom Alexander is supposed to have been a brother. BEERESTRAATEN, Jan, was born at Amster- dam in 1622, and was christened on the Slst of May in the old parish church. His father, Abraham Jans, a cooper, assumed the name of Beerestraaten, probably because he resided in the Beeren-straat. In 1642 Jan married Magdalena van Bronckhorst, who bore him five children. He finally died at Amsterdam, it is supposed, in 1687. Jan Beere- straaten is essentially an Amsterdam painter. _ He was born, painted, and died in that city ; and it is SIR W. BEECHEY THE BROTHER AND SISTER [/-L'^/Z7V, Parti PAINTERS AND ENGRAVERS. in Amsterdam that his best works must be sought to this day. His pictures consist of coast-scenes and views in towns, with figures. Amsterdam. Gallery, The Boatmen's House, i beeee- STRATEN. „ „ Kuins of the Old Town-HaU at Amsterdam., i beerestraaten. „ „ Sea fight between English and Dutch. I BEER-STRAATEN. „ Town Hall. View of the Dam, Amsterdam. J. BEERESTHATEN FT „ „ View of Amsterdam taken from the Y. JOAN BERnSTEAATEN. Six Coll. The Chapel of St. Olof at Amster- dam. BEERSTRAET. Berlin. Museum. Winter Landscape, j. bkhr- STEAATEN. 1664. Paris. Louvre. The Old Port of Genoa, johakjtes BEERSTRAATEN FECIT. Rotterdam. Museum. View of Mayence. 1654. (For further information, see 'L'Art et les Artistes Hollandais,' by Henry Havard, part iii., 1880.) BEESTEN, A. H. van, a Dutch painter of por- traits and bassi-rilievi, in which it is said that he excelled ; but being a man of great modesty, he suffered others to turn his talents to their profit. He lived in the middle of the 18th century. BE6A, Abr. Corn. See Begeijn. BEGA, CoRNELis PiETERSZ, who was bom at Haarlem in 1620, was the son of a sculptor called Peter Begijn (or Beggijn), and Houbraken tells us that he changed his family name to Bega, on account of some irregularities of conduct, which had occasioned his father to disown him. This is doubted by recent writers, who think that perhaps Bega is only another form of Begijn. Bega was a scholar of Adrian van Ostade ; and though his pictures are not equal to the admirable productions of that master, they have sufficient merit to rank him amongst the most interesting artists of his country. His pictures, like those of Van Ostade, represent Dutch peasants regaling and amusing themselves, and the interiors of Dutch cottages. He treated those subjects with a most humorous delineation of character ; and his pictures are de- servedly placed in the choicest collections. He became a member of the Guild of St. Luke in 1654 ; and died at Haarlem in 1664, of the plague, caught while attending a lady suffering from that disease, to whom he was to have been married. The following are some of his best works : The Philosopher. Peasants concert. Lady playing the lute. Peasant Family. Alehouse. Interior. The Chemist {signed and dated 1661) . Peasants dancing (sianed). Groups of players. A man playing the lute. A woman playing the lute. Interiors (three). Interior of an Inn. Interior. Interior (signed and dated 1652). Interiors. Amsterdam. Museum. Berlin. Gallery. Cassel. Dresden. Florence. Gallery. Gallery UJizi. Frankfort. Stddel. Hague. Galleri/. Munich. PitutkotJc. Paris. Louvre. Petersburg. Hermitage. He left about thirty-seven etchings, among which are the following : An interior of an Alehouse, with three Peasants, one with a Goblet in his Hand. A Sketch of two Peasants and a Boy. The interior of a Dutch Cottage, a Man with a Pitcher, another Peasant with a woman and a Child. A Man leaning on a Table, and his Wife suckling o Child. A Company of five Men and Women regaling. Company regaling, a Woman pouring out Wine. Eight Peasants, two are playing Cards ; very scarce. BEGARELLI, Antonio (called by Vasari, Bbga- UINO). This artist is not introduced here as a painter, but rather as a designer and modeller, whose works may rank with those of contemporary painters, with whom he seems to have been in close connection. He was born at Modena, about the year 1498, and is said to have been instructed by Gio- vanni dell' Abbate, the father of the painter Niccol6. Begarelli worked chiefly at Modena, where many churches are decorated with his plastic compositions in terra-cotta ; and in his later years also at Parnia. These are free standing figures, nearly life-size, grouped together above altars in the chapels, and apparently intended to replace pictures. This peculiar adaptation of plastic works was first used at Modena by Guido Mazzoni (died 1618), called II Modanino, a highly-gifted artist of realistic tendencies. They form a specialty of Modenese art. The assertion that Begarelli was associated with Correggio seems to be incorrect. It has been supposed (by Vidriani, 1662), that Begarelli made the models from which Correggio painted many of his floating figures, and even instructed his friend in the art of modelling. Begarelli's figures have a far closer resemblance to those of the Ferrarese painter Garofalo than to those of Correggio. They have the same types as the former used, and his draperies are similarly arranged. Whilst Maz- zoni's terra-cotta figures are painted in variegated colours, Begarelli painted them entirely in white. Vasari relates that " Michelangelo, when passing through Modena, saw many beautiful figures which the Modenese sculptor, Mae.stro Antonio Begarino, had made of terra-cotta, coloured to look like marble, which appeared to him to be most excel- lent productions ; and, as that sculptor did not know how to work in marble, he said, ' If this earth were to become marble, woe to the antiques.' " BegarelU died in 1665. J. P. R. BEGAS, Karl, a German painter of historical subjects, genre, and portraits, was born atHeinsberg, near Aix-la-Chapelle, in 1794. Whilst yet a boy he evinced a talent for painting, in which he received some instruction from Philippart, whilst pursuing the usual course of study at the University of Bonn. In 1812 he went to Paris, where he passed eight months in the atelier of Gros. The King of Prussia, when in Paris in 1814 and 1815, appre- ciated the talents of Begas, and made him an allowance, which enabled him to visit Italy to study the works of the great masters. In 1825 he went to Berlin, where he fixed his residence, and became a member and professor of the Academy of Arts. He died there in 1864. His principal paintings are : Job and his Friends. 1816. Christ on the Mount of Olives. 1818. In the Garrison Church at Berlin. The Descent of the Holy Ghost. 1820. In the Cathe- dral, Berlin. Tobias and the Angel. 1826 (ent/raved by Berger). The Resurrection. 182T (engraved by Fischer). Tobias and the Angel. 1827. In the National Gallery, Berlin. Lorelei. 1835 (engraved by MandeV). The Sermon on the Mount. 1842. In the church of Landsberg. The Transfiguration. Christ carrying his Cross. Henry IV. at the Castle of Canossa. Young Girl under an Oak Tree. 107 A BIOGRAPHICAL DICTIONARY OF PORTRAITS. Himself, in the Wallraf Museum, Cologne. His Parents. „ „ » ThorwaUlsen, in the Berlin Gallery. Queen of Bavaria. Meyerbeer. Cornelius. Sclielling. Bitter. Buch, Schadow. Bauch. Humboldt. Eadowitz. BEGAS, OsKAR, painter, was bom in Berlin, July 31, 1828. He was the son of Carl Begas, from whom he received his first teaching. In 1852 lie won a premium, which enabled him to travel to Italy. He worked in Rome for some time, and there painted a ' Descent from the Cross ' for the church of St. Michael at Berlin. He then visited France and England, and on his return to Berlin devoted himself to portrait painting and decoration. In 1866 he became Professor at the IJerlin Academy. On settling down in Germany, he became Com- missioner for the Berlin Museum and Professor of his old Academy. His 'Italian Peasants gossiping around a Fountain' (1853) is in tlie Nat. Gallery,- Berlin, and in that city he died in November, 1883. BEGEIJN, Abraham Cornelisz, (or Bega,) a native of Holland, born in 1650, painted landscapes and cattle, in the style of Berchem, and his pictures of those subjects are very justly admired. His pencil is light and free, and his colouring is very agreeable. His principal residence was at Berlin, where his works were highly esteemed, and, accord- ing to Houbraken, he was principal painter to the Elector of Brandenburg, afterwards King of Prus- sia. He also worked at the Hague. In several of the collections in Holland, the pictures of this master are placed among the most admired painters, and they are held in considerable estimation in this country. Many Continental galleries contain ex- amples of his art ; there are three in the Copen- hagen Gallery ; two in the Hermitage, St. Peters- burg; the Dresden Gallery .ind the Louvre have each a ' Landscape with goats,' and the Berlin Gallery an ' Italian Landscape with cattle.' Unfor- tunately for Begeijn's reputation in England, his best works are here ascribed to Berchem, and are frequently altered to give a nearer approximation to that painter's manner. Begeijn died suddenly with the palette in his hand in 1697, at Berlin. Various forms of spelling his name occur. BEGER, Laurentius. According to Professor Christ, this artist was the nephew of Laurentius Beger, the celebrated German antiquary, who was librarian to Frederick William, Elector of Branden- burg. He engraved a set of twelve anatomical plates, taken from the designs in the book on Anatomy by Vesalius. He is also believed to have executed the greater part of the plates of antiquities, published by his uncle, entitled The- saurus Brandenhurgicus. He flourished towards the close of the 17th century. BEHAM, Barthel, (Behaim, or Behem,) a Ger- man painter, and very eminent engraver, bom at Nuremberg in 1502. He was the younger brother of the celebrated Hans Sebald Beham, and, accord- ing to Sandrart, resided chiefly in Italy, whither he had been sent by Duke William of Bavaria, to whom he had gone on being expelled from Nurem- berg for his heretical opinions. He died in Italy, about 1540. The following are the pictures attri- buted to him by Rosenberg : Adoration of the Magi ; an altar-piece with wings, painted wifcli different subjects 108 Christ on the Cross, with Mary and John, and the Magdalene kneeling. The Virgin with the holy Child, standing on the Half- Moon, two angels crowning her ; formerly an altar- piece with wings, painted with different subjects. Virgin with the holy Child at her breast, and St. Anna with two wings, painted with saints. Four small pictures, formerly wings of an altar-piece, SS. Afra, Paul the hermit, Antony of Padua, and Jacobus the elder. [AH these are at Donaueschingen, in the Eoyal Gallery.] Berlin. Christ on the Mount of Olives. SS. Catharine, Paul, and Agnes, on a gold ground. SS. Crispin and Crispianus, also on a gold ground. The Flagellation, with wings ; painted with saints. Christ bearing His cross. The Entombment. St. Bruno. St. Jerome in Cardinal's habit. Portrait of the Duke of Bavaria and his wife. Portrait of Duke Otto Henry. Wings of an altar - piece ; painted with whole-length figures of saints. SS. Christopher and Andrew Carlsruhe. Nuremberg. Stuttgart. Cologne. Prague. Augsburg. Sigmaringen. Wurtsburg. Waagen mentions two more, the principal being a Trinity with Mary, Andrew, and angels, and at Schleissheim are the portraits of all the princes aad princesses of the reigning family ; fifteen in , number. We believe some of these works men-t tioned above are doubtful. He is, however, more a designer in engraving ] than a painter, and may be considered as having ] been one of the most excellent draughtsmen and skilful engravers of the German school. Many of the plates by this master being without any designating mark, has led occasionally to some I difficulty and mistake. The prints that bear his | signature are marked BB. sometimes, and are dated from 1520 to 1533. The following list gives his | engravings on the best authority, that of Herr Rosenberg already quoted : PORTRAITS. Louis, Duke of Bavaria. Bust of Erasmus Balderman. 1535. Bust of Leonard van Eck. The Emperor Charles V. ; marked BB Ferdinand I. ; same mark. VARIOUS SUBJECTS. 1. AdanQ and Eve. Adam holds a flaming sword in j his right hand, and takes the apple from Eve with ' his left. 2, 3, 4. Three small prints. 5. Mary with the holy Child. A skull at the right. 6. „ „ „ „ at a window A vase with flowers. 7. „ „ „ „ a parrot in the Child's I hand. 8. „ suckling the Child at an open window. This ! and some others of the above not certainly meant for the Madonna. 9. Mary with the Child sitting on a rock. 10. Head of Christ with the crown of thorns. 11. St. Christopher. 12. St. Chrysostom's penance : the Mother and Ohild j in the background. 13. St. Severinus, with crosier. 14. Apollo and Daphne. 15. Hercules. 16. A naked man, possibly Neptune. 17. „ „ with a sword. 18. Triumph car, of Mars and Venus (?), with other ] figures. PAINTERS AND ENGRAVERS. 19. Cupid partially clothed, riding on a dolphin. 20. „ „ „ ., a globe, over a landscape. 21. Flora. 22. A Nereid riding on a Triton, towards the left. 23. „ „ „ „ towards the right. 24. Fight of water-gods. 25. A Sibyl with book ; before her a child with a torch ; after Baphael, 26. The Judgment of Paris. 27. The Rape of Helen ; a compo. of thirteen figures. 28. Lucretia. 29. 30. Also Lucretia. 31. Cimon nourished by his daughter. 32. Cleopatra with the snake at her breast. 33. Fight of naked men ; thirty-four figures ; on a label " Titus Uracchus." 34. „ „ „ eighteen figures. 35. „ „ „ twenty - two figures. These three prints are in the form of frieses. They are the master-work of Barthel Beham, and may he considered the most excellent works in point of drawing of the early German school. ALLEGORIES, &C. 36. A naked woman sitting on a shirt of mail. (Valour?) 37. A sitting female figure ; inscribed, ' Cognitio Dei.' 38. 39, 40. A child sleeping, with one, three, and four death's heads. ' Mors Omnia Jiquat ' on the last. 41. A naked woman sitting on the ground, looking at a dead child. A naked man standing on the left; very curious, A long inscription from Eccles. 42. "Woman with hands and feet tied, \\ith a child; inscribed ' Der Welt Lauf .' 43. Death surprising a woman on a bed. Thirteen other allegoric miniatures, or of subjects taken from actual life, peasants or soldiers. Also thirty-one representing genii, ornaments, and heraldic matters. Al- together, with the portraits, ninety-two copper eugiariags. No woodcuts. W. B. S. BEHAM, Hans Sebald, a distinguished German engraver, was born at Nuremberg in 1600. He ■was the elder brother of Barthel Beham, and is also dassed by the collectors among what they denominate the Little Masters on account of their prints being generally small. Hans Sebald Beham engraved on copper, drew on wood, and some few etchings have been attributed to him. He pos- sessed considerable genius, and a ready invention. His drawing of the figure is generally correct, and the airs of his heads and turn of his figures, though rather clumsy, have great style. His cop- per-plates are executed entirely with the graver, in a wonderfully neat and delicate manner ; and his woodcuts are remarkably free and spirited. In the early part of his life, he lived at Nurem- berg, during which time he marked his pl.ites with a cipher, composed of the three letters, H. S- P-, and dated from 1519 to 1530. He was expelled for heresy, and afterwards resided at Frankfort, when he changed his mark to a cipher TryT-^w composed of H. S- B., and dated from r \ t< 1531 to 1549. He died in 1550, at Frank- ^^U fort. Examples of his works as a painter are very scarce. In the Louvre, Paris, there is a table with four scenes from the Life of David, and there are five miniatures by him in the prayer-book of the Cardinal Albrecht of Brandenburg, in the Library of AschafEenburg. His works on copper are very numerous ; the following list is as detailed as the necessary limit of this work will permit : PLATES WITHOUT THE CIPHER, Engraved at Nuremberg, and dated from 1510 to 1530. Adam and Eve in several designs ; five small plates. 1519. St. Jerome, with a Cardinal's Hat and the Lion. 1519. The Virgin suckling the Infant Jesus. 1520. The Virgin, with a Glory, standing, holding the Infant Jesus. 1520. Six of the Virgin in all. The Death of Dido ; Eeginte Didonis imago. 1520. St. Anthony, Hermit, writing. 1521. St. Sebald seated between two trunks of trees, and holding in his right hand the model of a church. 1521. Two Peasants playing on the flute and bagpipe ; very small. Two Peasants, Man and Woman, dancing. 1522 ; very small. A Triton carrying a Nereid on his shoulders. 1523; very small. A Woman sitting on a Lion. 1524. A Young Man and Woman embracing. 1526. The Death of Cleopatra. 1529. Combat of the Greeks and Trojans ; very small, friese. Combat of Achilles and Hector ; same. Judith with the head of Holofemes ; her maid beside her. PLATES WITH THE CIPHER. Engraved at Frankfort, and dated froTti 1531 to 1549. Adam and Eve, behind them a stag. 1536. Adam and Eve in Paradise, with the Serpent presenting the apple. 1543 ; very fine. The Emperor Trajan, with his army, listening to the complaint of a woman against his son. 1537. Melancholy ; inscribed Melencolia. 1539 ; in emulation of Albrecht iJiirer. Patience ; inscribed Patientia ; on a tablet is written, Sebaldus Beham JVoHnis faciebat. 1540. Fortuna ; a woman holding a palm and a wheel. 1541. Infortunium ; a woman stopped by an evil genius with a lobster. 1541. A Young Woman, with a buffoon, presenting fruit ; an etching. 1540. Four very small plates of the Four Evangelists, with wings. 1541. Twelve small plates of the Labours of Hercules ; in- scribed ./ErKmiiff Herculis ; dated from 1542 to 1548. An Ensign and a Drummer. 1544. The Boman Charity, with a German inscription. 1544 ; fine. The Arms of Beham. 1544. Bust of Domitia Cal\nlla, with the Emperor Trajan ; after Antique Mcdah. 1546. The Twelve Months of the Year, each represented by a Man and AVoman dancing ; two Months on one plate ; six small plates. 1545. Added to these are four Village Merry-makings, and many peasant subjects ; very small. The twelve Apostles. Very small set of twelve. Days of the week with their planets. Eight pieces. The Liberal Arts. Set of seven allegorical figures. Two couples making love and a buffoon. Very small, little more than two inches long. This is said by Bartsch, No. 212, to be one of his most beautiful miniature engravings. The two shields of arms, one with a cock, the other an eagle, are also among his finest in execution. "Bhe Judgment of Paris ; Judicium Paridis. 1546 ; fine. Death walking with a lady ; inscribed Omnem in homine, 4-c. 1547 ; fine. A Man trying to pull up a tree ; inscribed Imvossibile, 1549. The Virgin holding the Infant Jesus in her arms, with a parrot and an apple ; .S'. Maria. 1549. This and a good many others he copied from his brother Barthel, the sale for whose works must have been enormous. WOODCUTS, Which are sometimes marked loith the one and sometimes mth the other of his two ciphers. These are of all sizes, from two inches to four feet long, four or more sheets being put together. Public controversy between Lnther and a Boman theo- logian: many people listening. The Fountain of Youth ; a superb composition of great length ; one of his finest inventions. The Cavalier and nine wives. 109 A BIOGRAPHICAL DICTIONARY OP The Bath : many women and children bathing (ronnd). ! Military fete in honour of Charles V. at Munich. Very large. The Patriarchs with their wives and children ; ten prints. Fourteen Caesars, busts, on three sheets. An immense series of the costumes of monks. A Tillage Fair, with a steeple and a clock ; large friese ; very scarce. A March of Soldiers ; large friese, in four sheets ; very scarce. Another, same size : full of figures. Biblicse Historise — Comprising three hundred and forty- eight prints, of which the greater part have figures on both sides. For a full account of his works see Bartsch, tom. VIII. Also Adolf Rosenberg. Sebald and Barthel Beham, Leipsic, 1875. tv. B. S. BEICH, Joachim Fbanz, was bom at Ravens- burg, Wurtemberg, in 1666. He was the eon of Wilhelm Beich, a painter of little celebrity, from whom he received his instruction in the art. He excelled in painting landscapes and battles. His best works are in the palaces of the Elector of Bavaria, in whose employment he was for several years ; among these are several large pictures of the battles fought in Hungary by the Elector Maximilian Emmanuel. With the permission of his patron, he visited Italy, and made many draw- ings from the beautiful -v-iews in that country. His landscapes exhibit very pleasing scenery, and he appears to have imitated, in the arrangement of his pictures, the tasteful style of Gaspar Poussin. He died at Munich, in 1748. The Vienna Gallery has two landscapes by him, and the Munich Gallery has four. The latter gallery also possesses his portrait by Des Maries — " painted in 1744, when he was 78 years old." As an engraver, he has contributed several charming etchings to the port- folios of collectors. We have by him four sets of landscapes, with figures and buildings (amounting together to twenty-six plates), etched with great spirit and facility. BEIJER, J. DE. See De Beijer. BEIJEEEN, Abraham van, a painter of still-life, flourished at the Hague from about 1650 to 1670. His favourite subjects are fish, but he also adorns his pictures with flowers and fruit, and gold and silver vessels. The Galleries of Berlin, Dresden, the Hague, Rotterdam, and Amsterdam have each a work of this nature, each signed A. V. B. He is by some called Albert van Beijeren ; but this is asserted by Kramm to be an error. BEIN, Jean, a French engraver, bom at Stras- burg in 1789, was a pupil of David and of Reg- nault, and entered the lEcole des Beaux-Arts in 1812. He engraved the Kiccolini Madonna after Raphael, the original of which is in the collection of Earl Cowper at Panshanger, ' The Marriage of the Virgin,' after Vanloo, for the Musee Royal, and plates for the Coronation of Charles X., and G.avard's Galeries de Versailles. Bein died in Paris in 1857. BEINASCHI. See Benaschi. BEISSON, Frani^ois Joseph Etienne, a French engraver, bom at Ais, was a scholar of Wille. He engraved several subjects after the Italian masters for the Galerie du Mus^e, and 'Susannah at the Bath,' after Santerre. He died in Paris in 1820. BEITLER, Matthias. See Bettler. BELBRULE, T., a French engraver on wood, flourished about the year 1580. Papillon mentions some cuts of ornamental flowers very delicately executed by him. 110 BELIN DE FONTENAY, Jean Baptiste (mis- called Blain de Fontenat), a French artist, bom at Caen in 1654, was the son of a painter named Louis Belin, and a pupil of Monnoyer, better known as Baptiste, whose daughter he married in 1687, in which year he was received into the Academy. He painted flowers and fruit in the manner of his master. He had a delicate pencil and a good eye for colour ; he painted insects with great exact- ness, and finished all his pictures carefully. He was employed by Louis XIV. — who gave him lodg- ings in the Louvre and a pension of 400 livres — at Fontainebleau, Versailles, and at the Gobelins. Belin de Fontenay died in Paris in 1715. Two flower-pieces by him are in the Louvre. His son, Jean Baptiste Belin de Fontenay, who was bom in Paris in 1688, and died there in 1730, also painted flowers with much success. BELJAMBE, Pierre Guilladme Alexandre, a French engraver, was bom at Rouen in 1759, and died about 1820. He engraved some plates of fancy subjects, from the contemporary painters of his country, and a few prints for the collection of the Palais Royal ; among others the following: Portrait of PUatre de Rosier. Portrait of Jean Sylvain BaiUy, Mayor of Paris ; afier 1 C. Monet. j Cupid reposing on the breast of Psyche ; after J. B. j Kegnaiilt. La petite Jeannette ; after J. B. Greuze. The Circumcision ; after Gio. Bellini ; for the Orleans Collection. The Adoration of the Magi ; after Carlo Cagliari ; for the same. The Holy Family ; after Michelangelo ; for the same. BELBLA.MP, Jan van, a Dutch artist, who passed the greater part of his artistic life in England, where he was much employed in copying the pic- tures in the Royal Collection, and died in 1653. Some are still in the Royal Collection ; and at Drayton there were formerly portraits of Henry VII. and Henry VIII., copied from a large picture by Holbein, which was burnt at Whitehall. BELL, Lady, the sister of William Hamilton. R.A., received instruction from her brother and from Sir Joshua Reynolds. She delighted in copy- ing the pictures of the latter, and was happy in her transcripts. She also copied pictures by Rubens in Carlton House, among which was a ' Holy Family ' which was much praised. She married Sir Thomas Bell, SherifiE of London, whose portrait she painted, and died in 1825. BELL, Robert Charles, an engraver, was bora at Edinburgh in 1806. He was a pupU of John Bengho, and at the same time attended the classes at the Trustees' Academy, Edinburgh, then under Sir William Allan, R.A., P.R.S.A. Among several pictures for the Royal Scottish Association, he engraved ' The Widow,' after Sir W. Allan, and ' The Expected Penny,' after A. Eraser ; he also executed a number of engravings after Mulready, Wilkie, Leslie, Faed, and other well-known artists, for the ' Art Journal.' His last work was a large plate after Sir W. Allan's picture, ' The Battle of Preston Pans,' which he completed only a short time before his death. In his earlier days he executed a considerable number of vignette por- traits, of which those of Professor Wilson and Dr. L. Brunton were among the best. He died in his native city in 1872. BELL, William, who was bom at Newcastle- upon-Tyne, about 1740, came to London about the year 1768, and was among the first who entered PAINTERS AND ENGRAVERS. as students in the Royal Academy. In 1771 he obtained the gold medal for a picture representing ' Venus soliciting Vulcan to forge arms for ^neas.' He was much patronized by Lord Delaval, for whom he painted two ' Views of Seaton Delaval,' and several portraits of the family. He died at Newcastle about 1804. BELLA, Stefano della. See Della Bella. BELLANGfi, Edg£ne, French historical painter ; born at Rouen in 1835 ; son of Hippolyte Bellang^, whose reputation was at its zenith from 1830 to 1860 as a military painter. After study with Picot he followed tlie style of art in which his father had become famous, and among his early pictures were ' La Garde k Magenta' (1861), 'Solferino' (1863), 'Palpstro' (1863). The Franco-German War of 1870 furnished him with more than one fine subject for his brush, but some years afterwards his works were shown less frequently on the walls of the Salon, and his weird series of studies of the heads of dead people created quite a sensation at the Champs de Mars. He died in the April of 1895. BELLANGE, Jacques, a French painter and engraver, was born at Nancy, in 1594. He first studied under Claude Henriet, and afterwards went to Paris, where he became a scholar of Simon Vouet. He painted, amongst other works, a ' Con- ception ' for Notre-Dame at Nancy, where he died in 1638. As an engraver, he has certainly been treated -ivith unmerited severity by Basan, who Bays " that he was a bad painter, and a worse en- graver." Although he cannot be classed among the ablest artists of his country, yet his plates, though executed in rather a singular style, possess con- siderable merit, particularly for their general effect. His point is free and masterly, and he arranged his masses of light and shadow with more than usual intelligence. His drawing is not very correct, and there is an appearance of affectation in the turn of his figures, which is not unfrequently dis- cernible in the works of his countrymen. The following are his principal plates: The Annunciation. The Holy Family, with St. Catharine and St. John. The Adoration of the Magi. The Resurrection of Lazarus. Christ bearing his Cross. The dead Saviour lying on the knees of the Virgin Mary. The Three Marys going to the sepulchre. The Magdalene, half-length. St. John the Baptist in the wilderness. The Martyrdom of St. Lucia. The Death of Virginia. Adonis carrying Diana on his Shoulders. BELLANGE, Joseph Louis Hippolyte, a French battle painter, was bom in Paris in 1800. His art was influenced by the wars of the first Napo- leon, and while a youth, he produced several mili- tary drawings in lithography. He afterwards pursued his systematic studies under Gros, and with the exception of some portraits, devoted himself exclusively to battle-pieces. In 1824, he received a second class medal for an historical picture, and in 1834 the decoration of the Legion of Honour, of which Order he was rhade an oiEcer in 1861. He also gained a prize at the Paris Universal Exhibition of 1855. He died in Paris in 1866. Amongst his works are : The Entry of the French into Mons. The Day after the Battle of Jemappes. The Passage of the Mincio. The Battle of Fleurus (at Versailles). A Duel in the Time of Eichelieu. The Battle of Wagram (at Versailles). The Taking of Teniah de Muzaia {in Salon of 1841, and now at Versailles). Taking Bussian Ambuscades (1857). Episode of the Taking of the Malakoff (1859). The Two Friends — Sebastopol, 1855 (exhibited in Salon of 1861, at London in 1862, and at Paris in 1867). The Soldier's Farewell (in Zeipsic Museum). The Soldier's Return (in Leipsic Museum). The Return of Napoleon from Elba (in Salon of 1864, and Paris Exhibition, 1867). The Cuirassiers at '\Yaterloo (in Salon of 1865, and Paris Exhibition, 1867). The Guard dies (in Salon of 1866, and Paris Exhibition, 1867 — his last work). BELLANGER, J. A. Basan mentions this ama- teur engraver as having etched some plates iiom his own designs with considerable taste, intelli- gence, and correctness, and a few plates after Raphael, among which are the ' Miracle of the Loaves and Fishes,' and the ' School of Athens.' BELLAVIA, Maro Antonio, was a painter and engraver. About 1600, he executed several plates after the manner of Annibale Carracci, which have been attributed to that artist. The most important are: The Adoration of the Magi. A Rest in Egypt. Romulus and Remus. BELLE, Alexis Simon, a French portrait painter, was born in Paris in 1674, and was a pupil of Francois de Troy. He died in Paris in 1734. BELLE, Clement Louis Marie Anne, a French historical painter, and son of Alexis Simon Belle, was born in Paris in 1722. He studied under Marie Nicole Hortemels, his step-mother, and Fran- cois Leraoine, and in 1761 was received into the Academy, of which he became professor in 1765 and rector in 1790. He was likewise inspector at the tapestry manufactory of the Gobelins, where he died in 1806. BELLE, La. See La Belle. BELLECHOSE, Henri, 'de Brabant,' is recorded to have been ' painter and valet,' to Jean ' sans peur,' in 1415, and in the same year he was employed by the Chartreuse of Dijon to paint two pictures — the ' Life of St. Denis,' and the ' Death of the Virgin.' BELLEGAMBE, Jehan, is a painter who has remained, until recently, in obscurity. What we now know concerning him is due to the research of M. Wauters, Dr. Escallier, and others. Belle- gambe was born, apparently at Douai, about the year 1470. He studied art, it is supposed, under one Jean Gossuin. He is recorded to have resided in Douai from the year 1504 to 1531, and further- more to have executed works for the churches of St. Am6 and of the Dominicans, as well as for the town. The only authentic work by him is a polyptych in the church of Notre Dame at Douai. It was formerly in the abbey church of Anchin, and subsequently came, in parts, into the possession of Dr. Escallier, who presented it, as a whole, to the church of Notre Dame. This work, which is a very interesting example of Flemish art of that period, was formerly ascribed to Memling. It represents the Trinity, the Virgin, St. John the Baptist, and numerous saints ; and on the exterior, the abbot, the prior, and several monks, together with SS. Charlemagne and Benedict. Bellegambe is mentioned by Vasari in a list of important painters of the Low Countries. BELLERMANN, Ferdinand, a native of Erfurt, and pupil of Bleechen and Schirmer. He was 111 A BIOGRAPHICAL DICTIOKAKY Oif sent by King William Frederick IV. to South America in 1842, whence he brouglit back some three hundred sketches, now in the National Gallery at Berlin. He was appointed Professor of the Academy there in 1866, and made a second tour through Italy eleven years later ; dying in 1889, aged 75. BELLERS, William, an English landscape painter, was a frequent contributor of 'Sunsets,' &c., to the exhibitions at the Society of Arts ; and in 1774 published with Boydell a series of views of the 'Cumberland Lakes.' Some of his land- scapes were etched by Canot and other French engravers. BELLEVOIS, H., (orBELLVOE,) was a painter of marine subjects, seaports, and storms at sea. It is not mentioned by whom he was instructed, but his style of painting indicates that W. van de Velde and Backhuisen were his models. He re- sided at Hamburg, where he died in 1684. BELLI, Jacques. See Bellt. BELLI, Maeco, a follower of the Bellini, lived in the early part of the 16th century : of his life or death nothing certain is known, excepting that he is the painter of a 'Circumcision' in the Rovigo Gallery. BELLIER, Jean Fbanijois Marie, portrait painter to Marie Antoinette, Queen of France, was bom in Paris in 1745. He painted the panels of the carriage for the coronation of Louis XVI., and worked with Barthelemy upon the ceilings of the Louvre. He died in Paris in 1836. BELLIN, Samuel, was born in 1799, at Doctors Commons, in the City of London. He was the son of John Bellin of Chigwell in Esses, and was articled to Basire the engraver ; after serving hia time with this master he went to Rome, where he studied and painted for some years, in company with Thorwaldsen, Turner, Bartlett, Geddes, and other artists. Returning to England in 1831 he commenced line engraving ; later, however, he adopted mixed mezzotint, executing many plates from pictures by Frank Stone, Herbert, William Hunt, Eastlake, Horsley, Marshall Claxton, Courbald and others. Bellin was also successful with copies of many portraits of eminent persons living in the earlier part of the 19th century. He retired from the profession in 1889, and died in 1893. The sale of Sanmel Bellin's prints and plates took place at Christie's, on March 30, 1894. e_ g. BELLINI, Bellini. See Belliniano. BELLINI, FiLiPPO, was a native of Urbino, and flourished about the year 1594. Almost un- noticed in the history of art, he is stated by Lanzi to have possessed uncommon capacity. He was a follower of the style of Federigo Baroccio, and one of the most successful of his imitators, as appears in his picture of the ' Circumcision,' in the Basilica of Loretto, and in the ' Marriage of the Virgin,' in the cathedral at Ancona. Amongst his most im- portant works are fourteen pictures of the works of ' Charity,' in the Chiesa della Carita at Fabriano. and the ' Martyrdom of St. Gaudenzio,' in the Conventuali di M. Alboddo. BELLINI, Gentile, was the son of Jacopo(q.v.). He was probably born in 1429, in Venice. He learned under his father, and, together with his brother, is mentioned as assisting him in various undertakings. By the year 1464 (according to Crowe and Cavalcaselle, History of Painting in North Italy, where authority for the date is, how- ever, imdiscoverable)he received, as an independent 112 master, the commission to paint the doors of the organ of St. Mark's. These panels show him to have become deeply imbued with the ideas of j design adopted in the Paduan school, though there I are still evidences of the early Venetian style. To ■ the year 1465 belongs another public undertaking, that of the figure of the Patriarch Lorenzo Giust- iniani now in the Academy. This shows the severe and scholarly feeling for draughtsmanship which marks all Gentile's works In 1466 he was employed in large decorative designs illustrating the story of the Children of Israel for the "school" of St. J Mark's, and already received payment at the same ^ rate as his father. By 1469 lus reputation was such that he received the title of Count of the Palatinate from the Emperor, and in 1474 we find him evidently regarded as the greatest artist in Venice, for in that yearjie was appointed to restore, or rather repaint, the decorations of the Sala del Gran Consiglio in the Ducal Palace, and was rewarded with a sinecure in the Fondaco dei Tedeschi. In 1479 we have a still further proof , of his pre-eminent position, for in that year he was I sent, at the expense of the State, to Constantinople, i in accordance with the request made to the senate by the Sultan, Mehemet II., for the best painter in Venice. During his stay in the East he made drawings of the classical remains of Byzantium, and brought home a number of sketches of Eastern types which became stock motives with later Venetian painters. Of the portraits which he painted of the Sultan, he brought back one, which is now in Lady Layard's collection. It is dated 1480, and is signed by him with the addition of Knight, a title conferred on him by the Sultan. Gentile continued his father's connection with the " school " of St. Mark's, rising in 1492 to the position of guardian of the school. Of his few remaining works the most important were executed to decorate the walls of the schools of St. John the Evangelist and St. Mark. For the former he finished in 1494 the much-damaged picture of Pietro di Lodovico being cured by the relic of the cross. In 1496 he completed the great picture representing the procession of that relic in the Piazza of St. Mark's ; and in 1500 he executed for the same body the painting of the miraculous preservation of the relic on an occasion when the reliquary had fallen into a canal from a bridge over which it was being carried in procession. These pictures are all in the Academy at Venice. His last great undertaking for the school of St. Mark's was the canvas representing the preaching of St. Mark at Alexandria, now in the Brera, which, at his death in 1507, he left to be completed by his brother. Gentile's fame as a painter has perhaps been somewhat eclipsed by that of his brother, but it is evident that in their lifetime he took the chief position in Venice. He was a profound student of perspective, and applied its rules with great success to the composition of his great historical scenes. The most famous of these was the series representing the story of the struggle with Barbarossa, which decorated the Ducal Palace. These all perished in the fire of 1577. Besides the works already mentioned there remain several smaller pieces by him ; a portrait of Catherine Comaro at Buda Pesth, a bust of St. Mark at Frankfort (early), a large Madonna Enthroned in Mr. Mond's collection, St. Peter Martyr, the portrait of a Mathematician and the head of a monk in the National Gallery; portrait of Doge Giovanni ■^^ PAINTERS AND ENGRAVERS. Mocenigo in the Correr Gallery at Venice, while Lady Layard besides the portrait of Mohamet II. possesses an Adoration of the Magi in a style of composition recalling Jacopo's drawings, but with Eastern costumes showing that it was executed after his return from Constantinople. The qualities of Gentile's art which won him the unqualified admiration of his contemporaries consist in the subtle perfection of his composition, which, ap- parently free and naturalistic, is really controlled by a dehcate sense of balance and proportion, and the exquisite harmony of his tones, while as a draughtsman he possessed a finer feeling for line than any other Venetian of the 15th century. R. E. F. BELLINI, Cavaliere Giacinto, born at Bologna, in the early part of the 17th century, was a scholar of Francesco Albani. On leaving the school of that master, he was taken under the protection of the Count Odoardo Pepoli, by whom he was sent to Rome with Francesco Carracci, for the advantage of study. He was not long at Rome before he discovered an ability that recommended him to the patronage of Cardinal Tonti, who was BO satisfied with his performances, that he pro- cured him the knighthood of the order of Loretto. He painted in the manner of Albani, and his pic- tures possess much of the graceful style of that esteemed master. He was living in 1660. BELLINI, Giovanni, was the son of Jacopo Belhni (q.v.). Of the date of his birth there is no certain evidence ; Vasari describes him as older tlian his brother Gentile, but other authorities of the same period make him younger. Undoubt- edly Gentile was regarded as the head of the family, and it is usual to assume, though the point must still be considered doubtful, that Giovanni was born a few years later, in the early thirties of the fifteenth century. He was brought up with his brother in his father's workshop and assisted him in his various undertakings, but, like Gentile, though to am even greater extent, he entered with enthusiasm into the new ideas of the Paduan school. Indeed, until 1460, when Mantegna left for Mantua, he kept close company with that artist, advancing with him pari passu. The works of this period, ' Crucifixion,' 'Transfiguration ' and ' Pieli,' in the Correr Gallery, Venice ; ' Blood of the Re- deemer ' and ' Agony in the Garden,' National Gal- lery, are executed in a manner which shows the in- fluence of Mantegna and the study of Donatello's works at Padua, though the composition and group- ing is derived from his father's style. After 1460 he began rapidly to divest himself of the rigid severity of the Paduan manner and to form his own essentially Venetian style. The earliest notice we have of him in Venice is of the year 1459, when he appears as a witness to a deed. That he devoted himself rather to small devotional pictures than to the great decorative designs which were the spe- ciahty of the Belhni family, accounts for the fact that, while we have far more of his works than of Jacopo's or Gentile's, his name occurs but rarely in contemporary documents. However, in 1470, he was engaged to paint a large design of the Deluge for the " school " of St. Mark's, where his brother had already been employed for some years. Towards the close of the seventies he must have journeyed to Pesaro, the home of his motlier Anna, where he painted the great altar-piece of ' The Coronation of the Virgin ' in the church of St. Francesco. ' The Transfiguration,' at Naples, I was, we may suppose, another result of the same journey, since it contains a view of some of the notable buildings in Ravenna, which he would pass on his way to Pesaro. In 1479 he was back in Venice, and on his brother's departure for Con- stantinople, Giovanni was appointed to take his place in the redecoration of the Ducal Palace, a post which he was to relinquish on Gentile's return, though the sinecure with which he was rewarded was to continue for life. The altar-piece at Pesaro marks a new departure in Bellini's career : hitherto the great altar-pieces had been the speciality of the rival Muranese school, but from this time on Giovanni Bellini was continually employed in works of this kind. The first in Venice was pro- bably 'The Madonna and Saints ' for St. Giovanni e Paolo, which was destroyed by fire in 1867. So far as we can judge from reproductions, the effect of this lost masterpiece on the treatment of such motives in later Venetian art was momentous. To the eighties belong a large number of Bellini's works, the Frari Triptych, dated 1488, but probably begun rather earlier. Madonnas of the National Gallery and the Morelli Gallery at Bergamo ; the Madonna between St. Catherine and Mary Mag- dalen, Academy, Venice. Then follows the cele- brated ' Madonna and Saints,' painted for St. Giobbe, c. 1486, now in the Academy at Venice. To 1487 belong the dated ' Madonna and Child ' and the 'Madonna between SS. George and Paul,' both in the Academy ; while 1488 is the date of the ' Madonna and Doge Barbarigo ' at Murano. It is difScult to assign with certainty any picture to the nineties, and we may assume that the artist's time was occupied in large decorative schemes in the Ducal Palace and at the school at St. Mark's. Never- theless the small ' Allegory ' in the Uffizi and the series of allegories in the Venice Academy may be assigned to this period. Between 1501 and 1504 he was engaged in paintmg for Isabella d'Este a small panel, now lost, representing 'The Adoration of the Child by the Virgin and various Saints.' Isabella had tried in vain to get Bellini to illus- trate a subject from pagan mythology, a motive which Bellini declared to be too alien to his nature. To the year 1501 Agletti ascribes, though without adding authority, the great altar-piece represent- ing the Baptism in Sta. Corona at Vicenza. In- ternal evidence would lead us to place it nearly ten years later. In 1505 Bellini completed the great altar-piece in Sta. Zaccharia, in which he rivalled the new style which his own pupil Giorgione was already developing. In 1507 he finished his brother's picture of ' St. Mark at Alexandria.' To 1510 belongs the 'Madonna and Child' in the Brera, while in 1513 he executed his last indis- putable work, the altar-piece in St. Giovanni Chry- sostomo in Venice. In 1514 he received payment from the Duke of Ferrara for the ' Bacchanals,' now at Alnwick Castle ; but though the invention may be his, the execution is certainly due to one of his pupils, probably Basaiti. The work was finally completed by Titian. He died in 1516. In the last twenty years of his life Bellini was surrounded by a number of pupils and imitators, of whom Basaiti and Catena were the most important. His greatest pupil Giorgione had already, by the beginning of the 16th century, taken an inde- pendent line, and the new ideas which he and Titian formulated were resisted by Bellini's less independent pupils, who enjoyed the oflicial recog- nition of the State until ousted by the superior 113 A BIOGRAPHICAL DICTIONARY OF genius of Titian. Bellini's many remaining works enable qs to trace very clearly his remarkably equable and steady growth through all the phases of 15th-century art. Up till 1460 he cultivated with Mantegna a rigid and searching delineation of form. After 1460 his style becomes increasingly suave, and the intense pathos of his first manner gives place to a calmer and more gracious senti- ment By the end of the eighties this growth culminates in the first germs of a new style in which atmospheric envelopment and rich harmonies of colour become the chief aims. In a sense, there- fore, BelUni himself discovered the style of the early 16th century, which was carried to per- fection by Giorgione. Besides the works men- tioned above, we may note the following : Bergamo. Lochis Gallery. Madonna. ,^ Morelli Gallery. Two Madonnas. Berlin. Dead Christ. Brera. Madonna and Pieta. London. Mr. Mond. Dead Christ. Madonna. Nat."Gcdl. Madonna. Portrait of Doge Loredano. Milan. Sit/nor Crispi. Madonna. fy Sianor Fn'z:oni. Madonna. Newport, U.S.A. J/r. Davis. Madonna. Pesaro. God the Father (from a lost altar-piece). Rimini. Pieta. Venice. Ducal Palace. Pieta (repainted ^ modified). Sta. Maria del Olio. Madonna. *» Academy. Madonna (similar to the one at Turin). M " Madonna with Choir of Angels. „ St Francesco della Vujjia. Madonna and Four Saints. 1507. Turin. Madonna. R. E. F. BELLINI, Jacopo, was the son of Nicolo Bellini, a tinsmith living in Venice. Of the date of his birth we have no certain evidence, but from the fact that he became assistant to Gentile da Fabriano we may place it with probability in the early years of the 15th century. After he had acquired the rudiments of his art, probably under native Venetian artists, he became an enthusiastic follower of the new principles introduced by PisaneUo and Gentile da Fabriano when these artists were invited to Venice to decorate the Ducal Palace. He followed Gentile to Florence, where in 1423 he got into trouble for defending his master's workshop against one Bernardo di ser Silvestri, whose attack was probably instigated by the jealousy of the native Florentine artists. To avoid complications he left Florence for a year, but on his return found that judgment had gone against him by default. He, however, compounded for the fine with his adversary, and ajfter a public penance performed in 1425 he was quit He seems to have returned to Venice, where, in 1429, we find him settled in the Conlinio di S. Geminiano. In that year his wife Anna being with child made her will. From this it would appear that it was her first child, who was presently bom, and whom we maj' identify with Gentile, named after his godfather Gentile da Fabriano. In 1436 Jacopo completed a fresco of the crucifixion in the chapel of St. NiccoI6 in the cathedral at Vercna. 'This great work, which appears to have exercised a Avide influence on the course of Venetian art, was destroyed in the 18th century, and is only ac- cessible through an engraving by Paolo Calliari. In the dated inscription he declared himself a 114 pupil of Gentile da Fabriano. In 1437 he joined the " School " or Mutual Benefit Society of St John the Evangelist, for which he executed many important works, including a life of the Virgin and Christ ; some of the subjects illustrated in this series are interesting as showing already in Jacopo's work the Venetian tendency to treat historical scenes in a genre spirit — thus the third picture of the series is described as ' the Virgin as a girl preparing sacerdotal vestments.' There can be no doubt that these large decorative paintings, every one of which has perished, were painted upon canvas in the usual Venetian manner, and not in fresco as was customary on the mainland. About 1440, as we learn from a sonnet by an otherwise unknown poet, Ulysses, he was on a visit at Ferrara, where he painted in competition with PisaneUo a portrait of the young Lionel d'Este. In this con- test, according to the verdict of Niccolo d'Este, Jacopo carried the palm. In 1452 we find him working for the " school " of St. Mary of Charity, and in the following year his own " school " gave him a subvention for the dowry of his daughter Nicholosia on her marriage with Andrea Mantegna. The entries cited hitherto show that the Bellini family were settled in Venice, and not as has been supposed at Padua. Nevertheless we must con- clude that they kept up a close intercourse with the Paduan school. Squarcione, the Paduan master, certainly undertook commissions in Venice, while conversely we have records of an altar-piece finished in 1459 by Jacopo aided by his two sons, which was set up in the chapel of the Sacrament in the Santo at Padua. In 1466 he undertook another series of decorative painting, this time for the school of St. Mark's. The last record of a commission is dated 1470, and it was cancelled, owing probably to his death shortly after that date. Considering the high reputation Jacopo BelUni enjoyed and the amount of his work of which we have documentary evidence, it is surprising and disappointing to find how little has survived. A damaged and repainted Madonna and Child in the Academy at Venice, a similar composition in the Tadini collection at Lovere, and a Crucifixion in the Gallery at Verona are the only indubitable works. An Annunciation at St. Alessandro in Brescia and another in private hands in England, together with a small panel of Christ in Limbo in the Gallery at Padua, are probably due to his hand. We are, however, able to study his genius more fully in two sketch books, one in the British Museum with drawings executed in pencil, and the other a later work containing pen drawings in the Louvre. In these sketches, which cover a large range of subjects, and display extraordinary fertility and freedom of invention, we can trace the wide- reaching influence which Jacopo exercised through his sons on the whole development of Venetian art, while even his son-in-law Mantegna is seen to have borrowed many motives therefrom. Jacopo's contact with Florentine art, and notably with Paolo Uccello, who worked in Venetia in the twenties and again in the forties of the 15th century, led him to attempt a more scientific con- struction of the picture space than he had origin- ally learnt ; whUe the influence of classical art is clearly seen in his treatment of the figure. Nevertheless he remained essentially a mediseval draughtsman, fluent and harmonious in his line, but wanting in any feeling for logical and natural- istic construction. R. E. F. < > O I— ( o PAINTERS AND ENGRAVERS. BELLINIANO, Vittore, who is considered to be identical with Bellini Bellini and Vittore di Matteo, was a native of Venice, and, according to Ridolfi, flourished about tlie year 1526. He painted historical subjects, and several of his pictures are in the Confraternity of St. Mark at Venice, and in the churches of the neighbouring towns. BELLIVERT. See Biliveet. BELLOC, Jean Hilaire, who was born at Nantes in 1786, studied under Regnault and Gros, in Paris, and at first painted historical subjects ; but he abandoned these for portraiture, in which branch of art he admirably succeeded. His por- traits include those of the Duchess of Berri and other noted persons. He became Director of the Free School of Design in Paris, where he died in 1866. BELLOTTI, PiETRO, was born at Bolzano, in 1625. He was a scholar of Girolamo Ferrabosco, under whom he became an excellent colourist. He painted some historical subjects ; but was more employed in portraits, in which he was very suc- cessful. He was a good copyist of other painters. He died at Venice, in 1700. BELLOTTO, Bernardo, who was bora at Venice, in 1724 or 1720, was the nephew of Antonio Canal, called Canaletto, the celebrated painter of the views in Venice, whose name he adopted, and by whom he was instructed in art. In imitation of his uncle, he also painted architectural and perspective views, in a very picturesque and spirited manner. He resided in Italy, in Germany — especially in Dresden — and in Poland. He died at Warsaw in 1780. The following are some of his best works : Berlin. Gallery. Cassel. Gallery. Darmstadt. Gallery. Dresden. Gallery. Two Views in Pima (from t/ie Suermondt Coll.). Views in Venice. Venetian scene ; and others. Views of Dresden. Views of Pirna. Views in Poland. Views in Italy. (In all thirty-eight works.) Landscapes. View of Munich. View of the Eialto, Venice. Views of Turin. View in Pirna. Milan. Brera. Munich. Pinakothek. Petrsbrg. Hermitage. Turin. Pinacoteca. Vienna. Liechtenstein G. _ He has etched, from his own designs, several views in Dresden, Warsaw, and Vienna, and other subjects, as follow : A set of six Landscapes and Views. A set of twelve architectural Ruins. Fifteen Views in Dresden. Eight Views in the environs of Dresden. Three Views in Warsaw. BELLUCCI, Antonio. See Belucci. BELLUNELLO. See Bertholotti, Andrea di. BELLY, Jacques, a French painter and en- graver, was a native of Chartres ; he was born in 1609, and died at Chartres in 1674. He was a pupil of Simon Vouet, and resided for many years m Rome, where he executed his best known work, 'La Gallerie du Palais Farnaise de la ville de Rome,' a series of engravings after the frescoes of Annibale and Agostino Carracci, published in 1641. ' ^ BELLY, LioN AuGUSTE Adolphe, a French land- scape painter, was born at St. Omer, in 1827. He studied under Troyon and Rousseau. He spent much of the latter part of his life in the East, which furnished him with many subjects. He died in 1877. His best works are : Twilight in November. Fishers at Equities. The Desert of Nassoub. 1857. The Plain of Djyseh. Pilgrims going to Mecca. 1861. (In the Lvixemiourg Gallery.) The Banks of the Nile. Approach to an Egyptian Village. The Dead Sea. 1866. The Nile — near Rosetta. Montauban in Sologne. 1877. (In the Luxembourg Gallery.) BELMONTE t VACAS, Mariano. This land- scape painter was a native of Cordova, and a pro- fessor of Fine Arts at Cadiz and at Valencia. He exhibited his works in the Spanish Exhibitions in 1858, 1860, and 1862, and obtained several prizes. He died at Valencia in 1864. Among his best paintings are : A view of the Casa de Campo at Madrid. The Cavern of Palomas at Valencia. BELSKY, Alexei, a pupil of Girolamo Bon, worked in the second half of the 18th century. In the Hermitage at St. Petersburg there is an archi- tectural piece by him, signed and dated 1789. BELTRAFFIO, Giovanni Antonio, (or Bol- TRAFFIO,) a nobleman who was born at Milan in 1467, and studied art under Leonardo da Vinci ; but lie painted only as an amateur. He died at Milan in 1516. Of his works, which are rather scarce, the following may be mentioned; BeUaggio. Frizzoni C. Madonna and Child. Berlin. Gallery. St. Barbara. London. JVat. Gall. Madonna and Child. Milan. Foldi Coll.- Madonna and Child. Naples. Museum. Infant Christ and St. John (after Leonardo da J'inci). Paris. Louvre. A Virgin and Child, adored by the Casio Family (once in the church of the Misericordia, at Bologna). BELTRANO, Agostino, and his wife, Aniella (called Aniella Beltrano-Rosa and Anna di Rosa), were Neapolitan painters and scholars of Massimo Staiizione, of whom Aniella was the niece. They are mentioned together, as they painted alike, and jointly prepared many pictures which their master afterwards finished. They were both painters of no common merit, as is shown by many altar- pieces and cabinet pictures in oil. Some, however, belong to Aniella alone, and are highly extolled ; her uncle is suspected of having had a consider- able share in them, as Guido had in those of Gentileschi. She was murdered by her husband in a fit of jealousy, in the year 1649, at the age of 36 ; he survived until the year 1665. BELUCCI, Antonio, (or Bellucci,) who was born at Soligo, near Venice, in 1654, was a scholar of Domenico Difinico, and according to Orlandi painted several altar-pieces for the churches at Venice and Verona. He painted in Vienna, for Charles VI. ; at the court of the Elector Palatine ; and in London, at Buckingham House and else- where. He returned to his native country, and died at Soligo in 1726. In the church of the Ascension at Venice, is a fine picture by him of the 'Nativity.' In the Munich Gallery are a ' Psyche and the sleeping Cupid,' and a ' Venus and Cupid, riding on the waves ; ' and in the Dresden Gallery are a 'Venus, attended by Cupid, feeding a dove,' and a ' Madonna and Child.' Several of the land- 116 A BIOGRAPHICAL DICTIONARY OF scapes of Tempesta are enriched with figures by Belucci. BELVEDERE, Abate Andrea, born at Naples in 1646, was, it is said, a scholar of Ruoppoli, and ex- celled in painting fruit and flowers. He was one of the artists employed by Charles II. of Spain ; and in conjunction with Luca Giordano (who painted the figures), he executed several of the ornaments of the Escorial. His touch was firm and free, and was peculiarly adapted to the imitation of the still- life he represented, whilst his knowledge of chiar- oscuro enabled him to give his works a natural and pleasing effect. He quitted painting for the study of literature, and died in 1732 — according to some authors at Venice, to others at Florence. BEMBO, BoNlFAZio, of Cremona, flourished from about 1455 to 1478. He was employed by Fran- cesco Sforza at Milan and Padua, but after his patron's death he removed to Cremona. He painted there, in Sant' Agostino, full-length portraits, in fresco, of Francesco Sforza and his wife, Bianca, which have been much damaged by restoration. Pictures by him also remain in the cloister of La Colomba, at Cremona. Bembo was an able art- ist, spirited in his attitudes, magnificent in his draperies, and glowing in his colours. BEMBO, GiANFRANCEsco, who was either younger brother or son of Bonifazio, flourished at Cremona till 1524. He is supposed to have visited Rome, and is thought to be identical with a painter who was there known as Vetriario. His works are seen in Cremona, in the cathedral of which city are an ' Adoration of the Kings,' and a ' Presentation in the Temple ; ' in San Niccol6 is a ' St. Nicholas with the Virgin ; ' and in San Pietro is a ' Madonna,' dated 1524, his last known work. Benibo's pic tures contain very slight traces of the antique : he resembles Fra Bartolommeo in point of colour- ing, but is inferior to him in the dignity of his figures and in his drapery. Rosini has given a print of a votive picture by him, the design of which has much of the grace and dignity of Raphael. BEMMEL, Van. A family of landscape painters of this name flourished, during the 17th and 18tli centuries, at Nuremberg and elsewhere. Those whose biographies are given were the most note- worthy members of this numerous but somewhat unimportant family. The accompanying genea- logical table is appended, in order to illustrate, in as short a space as possible, the relationships of these artists. WILLEM van BEMMEL (1630-1708). , i- , Johann Georg (10G9— 1"23|. I Joel Paul (1713- I. Peter (leSo— 1751). Johann Noah (1716-1768). Georg Christoph Gottlieb (1738—1794). Cliristoiih. .Tohanu Cliristoph. I Karl Seliastian Simon Joseph (1743-1790). (1747-1791). BEMMEL, Peter von, the second son and pupil of Willem van Bemmel, was born at Nuremberg in 1685. He painted landscapes ; and was especi- ally successful in representing thunder-storms and winter-scenes. His works are seen in the galleries of Brunswick and his native city. He etched sis plates of landscapes, and died at Ratisbon in 1754. His sons, Christoph and Johann Christoph von Bemmel, followed the art of their father. BEMMEL, Willem van, a Dutch landscape 116 painter, was born at Utrecht in 1630. He was the scholar of Herman Saftleven, and, like his instructor, excelled in painting landscapes. Not satisfied with the scenery of his native country, he went to Italy, and passed some years in making drawings of the most picturesque views in the environs of Rome. On leaving Italy he travelled through Germany, and settled at Nuremberg in 1662, where he met with great encouragement, and became the founder of a numerous family of artists. The studies he had brought with him from Italy were an excellent resource to him in the composition of his pictures, which were frequently enriched with figures by Koos and others. His landscapes have rarely found their way to England, but may be seen in the galleries of Vienna, Dresden, Augsburg, Frankfort, and Nuremberg. He etched six plates of landscapes which are dated 1654, and show the hand of a master. He died at Wbhrd, near Nurem- berg, in 1708. BENAGLIO, Francesco, was a follower of Gi- rolamo Benaglio, and is said to have painted a fresco at Santa Maria della Scala in 1476. There are still existing several frescoes by him in dif- ferent churches in Verona. The dates of his birth and death are unknown. BENAGLIO, GiROLAMO, a painter of Verona, flourished in the 15th century. An altar-piece, of the ' Madonna and Saints,' dated 1487, and several panels by him, are in the Verona Gallery. BENARD, J. F., a French engraver, who resided at Paris about the year 1672, engraved several architectural and ornamental subjects for the work published at Paris by Jean Berain. BENASCHI, Giovanni Baitista, Cavaliere, (or Beinaschi,) a Piedmontese painter, was born at Turin, in 1636. He was instructed in the rudi- ments of art by Spirito, and then went to Rome, where he became the scholar of Pietro del Po ; but afterwards formed his style from an imitation of the pictures of Lanfranco. The principal works of this artist are at Naples, where he painted several ceilings, and other works in fresco. He possessed an inventive genius, and was an able designer. He died in 1688. There is an etching by this painter of a ' Holy Family,' after Giovanni Do- menico Cerrini, who was his intimate friend. BENAVIDES, Vincente de, a Spanish painter, born at Oran in 1637. He was a scholar of Fran- cisco Rizi, at Madrid ; he afterwards became a good painter in fresco, and was much employed in theatrical decorations. He was appointed painter to Charles II. in 1691, and died in 1703. BENAZECH, Charles, a son of Peter Paul Benazech, was born in London in 1767. He studied under Greuze, and in Rome ; he was in Paris during the Revolution, and is best known by his four pictures of ' Events in the Life of Louis XVI.,' which were engraved by Luigi Schiavonetti. He usually painted portraits, some of which he himself engraved. He died in 1794, in London. BENAZECH, Peter Paul, an engraver, who is said to have been born in London about the year 1744. He was a pupil of Vivares, and, according to Basan, worked some time at Paris, but returned to England. We have several plates by him of landscapes and other subjects, of which the follow- ing are the principal : Peasants playiug at Bowls ; after A. van Ostade. Fishermeu; after I'trnet. Eetura from iishicg ; after the same. A Calm at Sea ; after the same. PAINTERS AND ENGRAVERS. Morning ; after the same. Four large landscapes ; after Dietrich ; engraved in 1770 and 1771. These are his finest prints. BENCOVICH, Federigo, called ' II Federi- ghetto di Dalmatia,' was a native of Dalmatia, but was educated at Bologna ; he flourished about the year 1753. He appears to have studied the style of Carlo Cignani, to whose firmness of design he approached more nearly than he did to the amenity of his colouring. He produced several estimable works at Bologna, Milan, and Venice, and in the church of the Madonna del Piombo at Bologna is an altar-piece by him of the ' Crucifixion of St. Andrew.' He was more employed in painting easel pictures than large works ; many of the former are in Germany, where he resided some years. BENDEL, Hans Siqmund, of Scbaffhausen, in Switzerland, was an historical painter and litho- grapher, and attended the Academy of Munich, under Kaulbach. He commenced to paint a series of cartoons with scenes from Swiss history, but unfortunately died, in 1853, before they were com- pleted. Among his other works are the illustra- tions for Goethe, for Pestalozzi's ' Lienhard und Gertrud,' for Hebel's ' Poems,' and for the ' Niiny Gldckly ' (the Nine o'clock Bell) at Scbaffhausen. BENDZ, WiLHELM Ferdinand, who was born at Odense, in the island of Funen, in 1804, studied under Eckersberg in Copenhagen, and became a good painter of portraits and genre pieces. In 1831 he went by way of Munich to Italy, and died at Vicenza, in 1832. Of his works we may mention : Portrait of the Pastor Hornsyld. 1825. A Painter in his Studio. 1826. (/n the Copenhagen Gallery.) Interior of an Art Academy. 1826. (In the Copenliagen Gallery.) A Sculptor in his Studio. 1827. (In the Copenhagen Gallery.) Christian IV. at the Battle of Femern. 1828. BENEDETTI, Mattia, was a native of Reggio, and a scholar of Orazio Talami. According to Averoldi, he flourished about the year 170L), and was esteemed as a fresco painter. One of his best works was the ceiling of the church of Sant' Antonio at Brescia. BENEDETTI, Tommaso, who was born in Lon- don in 1797, went early to Vienna, where he spent the greater part of his life, and died in 1863. Amongst his best engravings are the following : Portrait of the Emperor Francis I. ; r/f/er Ammerliiiy. Portrait of the Emperor Francis I. ; after Kupelwieser. Portrait of the Duke of Eeichstadt ; after Daffinyer. Portrait of the Archduke Charles of Austria; after Kriehuber. The Entombment; after Titian. Madonna with the Cherries ; after Titian. BENEDETTIS, Domenico de. This artist was bom in Piedimonte d'Alise about the year 1610. He was sent when young to Naples, where he was placed under the tuition of Fabrizio Santa- fede, and after studying some time under that master, he went to Rome, where he had the ad- vantage of becoming a scholar of Guido, whose graceful and elegant manner he imitated with suc- cess. On his return to Naples, he was favoured with the protection of the king, whose palace he ornamented with several pictures; he also painted Bome works for the churches. Dominici mentions, as his best work, the ceiling of the church of Santa Maria Donna Regina, where he has repre- sented, in the different compartments, subjects from the life of the Virgin Mary, entirely in the manner of Guido. He died in 1678. BENEDETTO, II. See Castiglione. BENEDETTO, Fra. See Fiesole, Benedetto da. BENEDICTO, Roque, an historical painter of Valencia, and scholar of Gaspar de la Huerta, for whose works the pictures of Benedicto are often mistaken. He was a better oolourist than designer. His most distinguished picture is the ' Miracle of St. Francis de Paul feeding 3000 persons with a small quantity of bread.' He died at Valencia in 1735. BENEFIAL, Cavaliere Marco, was born at Rome in 1684. Several of his works in that city prove him to have possessed very considerable ability. In the Academy of St. Luke is a tine picture of ' Christ and the Samaritan W^oman ; ' and in the church of the 'Stimulate,' the 'Flagel- lation.' In the Palazzo Spada there is a saloon entirely painted by him, which is considered one of the finest productions of his time: and there are also preserved the cartoons for his great fresco work of the dome of the cathedral at Viterbo. He died in 1764. BENET, Geronimo, painted portraits, figures of the Virgin and Christ, to which he gave con- siderable expression. He died at Valladolid in 1700. BENEVIDES. See Ramirez. BENFATTO, Ldigi, who was born at Verona in 1551, was the nephew and scholar of Paolo Veronese, under whom he acquired a bold and vigorous style of painting. According to Ridolfi, he maintained for some time after the death of Paolo the celebrity of the school, and the splendid system of colouring established by that great master. He distinguished himself by many admir- able works in public buildings at Venice. In the church of St. Nicholas is a grand composition by him, representing the Ascension of that saint to heaven, attended by a choir of angels, and figures emblematical of the virtues of Faith, Hope, and Charity, and in the Chiesa di Santa Marta are several pictures of the life of that saint. Many other works of Benfatto are mentioned by Ridolfi. He died in 1611. BENING, Levina, was the eldest daughter of Simon Bening, a miniature painter of Bruges, and was instructed in miniature painting by her father. She married Georg Teerling of Blankenberghe, who came with her to England, where her remark- able talents recommended her to the notice of Henry VIII., Edward VI., and the queens Mary and Elizabeth ; with the last of whom she was in great favour as late as 1570, but the time of her death is not recorded. She was also known in England as ' Levina of Bruges.' BENING, Simon, a Flemish illuminator and miniature painter, was probably a native of Ghent, where his father, Alexander Bening, exercised the calling of a draughtsman and illuminator. Simon worked in Ghent, Antwerp, Brussels, and London, and died at Bruges in 1561. There is in the Manu- script Department of the British Museum a splen- did example of his work, ' Arbre genealogique de la Maison souveraine de Portugal,' executed be- tween the years 1530 and 1534. BENINI, SiGi.sMONDO, was born at Cremona, about the year 1675, and studied under Angelo Massarotti. He excelled in painting landscapes, in which the gradation in the distances was well 117 A BIOGRAPHICAL DICTIONARY OF observed, and the effects of light managed with great skill. His pictures are highly finished and very agreeably coloured. His talent was, however, confined to landscape, and when he attempted to introduce figures of his own, it always diminished the value of his works. BENNETT, Charles H., was a designer on wood, whose first sketches appeared in ' Diogenes.' He also produced many illustrated children's books, as well as illustrations to the 'Pilgrim's Progress,' and sketches in ' Punch.' He died iu 1867, aged 37. BENNETT, William, a water-colour painter, was born in 1811. It is believed that he re- ceived his first lessons in art from David Cox. In 1848 he was made a member of the New Water-Colour Society, and contributed landscapes, chiefly of English scenery, to their exhibitions, jintil his death in 1871. BENNETT, William James, a water-colour painter, was one of the ' Associated Artists ' in 1808, and twelve years afterwards was elected an Associate of the Water-Colour Society. He painted views near Naples, and on the coast of Barbary. His last exhibited drawings were published in 1826. BENNETT, William Mineard, born at Exe- ter in 1778, was a pupil of Sir Thomas Lawrence, and obtained some celebrity as a painter of por- traits and miniatures — exhibiting at various times at the Academy. About 1835 he went to Paris, where he was patronized and decorated by Louis Philippe. In his later years he returned to Exeter, where he died in 18.58. BENOIST, Antoine, (called Du Cercle,) a French portrait painter, was born at Joigny (Yonne) in 1632. He became painter in ordinary and first sculptor in wax to Louis XIV., and was received into the Academy in 1681. There is at Versailles a remarkable medallion of Louis XIV. executed by him in coloured wax. He died in Paris in 1717. BENOIST, Antoine, a French engraver, was born at Soissons in 1721, and died in London in 1770. He engraved, after Blackey, a portrait of Louis XV., King of France. BENOIST, GuiLLAUME Philippe, a French line- engraver, was born near Coutances, in Normandy, in 1725. He engraved, in a neat stj-le, some portraits, and a few other subjects. He died in Paris in 1800. The following plates are by him: PORTRAITS. Galileo Galilei ; after F. Tillamena. The President de Montesquieu. Alexander Pope. Rosen de Kosenstein, physician. Sir Isaac Newton. Blaise Pascal. Albert Haller. Mile. Olairon, actress. Jacques Andre Joseph Aved, painter ; after Aved. SUBJECTS. Jupiter and Juno ; after GiuUano di Parma. Eathsheba bathing ; after Bounieu, BENOITS, Madame Marie Guilhelmine, whose maiden name was Laville-Leroux, and to whom Demoustier addressed his ' Lettres a Emilia sur la Mythologie,' was born in Paris in 1768. She painted many familiar subjects, and the portraits of several distinguished persons, among which are those of the Emperor Napoleon, and his wife, Maria Louisa. 118 A portrait of a negress by her is in the Louvre. She died in 1826, in Paris. BENOUVILLE, FBAN901S Leon, an historical painter, who was born in Paris in 1821, and studied under Picot. His earliest exhibited works J were, 'Mercury and Argus' (1839); 'The HermitJ and the Slothful Knights' (1841), taken from ani incident in Sir Walter Scott's ' Ivanhoe ; ' ' Judith '1 (1844); 'Esther' (1845). In 1845 he obtained! the great prize of Rome, in history, with his pic- 1 ture of 'Jesus in the Judgment Hall.' In 1853] he exhibited a large picture of 'St. Francis of I Assisi dying, blessing his native city,' which was [ purchased for the Luxembourg Gallery, and at] once placed him in a distinguished rank in his art ; I it is now in the Louvre. To the Universal Exhi- bition of 1855 B^nouviUe sent ' Christian Martyrs I entering the Amphitheatre,' and ' A Prophet of the I Tribe of Judah killed by a Lion ; ' works more ] remarkable for their composition than their exe- cution. In 1857 he exhibited 'The Two Pigeons,' ] ' Raphael seeing the Fornarina for the first time,' 1 and ' Poussin on the banks of the Tiber.' About ] this time he painted the decoration of the interior | of the Hotel de Ville. Early in 1859 he completed [ two pictures, ' St. Clair receivng the body of St j Francis of Assisi,' and ' Joan of Arc,' which were 1 exhibited in the Salon of that year. He also painted portraits. He received t^vo second class 1 medals in 1852 and 1855 respectively ; a first class j medal in 1S53 ; and the decoration of the Legion of] Honour in 1855. Hedied suddenly,inPari8,in 1859. BENOUVILLE, Jean Achille, French land- scape painter, born in Paris on the 15th of July, 1815, was a pupil of Picot, and gained the 'Prix de Rome ' for landscape in 1845, having taken a third- ! class medal the previous year. After his return from I Italy he principally exhibited scenes inspired by | that country, together with landscapes taken from Central France up to about the year 1865. He obtained a mention in 1855, and a medal of the ] first class in 1863, in which same year he was decor- ated with the Legion of Honour on the 5th of July. His most important pictures of that date were ' A j View of Rome from the Villa Borghfese,' 'The Coliseum, seen from the Famese Gardens,' and 1 ' The Arno near Tivoli.' He then made an expedi- tion to Switzerland and painted various bits of the ' grand mountain scenery of that country. His I earliest work, like liis latest, was drawn from the I environs of Paris, in which city he died on the 6th j of February, 1891. BENSHEIMER, Johann, a German engraver,] medallist, and designer, by whom we have a set of] portraits of the Electors of Saxony. He worked at ] Dantzic, Berlin, and Dresden, where he lived from j 1670 to 1700. He marked his plates with the initials of his name, J. B. BENSON, GiULio, who was bom at Genoa, about the year 1601, was a scholar of Giovanni j Battista Paggi. Soprano says that he was also an eminent architect. He painted history and per- spective, was patronized by the Doria family, and executed some ornamental works in their palace. His most esteemed work is the ' Coronation of the Virgin,' painted in fresco in the church of the | Nunziata. There are several of his oil paintings i in the churches at Genoa ; that of St. Domenico is j much admired. He died in 1668. BENT, Johannes van deb. See Van der Bent. BENTLEY, Charles, a painter of coast and > river scenery, in water-colours, was born in 1806. PAINTERS AND ENGEAVERS. He was elected an associate of the Water-Colour Society in 1834, and a full member in 1844, and constantly contributed to their amiual exhibitions. His subjects are views in France, Holland, and Italy, as well as on the shores of his native country. He died of cholera in 1854. BENTLEY, Joseph Clayton, a line-engraver, was born at Bradford in 1809. His first attempt in art was landscape painting ; but coming to London in 1832, he commenced to study engraving under R. Brandard. Some of his best plates were engraved for the Vernon Gallery, after Gains- borough, Callcott, and Linnell. Always of a weak constitution, his health entirely gave way under too persistent exertion, and he died in 1851. BENTLEY, Richard, the only son of the eminent classical scholar Dr. Bentley, master of Trinity College, Cambridge, was an amateur artist of some celebrity towards the end of the last century. He is best known by his illustrations of the edition of Gray's works which Horace Walpole printed at Strawberry Hill. He died in 1782. BENTUM, Justus van, a pupil of Godefried Schalken, was born at Leyden in 1670, and died in 1727. He painted in the manner of his master. A picture by him of a 'Cake-seller' is in the Belvedere at Vienna. BENVENUTI, De'. See Bologna, Simone da. BENVENUTO, Giovanni Battista, called Dell' Ortolano, because his father, Francesco di Benve- nuto, was a gardener, was born at Ferrara about the year 1490. By some writers his birth is placed as early as 1467. After studying some time in his native city, he went to Bologna, where, in 1512-13, he was influenced in his painting by the works of Raphael and Bagnacavallo. He painted in the style of Dosso Dossi. Barotti mentions several of the works of Benvenuto in his description of Ferrara, where they are highly esteemed. In the church of San Niccolo he painted, in 1520, the ' Virgin Mary and Infant Jesus,' with several Saints ; in Santa Maria de' Servi the ' Nativity ; ' and in San Lorenzo the 'Adoration of the Magi.' From 1512 to 1524 he worked at Ferrara. He is supposed to have died, while still young, in 1525. His best work is a ' St. Sebastian, St. Roch, and St. Demetrius,' in the National Gallery — formerly in the parochial church of Bondeno, near Ferrara. In the Ferrara Gallery there are a ' Na- tivity ' and a ' Christ in the Garden ' by him. BENVENUTO, Pietro, who was born at Arezzo in 1769, studied the works of Andrea del Sarto at Florence, and those of Raphael at Rome. He was also much influenced by the style of J. L. David, and was considered one of the leading painters of the modern Tuscan school . His style is noble and elevated, although somewhat chargeable with cold- ness, his design pure and correct, and his colour often brilliiint. He painted ' The Saloon of Her- cules,' in the Pitti Palace, and the cupola of the chapel of the Medici. The last-named is one of the most important of his works ; in it are repre- sented eight grand subjects, taken from the Old and the New Testament, the four Prophets and the four Evangelists. It was under the superintendence of this artist that Carlo Lassinio engraved the sub- jects in the famous Riccardi Gallery, painted by Luca Giordano. He died at Florence in 1844, while holding the post of Director of the Academy. Amongst his best works may be mentioned the fol- lowing : Arezzo. Cathedral. Judith displaying the head of Holofemes to the assembled people (engraved hy Ricciani). Florence. Pal. Corsini. Pyrrhus Idliing Priam, after the taking of Troy (engraved iy the same). „ -S'. Lorenzo. Scenes from the Old and New Testament — on the ceiling of the Choir chapel (fresco). „ Vjfd. His own Portrait. Ravenna. Cathedral. The death of St. Ohrysologus. BENVENUTO da QAROFALO. See Tisi. BENVENUTO (di Giovanni) del GUASTA. See Df.l Guasta, Benvenuto. BENWELL, John Hodges, born at Blenheim in 1764, studied in the Royal Academy Schools, and in 1782 gained a silver medal. Some of his works, such as his ' Auld Robin Gray,' ' Children in the Wood,' &c., were engraved. He used water-colours and crayons in an effective manner. He died in 1785, and was buried in Old St. Pancras church- yard. BENWELL, Mart, a painter of portraits in crayons and in miniatures, exhibited her works at the Incorporated Artists' Society and the Royal Academy between 1760 and 1782. Her portrait of ' Queen Charlotte ' was engraved by Richard Houston. Late in life she married a Mr. Code, and resided at Paddington, where it is believed she died soon after 1800. BENZONO, Antonio, was a Veronese painter of the 16th century, and a disciple of Francesco Carota. The Gallery at Verona possesses a ' Virgin and Child, between St. Jerome and St. George,' signed and dated by him in 1531. No dates are given of his birth or death. BER, Jacob, (corfimonly called Jacobber,) was born at Bliescastel, in Bavaria, about 1806, and studied under Gerard van Spaendonck. He held for a long time the post of flower and fruit painter at the porcelain factory at Sevres. Ber received numerous medals for his fruit and flower paint- ings, and the cross of the Legion of Honour. He died, in 1864. BERAIL, FRANgois, a French painter and geographer, was born in 1665 at Chateaudun, where lie died in 1732. There is a view of the Royal Abbey of the Magdalen at Chateaudun, engraved after him by J. B. Scotin. BERAIN, Jean, 'tlie elder,' a French painter, was born in Paris about the year 1638. He was ap- pointed in 1674 "dessinateur de la Cliambre et du Cabinet du Roi," in which capacity it was his duty to design the scenery and costume for the court fetes and ballets. He died in Paris in 1711. BERAIN, Jean, 'the younger,' who was born in 1674, and died in 1726, succeeded his father, Jean Berain the elder, as draughtsman to the king, and etched several plates, mostly from his own designs, in very neat manner, though rather stiff and formal ; among others are the following : Twelve plates — Of the ornaments of painting and sculpture, which are in the gallery of Apollo in the Louvre. The Mausoleum for the Fimeral of Maria Anna Chris- tina Victoria of Bavaria. Devices for a Fimeral Ceremony. BERANGER, Charles, a French painter of animals and fruit, was born at Sevres in 1816. He was a pupil of Paul Delaroche, and died in Paris in 1853. BERARDI, Fabio, an Italian engraver, born at Siena in 1728. He went to Venice when young H9 A BIOGRAPHICAL DICTIONARY OF and learned the art of engraving under Joseph Wagner. He has engraved several plates of his- torical and other subjects, chiefly after later Vene- tian painters : St. Seraphinus worsMpping the Cross, half length; frontispiece. 1767. . , . „ _. ^ A Woman sleepmg, surpnsed by a Sportsman ; after Piazetta. Four Pastoral Subjects ; after the same. Isaac blessing Jacob ; after J. B. PMoni. The Sacrifice of Gideon ; after the same. Jacob and Kachel ; after J. Varotti. Hagar and Ishmael in the Desert ; after J. T arana. Six Views in Venice; after Canaletto; engraved by Berardi and Waiiner. 1742. BEECH, Va^' flatten. See Platten-Bebch. BEECHEM. NicoLAAS (or Claas, the shortened form) PiETERSZ is commonly known as Beechem or Berghem. By several writers this has been as- sumed to be a mere nickname, and various reasons have been given for its origin. But inasmuch as he is entered in the town-records as Berchem, and that he adopted it for the signature on his works, it may to all intents and purposes be considered a surname. He was born at Haarlem in 1620. His father, whose name was Pieter Claasz, was known as Pieter Claasz van Haarlem, and it was from him that Nicolaas received his first instruction in art. He afterwards studied under Jan van Goijen, N. Moeijaert, De Grebber, with Jan Wils, whose daughter he married, and with Weeninx. The pic- tures he paintod in the early part of his life have some resemblance to the works of Weeninx, al- though touched with more delicacy ; and, like the pictures of that master, they represent seaports and embarcations. He afterwards formed for himself a different and a more interesting manner, repre- senting landscapes of most delightful scenery, enriched with architectural ruins, and decorated with charming groups of figures and cattle. His pictures of those subjects are superior to any painter of his country, except his contemporary Jan Both, and there appears to have been some degree of rivalry between these celebrated artists. It is related that a great encourager of art, a burgomaster of Dordrecht — Van der Hulk by- name — engaged Berchem and Both to paint each a picture, for which they were to receive re- muneration, and the one whose work should be thought the better was to have a certain sum, in addition, as premium. The two painters did their best, and on showing their work to their patron he assured them that their admirable performances had deprived him of the capability of preference, and that, as they had both reached tiie perfection of the art, they were both entitled to the premium, the prize of fame. Berchem's painting is No. 1076 in the Hermitage, St. Petersburg. Descamps considered it his masterpiece. From the sub- jects and the manner of many of his paintings it has been concluded that Berchem made a journey to Italy, though no precise information on the subject is to be obtained. He died at Amsterdam in 1683. The foUo-n-ing is a list of his best paint- ings, in the public collections of Europe : they are not uncommonly seen in the private galleries of England : Amsterdam. Museum. Winter Landscape (dated 1647 „ „ The three flocks of Sheep. „ „ Cattle crossing a Ford (dated 1656). „ „ The Ferry-boat. „ „ Landscape and Figures (executed in conjunction tcith Van der Hagen). 120 Berlin. Museum. Winter landscape (Bebchem f). „ Mythological scene in a Landscape (Bekchem f). „ The Halt at the Inn (Bkbckem f). " „ The Halt at the Forge (Bbrchkh). ., Female Head (a study). Brunswick. Gallery. Pomona and Vertumnus. Brussels. Museum. Landscape with Euins. ^, „ Eepose in the Meadow. Cassel. Gallery. A Forge (Beechem). Darmstadt. Gallert/. Herdsmen and Cattle. Dresden. Gallert/. Angels appearing to the Shepherds (signed Bekighem, 1649). „ „ A Sunset (Berchem). „ „ Landscapes (eleven). Dolwich. Gallery. Landscape with Figures. „ „ Wood Scene. J „ Landscape (called ' Le Soir '). „ Landscape (called ' Le Midi '). Hague. Museum. Landscape (Beehighkm, 1648). „ The Boar Hunt (Bebchem, 1659). "^ „ Italian Ford (Bebchem, 1661). „ Attack on a Convoy in the Moun- tains (Bebchem). London. A'at. Gall. Crossing the Ford (Bebchem potst) „ „ Landscape with Ruin (Berchem). II „ „ ItaUan Landscape (Berchem). ,. „ „ Ploughing (Berchem). ,, „ „ Landscape (Berchem, 165 — ). Munich. Pinakothek. Landscapes. „ „ And others ; in all, eight tcorks. Paris. Louvre. View near Nice (C. Berghem). „ Landscapes with Animals (C. Ber- ghem F. 1653). „ The Ford (Bebchem f. 1650). ,', „ Eight other Landscapes with Animals. VeteTshuig.Hermitage Angels appearing to the Shepherds (Berchem). ,. The Repose in Egypt (Bebchem). " The Rape of Europa (Berchem, 1649). „ Autumn (N. Bebchem). " , Halt of Huntsmen (Bebchem. No " " 1076 ; one of his best wonfcs). „ Italian Scenes. " „ And others ; in all, sixteen works. Viemia Gallery. Landscapes with Figures and Herds (five). „ Liechtenstein Gal. Death of Dido. „ Judgment of Paris. ^ Landscape (and others). Berchem sometimes signed his name C. Berchem, the C standing for Claas, and also, in early Ufa, Berighem, or Berrighem. He occasionally pamted animals in the works of other masters, as Ems- dael Hobbema. Jan Wils, and others. The style of Berchem is excellent ; he painted vnth ?u/PP^" ing facility, yet his pictures have all the finish that could be wished. Extremely happy in the choice and arrangement of his compositions, he has given a singular grace and beauty to his figures, without departing from the propriety of costume. The distribution of his masses, and his arrangement ot light and shade, are masteriy and intelligent ; and the delicate gradation of his ai^rial perspective, the light floating of his skies, and the transparency of the water, have never been surpassed by any painter of his country. -. » j This celebrated artist has also amply contnbutea to the portfolios of the collector, by the numerous exquisite drawings and etchings he has left u« of which the latter are executed in a much mor^ finished manner than we are led to expect from the point of a painter. There is a descriptive catalogue of the etchings of Berchem, _, by Hendrik de Winter, published at jf ^ /^ Amsterdam in 1767. The foUowmg /< JUcJ list comprises his principal plates : -^''' *^ '^' PAINTERS AND ENGRAVERS. SFTS OF FBINTS ETCHES BT BEHCE£U. Six plates of Cows, with the title, called the Milkmaid C. Berghem, fee. et exc. 1634 to 1644. Six of Sheep ; in the title print, a woman sitting on a stone. Six of Goats ; in the title print, a man sitting with a dog. Eight of Sheep ; in the title print, a woman standing near a rock. Eight of Sheep and Goats ; in the title print, a man. Five larger plates upright, one dated 1652 ; all marked Berghem^fec. Four smaller plates of different animals, lengthways ; marked N. B. Six of the Heads of Sheep, Goats, &c. ; small ; scarce. SINGLE PRINTS ETCHE1> BY BEKCHEM. A Cow drinking; Berchem,fec. 1680. A Cow watering ; C. P. Berghem, inv. et fee. ; fine and rare. A Landscape, with two Cows lying, and one standing; Berghem, fee, A Landscape, with Cows, and a man rithug on an Ass ; N. Berghem, fee. A Landscape, with a Woman bathing her feet in a Brook, and a Man behind leaning on a Stick, with Animals and Figures, and a Ruin in the distance. A Boy riding on an Ass, speaking to another Boy, who is playing on the Bagpipes. Called ' The Bagpiper ; ' fine. A Landscape, with a Man playing on the Flute, and a Woman sitting ; without a mark ; scarce. A Landscape, with a Man standing, and a Woman seated Buckling a child ; without a mark ; very scarce. BERCHET, Pierre, a French painter, born in 1659. He was a scholar of Charles de la Fosse, under whom he studied till he was found capable of undertaking some works in the palaces in France. He came to England in 1681, and met with employment in ornamenting the houses of some of the nobility. His best work is the ceiling of the chapel of Trinity College, Oxford, where he has represented the ' Ascension.' He died in Lon- don in 1720. BERCK-HEIJDE, Gerrit, (Berkhetden, or Berkeydon,) the younger brother of Job Berck- Heijde, was born at Haarlem in 1638. The success of his brother encouraged him to become a painter, and he was assisted by his instruction. He entered the guild of St. Luke in 1660. These artists ap- pear to have been bound to each other by the most affectionate attachment ; their pursuit of the same profession, instead of producing jealousy or ill-will, seems only to have inspired them with a laudable emulation, and a desire of contributing to each other's celebrity. It is said that they resided together with their sister Aechje. Gerrit painted at Cologne, Heidelberg, Haarlem, and Amsterdam. He died at Haarlem in 1698. The pictures of Gerrit Berck-Heijde are faithful representations of the principal towns in Holland and Germany, painted with great neatness, and well coloured. They are sometimes ornamented with figures by Job, who surpassed his brother in that branch of art. Amsterdam. Museum. View of Dam at Amsterdam {signed and dated 1677). Antwerp. Museum. View of Amsterdam (signed Gerrit Berck Heijde, Haeelem, 1668). Berlin. Museum. View of the Hague (signed G. Beeck-Hetde). Dresden. „ A pubUc place, with antique build- ings and figures (signed). „ „ A Hawking Party (signed). Frankfort. Stadel. The Stadhuis, Amsterdam (signed). n J, View of Amsterdam, showing the two Synagogues (signed). Eotterdam. Museum. View of Cologne (signed and dated 16T3). Petersburg.flermztaj'e.Houses on the canal, Haarlem. „ „ Hunting party (signed). BERCK-HEIJDE, Job, (Berkheyden, or Ber- keydon,) was born at Haarlem in 1630. He studied under a painter, Jacob Willemsz de Wet, but by a natural inclination for art, he employed himself, when young, in making sketches of the environs of Haarlem, and the commendation bestowed on his first essays encouraged him to adopt art as a profession, and he entered the guild of St. Luke in 1654. His genius led him to paint landscapes and views of the Rhine, wliich he represented in a very pleasing manner, and his attentive observance of nature enabled him to give an appearance of air and sunshine to his pictures, which produces a very agreeable effect. He decorated his landscapes with small figures, toler- ably correctly drawn, and very neatly touched. He sometimes painted village feasts and merry- makings, which are not without considerable merit. In company with his brother Gerrit, he travelled through Germany, and was for some time in the employment of the Elector Palatine, for whom he painted several pictures, and by whom he was presented with a gold chain and medal. He returned with his brother to Holland, where he met with great encouragement. He died at Haarlem in 1693. The following are some of his best works : Amsterdam. Museum. View of Haarlem (signed). „ Church Interior. Berlin. Museum. Winter Landscape (signed J. Berck- Hetde). 3TU88els.Aremberg Co/. View of the Old Bank at Amster- ' dam. 1678. Dresden. Gallery, View of the Town-hall at Amster- dam (signed J. Berck Hetde). „ „ Interior of the Cathedral of Haar- lem (signed and dated 1665). Rotterdam. 3Tuseum. The old Exchange at Amsterdam (signed). PeteTshuTg. Hermitage. Views in Amsterdam (signed). BERDELLE, Johann Baptist, born at Mentz in 1814, studied first at Diisseldorf, under Schadow, and showed a great talent for portrait painting. When visiting Munich, in 1840, he was persuaded by Genelli to devote himself entirely to historical painting. He became a follower of C. Rahl, and painted in the manner of the Venetian artists of the 16th century. He executed some frescoes in the Polytechnikum at Munich, where he died by suicide in 1876. BERENGUER, Fra Ramon, Prior of the Char- treuse of Scala Dei, in Catalonia, painted, about the middle of the 17th century, a series of small pictures for the cloister, from the History of St. Bruno and the Order, for which he is said to have made copies at Parma from the celebrated works of Carducho, whose style he imitated with tolerable success. BERETTINI. See Berrettini. BERG, Magnds, who was born in Norway in 1666, was a painter and sculptor. He was in- structed by Andersen, court painter in Denmark. BERG, NicoLAAS VAN DER. See Van der Berq. BERG, Van den. See Van den Berg. BERGAMASCO, II. See Castelli, Giovanni Battista. BERGAMO, Andrea da. See Cordelle Agi. BERGE, Adgdste Charles de la. See De la Berqe. 121 A BIOGRAPHICAL DICTIONARY OF BERGE, P. VAN PER. See Van der Bekge. BERGEN, Dirk van den, (or Berghen). See Van den Bergen. BERGEN, NicOLAAS van, who -was born at Breda in 1670, imitated the manner of Rembrandt ; he painted subjects of history, interiors, and con- versation-pieces. He died at Breda at the age of 29. BERGER. Daxiel. an engraver, was born at Berlin in 1744. He was instructed in the art by his father, who did not attain great celebrity : he also studied under G. F. Schmidt. He engraved several portraits of the Royal Family of Prussia and other distinguished personages, and many his- torical and other subjects, principally after the painters of his country. In 1787 he was appointed rector and professor of engraving of the Academy at Berlin. He died in 1824. Among others we have by him the following plates : The Death of Major de Kleist ; after D. Ckodowiecky. The Virgin and ChUd ; after Correggio. A Bust of a Man with a gold chain ; after G. van dm Eckhout. The Death of General Schwerin ; after J. C. Frisch. The Virgin Mary ; after Saphael. Serrius TuUius ; after Angelica Kauffmann. BERGERET, Pierre Nolasque, a French his- torical, landscape, and portrait painter, who was born at Bordeaux m 1780, was a pupil of the elder Lacour, of Vincent, and of David. His sub- jects are of the most interesting kind, whether taken from national histories or particular facts relating to individuals. Many of his pictures have been placed in the Luxembourg and other royal palaces. The bas-reliefs on the column of the Place Vendome were designed by him ; he painted four of the portraits for the hall of the chancellors, and made designs for the medals struck at the Mint. Many of his pictures have been engraved ; and some serve as illustrations to editions of Boileau, La Fontaine, and other French classics. Bergeret died at Paris in 1863. BERGHE, Van den. See Van den Berghe. BERGHEM. See Berchem. BERGLER, Joseph, was born in 1753, at Salz- burg. He was Director of the Prague Academy, and author of numerous etchings ; during bis sojourn in Rome he made a particular study of the works of Raphael. He was patronized bj' Cardinal Auersperg and Count Thun. His paintings had little transparency, and were wanting in reality of colour, but he made some good portraits. He died at Prague in 1829. BERGMANN, Georg, who was born at Celle, near Hanover, in 1821, studied at the Diisseldorf Academy from 1843 to 1847 ; and became a painter of historical and biblical subjects. He died in 1870. He executed amongst others; Madonna and Child. 1S47. Madonna and Child. 1850. The Death of Charles V. 1851. (Purchased by the King of Hanover.) BERGMANN, Ignaz, born at Munich in 1797, studied painting under Danger at the Academy of that city. He painted portraits in oil, but is better known as a lithographer. BERGMt)LLER, Johann Georg, was born at Turkheim, near Augsburg, in 1688, and studied under Andreas Wolf. He painted history and por- traits after the manner of Carlo Maratti. Some of his works are to be seen in the churches and houses of Augsburg, where he resided, and where he died 122 in 1765. He is chiefly known by the engravings which he made from his own designs. Among others we have the following : Four — the Baptism of Christ, the Transfiguration, the Kesurrection, and the Ascension. The Conception. The Virgin Mary caressing the Infant Christ. The Death of St. Joseph ; inscribed .S. Joseph moriens. Christ on the Mount of Ohves. Sancta Catherina Tictrix. St. Sebastian, Martyr. The Virgin and Infant Jesus presenting the Rosary to St. Dominick. St. Francis kissing the Foot of the Infant Jesus. An emblematical subject on the Misfortunes of the Times: inscribed TiimuHum adduxit tempus. Justice and Peace ; Justitia et Pax, ^c. The Four Seasons. 1730. Four of the Signs of the Zodiac ; /. G. B. 1730. Five figures of Women, emblematical of the Virtues. BERGDNZONI, Lorenzo, who was born at Bologna in 1646, was first a scholar of Giovanni Battista Bolognini, but afterwards studied under Guercino. His first attempts were in historical subjects, in which he had some success ; but having painted the portraits of some persons of distinction at Bologna, he met with such encourage- ment, that he devoted himself entirely to that department of the art in which he excelled. BERJOT, Antoine, a French flower and minia- ture painter, was born at Lyons in 1753, and died there in 1843. The Musee of that city possesses many of his works. BERKHEYDEN. See Berck-Heijde. BERKMANS, Hendrik, a Dutch painter, born at Klundert, near Willemstad, in 1629. His first master was Thomas W'illebort, under whom he studied some time. He aftersvards became a scholar of J. Jordaens. On leaving that master, he painted some historical pictures which gained him reputation, but the encouragement he met with in painting portraits induced him to forsake a path which promised to lead him to celebrity. Such was the desire of possessing his portraits, that it was with difficulty he could fulfil his engagements. He painted the Count of Nassau, the Admiral de Ruyter, and many of the most distinguished per- sonages of liis country. His best work is a large picture of the ' Company of Archers,' in the town- hall at Middelburg, where he died in 1690. BERLINGHIERI, Barone, was the son of Ber- lingherus, a Milanese, who was still living in 1250. He executed several painted crucifixes ; amongst others one for the Pieve of Cas.abasciano, in 1254; and another in 1284 for Sant' Alessandro Maggiore, at Lucca. He had two brothers. Bonaventura Berlinghieri is known to have painted several panels and wall-paintings, at Lucca, in 1235 and 1244. as well as a ' St. Francis of Assisi.' painted in 1235 for the church of San Francesco, of Pescia. Marco Berlinghieri. known as a miniature painter, executed an Illuminated Bible, finished in 1250. BERLINGHIERI, Camillo, was born at Fer- rara in 1596. He was the scholar of Carlo Bononi, and proved himself a very reputable painter of history. His works are chiefly at Ferrara and at Venice, where he was called ' II Ferraresino.' In the church of San Niccolo, at Ferrara, is a fine picture, by him, of the ' Miracle of the Manna,' and in Sant' Antonio Abate, the ' Annunciation.' He died at Ferrara in 1635. BERNA. See Barna. BERNABEI, Pier Antonio, called Della Casa, a native of Parma, flourished about the year 1550. PAINTERS AND ENGRAVERS. He was not a scholar of Parmigiano, as has been asserted, but was rather a follower of the style of Correggio. Although Orlandi contents himself with styling this excellent artist Pittor non iyno- hUe, his great work of the cupola of La Madonna del Quartiere proves him to have been one of the ablest fresco painters of his time in Lombardy. It represents a ' Multitude of the Blessed,' a grand composition, copious without confusion ; the figures designed in a Correggiesque style, with great relief, and a vigour of colouring which has still preserved its original freshness. There are other considerable works by this master at the Carmel- ites, and in other public places at Parma. BERNAERD, Nicaise, a Flemish painter of animals and flowers, was born at Antwerp in 1608, and was a scholar of Frans Snyders. The subjects of his pictures bear a great resemblance to those of his master, and it is certain that they have been sold as the genuine productions of Snyders. He went to Italy, and on his return settled in Paris, where his works were much ap- preciated. He was admitted into the Academy in 1663, and died in 1678. There are two paintings by him in the I.ouvre, where he is called NlCASlus. Zani places his birth in 1593, and his death in 1663. BERNAERTS, Balthazar, (or Bernaep). The name of this engraver is affixed to several plates of biblical subjects, engraved from the designs of Bernard Picart, published at Amsterdam in 1720. They are executed in a very indifferent style. BERNARD, — , a Neapolitan painter, born in 1680, was a scholar of Solimena, whose manner he studiously followed. He died in 1734. BERNARD, Jan, a copyist of Paul Potter and Berchem, born in 1765, died in 1833. He was a member of the Institute, and of the Academy of Fine Arts at Amsterdam. BERNARD, L., a French engraver who flour- ished towards the close of the 17th century, has left us amongst others the" following plates: Portrait of Louis XIV. ; after Poerson. Portrait of Sebastien le Prestre de Vauban ; after De Tr' n Susannah at the bath {signed). Dresden. Gallery. The Acorn and the Pumpkin. 126 Dresden. Gallery. The Bear and the Amateur Gar- dener. Paris. St. Germain ) St. Philip baptizing the Eunuch of des Pris. j Queen Candace (the sketch for thit picture is in the Louvre). „ Louvre. Hercules delivering Prometheus. BERTINOT, GusTAVE, a French engraver, was bom at Louviers (Eure), June 23, 1822. He was a pupil of Drolling and Martinet, and gained the ' Prix de Rome' in 1850. In 1867 he gained a medal of the first class and the Cross of the Legion. He succeeded Maninet at the Acaddmie des Beaux Arts in 1878. He died April 19, 1888. Among his best plates were portraits of Ingres, Cherubini, and Van Dyck, and the ' Vierge aux Donataires,' after Van Dyck. BERTO DI GIOVANNI, a pupil of Perugino, painted at Perugia from 1497 to 1525. He exe- cuted works for the magistrates, and was a member of the guild of that city. He painted with a predella, in the convent of Santa Maria di Monteluce at Perugia, the follo^ving subjects from the Life of Christ : ' The Nativity,' ' The Present- ation,' and ' The Marriage ' and ' Death of the Virgin.' These form part of a large work of the ' Coronation of the Virgin,' which Raphael was originally commissioned to paint, but which was subsequently executed by an artist whose name has not been recorded. BERTOJA, Jacopo, incorrectly Giacinto, (or Bertogia,) a native of Parma, painted historical pieces in the manner of Parmigiano ; and his cabinet- pictures were, in his own time, much prized. He flourished in the later years of the 16th century. Zani tells us that he died in 1618, at a great age. BERTOLOTTI, Giovanki Lorenzo. According to Ratti, this painter was bom at Genoa in 1640i and was a scholar of Francesco Castiglione. He painted historical subjects with considerable skill; and his biographer speaks in very favourable terms of a picture painted by him in the church of La Visitazione, at Genoa, representing the ' Visitation of the Virgin Mary to St. Elizabeth.' He died in 1721. BERTRAM, — , a Dutch engraver, who flour- ished about the year 1690. He engraved several plates, representing views and public buildings, which are executed in a very neat style. BERTRAND, James, a French painter.and native of Lyons, was one of the most distinguished of Perrin's pupils. His subjects were chiefly poetical and mythological. Among pictures exhibited by him at the Salon we may mention : ' The Com- munion of St. Benedict' (now in the possession of the Societe des Beaux Arts at Lyons), ' The Con- version of St. Thais," St. Mary of Egypt,' 'Peasants of the Abruzzi at St. Peter's,' ' Phryne at Eleusis,' and 'The Death of Sappho.' He died in Sep- tember, 1887. BERTRAND, Noel FRANgois, a French en- graver, who was born at Soisy-sous-Etinlles in 1784, was a pupil of the j'ounger Moreau and of David. He engraved in the chalk manner a large number of figures taken from the works of Raphael, Titian, Rubens, Poiissin, LeBrun, David, and other great masters, besides some portraits of sovereigns and other distinguished persons. He died at Saint- Ouen in 1852. BERTRY, N. H. JEAURAT de. See Jeadrat. BERTUCCI, Giovanni Baitista. See Faenza, G. B. DA. BERTDCCI, Jacopo, who is not to be confounded PAINTERS AND ENGRAVERS. with Giovanni Battista Bertucci, flourished at Faenza about 1630, and painted in the manner of Raphael. He is supposed to be the same as Jacopone da Faenza, who, Vasari tells us, painted in San Vitale at Ravenna. BERTUCCI-PINELLI, Antonia, was, according to Malvasia, a native of Bologna, and was instructed in art by Lodovico Carracoi. She painted some pictures for the churches ; among others, the ' Guar- dian Angel,' in San Tommaso ; and ' St. Philip and St. James,' in the church dedicated to those saints. But her most celebrated performance is her picture of ' St. John the Evangelist,' in the Annunziata, painted from a design of Lodovico Carracci. She died in 1640. Her maiden name was Pinelli, but she married Giambattista Bertucci (not Giovanni Battista da Faenza). Zani places her death, and that of her husband, in 1644. BERVIC, Charles Clement, the most eminent of modern French engravers, was born in Paris on the 23rd of May, 1766. His family name was Balvay, but this he used only in legal documents, preferring to adopt as his usual signature that of Ber\'ic, which was a surname of his father. His baptismal names were those of Charles Cli5ment, which he bore in his youth and which are found on his earlier works, until, having need of his certifi- cate of baptism, he was astonished to see himself named therein Jean Guillaume, and to find himself obliged to rectify formally all the documents which he had executed in his accustomed names. Upon examination, however, of the parish registers, which at this period were deposited at the Hotel de Ville, it transpired that the duplicate copy sent to the Palais de Justice was in error, and that the names of Jean Guillaume assigned to Bervic in the latter were in reality those of the infant baptized before him. Nevertheless, through obstacles which arose in the rectification of his family papers, he never resumed his baptismal names. At a very early age young Bervic showed a decided taste for drawing: he amused himself by copying all the prints which fell into his hands, and, although entirely without instruction, he succeeded fairly well. This led to his entering the studio of Jean Baptiste le Prince, where his talent rapidly de- veloped, and he grew ambitious of becoming a painter ; but to this his father was averse, fearing that he might not attain to eminence in the art. However, by way of compromise with a passion which could not be subdued, he was allowed in 1769 to become a pupil of Jean Georges Wille, one of the best line-engravers of the day. His earliest work is unknown, but the first plate to which he put his name was that of ' Le petit Turc,' aftei P. A. Wille, which he completed in 1774. This engraving bears evidence of being the work of an inexperienced although not unskilful hand, and has the metallic lustre and other defects of the school of Wille. Marked progress was shown in his engravings of 'La Demande accept^e' and 'LeRepos,' after Lepici6, and in his portrait of Senac de Meilhan, after Duplessie, all of which were finished in 1783. Tlie portrait of S^nac de Meilhan first revealed the power which Bervic possessed of freeing himself from the influences of his early education, and of rendering truth- fully and characteristically the varied details of his subject. This talent soon met with its due reward, for Ln 1784 he was elected a member of the Academy, and requested to engrave for his reception a portrait of Count d'Angiviller ; but commencing soon after the portrait of the King, that of the Count was laid aside, and he never became an academician. The full-length portrait of Louis XVI. in his coronation robes, after the portrait by Callet at Versailles, established the reputation which Bervic had obtained by the wonderful brilliancy and soft- ness with which he reproduced in black and white the diverse tones and textures indicated in paint- ing by the aid of colour. Bervic kept pace with the revolutionary movement, and at one of the meetings of the ' Soci6t^ populaire des Arts ' broke the copper- plate of the king's portrait, and tore in halves all the proofs of it which he possessed. The plate has since been skilfully repaired by Chollet, and later impressions taken from it. His next works of importance were ' The Education of Achilles by the centaur Chiron,' after Regnault, and its pendant, ' The Rape of Deianeira by the centaur Nessus,' after Guido, the origifials of both of which subjects are in the Louvre. The latter gained the decennial prize awarded by the French Institute for the best engraving executed between the years 1800 and 1810. But Bervic's master- piece is undoubtedly his plate of the renowned antique group of the ' Death of Laocoon and his two Sons,' engraved for the Mus6e Franfais, in which he appears to have endeavoured to rival the ' suffering marble,' as it has been aptly termed, which the Rhodian sculptors Agesander, Polydorus, and Athenodorus seem to have ani- mated with the breath of life. Yet such was his modesty, that when his task was done he com- plained of having been able but partially to realize his aims. ■■ Sovereigns and nations hastened to do homage to Bervic's talents. Louis XVI. gave him, in 1787, the apartments in the Louvre which had been vacant since the death of the painter L^pici6. The order of the Reunion was conferred upon him in 1813, and the Legion of Honour in 1819. Most of the academies of Europe enrolled him among their m.embers, and in 1803 he became a member of the Institute of France. Failing sight at length compelled him to lay down his graver, and the ' Testament of Eudamidas,' a bust of Napoleon, and a half-length portrait of Louis XVIII., of which but three proofs exist, remained unfinished at the time of his death, wliicli occurred iu Paris on the 23rd of March, 1822. He was twice married : first, in 1788, to Mile. Carreaux de Rozemont, a portrait painter and pupil of Madame Guyard, who died in the same year; secondly, in 1791, to Mile. Bligny, who died in 1793. Bervic established a school of engraving, in which his constant aim was to warn his pupils against the baneful in- fluence of servile imitation, and to guide each one according to the bent of his own individual genius. Toschi and Henriquel-Dupont are the most cele- brated among his many scholars. The following are his most important works : St. John the Baptist in the 'Wilderness ; after Raphael, (Florence Gallery.) The Education of Achilles ; after Regnault. The Rape of Deianeira ; after Guido. The Laocoon ; after a drawing by Pierre B yuillon, from the antique. (Musee Fran(,-ais.) Innocence ; after Meriniee. lia Demande acceptee ; after Lepioie. Le Repos ; after the same. Le petit Turc; after P. A. Wille. The Testament of Eudamidas ; after N. Poussin. (This plate was finished by Toschi.) 127 A BIOGRAPHICAL DICTIONARY OF Xxiuis XYI., whole-length ; after Callel. Napoleon I., bust ; after a drawing bi/ Robert lefebmre. (Never finished.) I^uis XVIII. ; after Jugustin. (Never finished.) Charles Gravier, Comte de Vergennes ; after his ovm drawing. Michel Letellier ; after the engraving by IfanteuU. Carl von linn^ ; after A . Eos/in. Prince Ignacy Jacob Massalski, Bishop of TVilna ; after Ki/mli, Gabriel Senac de Meilhan, Intendant of Hainault; after J. S. Duplessis. ■' K. E. 6. BESCHEY, Balthasar, (or Besschey,) who was born at Antwerp in 1708, studied under Pieter Strick, an unimportant painter, but imitated the styles of Van Balen and of De Craeyer. In 1763 he was admitted as a freeman of the Guild of St. Luke, and two years later became one of the six directors of the Academy in the above town, and in the year following that was elected dean of St. Luke. He died in 1776, at Antwerp, while holding the post of professor in the Academy of that city. He painted landscapes at the com- mencement of his artistic career, but confined himself in after life to sacred history and por- traiture. In tlie two latter branches of art he is well represented. His works display a taste for harmony, and are for the most part carefully executed, but are wanting in delicacy of colouring. The following may be mentioned : ABtverp. Museum. Joseph sold by his brethren {signed and dated 1744). „ „ Joseph viceroy of Egypt (signed and dated 1744). „ „ Portrait of himself (signed — presented by him to the Aca- demy of St. Luke in 1763). „ n Portrait of Martin Joseph Gee- raerts. Paris. Louvre. A Flemish Family (signed arid dated 1721). Petersburg. Sermitage. The Five Senses. An allegory. B. BBSCHEIJ, 1733. ., „ The Five Senses. An allegory. B. BESCHEIJ. It has been recorded that Beschey had a son who was a painter, but this is a mistake. He had, however, three younger brothers who followed his profession, under his instruction, and one elder brother, who was a pupil of Goovaerf s. This last mentioned was Carel Beschey, who was born at Antwerp in 1706. Then, after Balthasar, came Jacob Andreas Beschey, born at Antwerp in 1710, and still living in 1773. He also was ' doyen ' of St. Luke. Nest came Joseph Hendrik Beschey, who was born at Antwerp in 1714 ; and lastly, Jan FRANgois Beschey, who was born in 1717, at Antwerp, where he established himself as a picture dealer, and became celebrated for the copies he made of the works of Rubens, Van Dyck, Teniers, Pijnacker, Moucheron, and other great masters. He was dean of the Guild of St. Luke in 1767. BESENZI, Paolo Emilio, was bom at Reggio in 1624. He distinguished himself as a painter, a sculptor, and an architect. Although the friend and companion of Lionello Spada, he differed from ^8 style, preferring the graceful manner of Albani. His principal pictures, which establish his reputa- tion as a painter, are in the church of San Pietro. He died in 1666. BESOET, Jan, a Dutch engraver, was born early in the 18th century, and died about 1769 He engraved a large plate of the fireworks at the 128 Hague in 1748, and many portraits, book-plates, and title-pages. BESOZZI, Ambbogio, a painter and engraver, bom at Milan in 1648. He was first a scholar of Gioseffo Danedi, and afterwards studied under Ciro Ferri. He excelled in painting architectural views, friezes, basso-relievos, and other works of decora- tion. He died at Milan in 1706. Works by him are in the galleries and churches of Milan, Turin. and Parma. He etched two plates : The Portrait of Correggio. The Apotheosis of a Princess ; in which the portrait was by Bonacina, and the other part of the plate by Besozzi ; after Cesa7-e Fiori. BESSA, Pancrace, a flower painter, was born in Paris in 1772. He was a pupil of G. van Spaendonck and of Redoute, and was flower painter to the Duchess de Berri, to whom he gave lessons, and to the Museum of Natural History at the Jardin des Plantes. He died at Ecouen about the year 1835. BESSON, Charles Jean Baptiste, a French fresco painter and Dominican, was born near Besan- Qon in 1816. He was at first a pupil of Souchon, but upon going to Rome in 1835 he entered the studio of Delaroche. In 1839 he became connected with the celebrated Lacordaire, and in the follow- ing year entered the Dominican order, taking the name of Hj-acinthe, but did not entirely abandon the practice of his art. He died at the convent of Mar-Yacub, near Mosul, in 1861. BEST, Jean, a French wood-engraver, was born at Toul in 1808. He contributed largely to the success of the ' Illustration,' as well as of the ' Magasin pittoresque,' of which he was one of the proprietors. He was decorated with the Legion of Honour, and died in 1879. BESTAKD (or Bastard), a painter of Majorca, lived at Palma about the end of the 17th century. He painted for the convent of Monte Sion there a superb picture, measuring 24 palms in length, and 15 in height, representing ' Christ in the Desert attended by angels ; ' it is considered as one of the marvels of the cit}-. He also ornamented several other public buildings at Palma. BETTELINI, Pietro, an eminent Italian en- graver, was born at Lugano in 1763, and applied at an early age to the study of the art. He received instructions from Gandolfi and Bartolozzi ; but in his subsequent works he inclined more to the style of Raphael Morghen. He died at Rome in 1828. He is particularly happy in liis transcripts of light and elegant forms, and enters with much taste and spirit into the subject he copies. He does not aim at producing brilliant effects, but exercises his graver with care and delicacy, corresponding with the style of the original picture. In those of a sombre or forcible character he is not equally suc- cessful. He was held in high estimation by Thor- waldsen, who employed him to engrave some of his finest works, both figures and bassi-rilievi. His engraving of the ' Entombment,' by Andrea del Sarto, in the Florence Gallery, exhibits all the beauties of the original, and may be quoted, not only as his masterpiece, but also among the finest examples of art. The following are a portion of his justly esteemed productions: Entombment : after Andrea del Sarto. Madonna col devoto ; (^ter the painting by Correggxo, in the possession of the King of Bavaria. Ecce Homo ; afitr Correggio. St. John ; after Domenichino. PAINTERS AND ENGRAVERS. Sibylla Persica ; after Guercino. f AeceDsion of the Virgin ; after Guido. Hadonna and sleeping Infant ; after Raphael. Judgment of Solomon ; after the same. Magdalene ; after Schidone. Maria div. Sapientiie ; after Titian. The Virgin Mary reading a book ; after the same. Portrait of Galileo. Portrait of MacchiaveUi. Portrait of Poliziano. 1 BETTES, John, an eminent miniature painter in the reign of Queen Elizabeth, by whom he was patronized. He was a pupil of Nicholas Billiard, and painted the Queen's portrait. He died about the year 1570. His brother, Thomas Bettes, was also a miniature painter as well as an illuminator. BETTI, BiAGio. This painter was bom at Carigliano in 1535, and was a disciple of Daniele da Volterra. He became, in 1557, a monk of the order of the 'Padri Teatini,' of San Silvestro, and his works are principally confined to the monastery of that order on the Quirinal at Rome. In the refectory he painted the ' Miracle of the Loaves and Fishes,' which was restored by Anesi in 1847; and in the library, 'Christ disputing with the Doctors.' He died in 1605. BETTINI, DOMENICO. According to Orlandi, this painter was born at Florence in 1644. He was first a scholar of Jacopo Vignali, but after- wards went to Rome, and became a disciple of Mario Nuzzi. His pictures, which are well painted, represent, like those of his instructor, fruit, flowers, birds, and fish. BETTINI, PlETEO, an Italian engraver of the 17th century, who etched a few plates in a slight manner. By him, among others, we have : Christ appearing to Peter ; after Domenico Ciampclli. The Martyrdom of St. Sebastian ; after Lomenichino. BETTO, Bernaedino di (Pintdbicchio). See BlAGIO. BETTOLI, Cajetano. The name of this artist is affixed to an etching representing the ' Death of St. Joseph,' after Marc Antonio Franceschini. It is executed in a free, spirited style, and appears to be the production of a painter. BEUCKLAER (or Bedkelaar). See BnErKELAER. BEUERLEIN, Hans, an old painter of Nurem- berg, highly praised by Nendorfer, painted a Crucifixion, on the wall of the Prediger Kloster in Nuremberg, now destroyed. He died about 1500. BEURS, WiLLEM, was born at Dordn-cht in 1656. He was a scholar of Willem van Drillen- burg, and painted landscapes, portraits, and flowers with some dexterity and skill. He also published works upon art. , BEUSEKOM, Feans van, a Dutch engraver, flourished from about 1640 to 1650. He was principally employed by the booksellers in engrav- ing portraits. Among others, he engraved that of Ant. le Brun, after a picture painted by Anselmus van Hulle. BEUTLER, Jakob, a German engraver, who, according to Professor Christ, was a native of Ravensburg, flourished about the year 1593. The prints he engraved are generally very small, on which account he is ranked among the artists distinguished by the name of the Little Masters. He usually marked his prints with the initials of his name, /. B. As this mark was occasionally used by other German engravers, particularly Jacob Binck and Hans Burckmair, who lived about the same period, it requires great attention to distin- _ guish their works. K BEUTLER, Matthias. See Bettler. BEVEREN, Charles van, bom at Mechlin in 1809, was instructed in the rudiments of art in the academy of his native city and at Antwerp. He settled in Amsterdam in 1830, subsequently visiting Paris, Rome, and other cities of Italy, and dis- tinguished himself as a painter of history, genre, and portraits. He died at Amsterdam in 1850. The best known of his works are : The Confession of a Sick Girl {in the Pinakothek at Munich). Male Figure. A study (in the Rotterdam Museum). The Vision of St. Ignatius. The Death of St. Anthony of Padua {in the church of Moses and Aaron at Amsterdam. His ckef-d'ceuvre). BEVILACQUA. See Salimbeni, VENTtTEA. BEVILACQDA, Ambrogio and Filippo, Milanese painters, were brothers and partners, and flourished at the end of the 15th century. They were em- ployed at the Palace and in the Duomo, and Ambrogio painted an allegory of Cli;uity on the front of the Milan Poor-house in 1486. The ac- knowledged picture by him is a ' Virgin and Child between King David and Peter Martyr,' in the Brera. See also Vigevano, Ambrogio da. BEWICK, John, a younger brother of Thomas Bewick, was born at Cherryburn, in the parish of Ovingham, in 1760, and in 1777 was apprenticed as a wood-engraver to his brother and Ralph Beilby, in Newcastle. He assisted in the cuts of ' jSUsop's Fables,' and drew and engraved illustrations for Goldsmith's and Parnell's Poems, as well as for 'The Looking Glass for the Mind,' and ' Blossoms of Morality,' published in 1796. He also made the designs for ' Somerville's Chase,' but did not live to engrave them all. He died in 1795, at Ovingham. Though he was not so clever an artist as his more celebrated brother, many of the works of John Be\\ack deserve much praise. BEWICK, Thomas, the eminent restorer of the art of engraving on wood, was bom at Cherryburn, in the parish of Ovingham, about twelve miles westward of Newcastle, in 1753. At the age of fourteen he was apprenticed to Ralph Beilby of Newcastle, a copper-plate engraver. He might have had a master of more eminence, but he could not have had one more anxious to en- courage his talents, and to point out to him his peculiar line of excellence. It happened that Charles Button (afterwards the distinguished Dr. Button of Woolwich), then a schoolmaster at Newcastle, was preparing his great work on men- suration, and applied to Beilby to engrave on copper the figures for the work ; he judiciously advised that they should be cut on wood, that each figure might accompany the proposition it was intended to illustrate. The young apprentice was employed to execute many of these ; and the beauty and accuracy with which they were finished led his master strongly to advise him to devote his attention to the improvement of this long-lost art. At the expiration of his apprenticeship, Bewick spent a short time in London and in Scotland, and on his return to Newcastle, entered into partner- ship with Beilby. About this time, Thomas Saint, a printer of Newcastle, was at work on an edition of ' Gay's Fables,' and Bewick was engaged to furnish the cuts. One of these, the ' Old Hound,' obtained the premium offered by the Society of Arts for the best specimen of wood-engraving, in the year 1775 ; but the work was not published until 1779. His success in this and an edition of ' Select Fables ' by 129 A BIOGRAPHICAL DICTIONARY OF the same printer, induced Bewick to project the ' History of Quadrupeds.' This work, after several years of preparation and labour, was published in 1790. In the preparation he was encouraged and patronized by Marmaduke Tonstal of Wycliffe, whose museiun of animals, both winged and quad- ruped, living and dead, was very extensive. In the intervals of collecting materials for this work, Bewick was employed in engraving on copper the plates of natural history for a small quarto volume, entitled ' A Tour through Sweden, Lap- land, &c., by Matthew Consett, the companion of Sir G. H. Liddell;' 'The Whitley large Ox' (bred in Mull). From the moment of the pub- lication of the ' History of Quadrupeds,' which passed through three editions in three years, Thomas Bewick's fame was established. He sub- sequently, in conjunction with his brother John, supplied the woodcuts for the elegant edition of ' Goldsmith's Traveller and Deserted Village,' and for ' Pamell's Hermit,' both printed by Bulmer. These appeared in 1795, and were allowed to excel everything of the kind that had before been pro- duced. In 1797 was published the first volume of ' British Birds,' for which Beilby furnished the written descriptions ; the second volume, on ' Brit- ish Water Birds,' devolved on Bewick alone, who was assisted in the literary corrections by the Rev. Henry Cotes, vicar of Bedlington. These were followed by numerous illustrations of publications of the day, in which he availed himself of the talents of the several pupils whom he had in- structed, and who have since so eminently dis- tinguished themselves in the same line of engrav- ing ; among these were Nesbitt, Harvey, Robert Johnson, Luke Clennell, Ransom, and Hole. Bewick was indefatigable, and the number of engravings he executed is almost inconceivable. One volume, edited by the Rev, T. Hugo, and published in 1870, contains impressions of upwards of 2000 wood- cuts. He was an early riser ; fond of indulging in rustic and athletic sports, which are so prevalent in the north ; was warm in his attachments, and had some humorous peculiarities. He died, as he had lived, a truly honest man, near the Windmill Hills, at Gateshead, in 1828. There are several memoirs of his life, the best of which is, perhaps, that which is included in the ' History of Wood Engraving,' by John Jackson, who devoted to Bewick fifty pages of his book, illustrated with thirty engravings. BEWICK, William, born at Harworth, Dur- ham, in 1795, came to London in early life, and became a pupil of Haydon, at whose request he made drawings of the Elgin Marbles for Goethe. In 1822 he sent a large picture of 'The meeting of Jacob and Rachel to the British Institution. A few years afterwards Sir Thomas Lawrence gave him a commission to copy Michelangelo's frescoes in the Sistine Chapel, and for three or four years he resided in Italy. He then settled in London for a few years as a portrait painter, until ill-health compelled him to retire into the country. In 1843 he was one of the competitors for the decorations of the Houses of Parliament, and sent up a cartoon of 'The Triumph of David.' He died in 1866. (See ' Life of William Bewick,' by Thomas Land- seer, 1871.) BEXTERHAM. See Bertekham. BEYER, Jan de. See De Beijeb. BEYEREN. See Beijeren. BEYLBROECK, M., a Flemish engraver, who 130 resided in England about the year 1713. He en- graved a plate representing the ' Death of Dido ' after Sebastien Bourdon, which is neatly executed but stiff and formal, and without much effect. BEYTLER, Matthias, (Beitleb or Beutlkb,) was bom at Augsburg about 1560. About 1582 he was living at Anspach, where he distinguished himself as an engraver. The following works by this artist are now in existence : A little Book of Animals. 1582. Twelve plates, mostly representing Animals. A little Book of Roses, &c. 1582. Eleven plates with different figures. Christ on the Cross. BEZ. See Bastier de Bez. BEZZDOLI, Giuseppe, historical painter, was bom at Florence in 1784. His principal works are found in his native town ; at St Remi, ' The Baptism of Clovis ; ' in the Villani mansion, ' A Madonna ' in fresco ; in the Pitti Palace, ' The Entry of Charles VIII. into Florence.' His own portrait is in the Uffizi. In the Borghese Palace at Rome are two ceilings, representing ' The Toilet of Venus,' and ' Venus carrying off Ascaniue, He died in 1855. BIAGIO, Bebnabdino (di Betto) di, is commonly known as Pintubicchio (the 'little painter,' a name he acquired from the smallness of his stature, and which he, to some extent, adopted in order that he might be distinguished from a Bernardino of Perugia, a painter of no great merit) ; he was also called Sobdicchio, either because of deafness, or of his corpulency. His father's name was Benedetto Biagio, and hence he was sometimes called Bernardino di Betto. He was born at Pe- rugia in 1464. He was an assistant, and probably also the pupU, of Pietro Perugino, with whom, according to Vasari, he worked in the Sistine Chapel. Amongst his earliest paintings were some frescoes in Santa Maria del Popolo, executed for Cardinal della Rovere. He was employed bj Innocent VIII. to paint frescoes in the castle of Sant' Angelo, and the walls in the Belvedere (now known as the Museo Clementino), and by Alex- ander VI. to decorate the Appartamento Borgia in the Vatican. He decorated six rooms, in one of which the frescoes were destroyed by Leo X. to make way for works by Giovanni da Udine and Perino del Vaga. The other five, however, remain intact. Pinturicchio also painted frescoes representing the ' Life of St. Bernard of Siena ' in the Cappella Bufalini in Santa Maria Ara Coeli, and varions frescoes in Santa Maria del Popolo. While at Rome, in 1491, he was called to Orvieto to decor- ate the cathedral of that town, but of the works which he then executed only much-damaged frag- ments remain. In 1496 Pinturicchio went from Rome to Perugia and executed many good works. In 1500 — 1501 he painted frescoes, representing the ' Annunciation of the Virgin,' and ' Christ dis- puting with the Doctors,' in the cathedral at Spello. He next painted ten subjects from the ' LiEe of Enea Silvio Piccolomini ' (afterwards Pius II.) — his best and most famous work — in the library of the cathedral of Siena. In these fres- coes he is supposed to have received assistance from Raphael in the general design and the out- line ; this work occupied him, with various inter- ruptions, from 1502 till 1507. The last known work by this master is the ' Christ bearing the Cross,' in the Casa Borromeo, at Milan, painted in THOMAS BEWICK THE CHILLINGHAM BULL 1789 BERNARDINO DI BIAGIO PINTURICCHIO i photo] \J.ibrary, Siena ^NEAS PICCOLOMINI ON HIS WAY TO THE COUNCIL AT BASEL PAINTERS AND ENGRAVERS. 1513 ; in which year Pinturicchio died at Siena of starvation and neglect, deserted, it is said, in his illness by his heartless wife Grania. Pinturic- chio was a very prolific artist, and left many works, all executed in the old-fashioned tempera, for he never mastered the art of oil painting. He was fond of landscape backgrounds, but they are over- crowded, and his paintings are loaded with too much gilding and architectural ornamentation to be in good taste ; with all these faults, he was one of the best masters of the Umbrian school. To the above-mentioned works may be added the following : , Assisi. S. Mary Angeli. Berlin. Museuvi. Dresden. Gallery. LoDilou. Nat. Gall. Paris. Louvre. Feragia. Aocademia. Rome. Vatican. Siena. Academy. God the Father. St. Augu.stine, St. Benedict, and St. Bernard (formerly ascribed to Peruijino). A Reliquary. Portrait of a Boy. Sb. Catharine of Alexandria. The Madonna and Child. The return of Ulysses to Penelope. {A fresco transferred to canvas ; formerly in the Fctrucci Palace.^ Siena, painted about 1509.) Madonna and Child between St. Gregory and another Saint. The Virgin between SS. Jerome and Augustin {painted in 1498 for the convent of Santa Anna, Perugia). Coronation of the Virgin {painted about 1500). Virgin enthroned with Saints {painted about 1501). There are two important frescoes by him in the Sistine Chapel, at one time attributed to Perugino, fragments of fresco in the Penitenzieri Chapel, decoration in the Colonna Palace, a fresco in the Capitol, and fragments of work in the Castle of Sant' Angelo, all in Rome. (See ' Pinturicchio,' by E. M. Phillipps, London, 1901.) BIAGIO, Maetino (di Bartolommeo) di, was the son of Bartolommeo di Biagio, a goldsmith of Siena, and a contemporary of Taddeo Bartoli. His name appears in the roll of the Guild of the Sienese painters, in 1389, but his first known work is in a church at Cascina, which is now desecrated. There will be found a series of frescoes representing the 'Virgin and Child,' between SS. Catharine and Agatha, life-sized figures of the Saints, colossal figures of the Virtues, and scenes drawn from the life of the Virgin, with a ' Crucifixion,' that is dated 1396. He seems to have remained in Pisa up to 1404, having painted in 1403 a ' Virgin and Cliild, between Saints,' that is now in the Hosjiital of Santa Chiara, in that city. In 1405 and 1406 Martino decorated the three chapels of San Cres- cenzio, San Savino, and San Niccol6, in the Duomo of Siena. In 1407 he aided Spinello to decorate the Sala di Balia, Siena, where his part was the ornamentation of the ceiling with allegorical half- figures of the Virtues. He was appointed umpire in the valuation of Taddeo Bartoli's paintings in the Chapel of the Palace of Siena, and seems to have filled several offices in the government of the city between the years 1410 and 1428. His death probably occurred in 1433. Asciano. Boniche Coll Madonna and Child. Signed in 1408. Pisa. Academy. Marriage of St. Catharine. 1403. Siena Academy. Madonna with Saints (three). BIAGIO ViNCENZO DI, commonly called Catena, possibly from a partiality for jewellery, was born probably at Treviso, and flourished towards the close of the 15th and the beginning of the 16th century. He was a painter of no great origin- ality ; he studied at Venice under Bellini, whose influence is perceptible in his works ; and he was also an imitator of Giorgione. Catena painted portraits with skill, and was also much esteemed for his easel pictures of historical subjects ; he was employed in decorating the churches of Venice, some of which still contain works by his hand. His will, dated 1531, proves him to have been alive in that year, but we have no later record of him. The following are a few of his works: Berlin. Museum. Madonna and Saints and donor. ,. „ Portrait of Count Eaimund Fugger {one of his best works) . Dresden. Gallery. Madonna with Saints. Liverpool. Institution. Madonna and donator {ascribed to him by Crowe and Cavalcaselle). London. Nat. Gall. Warrior adoring the Infant Christ. „ „ St. Jerome in his study. Padua. Com. Gal. Presentation in the Temple. Paris, Louvre. Keception of Ambassadors. Petersbrg. Hermitage. Virgin and Child with SS. Peter and John the Baptist. Venice. Ihtcal Pal. Madonna and Saints. „ S. Simeone. The Holy Trinity. BIANCHI, Baldassare, was born at Bologna in 1614. He was first a scholar of Giovanni Paderna, but afterwards studied under Agostino Mitelli, with whom he painted prospective pieces at Sassuolo. He passed the greater part of his life in the em- ployment of the dukes of Modena and Mantua, whose palaces he orflamented with a large number of his paintings. He also decorated the theatres of Modena and Mantua. He died at Modena in 1679. Orlandi states, that he had a daughter, LocBEZiA Bianchi, who also distinguished herself in the art. BIANCHI, Federigo, a Milanese, was a scholar, and subsequently son-in-law, of Giulio Cesare Procaccini. Orlandi reports that at the early age of seventeen he painted three works in fresco, in the cloister of the monastery of the Padri Zoccolanti, at Milan. Several other works by this master were in the churches of that city. He was greatly patronized by the duke of Savoy, who held his talents in high estimation, arid honoured him with the title of ' Cavaliere,' and a gold chain and medal. He flourished in the 17th century. BIANCHI, Francesco, (or Francesco del Bi- ANCHO Ferraro,) Called II Fear^, was born, ac- cording to Vidriani, at Ferrara in 1447. Modena is also mentioned as the place of his birth. His works were much esteemed in his time, and are said by Vidriani to have been gracefully designed, and painted with a fine impasto of colour. He also gives him the credit of having been the instructor of Correggio. He died in 1510. His works are now rarely seen. The Louvre possesses a ' Virgin and Child enthroned with two Saints,' and the Modena Gallery an 'Annunciation of the Virgin,' and other works. BIANCHI, Giov. Paolo. See Blancus. BIANCHI, IsiDORO, called 'da Campione,' was a native of Milan, and flourished about the year 1626. He studied under Pietro Francesco Mazzu- chelli, and was one of the ablest followers of his style. He excelled in fresco painting more than in oil, as is evident in his works in the church of Sant' Ambrogio at Milan, and in different churches at 131 A BIOGRAPHICAL DICTIONARY uF Como. He was chosen by the Duke of Savoy to finish a grand saloon at Rivoli, which had been commenced by Mazzuchelli, and was left unfinished at his death. He was afterwards made painter to the Court, and was knighted in 1631. BIANCHI, Okazio, was born at Rome, and, according to Abate Titi, was a painter of history of fair merit. His best work was the ' Marriage of St. Joseph and the Virgin Mary,' in the church of San GiosefEo at Rome. BIANCHI, Paolo, an artist chiefly employed in engraving portraits for the booksellers, flourished about the year 1670. His plates are neatly exe- cuted with the graver, but in a stiff, tasteless style. He engraved some of the portraits for Priorato's ' History of Leopold,' among which are : Cardinal Flavio Chigi, nephew of Alexander VII., and Luigi de Benevides CarilUo. BIANCHI, PlETRO. This painter was born at Rome in 1694, and was a scholar of Benedetto Luti and Baciccio. He acquired considerable celebrity as a painter of history, portraits, landscapes, and animals. Among his most esteemed performances are a ' St. Clara,' at Gubbio, and a picture of the 'Conception,' in the church of Santa Maria degli Angeli, at Rome, of which a mosaic copy is in a chapel of St. Peter's. He died in 1740. BIANCHI, Sebastiano, an Italian engraver, flourished about the year 1580. He produced some plates of devotional subjects, which are exe- cuted with the graver in a very indifferent style. Among others is a print representing the ' Emblems of our Saviour's Sufferings, with Angels,' &c. BIANCO, Bartolommeo, distinguished himself as an architect, engineer, and painter. He was bom at Florence in 1604, and in 1612 he studied painting under Biliverti. In 1620 he visited Ger- many ; on his return he decorated several houses, and painted for churches and theatres. In 1656 he went to Spain to paint scenes for theatres. He died at Madrid in tlie same year. BIANCUCCI, Paolo, was born at Lucca in 1583, and was, according to Lanzi, a distinguished scholar of Guido, whose graceful and delicate style he followed. His works bear a near resemblance to those of Sassoferrato. Of his best pictures may be noticed, a representation of ' Purgatory,' which he painted for the church of the Suffragio, and an altar-piece of several Saints for San Francesco. He died in 1653. BIARD, Pierre, bom in Paris about 1559, was a sculptor, architect, painter, and etcher. He studied at Rome, and died in Paris in 1609. He etched amongst others a spirited plate with two eagles and foliage. BIARD, Pierre, 'the younger,' born in Paris between the years 1592 and 1594, was an architect, sculptor, painter, and engraver. He was the son of Pierre Biard, who is best known as a sculptor. He studied in Italy, and executed as an engraver 74 etclungs, representing allegorical and mytho- logical subjects, after Raphael, Michelangelo, and Giulio Romano. Though his design is deficient, he worked with a fine point. He died in Paris in 1661. BIBIENA. See Galli. BICCI, Family op the. Lorenzo di Bicoi is the eldest member of a family of painters at Florence, about whom Vasari is somewhat confused. To Lorenzo di Bicci he attributes many works which have since been 132 proved to be by the hand of his son, Bicoi di Lorenzo. Of Lorenzo di Bicci all we know is that he was a painter ; and though his name occurs as such in records at intervals from 1370 to 1398, no authentic work by him is in existence. Bicci di Lorenzo, painter and sculptor, the son of Lorenzo di Bicci, was born in 1373. He mar- ried in 1418, and in 1424 was registered in the Guild of Painters at Florence. He was constantly employed in decorating churches in that city and the neighbourhood, and we find his name recorded at frequent intervals from 1420 to 1452, in which year he died at Florence, and was buried in the Carmine. Vasari, who confuses the Bicci, ascribes to Lorenzo di Bicci those works which are now given on good authority to the son, Bicci di Lorenzo. Amongst Bicci's works may be men- tioned ' SS. Cosmo and Damian,' in the DfBzi, and frescoes representing the ' Dedication of the Church by Pope Martin V.,' in Santa Maria Nuova (now Sant' Egidio), in which church he also exe- cuted some figures in terra cotta. Neri di Bicci, the son of Bicci di Lorenzo (and not, as Vasari says, of Lorenzo di Bicci), was a Florentine painter of no great merit, who flourished in the 15th century. He was a most indefatigable worker, and his pictures are seen in the galleries and churches of Florence. His masterpiece is ' St. Giovanni Gualberto enthroned, with ten Saints,' in the old church of San Pan- crazio. (For further information concerning the Bicci, see Crowe and Cavalcaselle's 'History of Painting in North Italy.') BICHARD, — , a French engraver, who flourished about the year 1760, engraved some plates repre- senting tombs and buildings, from the desigris of G. M. Dumont BICKART, JoDOCus, flourished at Mentz about 1650—1672. He was a painter, and one of the earliest engravers in mezzotinto ; but his works are very rare. The following are the best known: A portrait of an old Man. A portrait of John Philip, Elector of Mentz. A portrait of an old Man reading. BICKER. See Miel. BICKHAM, George, an English engraver, was chiefly employed in engraving plates of writing, in which he excelled. He died in 1769. We have a few portraits and copies of paintings by him, but indifferently executed — among others the fol- lowing : George Shelly, a writing-master ; after his own design, 1709. John Clarke, also a writing-master. Robert More, another writing-master. Sir Isaac Newton, with emblematical ornaments; G, Bickham, senior, sail. 1752. Sold by John Bickham, engraver. Peace and War ; after Kuhens. The Gold and Silver Age ; after Rubens. BICKHAM, George, ' the younger,' the son of the engraver of the same name, was not more distinguished in art than his father. He engraved many of the humorous plates published by Miss Bowles, as well as the portraits of his father and himself in a kind of frieze, representing a view of ' Newmarket Race-course.' He died in 1849. BIDAULD, Jean Joseph Xavier, a French land- scape painter, was born at Carpentras in 1758. He was educated by his brother, Jean Pierre Xavieu BiDAULD, a painter of landscapes and natural bis- FRANCESCO BIANCHI Neurdein photu\ [Lui^vre, Paris THE MADONNA WITH ST. BENEDICT AND ST. QUENTIN PAINTERS AND ENGRAVERS. tory, who was born at Carpentraa in 1745, and died at Lyons in 1813. He obtained a medal at the Salon of 1812, and was named member of the Institute in the room of Piud'hon, 1823. He executed a great number of views of Italy, and exhibited during the years from 1791 to 1844. Three landscapes by him are in the Louvre. One is a view of Subiaoo, another represents Avezano —both painted in 1789 ; the third bears date 1793. He died at Montmorency in 1846. BIDERMANN, Johann Jacob, bom at Winter- thur, Switzerland, in 1762, was instructed by A. Graff, at Dresden. He travelled considerably, and eventually settled at Constance in 1804, and painted both in water-colour and oil, mostly small land- scapes, with figures and cattle, and often views in Switzerland, as well as portraits and conversation- pieces. He etched eleven plates of Eglisau on the Rhine, in a most beautiful manner. He died at Constance in 1828. BIE, De. See De Bie. BIELBY, W., topographical draughtsman, flour- ished towards the end of the 18th century, and painted some of the views engraved in Angus' ' Seats of the Nobility and Gentry,' published 1787. Some views of Chelsea and Battersea by him were engraved in aquatint by Jukes. BIERSTADT, Albert, a landscape painter, was born at Solingen near Dusseldorf in 1830, of American parents, and taken back by them to America when twelve months old. In 1843 he came over to Dusseldorf to study art, and remained in Germany for three years. After that time he returned again to the States, and accompanied the expedition sent to explore the South Pass of the Rocky Mountains, and during this expedition he made a great many sketches and completed some fine pictures of the scenery. He became a member of the National Academy, had one of his chief works placed in the Capitol at Washington, and was also granted the Legion of Honour for the pictures which he exhibited in the Salon. He confined his attention almost entirely to landscape work, and usually only represented scenes in the United States. He died at the age of seventy-two, in 1902. BIEVRE, — DE, an engraver who flourished about 1766, produced a few portraits, among which is that of Caroline Matilda, Queen of Denmark. BIEZELINGEN, Cheistiaan Jans van, a Dutch portrait painter, was born at Delft in 1558. This artist painted from memory a portrait of William I., Prince of Orange, after his assassination by Gerards, as well as a portrait of the latter while in prison. He spent several years at the Spanish Court, where he was well employed. He died at Middelburg in 1600. BIFFI, Carlo, a Milanese historical painter and etcher, born in 1605, was a pupil of C. Procaccini. He died in 1675. BIFFIN, Sarah, was born at Bast Quantoxhead, near Bridgewater, Somerset, in 1784, without hands or feet. She was first instructed by an artist of the name of Duke, with whom she resided the greater part of her life. After some time the Earl of Morton made her acquaintance, and was so much interested in her, that he had her instructed by W. M. Craig, one of the best miniature painters of the day, under whose instruction she improved so rapidly that in the year 1821 she received a medal from the Society of Arts. She was patronized by George III., George IV., William IV., Queen Victoria, and several other distinguished personages. In her old age she was rather reduced in circum- stances, but a small annuity was purchased for her, on which she was able to live comfortably till her death, which took place at Liverpool in 1850. BIGARI, VllTGRlo, was born in 1692, at Bologna, and his works are to be met with in almost every public edifice in that city. In the church of the Madonna del Soccorso is an admired picture by him of the ' Virgin Mary and Infant Jesus, with St- Petronio and other Saints.' In the Palazzo Aldro- vandi he painted a gallery, in which he represented the principal transactions of that noble family. His works are mentioned in favourable terms by Zanotti in the ' Pitture di Bologna.' He died in 1776. His sons, Giacomo and Anqelo, were also painters. BIGG, William Redmore, who was born in 1755, was admitted a student of the Royal Academy in 1778, became an associate in 1787, and an Acade- mician in 1814. His pictures were generally of simple subjects, appealing to the domestic sym- pathies ; they were painted with considerable power. His ' Shipwrecked Sailor Boy,' ' Boys relieving a Blind Man,' ' Black Monday,' and others of like character, have been engraved. He died in London in 1828. BIGI, Francesco (di Cristopano), commonly known as Franoiabiqio or Franoia Bigio, was born at Florence in 1482. He studied first at the Branoacci Chapel, but in 1505 he became acquainted with Andrea del Sarto, and studied for some time with Albertinelli. He seems to have devoted much of his time to portrait painting, many ex- amples of which can be seen in England, and on the continent. Frescoes by him, although now much injured by damp and the effects of time, are at San Giovanni Battista della Calza, and at Santa Maria de' Candeli, at Florence. In the court of the convent of the Servi there is a ' Marriage of the Virgin and St. Joseph,' of which the following story is told : The fresco was all but finished, and the screens were still around it, when a solemn feast day of the Order arrived, and some of the monks undertook to uncover it on their own re- sponsibility. This so enraged Bigi, that he seized a mason's hammer and struck out the heads of the Virgin and of some of the other figures ; nor could threats or entreaties prevail on either Bigi or any of his fellow-artists to replace them ; and thus mutilated it still remains. Bigi died at Florence in 1526. The following list contains a few of his most celebrated works: Kerliu. Museum. Portrait of a man (former/!/ asci-ided to ISebastiano del Piombo). „ „ Portrait of a young man {with moyto- gram, mid inscriied " 1622 a di 24 dottobe"). „ „ Portrait of a young man. Dresden. Gallery. Batbsheba bathing (with monogram, and dated an>xin). Florence. Pitti Pal. Portrait of a youth (with monogram, and dated MDXiniJ. „ „ Calumny of Apelles. „ VJizi. Madonna del Pozzo. „ „ Temple of Hercules. Also important frescoes in the Chiostro Scalzo, SS. Annunziata and La Calza. London, ^at. Gat. Portrait of a young man (.?i//we(f wzVA the accompanying monogram^ and inscribed tab : vblia : CHI : blen : eima). 133 A BIOGRAPHICAL DICTIONARY OP London. Tarborough C. Half-length of a man at a window {dated mdxvi). Tnrin. Gallery. Annunciation. Windsor. Castle. Portrait of the Factor of Pier Francesco de' Medici. BIGNON, Franqois, a French engraver, who ■was born in Paris about the year 1620. He was principally employed on portraits, which he gener- ally executed with the graver, though he occa- sionally called in the assistance of the point. His style is neat, but there is a want of harmony in the efEect of his prints. Some of his portraits are ornamented with borders, with small emblematical figures, &c. We have by liim . St. Margaret ; after N. Poiissin. Thirty -three Portraits of the Plenipotentiaries as- sembled at the Peace of Miiuster ; after Z. Heince. Published in 164S. Twenty-seven Portraits of illustrious Frenchmen ; after the pictures by Z. Heince in the gallery of Cardinal Eichelieu. Published in 1650. BIGORDI Family, The. TOMMASO BIGORDI. Florence Paris. S. Maria A. Louvre. Domenico di Tommaso Davide di Tommaso Benedetto dl Tommaso ("449— 1494). (1462— 1626). (1468- 1497). Rldolfo di Domenico (1483—1561). Michele di Ridolfo (fl. ab. 16(18:. BIGORDI, Benedetto (di Tommaso), called also Benedetto del Ghielandaio, was a brother and pupil of Domenico, and was born at Florence in 1458. He frequently assisted his brother in his ■works, and completed some which he left un- finished at his death. Benedetto was also known as a miniature painter. He died at Florence in 1497. The following are his principal works: Berlin. Museum. Resurrection of Christ (executed in eo»juiictwn with Davids, after the design of Domenico Bigordi)^ pari of an altar-piece painted for Santa Maria Kovella, Florence. ► St. Lucia. Christ beai-ing the Cross. BIGORDI, Davide (di Tommaso), or Davide del Ghirlandaio, who was born at Florence in 1452, was chiefly employed in assisting his brother Domenico ; and, with Benedetto, completed some of his unfinished works. Davide also practised as a mosaicist at Orvieto, Siena, and at Florence, where he died in 1525. BIGORDI, Domenico, whose full name seems to have been Domenico di Tommaso Curradi di DofEo Bigordi, is generally called Ghirlandaio (or in the Florentine dialect Grillandaio, in which manner he sometimes signed his works), or ' The Garlandmaker,' an epithet probably derived from his father's profession. He was the son of a gold- smith and broker in Florence, and was born there in 1449. In his early years he probablj' followed his father's business, but afterwards entered the studio of Alessio Baldovinetti, and became one of the most distinguished artists of his time — both as a mosaicist and a painter. His design was more correct and graceful than was usual in his time, and the expression of his heads is superior to that of any painter who had preceded him. His earliest remaining frescoes are those in the Church and Refectory of Ognissanti, which are dated 1480, and represent St. Jerome, and the ' Last Supper.' Soon afterwards he commenced his labours at the Palazzo Vecchio, Florence, in 1481. where a fresco 134 of the ' Glory of St. Zanobius ' and other subjects still remain. He was called to Rome by Sixtus IV. in 1483, to aid in the decoration of the Sistine Chapel, where he painted ' The Call of SS. Peter and Andrew,' which still remains ; and ' The Resur- rection,' which has perished. Previous to 1485 he decorated the Cappella San Fina in the Duomo of Gimignano -with frescoes, representing different events in the life of that saint, ■which are remark- able for their beauty and grandeur of treatment. In the year 1485 he completed the decorations of the Sassetti Chapel in the church of Santa Trinita, Florence: these consist of portraits of Francesco Sassetti and his wife Nera; a series of classical subjects, and six subjects from the life of St. Francis of Assisi. The altar-piece he finished for this chapel with the ' Adoration of the Shepherds,' is now in the Academy of Arts, Florence. His next, and his most important commission, was that given him by Giovanni Tornabuoni to adorn the choir of Santa Maria Novella. These frescoes, which are Bigordi's master-pieces, consist of four courses of designs on the three walls of the choir, and represent — ' St Francis before the Soldan,' and ' The Death of St. Peter, Martyr; ' eight subjects drawn from the life of St. John the Baptist; and thirteen taken from the life of the Virgin. In these beautiful and wonder- ful designs ■will be found twenty-one portraits of members of the Sassetti and Medici families, his own portrait and those of his assistant Sebastianu Mainardi, and of Baldo^vinetti. After the comple- tion of the above immense work, Domenico painted by order of Lorenzo de' Medici, the ' Christ in Glory, adored by SS. Romualdo, Benedict, Attinia, and Greciniana,' for the Badia of Volterra, where it still remains. In 1488 he finished the ' Adoration of the Magi,' for the church of the Innocenti, Florence, in which picture is his own portrait. The latest known picture by Ghirlandaio is the ' Visit- ation of the Virgin,' dated 1491, and now in the Louvre. He died at Florence in 1494. He was the founder of an eminent school, and will ever be remembered as the instructor of Michelangelo. The following are some of his best works : Florence..i4(;arfej«y. »' »» „ Innocenti. „ Ognissanti. " Uffizi. Lucca. S.Martiuo. Mumch. Pinakothek. Narni. Paris. Louvre. Pisa. Gallery. „ St. Anna. Rimini. Gallery, S. Gimignano. Church. Volterra. S.Francesco. Adoration of the Shepherds. 1485. Madonna with four Saints. Adoration of the Kings. 1488. The Last Supper (fresco). St. Jerome (fresco). 1480. Adoration of the Magi. 1487. Madonna and Saints. Madonna and Saints. (i) Madonna and Child with the two St. Johns, St. Doraiuick, and St. Michael, (ii) St. Catharine of Siena, (iii) St. Lawrence ( part of an altar- piece executed from designs by Domenico for Santa Maria j^ovetUi, Florence : the exterior wings, finished by Davide and Benedetto Bigordi and Francesco Granaeei, after Donienico's death, are in the Berlin Museum). Coronation. Visitation, MCCCCLXXXXI. Old Man and a Boy. SS. Sebastian and Roch. Madonna and Saints. Three Saints. Annunciation (fresco). Christ adored by Saints. BIGORDI, Michele (di Ridolfo), who painted at Florence about 1568, died at the age of 75. A ' Holy Family ' by him is in the Pitti Palace. DOMENICO BIGORDI GHIRLANDAIO ■ lliiuiri photo] r^, , J- ^, ^ . VChjirch oftlie Ognissanti. Florence ST. JEROME IN HIS STUDY DOMENICO BIGORDI CALLED GHIRLANDAIO AUnari photo] [Hospital 0/ l/ie Innncenti, Florence THE ADORATION OF THE MAGI PAINTERS AND ENGRAVERS. BIGORDI, RiDOLFO (di Domenico) — called Ghir- LANDAIO— who was born at Florence in 1483, lost his father Domenico when he was still a child, and was taken under the protection of his uncle Davide. He afterwards studied under Cosimo Ros- selli and Fra Bartolommeo, and had so far profited by the instruction of these masters, that when Raphael visited Florence, he was so satisfied of his ability, that he entrusted him to finish a picture of the ' Virgin and Infant ' he had commenced, for one of the churches at Siena. So highly did Ra- phael esteem Ridolf o's talents, that on his return to Rome he invited him to assist him in his great works in the Vatican. Unfortunately for his fame, Ridolfo refused the invitation of Raphael, for, if he had accepted it, he would probably have par- ticipated in the glory of that illustrious painter in an equal degree with Giulio Romano. He possessed an acute and vivacious imagination, with an elegance and 'aste in his forms that have a near afiinity to the style of that master. In some of his first produc- tions, in San Jacopo at Ripoli, and in SanGirolamo at Florence, though there is something of the dryness of Pietro Perugino, they bear a great resemblance to the juvenile works of Raphael. He approaches nearer to the better time of that master in his two pictures of subjects from the Life of St. Zanobio, originally painted for the Academy at Florence, but afterwards placed in the Ducal Gallery. He died at Florence in 1561. The print of the ' Procession to Calvary' (plate 125 of Rosini) will give an idea of his style of composition and delineation of char- acter; but it does not bear much of the impress of Fra Bartolommeo or Giulio Romano. The follow- ing are some of his most important pictures : Berlin. Museum. Adoration of the lufaut Christ. BudaPesth. GaWery. Nativity. Florence. JP. Vecchio. Holy Trinity. „ „ Annunciation. 1514. „ Academy. Panels with three Saints each. „ Vffizi. St. Zanobio restoring a child to life. „ Fitti. Two Portraits. London. Aat. Gall. Procession to Calvary. Pistoja.iS'.PiViro.iT/a^.Virgin adored by Saints, Reigate. Priory. Portrait of an old man. BIJE, Dh. See De Bije. BIJLAERT, Jan Jacob, a Dutch painter, was born at Rotterdam in 1734. His paintings, some of which are at Cassel and Brunswick, mostly represent girls, and are weak in colouring. He sometimes worked for churches. He died at Ley- den in 1809. BILCOY, Marie Marc Antoine, was born in Paris in 1755. He painted a number of genre subjects, and was received into the Academy in 1789. He died in Paris in 1838. BILFELDT, Jean Joseph, a French miniature painter, was born at Avignon in '793. He studied under Raspaj', and devoted himself chiefly to miniatures and portraits, some of which are at Versailles. He died in Paris about the year 1849. BILIVERT, Jan, (or Bellivebt,) who was born at Maestricht in 1576, was brought up in the school of Lodovico Cardi, in Italy, where he was called Giovanni Biliverti. He completed some of the works left unfinished at the death of his in- structor, to whose style he endeavoured to unite the expression of Santo di Titi, and something of the splendour of Paolo Veronese. He died at Florence in 1644. Amongst his best works may be mentioned : Florence. Pitti Pal. Tobias and the Angel. „ Vffizi. Joseph and Potiphar's Wife. Petersburg. Hermitage. Hagar in the Desert. Vienna. Belvedere. Christ and the Woman of Samaria. BILLINGTON, Horace W., landscape painter, was the brother of the celebrated singer. A land- scape by him was exhibited at the Royal Academy in 1802. He died in London, November 17, 1812. BILLMARK, Carl Johann, who was born at Stockholm in 1804, was a laudscape painter; he visited Dalecarlia, St. Petersburg, and Paris, where he studied under Deroy. From 1828 to 1830 he pub- lished 100 lithographic landscape studies, and in 1833, whilst in Paris, he produced 29 works, repre- senting the scenery of his native coimtry ; and later on 24 plates of views on the Rhine, and also 100 plates in a work entitled, ' Journey from Stockholm to Naples.' He was a member of the Academy of Stockholm, and received the decoration of the Wasa order. He died in Paris in 1870. BILLONI, GiAMBATTiSTA, a painter of Padua, was bom in 1576, and died in 1636. He painted landscapes and portraits, and sometimes attempted history ; but his reputation is now confined to his portraits. BILLOTTE, RENfe, born at Tarbes (Hautes Pyr^n^es) June 24, 1846. A pupil of Eugene Fromentin. Exhibited yearly since 1878 at the Salon des Champs Elysdes, and since 1890 at the Champs de Mars. He chiefly painted Dutch land- scapes and views around Paris. His ' La Neige i la Porte d'Asniferes' (Musde du Luxembourg) and 'Le Soir k I'Avenue de Villiers' (Mus^e de Dijon) are well known. -He also painted a decorative panel for the Hotel de Ville, ' La Seine au Quai d'Orsay.' He gained the silver medal at the Exposition Universelle of '89. He was secretary of the National Society of Beaux Arts, and member of the Pastel Society, and Chevalier of the Legion of Honour. A collection of his works was shown at the Goupil Gallery in London in 1897. p, p_ BILLWILLER, Johann Lorenz Jacob, born "at St. Gallen, Switzerland, in 1780, etched the por- traits of Fiiger, Maurer, Schmutzer, Fischer, and himself, and painted genre pieces after Kobell and J. Seelos. He committed suicide at Vienna in 1810. BILLY, Niccol6 and Antonio, (or BiLLi,)two Italian engravers, who flourished about the year 1734, engraved several portraits and historical subjects, executed with the graver in rather a stiff, dry manner. Niccol6 engraved some plates for the Museum Florentinum. Fredericus Zuccharus. Hans Holbein ; se ifse pinx. Pietro Leone Ghezzi ; se ipse del. Giovanni Morandi ; se ipse del. Cardinal Pompeo Aldrovandi ; G. Berti pinx. Cardinal SpiuelU ; Vom. Dupra pinx. The Infant Jesus sleeping ; oval. St. Philip Neri kneeling before the Virgin ; after S. Conca. The Holy Family ; after Carracci ; half-length figures. The FUght into Egypt ; after Guido. BILTIUS, Jacob. See Van der Bilt, Jacob. BIMBI, Bartolommeo, a Florentine artist, who was born in 1648, studied under Lorenzo Lippi, and after painting historical pieces for a short time, became an excellent painter of fruit and flowers ; he was considered the Mario of his schooL He died in 1725. BIMEL. See Bdmel. 135 A BIOGRAPHICAL DICTIONARY OF BINCK. See Bink. BINDER, Joseph, who was born at Vienna in 1805. received his first art instruction in that city. From 1827 to 1834 he resided at Munich. Two years later he became teacher at the Stadel Insti- tute, Frankfort ; and in 1847 he returned to Vienna and was elected in the following year a member of the Academy, of which he was made a lecturer in 1851. He died in 1864. Binder at first painted portraits, but afterwards turned his attention to historical subjects, a branch of art in which he was very successful. Towards the close of his life he painted frescoes for churches. The following are some of his best works : Portrait of the Emperor Albert II. (In the Kaisersaal at Frankfort.) Madonna and Child. The Conversion of the Bobber Julian. St. Catharine of Siena visiting a poor family. St. Florian. Conversion of St. Eustachius. {In the Belvedere, Vienna.) BINDON, Fraxcis, who was born in Ireland at the beginning of the 18th century, painted por- traits of Dean Swift, the Archbishop of Armagh, Dr. Sheridan, and other celebrated men of the time, some of which were engraved. He also practised as an architect, and built country mansions. He died in 171"!.^ BINET, Adolphe Gustave, younger brother of Victor J. B. Binet, born February 2, 1854, at Saint Sauveur (Calvados), became a pupil of Geronie at the school of Beaux-Arts, and gained consider- able reputation as a painter of Paris life and scenes. Later he became a follower of the mystical school, but he is best known by his great work in the Hotel de Ville, representing a sortie by the National Guard from Paris in 1870. This ■was exhibited in the Champ de Mars salon in 1891. He obtained a third-class medal in 1885, and a silver medal in 1889. He died in Paris in 1897. BINET, LODIS, a French engraver, was born in Paris in 1744. He was a pupil of Beauvarlet, and engraved several plates after the works of Greuze, Joseph Vernet, and other masters. He died in Paris about the year 1790. BING, Edwabd, (or Byng,) was an assistant to Sir Godfrey Kneller, who, before his death, com- missioned him to finish all his portraits which were then incomplete, and in return settled on him £100 a year. Bing died about the middle of the last century. His brother, Robert Bing, was also employed by Kneller. BINK, Jakob, (or Binck,) an old German en- graver and painter, was born at Cologne between 1490 and 1504. From the earliest accounts of Bink, we must consider it probable that he was a pupil of Diirer, but this is by no means certain, while his early residence in Italy throws a doubt upon the supposition. He is also said to have worked under Marc' Antonio in Rome. One of his largest plates is a rather feeble copy of the very popular ' Massacre of the Innocents ' by Raphael. Previous to the year 1546 he was appointed painter to King Christian III. of Denmark, whose portrait and that of his wife Queen Dorothea, by him, are said to be at Copenhagen. He was also employed by Prince Albrecht of Brandenburg, who sent him in 1549 to the Netherlands, to erect a monument to the late Princess. Bink now received a fixed annual salary from the above-named prince, and removed his wife and family to Konigsberg, where, 136 TpT) about twenty years after, he died, in 1568 or 1569. Of his paintings none but portraits are known. In the Garderobe at Konigsberg are those of ' Prince Albrecht ' and his ' First Wife,' and his own por- trait is in the Belvedere, Vienna. Bink's pictures are remarkable for correctness of drawing and general artistic taste. This artist holds a dis- tinguished rank among the engravers denominated, on account of the small size of their prints, by the name of the ' Little Masters.' His st}'le is very neat, sometimes resembling the works of H. Alde- grever, but his plates evince less mastery in the execution. His drawing is correct, and there is an agreeable taste in the turn of his figures. There has existed considerable confusion respecting the marks of the artists of this period, particularly those whose names commence wdth a £. The works of this master are generally marked %vith the cipher annexed, the C meaning Coloniensis. Several other engravers used the initials /. £., one of whom, very skilful indeed, and possessed of much invention, is mis- taken by Sandrart for Bink. The following are his principal prints : The Portrait of Jacob Bink, with a cap, a sk\Ul in his cloak, and a cup in his right hand. The Portrait of Lucas Gassel ; /. £. 1529. Inscribed Ima^o ab Jacob Binck ad txivum delineata. Portrait of Francis I. : Franciscus rex Franciff. Portrait of Claude, First Queen of Francis I. 1526. Christiernus II. Danorum Eex. 1525. Elisabeta Danorum Regina. Christian III., surrounded by nine shields of arms and six Cupids, is one of his most elaborate and excellent engravings. It is rare, and not in Bartsch's cata- logue. St. Jerome, with the Lion. Twenty, representing the Divinities ; copied after Caralius, who engraved these plates after II Rosso. Adam holding the branch of a tree. Eve, with a branch with two apples. Lot and his Daughters : circular ; marked twice. David, with the head of Goliath. 1526. Judith, with the head of Holofemes. St. Michael vanquishing the Evil Spirit. The Virgin Mary adoring the Infant Jesus in the manger. Virgin sitting on a bank. Saints, various small prints, including SS. Anthony, the Virgin with Catharine and Barbary, Magdsdene, George. The Beheading of St. John. The Soldier struggling with Death. A fine design. Many subjects from fable and allegory, including Cupid, Venus, Hercules and Nessus, Pride, Fortune, Justice. The Massacre of the Innocents ; copied after Jfare- antonio ; very scarce ; an inferior print. A Woman beating and driving away the Devil with her crutch. 1528. W. B. S. BINNEMAN, Walter. This artist, who is sup- posed to have been a native of England, flourished about the year 1675. He engraved a few portraits, which are very indifferently executed ; among them is that of Robert Chamberlaine, an arithme- tician, prefixed to his ' Accomptant's Guide.' BINOIT, Peter, a flower painter of the 17th century, flourished in Cologne. In the Darmstadt Gallery there are two flower-pieces by him. One has his monogram and the date 1611, and the other is signed P. BINOIT. FRANCFORT 1620. BINYON, Edward, was an English landscape painter in oil and water-colours. He lived many years in the isle of Capri, where he died in 1876, from the effects of bathing while heated. His works, which appeared at the Dudley Gallery and PAINTEKS AND ENGRAVERS. at the Royal Academy, evinced his power of colour and of portraying the effects of the sunny south. Amongst his contributions to the latter institution were : Arch of Titus. 1859. Capri. 1870. Marina di Laccho, Ischia. 1873. Coral Boat at Dawn, Bay of Naples. 1875. Hidden Fires, Vesuvius from Capodimonte. 1876. BIONDI, Feancesco, who was born at Milan in 1735, painted sacred subjects. He died in 1805. In the gallery of his native town there is a 'Madonna and Child,' by him. BIORD, Peter. The name of this artist is affixed to an etching representing ' Cupid and Psyche.' It is executed in a bold, spirited style, and is apparently the production of a painter. BIRCH, Henry, an English engraver, practised in the latter part of the 18th century. He engraved after Stubbs and other contemporary painters. BIRCH, John, portrait and landscape painter, was born at Norton, Derbyshire, in 1807. As a boy he gave indication of a love for art, sketching the beautiful scenery of the neighbourhood. For some time he assisted his father in his business as a file-cutter, but afterwards went to a carver and gilder, with whom he remained seven years. He then determined to take up portrait painting as a profession, and went to London, where he studied under H. P. Briggs. Here he received several commissions to paint copies of the portraits by his master, in which he was so successful, that it was sometimes difficult to distinguish the copy from the jriginal. Amongst the original portraits which he Eainted were several of Ebenezer Elliott, the Corn aw Rhymer ; one, a half-length, representing him amongst the rooks of Rivilin, was painted on the spot, when the poet and painter were on a ramble together. His landscapes consist of views of the magnificent scenery of Derbyshire : ' Dove- dale,' ' Millin's Dale,' ' Matlock High Tor,' ' En- trance to the Peak Cavern,' were favourite subjects of his pencil. Birch was a man of enlarged and liberal views, and of great conversational powers. For some years, towards the latter part of his life, he resided in London, making occasional visits to his native town, during the last of which it is said that he painted about forty portraits in nine months. He died at South Hackney in 1857. BIRCH, William, a miniature painter and en- graver, was born at War\vick about 1760. He exhibited enamel portraits at the Royal Academy from 1781 to 1794, when he went to Philadelphia, where he died. As an engraver he is best known by his ' D^lices de la Grande Bretagne,' consist- ing of thirty-six plates of ancient buildings in Norwich and elsewhere, published in 1791. BIRCK, Paul. Strutt mentions this artist as the engraver of four plates, exclusive of a title, representing the ' Four Elements,' in circles, sur- rounded with ornaments, which appear to be pat- terns for goldsmiths. They are executed with the graver in a style resembling that of J. T. de Bry. On the title is the following inscription : Quatuor Mundi Elementa, elegantibus Jiguris seu imagin- ihus artificiosa expressa. Paulus Birch, f. BIRCKAERT, Anton, (or Birckart,) a German engraver, who was born at Augsburg in 1677, and resided some time at Prague, where he died in 1748. He engraved some large architectural plates with figures, which are executed with the graver in a stiff, formal style. Basan mentions a print by him representing the ' Martyrdom of Forty Portuguese Jesuits ; ' after Borgognone. Dlabacz has given a numerous catalogue of his works. BIRCKENHOLZ, Paulus, was a native of Germany, and flourished about the year 1670. He was a print-seller as well as an engraver, and pub- lished a set of small plates, representing warlike trophies, with figures, &c. They are executed chiefly with the graver, in a neat, but formal style. The title to these plates is Otnnis generis instru- menta hellica- BIRD, Edward, an English painter, born at Wolverhampton in 1762 (orl772), served an appren- ticeship to a maker of tea-trays, and was employed to embellish them with fruit, flowers, and fanciful designs. At the expiration of his term of service he left Birmingham, and set up a school for drawing at Bristol. During the intervals of instruction he made sketches, designs, and compositions for pictures ; and it would appear that his progress was due to his own observation and persevering industry. He painted humorous and pathetic sub- jects, which attracted much attention, and induced the members of the Royal Academy to enrol his name as an Associate in 1812, and as an Acade- mician in 1815. His best pictures, as historical compositions, are 'The Battle of Chevy Chase,' and the ' Surrender of Calais.' His chief merit, as an artist, lay in natural and touching representa- tions of homely and social subjects ; history, both sacred and profane, required a spirit more imagin- ative than he possessed. He was a kind-hearted man, much respected by his brother arti?l8 and all who knew himt He died at Bristol in 1819, and was buried in the cloisters of the cathedral. Among his best paintings are : Good News {exhibited at the Academy in 1809). Choristers Rehearsing {purchased hi/ the Prince Reijent). A Country Auction (exhibited in 1812). A Poacher's Career, in six subjects. 1812. Queen Philippa interceding for the Burghers of Calais. 1814. The Day after Chevy Chase {purchased by the Duke of Sutherland for 300 guineas). Death of Eli. {This picture received a prize of 300 guineas from the British Institution, and was bought for 500 guineas by the Duke of Sutherland.) The Baffle for the Watch {in the National Gallery). Christ led to be Crucified {exhibited in 1817). The Death of Sapphira {his last work). 1818. BIRD, John, a landscape painter, was born in 1768. He made some of the drawings for Angus's 'Principal Seats of the Nobility' (1787), and other topographical works. He died at Whitby in 1829. BISCAINO, Bartolommeo, the son of Giovaimi Andrea Bisoaino, was born at Genoa in 1632. He was instructed by his father in the first rudiments of the art, and afterivards became a scholar of Valeric Castelli. From the early indications he gave of uncommon genius, great expectations were formed of his future eminence, and they were not disappointed. Before he had reached his twenty- fifth year he had painted many considerable works, but his career was cut short by the plague, which visited Genoa in 1657, to which his father and himself fell victims. The Dresden Gallery pos- sesses three pictures by this artist, representing ' The Woman taken in Adultery,' ' The Adoration of the Magi,' and 'The Circumcision of Christ.' He etched several plates, in a free, bold style, resembling in some degree the works of Benedetto Castiglione, but in a more finished manner. His 137 A BIOGRAPHICAL DICTIONARY OF subjects are finely composed and elegantly drawn. He sometimes marked his plates B. B. The following are his most esteemed prints : Moses in the Bulmshes. Susannah and the Elders. The Nativity, with Angels. The Circumcision. The "Wise Men's Offering. Herodias, with the Head of St. John. The Virgin Mary and Infant Jesus, with Angels. The Virgin suckling the Infant Jesus, with St. Joseph. The Virgin suckling the Infant, with St. Joseph, and St. John with his lamb. The Virgin adoring the Infant Jesus. The Virgin with the Infant Jesus on her knee, St. John kissing his foot, and St. Joseph behind. The Virgin with the Infant Jesus standing on her knee, stretching out His arm to St. Joseph ; half-length figures. The Holy Family, with St. John holding a cross. The Repose in Egypt, with Angels in the clouds. The Infant Jesus reposing on the globe. St. Joseph, with the Infant Jesus ; half-length. St. Christopher giving liis hand to the Infant Jesus. St. Christopher, with the Infant Jesus. Mary Magdalene in the desert ; dated 1656. BISCAINO, Giovanni Andrea, a native of Genoa, painted landscapes in a bold and spirited style ; but, according to Soprani, the necessity he was under to paint with despatch, in_ order to support a numerous family, prevented his bestow- ing that care and attention which would have rendered his works more deserving of our esteem. He died at Genoa, of the plague, in 1657. BISCARRA, Giovanni, an Italian historical painter, of Turin, flourisned in the first half of the 19th century. He died in 1851. His own portrait is in the Uffizi at Florence. BISCHOF, Feiedbich, who was born at Anspach in 1819, was a painter of genre subjects. 'The First Snow,' by him, is in the Pinakothek at Munich. He died in 1873. BISCHOP, CoRNELIS, a Dutch painter, who was bom at Dordrecht in 1630, was a scholar of Fer- dinand Bol. He painted history and portraits, in the style of his master, but \\-ith very indifferent success. He died in 1674. His son, Abraham BiscHOP, was eminent as a painter of birds. BISET, Kakel Emandel, a Flemish painter, was born at Mechlin in 1633. It is not said by whom he was instructed, but he went to Paris when he was young, and met with great encouragement, his pictures, which represented gallant assemblies, balls, concerts, and what are called 'conversations,' being adapted to French taste. Notwithstanding his success, the love of his native country induced him to return to Antwerp, where he was appointed director of the Academy, in 1674. He designed his subjects with taste, but his colour is rather cold and grey. His chief work is a large picture in the Brussels Gallery, formerly in the hall of the Archers' Guild at Antwerp, representing ' William Tell preparhig to shoot the Apple from the Head of his Son.' A ' Family Group ' by him is in the Museum at Rotterdam. He died at Breda in 1680 (or 1685). His son Jan Baptist Biset was also a painter. BISI, Fra Bonaventura, called ' Padre Pittorini,' was a monk of the order of St. Francis, at Bologna, where he was born in 1612 (or 1610). He had been instructed in drawing when young, by Lucio Massari, and was celebrated for his copies in miniature from the works of Correggio, Titian, Guido, &c., many of which were in the cabinet of 138 Alfonso IV. of Modena, by whom he was employed. He also etched a few plates after Parmigiano, Guido, &c., and one after his own design of a ' Holy Family, with St. John and St. Elisabeth,' marked F. B. B. F. 1631. He died at Modena in 1662. BISI, MicHELE, an Italian engraver and painter, who was born at Genoa about 1788, does honour to the schools of Bartolozzi, Rosaspina, and Longhi. He first distinguished himself by the publication of the ' Pinacoteca del Palazzo Reale delle Scienze e delle Arti di Milano,' in which he was aided by his -vnle, Ernesta Bisi, who was likewise a pupil of Longhi. In 1819 he undertook a series of engravings from the paintings of Andrea Appiani, in which he was assisted by some of the best scholars of Longhi. His engraving of ' Venus embracing Cupid ' happily expresses the beauty of the original picture. Subsequently appeared ' The Virgin and Infant Christ enthroned, attended by St. Anthony and St. Barbara,' after Luini, which he has treated in a brilliant and delicate manner, preserving the beauty and grace peculiar to the master ; ' Andromeda and Perseus,' after Guercino ; an ' Adoration of the Virgin,' after Sassoferrato ; and 'The OfEering of the Magi,' after Gaudenzio di Ferrara. He also succeeded as a painter of landscapes. BISQDERT, Antonio, was a Spanish historical painter, who was bom at Valencia, and a scholar of Ribalta. He established himself at Teruel in 1620, and became renowned ns a painter. He was a good colourist and designer, and infused much sentiment into his pictures. He also copied Sebastiano del Piorabo's ' Dead Christ in the arms of the Virgin.' He died in 1646. BISSCHOP, Jan de. See Db Bisscnop. BISSET, James, born in 1760, first practised as a miniature painter at Newmarket. , He afterwards went to Birmingham, where he engraved the em- blematic plates to his 'Survey round Birmingham' (1800). In 1814 he published a ' Guide to Leam- ington.' He died there in 1832. BISSOLO, Pier Francesco, was, it is believed, a native of Treviso, and was brought up in the school of the Bellini at Venice. He flourished from about 1492 to 1530. His paintings are very rare. His works at Murano, and in the cathedral of Treviso, were compared by Lanzi with those of Palma Vecchio. Berlin, Galleiy, Eesurrection of Christ ; Castel-Franco, Floriano, Altar-piece (signed and dated MDXXVni); Bre.scia, Madonna and Saints; London, Benson Coll., Three pictures ; Venice, Academy, Christ exchanging the crown of thorns of St. Catharine of Siena for a crovra of gold {signed Fraciscus BissoLo)^/ormer?y in San Pietro Martire, Jliirano {generally consider^ his masterpiece), and three other works. There are also pictures by him in the Correr Museum, Layard Gallery, and Redentore Church, in Venice. Francesco Bissolo is thought by Crowe and Cavalcaselle to be possibly identical with Pietro de' Ingannati, the author of a 'M^idonna and Child' in the Beriin Gallery— signed Petrds de Ingan- ATOS P. BISSONI, Giovanni Battista. was born at Padua in 1576 ; and, according to Ridolfi, was first a scholar of Francesco Appollodoro, called II Porcia, a portrait painter, and afterwards of Dario VarotarL Bissoni painted several pictures for the churches PAINTERS AND ENGEAVERS. and convents at Padua and Ravenna. He died in 1636. BISUCCIO, Leonardo di, of Milan, is a painter whose name has been handed down to posterity by the reputation of one work only. It is the decora- tion of the chapel of Sergiani Carracciolo, in the church of San Giovanni a Carbonara, in Naples. The subjects are scenes from the life of the Virgin, in which several portraits of members of the Car- racciolo family have been introduced. In general treatment the work resembles the style of Giotto, but the heads partake of the beauty of Era An- gelico. Bisuccio lived about the middle of the 15th century. BITTERLICH, Eddard, was bom at Stupnicka, in Galicia, where his father had established him- self. Whilst Eduard was still young his parents moved to Vienna, with the intention of educating him for the civil service, but against their will he entered Waldmiiller's studio, and devoted himself to miniature painting. In 1855 he went to Venice in order to copy the works of the old masters. His enthusiasm was so great that he would scarcely allow himself the time to eat and drink. Upon his return he married Marie Singer von Wyssogurski, and immediately afterwards put himself under the direction of Rahl, whom he never afterwards left until his death. For this master he designed many fresco paintings, and sketched an immense number of small compositions, amongst them the 20 sheets for the 'Wanderings of the Argonauts,' and the coloured sketches for the Duke of Oldenburg. After Rahl's death, Bitterlich's principal work — executed in conjunction with Griepenkerl — was the design for the new Opera House ; and of his earlier productions we may name, The Pompeian figures in the Ypsilanti Palace, and the 20 Lunettes in the Banqueting-hall of the Grand Hotel of Vienna, together with the pictures for the restored castle of Duke Leopold in Homstein. He died at Press- baum, near Vienna, in 1872. BITTHEUSEE, Johann Pleickard, an engraver, bom at Biitthard in 1774, was instructed by J. G. von Miiller; he was professor at Wiirzburg, and died there in 1859. The following engravings are some of his best works: The Last Supper ; after Leonardo da Finci. 1805. The meeting of Augustus and Cleopatra; a/ter Ji. Mengs. The Wife of Domenichino coming out of the bath ; after Domenichino, BIZAMANDS was the name of a family of painters who belonged to a school at Otranto, in Apuleia, and flourished a short time before the 15th century. Their paintings are executed in the Byzantine style, with landscapes in the back- grounds. The painting in the Museo Cristiano of the Vatican, of ' Christ, risen from the dead, and Mary Magdalene,' is attributed to Donatus Biza- manus; and that in the Museum at Berlin, of 'The Descent from the Cross,' to Angelus Biza- manus. BIZEMONT-PRUNELE, Andr6 Gaspard Par- FAIT, Comte de, French draughtsman and engraver, was born at the ch&teau of Tignonville, near Etampes, in 1752. He was a pupil of E. Gaucher, and etched and engraved on wood a considerable number of works. He was for some years director of the Museum at Orleans, and died there in 1837. Among his etchings may be mentioned : Bagar and Ishmael ; after Guereino. OephaluB and Frocris ; after the same. Virgin and Child; after Guido. A Pieti ; after Ribera. La Nourrice ; after Natoire. An AJlegory upon the death of Louis SVl. and of Marie Antoinette. BIZZELLI, Giovanni, a Florentine painter, bom in 1556. He was a scholar of Alessandro Allori, called Bronzino. He afterwards went to Rome, where he painted some pictures for the churches. On his return to Florence he executed several works for the public edifices, which are described by Borghini in his account of the painters and sculptors of Florence. He died in 1612. His own Portrait and an ' Annunciation ' by him are in the Uffizi. BLACEO, Bernardino. Ridolfi describes several vporks of this painter in the churches at Udine, in the Friuli — among them, the principal altar-piece of the church of Santa Lucia, representing the ' Virgin and Infant Saviour, with a group of Angels, and St. Lucia and St. Agatha ; ' and in Porta Nuova, the ' Virgin and Infant Christ, with St. Peter and St. John.' Blaceo appears to have flourished about 1550. BLACKLOCK, W. J., a landscape painter, was bom in 1816. His views of scenery in the North of England were much admired at the Royal Academy Exhibition of 1853 and the two follow- ing years. He died at Brampton, Cumberland, in 1858. BLACKMORE, John, a mezzotint engraver, was born in London about the year 1740. We have by him some well-scraped plates, chiefly portraits after Sir Joshua Reynolds, among which are the following : Samuel Foote ; after Sir Joshua Beynolds, 1771. W. H. Bunbury, caricaturist ; after the same. Henry Bunbury ; after the same. Innocence. 1770. He also engraved plates after Frans Hals and other Flemish artists. He died about 1780. BLACKWELL, Elizabeth, the daughter of a London merchant, is known as the author of ' A Curious Herbal, containing 500 cuts of the most useful plants which are now used in the practice of physic, engraved on copper-plates after draw- ings taken from the life,' published in 1737 and 1739. This celebrated botanical work was issued at Nuremberg in 1757, with German and Latin text, and 600 coloured plates, and at Leipsic in 1794. Mrs. Blaok%vell was the wife of Dr. Blackwell, who for many years was physician to the King of Sweden, and was involved in a State prose- cution for treason, and beheaded in 1747. His widow lived till 1774. BLAGRAVE, John, an eminent mathematician, a native of Berkshire, published among other works, in 1585, 'The Mathematical Jewel,' illus- trated with woodcuts, executed by himself, in a neat style. He died in 1611. BLAIN DE FONTENAY, Jean Baptiste. A mistake for Belin de Fontenay, which see. BLAIZE, Candide, a French miniature painter, was bom at Nancy in 1795, and died in Paris about 1855. BLAKE, B., a painter of still-life, birds, fish, and other objects of that kind. His works, when carefully painted, are very pleasing, but his circum- stances, and his mode of living, obliged him to hurry his pictures, and too frequently to repeat them. As they were to a certain degree popular in his 139 A BIOGRAPHICAL DICTIONARY OF day, the dealers held him in thrall, and injured his reputation by employing others to copy his works. He was also compelled by necessity to make, for these patrons, copies of the works of Dutch painters, in which he was sometimes so successful as to enable his employers to mislead their customers. Little of his history is kno^m. He exhibited 'Views of Dunford, near Salisbury,' more than once at the Academy; and ' Dead Game' frequently with the Society of British Artists, of which he was a foundation member. He died about the year 1830. BLAKE, Nicholas, a draughtsman and engraver, who illustrated Hanway's ' Travels in Russia and Persia,' published in 1763, an edition of 'Pope's Poems,' and other works. He was a native of Ireland, and lived for many years in Paris, where it is believed he died at the end of the last century. BLAKE, William, painter and engraver, was born in London on the 28th of November, 1757. (The "good MS. authority '' on which Mr. Swinburne prefers the 20th of November is insufficient to dis- credit the evidence, especially that of Varley's horoscope, for the later date.) He was the second son of a hosier who had carried on business for many years at 28, Broad St., Golden Square, a quarter occupied at that time by shops and residences of a good class. Little is known of his parents' temperaments and acquirements ; but the fact of their sending the lad, in his tenth year, to Pars' drawing academy in the Strand (considered the best drawing-school of the day), is evidence that they lacked neither the will nor the means to launch their son upon an artistic career. The boy had already shown his bent by drawing many curious sketches on the hosier's bills and counters. At fourteen he was taken to be apprenticed to the fashionable engraver Ryland ; but liis strong pre- sentiment that i^yland would some day be hanged (a presentiment eventually justified to the letter) led to the breaking off of the negotiations, and it was as a pupil of James Basire, an engraver of the hard and dry school, that Blake spent the years 1771-8. For the understanding of his art it is important to remember that, at an age when the majority of students have hardly entered upontheir more serious training, Blake had already begun to draw and engrave for publication ; for example, 'Joseph of Arimathea among the Rocks of Albion,' an engraving put forward as a copy from Michael Angelo, was almost certainly Blake's own design, and it is dated 1773. Nor was the isolation in which this precocious activity was exercised a mere matter of a lonely studio or workshop. Basire employed his apprentice to make drawings of London churches, and it is on record that young Blake was often locked up in Westminster Abbey with no companions save the monarchs and heroes whose crumbling effigies he had been sent to copy. There is ground for the supposition that he was present on the day when the body of the first Edward was exhumed and the royal face for a moment uncovered. But, be this as it may, it is certain that the lad's innate sympathy with the supernatural was greatly and perhaps morbid!}' enhanced by the long hours of loneliness spent in haunted vastness and dimness. At four the boy believed he had seen God " put His forehead to the W'indow," and at eight or ten he had marvelled at a tree bright with angels on Peckham Rye. How far he believed in the objective reality of these appearances cannot be determined. On the one 140 hand stands the fact that to the end of his life he claimed to be holding converse with the spirits of men no less great than Muses, Homer, Socrates, Dante, Shakespeare and Milton ; affirming, for instance, of Shakespeare, " He is exactly like the old engraving, which is said to be a bad one — I think it very good." On the other hand, full weight must be given to such remarks as, " You can see what I do if you choose. Work up imagination to the state of vision, and the thing is done." Per- haps the best resolution both of this puzzle and of the vexed question of Blake's sanity is the theory that, as an artist, he went as far as do the exponents of materialism in arrogance of idiom, though in an opposite direction. In other words, he did not admit the obligation to confine himself to every- day, literal speech. " All things," he said, "exist in the human imagination alone,'' and to one who showed him ' The Mechanic's Magazine,' he said, " We artists hate these things." On the termination of his seven years' apprenticeship, Blake studied for a short time at the newly-established Royal Academy. But his preferences and intentions as an artist had already become tixed, as appears from some sentences scribbled bj- him many years later in a copy of Reynolds' ' Discourses.' It seems that Blake, who, on the strength of threepenny-pieces, invested in prints after such masters as Raphael, Michael Angelo and Durer, had been known years before in the sale-rooms as " the little connoisseur," " secretly raged " when he was rebuked by Moser, the keeper, for wasting time on these " old, hard, dry, unfinished works '' instead of devoting himself to Rubens and Le Brun. As for the living model, he protested tliat natural objects only " weaken, deaden and obliterate imagination," and declared that the so-called " life " " looks more like death and smells of mortality." But though a revolt from Moser and the Academy was inevitable and bene- ficial, it is a debatable question how far a more prolonged and all-round course of training would have been a loss or a gain to his art. After a dis- appointment in love, Blake married, in 1782, Catherine Boucher, of whom Mr. Swinburne says that she " deserves remembrance as about the most perfect wife on record.'' At the time of the marriage the young woman could neither read nor write, but she seems in the course of j'ears not only to have vanquished these disabilities, but also to have become no mean draughtswoman, while it is well known that she both bound her husband's books in boards and coloured many of his illustrations. The more painful stories of Blake's poverty are exaggerations, and the accounts of his squalor are falsehoods. But " the last shilhng " was a familiar sight. Save for a few years (1800-1804) spent at Felpham in Sussex, in the impossible society of the ■'poet" Hayley, the couple . passed the whole of their lives in London lodgings. Blake never went abroad, and had contact with no artistic life save that of Georgian London. The desire for holidays was a mystery to him, and even the northern heights which are parts of modern London made him ill by their strong and unfamiliar air. He was bred, bom, married and buried a Londoner, and this is another of the facts which throw light upon his art, accounting, as it does, both for the lack of variety in proportion to the bulk of his almost innumer- able productions, and for the immense force and mystical beauty of the ideal creations which repre- sent the reaction from his cramped and ugly conditions. In 1780 Blake exhibited ' The Death PAINTERS AND ENGRAVERS. of Earl Godwin ' (probably in water-colours) at the Royal Academy. In 1783 appeared, at the cost of friends, the slim octavo volume ' Poetical Sketches by W. B. ,' now extremely rare. ' Poetical Sketches ' was printed and published in the ordinary way. But four years later came a little book which in twenty-seven pages presents examples of nearly every one of its author's extraordinarj' character- istics. This was the famous ' Songs of Innocence,' which, along with its companion, ' Songs of Ex- perience,' is now universally admitted to contain some of the most clearly inspired and perfectly beautiful poetry in the literature of the world. The songs composing the volume were involved in marginal decorations of a beauty and originality only less than the songs' own, and the whole work was written, embellished, engraved, printed and bound by the poet and his wife. Even the ink was of their own making. As for the technical method, it is thus described by Gilchrist : " It was quite an original one. It consisted of a species of engraving in relief, both words and designs. The verse was written and the designs and marginal embellishments outlined on the copper with an impervious liquid, probably the ordinary stopping- out varnish of engravers. Then all the white parts or lights, the remainder of the plate, that is, were eaten away with aqua fortis or other acid, so that the outline of letter and design was left prominent as in stereotype. From these plates he printed off in any tint, yellow, brown, blue, required to be the prevailing or ground colour in his facsimiles ; red he used for the letterpress. The page was then coloured up by hand in imitation of the original drawing, with more or less variety of detail in the local hues." The secret of this serviceable process Blake firml}' believed himself to have learned one night in a dream from the spirit of his dead brother Robert, and it is on record that, next morning, after Mrs. Blake had paid one shilling and tenpence for the materials required to test its efficacy, only eightpence remained in the common purse. The experiment succeeded, and Blake, whose writings (with the exception of ' Poetical Sketches ' and part of a poem on the French Revolution) never tempted a publisher till after his death, became his own printer and bookseller. The result, as in nearly all the crucial issues of his life, was a further pressing in of the artist upon himself, and the lossof influences which some think would have corrected and balanced his strong natural endowment, while others hold that they would have weakened and blurred it. Accustomed to and even preferring a frugal and busy Hfe, Blake fell into a habit of writing only to please himself — a superficially admirable choice which generally ends in ignomini- ous unintelligibility. The ' Prophetic Books ' ('Visions of the Daughters of Albion,' 'America,' ' Europe,' ' The Book of Urizen,' ' The Song of Los,' 'The Book of Ahania,' 'Jerusalem,' and ' Milton'), which, along with ' The Book of Thel,' 'The Marriage of Heaven and Hell,' and 'The Gates of Paradise,' complete the tale of works en- graved by Blake according to the method of the ghostly Robert, are coveted by collectors for their rarity, and by artists for their powerful illustrations and decorations. But, despite the enthusiastic labours of commentators to elucidate their obscurities and to magnify their importance, it is almost certain that they will ultimately be regarded as turbid streams of inscrutable verbal symbols in which a lyrical fire of almost unequalled liveliness and purity was extinguished. Fortunately, however, while Blake the poet was wandering in blind alleys, Blake the designer kept pushing onward along so straight a path that the twenty-two pieces illustrat- ingthe Book of Job, though executed when the artist was well over sixty years old, are not only his finest achievement, but one of the noblest sequences of designs in the rich domain of religious art. In the ' Job ' Blake returned to more familiar methods, using the graver alone, without etching ; and although many of his admirers have bemoaned the long estrangement from what proved to be his most congenial and effective medium, it might be maintained with equal cogency that without these fallow years the fine luxuriance of ' Job ' had been impossible. The illustrations to Dante's ' Divina Commedia ' (for the purposes of which the man of seventy acquired a working knowledge of Italian) bade fair to equal the ' Job,' but Blake's death out the work short when only seven of the hundred water-colour designs had been engraved. Among earlier engravings by Blake may be mentioned forty-three plates illustrating Young's ' Night Thoughts' (the residue of the five hundred and thirty-seven designs for this work existing as coloured drawings only). The well-known illustra- tions to Blair's 'Grave,' though designed by Blake, were engraved by Schiavonetti, a successful pupil of Bartolozzi. This arrangement was disin- genuously manipulated by Croraek, a publisher, who followed it up by an act of double-dealing in respect of Blake's ' Canterbury Pilgrims ' which led on the one hand to a lifelong breach of old friend- ship with Stothard, and on the other hand to the exhibition and to ^ the ' Descriptive Catalogue ' noticed below. Of wood-engravings Blake pro- duced only the brilliant set of seventeen tiny illustrations for Phillips' ' Pastorals,' executed in 1820-1821. As a painter Blake is easier to study in his opinions than in his achievements. The National Gallery has his 'The Spiritual Form of Pitt guiding Behemoth,' and ' Return from Calvary,' and the British Museum has some of his drawings ; but by far the greater part of his work is inacces- sible or has perished. In many cases the destruc- tion must be blamed either on an indifferent public or on fanatics who burned innumerable poems and designs on the ground that, though they were certainly inspired, their inspiration was from the devil. In other cases, Blake's technical methods must be held responsible. In the memorable ' Descriptive Catalogue ' to an exhibition of his pictures held in 1809 the artist wrote : ' Clearness and precision have been the chief objects in paint- ing these pictures — clear colours unmuddied by oil, and firm and determinate lineaments unbroken by shadows which ought to display and not hide form, as is the practice of the latter schools of Italy and Flanders." His frescoes, as he called them, were rather a kind of tempera, painted in water-colour on a ground of glue and whiting, applied to a panel or linen or canvas, and it seems that many of them cracked or were spoilt by damp. As for their contents, the painter himself, while confessing his inferiority to Raphael and Michael Angelo, said, " I do pretend to paint finer than Rubens or Rembrandt or Correggio or Titian." With his engraver's training it was difficult for him to escape from a narrow view of drawing. " I assert," he added, " that he who thinks he can engrave or paint either, without being a master of drawing, is a fool. Painting is drawing on canvas, and engrav- 141 A BIOGRAPHICAL DICTIONARY OF ing Ib drawing on copper, and nothing else ; and he who draws best must be the best artist." It need hardly be said that the paintings which surrive fail to support both the pretensions and the theories of their author. But it is not as a painter that fame is claimed for Blake, and there remains a body of drawings and engravings more than sufficient to accredit him as an artist who, despite his prejudices and extravagances, must come to be ranked among the greatest of Englishmen. " In expressing con- ditions of glaring and flickering light," says Ruskin, "Blake is greater than Rembrandt," and this is only one of many particular eulogies from writers to whom Blake's work in general made no strong appeal. Upon artists no less reputable than Dante Gabriel Rossetti his influence, though obscure in operation, was considerable, and upon certain younger groups it is inestimable. The sen- sational character of some of his productions (such as the ' Visionary Heads ' and the too famous 'Ghost of a Flea'), and the popular anecdotage which invariably gathers round a strong and un- conventional personality, have too long gone on strengthening the habit of excluding his achieve- ment from ordinary consideration, and although his own obstinate self-detachment from contem- porary artistic movements and his contempt for court and academical honours were certainly the first causes of the neglect into which he fell, the time has come to regard them as forces which worked to distinguish him from more modish practitioners of design and to feel pride in his indisputably original and fine performance. Blake's fruitful old age, which without the friendship of Linnell must have been years of monetary anxiety and artistic barrenness, ended on the 12th of August, 1827. He died " singing of the things he saw in heaven," and was buried in Bunhill Fields' Cemetery in a common grave, now untraceable. The best and fullest account of him is that by Gilchrist (2nd edition, 2 vols., London, 1880) : the second volume contains an extended list of his works and many reproductions. The curious ' Father's Memoir of his Child,' by B. H. Malkin (London, 1806), is valuable for the particulars of Blake's life and aims contained in the preface. Mr. Swinburne's 'Blake' (London, 1866); Mr. W. M. Rossetti's long memoir and note prefixed to the Aldine edition of Blake's poems (London, 1890) ; and Messrs. Ellis and Yeats' three large volumes (London, 1893), contain much biographical and critical material, the last-named work including facsimiles of the 'Pro- phetical Books,' and an alleged key to their inter- pretation. Among devotees of Blake on his occult side a hope is still indulged that more of these " Pro- phetical Books " may come to light. It is known that Blake left a hundred volumes ready for pub- lication, and that Tatham, an "angel'' of the Irvingite church, to whom Mrs. Blake made over the manuscripts, spent two days in burning his heretical legacy. The search for survivors of the bonfire is not quite hopeless ; but meanwhile Blake's cause is far better served by the frequent re-publication of his saner works. Among recent examples of these may be noted the reproductions of some of the Dante drawings in the now defunct 'Savoy' magazine (London, 1896); the illustra- tions in Dr. Richard Samette's ' William Blake : Painter and Poet' (London, 1897); two volumes containing respectively all Blake's woodcuts and the whole of the ' Job ' engravings (London, 1902), 142 and numerous facsimile copies of characteristic pages in ' Songs of Innocence ' and ' Songs of Experience.' A remarkable sale of choice original productions by Blake, the property of the Earl of Crewe, took place in March 1903, when very high prices were obtained for many of the rarities then first offered. Amongst the items were the twentj'- one original illustrations for the Book of Job, the unpublished drawings for ' L'Allegro ' and ' II Penseroso,' and the original coloured issues of 'America,' 'Jerusalem,' 'The Marriage of Heaven and Hell,' 'The Song of Los,' and the 'Songs of Innocence,' as well as all the rarest of the books. ^ J 0. BLANC, Horace le. See Le Blanc. BLANC, LuDwiG Ajimt, a painter of portraits and mediffivai genre, was bom at Berlin, August 9, 1810. In 1829 he entered the Berlin Academy schools, and in 1834 removed to Diisseldorf, where he studied under Julius Htibner. From 1840 to 1842 he worked at Hanover, painting portraits of members of the reigning family, and other persons of note, and in 1845-7 he was similarly employed at Darmstadt In 1857 he visited France and England. He died in April 1885. There is a picture by him in the Berlin National Gallery. BLANCHARD, Auguste Jean Baptiste Maeie, a French line-engraver, was bom in Paris in 1792, and died there in 1849. He was the pupil of his father, Augusta Blanchard, and engraved, among other works : ■ Madonna and Child with St. John ; after Bmtord. % (Agnado Gallery.) ^ The Oath of the Horatii ; after David. Daphnis and Chloe ; after Albrier. The Entry of Henry VT. into Paris ; after Gerard. Elizabeth of Bourbon, Queen of Spain ; after Buiens. Josephine, Empress of the French ; after Prud'hon. BLANCHARD, Edouabd Th6ophile, a French subject and portrait painter, was bom in Paris in 1844. He studied under Picot and Cabanel, and obtained the Prix de Rome in 1868. With his friend Regnault he became a volunteer in 1870, and fought against the Germans. His works were awarded medals in 1872 and 1874. He died in 1879. The following are amongst his works : A Courtesan. 1872. Hylas and the Nymphs. 1874. Herodias. 1874. Cortigiana. 1875. The Bufioon. 1878. BLANCHARD, Gabriel, known as ' Blanchard LE NEVEU,' the only son of Jacques Blanchard, was bom in Paris in 1630, and studied under his uncle, Jean Baptiste Blanchard. He was, in 1663, elected Academician on the merits of an allegorical paint- ing of the ' Birth of Louis XIV.,' now at Versailles ; but his most successful work was a picture of St Andrew,' which he painted for the Goldsmiths' Guild. He became keeper of the royal collection, and successively assistant-professor, professor, and, in 1699, treasurer of the Academy. He died in 1704. Two of his sons, Nicolas and Philippe Thomas, were Ukewise painters. BLANCHARD, He.\bi Pierre L6on Phara- MOND, an historical and landscape painter, was born at La Gmllotiere, a suburb of Lyons, in 1805. He studied under Baron Gros, travelled in many distant countries, and went with the French expedi- tion to Mexico in the years 1858 and 1859. In 1856 he was in Russia, and was present at the coronation PAINTERS AND ENGRAVERS. of Alexander II. He died in Paris in 1873. The following are some of his principal works : BnU-Honting. The Smugglers. 1836. The Disarmament of Vera Cruz. 1840. {At Versailles.) The Street of El Alari at Tangiers. San Isidoro Labrador, the Patron Saint of Madrid. Vasco Nunez de Balboa discovering the South Sea. (Parts Univ. Exhib. 1855.) The Valley of Jehoshaphat. (Paris Univ. Exhib. 1855.) The Arrival of the French at Plan-del-Kio. 1865. Farm Yard at Chatou. The Djiguietofka. An American Glade. He also contributed largely to the ' Illustration,' and in 1855 published ' L'ltin^raire Historique et Descriptlf de Paris k Constantinople ' (12 plates). BLANCHARD, Jacques, an eminent . French painter, was born in Paris in 1600. His first in- structor in the art was Nicolas Bollery, his ma- ternal uncle ; but when about twenty years of age he spent four years at Lyons, studying under Horace le Blanc, and then went to Italy, and passed two years at Rome. He returned by way of Venice, and was so struck with the beautiful colouring of the great Venetian masters, especially Titian, that he was induced to remain two years in that city. On his return to Paris he executed, as a reception picture into the Guild of St. Luke, a ' St. John on the Isle of Patmos,' which, with others of his works, was greatly admired. He was the first to establish a true and natural style of colouring, in which the artists of his country were very deficient, though he scarcely merited the name of the ' French Titian,' which was given to him by his contemporaries. His chief works at Paris were the two pictures he painted for Notre-Dame, one representing 'St. Andrew kneeling before the Cross,' the other the ' Descent of the Holy Ghost,' executed in 1634; in the gallery of the H6tel de Bouillon, now fallen into ruin, he painted thirteen large pictures of subjects from Ovid. The Louvre contains four works of his — two of the ' Holy Family,' a ' Charity,' and a ' St. Paul in Medita- tion,' but they are all of small size : it has not one of the large pictures which established his fame as a colourist. Although now almost forgotten, his reputation was great, and in many respects well deserved. He died in Paris in 1638. Blanchard etched some plates from his own designs and those of others, among which are the following : The Holy Family ; without his name ; Chez Huart. The Holy Family, with St. Catharine and St. John ; Chet dartres. St. Agnes adoring the Infant Jesus in the arms of the Virgin Mary; after Lodovico Carracci; without name. BLANCHARD, Jean Baptiste, known as ' Blan- chard l'oncle,' an historical painter, was born in Paris in 1595. He studied under Nicolas Bollery, his maternal uncle, and in 1624 accompanied his brother Jacques to Rome. He became an Acade- mician in 1663, and died in Paris in 1665. No record of his works exists. BLANCHARD, Laurent, a French historical and portrait painter, was born at Valence, in the department of Dr6me, and died in Paris in 1819. He exhibited, amongst other works : The Marriage of Hercules with Hebe. 1804. Telemachus on the Island of Calypso. 1812. Venus complaining to Jupiter. 1812. St. John preaching in the Wilderness. 1812. A Holy FamUy. 1819. BLANCHARD, Thomas Marie Auguste, en- graver, bom in Paris, May 18, 1819. He was a pupil of his father and gained the second prize for engraving at the Institute. He devoted himself mainly to the reproduction of the masterpieces of the modern school. He gained a third-class medal in 1843, a second-class medal in 1847, and a first-class in 1857. He also secured a third-class medal at the Universal Exhibition of 1867, and a second-class medal at the Universal Exhibition of 1878. He was a member of the Academie des Beaux Arts, succeeding Alphonse Fran5ois on November 17, 1888. He was a Chevalier of the Legion of Honour. His principal works were 'The Repose in Egypt ' after Bouchot, ' The Angel Gabriel ' and ' Head of Christ ' after Paul Delaroche, ' Faust and Marguerite ' after SohefEer, Frith's ' Derby Day,' and others after Meissonnier, Tadema, etc. He died in 1898 at the great age of ninety-eight. P.P. BLANCHERI, Vittoeio. See Blanseri. BLANCHET, Thomas, a French historical and portrait painter, was born in Paris in 1617, accord- ing to D'Argenville, although the registers of the Academy would place his birth in 1629. His genius at first directed him to sculpture, but after studying that art for some time under Sarrassin, he was advised to abandon it, on account of the delicacy of his constitution, and to apply himself to painting. After receiving lessons from Poussin, whose friend he became, he went to Rome, and frequented the studio of Albani, without adopting his style. He had also the advantage of study- ing under Andrea Sacchi, by whose instruction he much benefited. After passing some years in Italy, one of his friends took him to Lyons, where he settled ; but he often visited Paris, where he painted, in 1662, for the cathedral of Notre-Dame, ' The Ecstasy of St. Philip,' now in the Louvre. He executed for the Hotel de Ville of Lyons some considerable works, which established his reputation as one of the ablest historical painters of his country, but these were almost entirely destroyed by fire in 1674. He was admitted into the Academy as a portrait painter in 1676, and as an historical painter in 1682, on which occasion he painted for his picture of reception 'Cadmus killing the Dragon,' now in the Louvre. He founded the Academy at Lyons in 1681, and died in that city in 1689. BLANCUS, Christoph, an engraver, supposed to be a native of Germany, flourished about the year 1600. He engraved a few plates in the manner of Jan Mtiller, but with not much success. We have by him : A Holy Family, accompanied by Angels ; half-length ; after Spranger. 1596, The Portrait of Michelangelo Buonarroti. 1612. BLANCDS, Johannes Padlus, (or Bianchi,) according to Heineken, flourished about the year 1682. We have some etchings by him, which are executed in a heavy, indifferent style. Among others are an emblematical print, after C. Stores, inscribed, lo. Paul. Blancus incid., and ' Christ praying in the Garden,' without the name of the painter, dated 1682. BLANES, Benito RODRIGUEZ. See Rodri- guez Blanes. BLANKERHOF, Jan Tednisz, called also Jan Maat, a Dutch painter of sea-pieces, was bom at Alkmaar in 1628. He learned the first rudiments of the art from Amold Teerlink, a painter of no 143 A BIOGRAPHICAL DICTIONARY OF reputation, and became afterwards a scholar of Cesar van Everdingen. On leaving that master he went to Italy, and passed some time at Rome, where the Flemish Society of Painters conferred on him the name of Maat"(or comrade). He also spent some time in Candia. He was living in 1674, but the date of his death is not known. His best pictures, in which he combined the truth and nature of the Dutch school with the grand scenery of Italy, represent storms on the coast of the Mediterranean. The Brussels Museum and_ the Schleissheim Gallery contain each a good specimen of his art. BLANSERI, VlTTOBio, (or Blancheki,) was bom at Venice, about 1735, and was educated in the school of the Cavaliere Claudio Beaumont. He is considered his ablest scholar, and succeeded him in the service of the court of Turin, in which city are his principal works. Three of his pictures are in the church of San Pelagio, one of which, represent- ing ' St. Louis fainting, supported by an angel,' is particularly admired. He died in 1775. BLARENBERGHE, Henei Bismi van, a French painter in water-colours, born at Lille in 1734, was the son of Jacqdes Gdillaume van Blareneerghe, a painter, who died in 1742. His works are dis- tinguished by the charm of their composition and the delicacy of their execution, and are much sought after by collectors. He excelled in subjects in miniature painted upon snufE-boxes, bonbon- nieres, and rings, many of which have realized high prices when sold by public auction. At the DeraidofE sale in 1863, a snuff-box in gold, painted with a view of the chSteau of Bellevue, sold for 11,000 francs. There are drawings by him in the Louvre, and some views of European capitals painted in oil at Versailles. Blarenberghe died in Paris in 1812. He had a son, Louis Nicolas, who imitated his style so well that it is impossible to distinguish their unsigned works. The dates of his birth and death are unknown. BLASCO, Matias, was a painter of merit at Val- ladolid early in the reign of Philip IV. His style was simple and natural, and his colouring pleasing. He painted for the church of San Lorenzo at Valla- dolid a ' Martyrdom of St. Lawrence ' which bears his signature and the date 1621. He also painted four pictures of miracles wrought by a favourite Virgin of the same church. BLEAVIT, — . This artist is mentioned by Strutt as an engraver of portraits. Among others, he engraved that of Ben^ Descartes, the philosopher. BLECHEN, Kabl Edtjabd Ferdinand, landscape painter, was bom at Kottbus in 1798. Although his inclination for art developed itself very early, he first, in 1812, entered a banker's business. He next occupied himself as a decorative painter. In the easel-pieces of his earlier period the influence of the Dutch painters manifests itself in a power- ful observation of nature in his technical treat- ment ; in his conception, however, an uncommon fantastic disposition is noticeable — at times in- clining to the melancholj', at times to the romantic. A journey now undertaken to Italy disclosed to him his taste for pure art, and now at length he displayed in his pictures and sketches a keen insight, astonishing for his time, into the true characteristic of light and atmosphere in Italian landscape. At this period of his painting his former fantastic nature is only occasionally noticeable. In 1830 he was made teacher of the 144 landscape class at the Berlin Academy, and he may be looked upon as the founder of the modem Berlin school of landscape, in virtue especially of his more important Italian pictures. He died in 1840 at Berlin. In the Museum there is a ' View of Tivoli ; ' and the majority of his water-colour drawings and sketches are now in the Eoyal Collection of engravings there. BLEECK, Pietee van, a Dutch portrait painter, and the son of Richard van Bleeck, painter of portraits, was bom at the Hague in 1695. He went to London in 1723, was much emploj'ed, and died there in 1764. He engraved several plates in mezzotint, which, without any superior excellency, are clearly scraped, and have considerable merit He sometimes marked his plates with the TJIJ annexed monogram. We have by him . fiD Richard van Bleeck, painter; se ipse pinx. P. van Ble4ck junior, fee, 1735. Bembrandt van Bijn ; se ipse pinx. Van Bleedc. 1727 ; with the cipher. Fran9ois du Quesnoy, called Fiammingo, Sctdptor; A. van Dt/ck pinx. P. V.B.I, f. 1751. Nell Gwyn ; after Lely. Mrs. Olive, in "the character of FhiUids ; P. ran Bleedc fee. 1735. Mrs. Gibber, in the character of Cordelia ; the same. Griffin and Johnson, in the characters of Tribulation and Ananias ; the same. The Virgin Mary and Infant; after A. van der Werf. 1T48. BLEECKER. Several painters of this name flourished at Haarlem during the 17th century. The name is found in various forms — Bleecker, Bleeker, Bliecker, Blieker, Blecker, and Bleker. The following are the most important : BLEECKER, Dirk, was a native of Haarlem, and flourished in the 17th century. In the Gallery at Brunswick is an excellent portrait, which is sup- posed to be his own, painted by himself, and dated 1617. He lived as late as 1652, the date of a painting by him of ' Mary Magdalene.' BLEECKER, Geerit Claesz, who died at Haar- lem in 1656, distinguished himself there as a painter of landscapes and figures. BLEECKER, Jan Gaspab, was bom at Haarlem in 1608. He was a painter, but is more especially known by his engra'i'ings, which are rather scarce. The Brunswick Gallery has a painting of ' St. Paul and St. Barnabas ' by him. He etched several plates, both from his own designs and after other masters, executed in a slight and spirited style, of which the following are the principal : SUBJECTS FROM HIS OWN DESIGNS. A Landscape, with Jacob and Eachel. A Landscape, with Bebekah and the servantof Abraham. A Peasant and a Woman riding in a waggon. A similar subject. A Landscape, with a carriage at the door of an inn. 1643 A Landscape, with a woman milking a cow, and a peasant. 1643 A Landscape, with cattle. A Landscape, with a woman on horseback. A Landscape, with figures on horseback. A Landscape, with a shepherd watching his flock. SUBJECTS FROM COBNELIS POELENBUEG, IN THE STYLE OF BEMBRANDT. Jacob and Laban dividing their flocks ; J. G. Blecker. aq.fort. 1638. The Lystrians wishing to sacrifice to Paul and Barnabas ; same mark. 163S. The Crucifixion ; C. P. pinx. I. C. B. BLEEK, PiETER VAN. See Bleeck. BLEKERS, NoRBERT, a Dutch painter, was born PAINTERS AND ENGEAVEES. at Haarlem about 1635. He painted history, and was patronized by the Prince of Orange, for whom he painted one of his best pictures, representing the ' Triumph of Venus.' Vondel, a poet of his country, has celebrated the worlds of this painter. He died at Haarlem in 1682. BLES, David, Dutch painter, born at the Hague on September 19, 1821. Studied historical painting under Cornelis Kruseman. He went to Paris at the age of twenty, where he stayed several years, visiting England and Belgium. His pictures were imbued with a somewhat melancholy and satirical liumour. He figured at the Paris Exhibition of 1855 with four pictures which attracted attention ; two of these, ' Le Directeur des Femmes ' and ' Un jeune manage et la vieille tante,' were inspired by the satires of Boileau. He also contributed to the Exhibition of 1878, when he was decorated with the Legion of Honour, besides several foreign orders. His death occurred at the Hague towards the end of 1899. p_ p. BLES, Hendrik, commonly called Herri met UE Bles (with the forelock), was born at Bouvignes ibout 1480. He imitated the style of Joachim Patenier, under whom he is supposed to have studied at Antwerp, and painted in the stiff and Iry manner of his time. He generally introduced nto his landscapes scriptural subjects, with a lumber of neatly drawn figures. Instead of mark- ng his works with his name, he usually painted an )wl in one of the comers, for which reason the Italians nicknamed him 'Civetta.' He died at Li^e about 1550 (the Berlin Gallery Catalogue lays "after 1521 "). His pictures are very curious, md much esteemed We note the following : Berlin. Museum. Portrait of a Young Man. Florence. Uffizi, Landscape with ruin, London. JV^at. Gall. Christ on the Cross. „ „ The Magdalen. Modena. -S". Pietro. Pieta. Munich. PinaJcothek. Adoration of the Kings. I Venice. Accademia. Tower of Babel. BLESENDOEF, Constantin Friedrich, the )rother of Samuel Blesendorf, was bom at Berlin n 1675. He was a miniature painter in water- :olour and oil, and an engraver, and worked chiefly or the booksellers. He died in 1754. We have )y him : A Frontispiece for Julian's Opera ; S. Blesendorf inv. C. F. Blesendorf fee . Frontispiece for Beyer's Thesaurus Antiquitatum ; F. C. Blesendorf fee. Portrait of Frederick 'William, Elector of Brandenburg 1688. BLESENDORF, Samuel, a Pmssian enamel lainter and engraver, was bom at Berlin in 1670. le designed and engraved several portraits for 'ufEendorf's 'History of Sweden.' He worked hiefly with the graver, and his plates are very eatly finished. He died in 1706. Among others 7e have by him : Charles XI., King of Sweden. Charles XII. Frederick Rudolph Louis, Baron of Canitz. Samuel, Baron of Puffendorf. Frederick III., Elector of Brandenburg. 1696. Frederick William, Prince Electoral. Frederick William ; after Adam de Clerc. The Portraits of John Frederick of Brandenburg, Mai- grave of Anspach, and the Margravine, in a garden ; after Gasp. Netscher. 1682 ; very fine. BLEYSWYCK, F. van, a Dutch engraver, who lonrished atLeyden from about 1720 to 1746. He I engraved many portraits for the publications of his time, which are highly finished, but without much taste. Among these are some of the plates for Hof- man's ' Portraits historiques des Hommes illustres de Dannemark,' dated 1746. He also engraved some small landscapes, in which the point and the graver are handled with great delicacy. BLICKE. See Bliek. BLIECKER (or Blieker). See Bleeckee. BLIEK, Daniel van, (or Blicke,) was a good painter of interiors and exteriors of churches and other public buildings ; he lived at Middelburg from about 1650 to 1661. His manner of painting resembles that of Van Vliet. The Berlin Museum has the Interior of a Church, by him, signed and dated 1653. BLIN, FBANgois, a French landscape painter, who was born at Rennes in 1827, studied under Picot, and exhibited at the Salon from 1852 to 1866, in which year he died in his native town. His paintings were often of a gloomy character, but showed a close study of nature. The follow- ing are the best : Kuins of the Castle at Guildo ; in the Lille Museum. The Old Mill at Guildo. A Summer Evening at Sologne. BLINKVLIET, M. The exact time when this painter flourished is unknown ; but he imitated Berchem so successfully that his works have been ascribed to that master : probably they were con- temporaries. BLOCH, Charles Henry, Danish painter, bom at Copenhagen May 23, 18.34. At the age of fifteen he left the school of Marine Cadets for that of the Beaux Arts, w^ere he carried off all the prizes. In 1859 he gained a scholarship for Rome, where, with the exception of a brief interval, he resided until 1866. He became a member of the Academy of Copenhagen, and Professor at the school of Beaux Arts there. His pictures are chiefly remarkable for their facile technique and genuine dramatic effect. He excelled in portray- ing the semi-comic side of Italian convent life, but at times gained an unenviable notoriety by his too free treatment of sacred ceremonies. He gained a first-class medal and decoration of tlje Legion of Honour at the Universal Exliibition of 1878. He painted two pictures for the Oratory of Fredericksborg, entitled ' Visit of Mary to Eliza- beth ' and ' Jesus Christ Healing a Blind Man.' His death took place at Copenhagen on February 22, 1890. p p BLOCHOM. See Lochom. BLOCK, Benjamin, the son of Daniel Block, was born at Liibeck in 1631. He was instructed in art by his father, and proved a reputable painter of history and portraits. The Prince of Mecklen- burg, in whose service his father passed a great part of his life, took him under his protection, and sent him to Italy for improvement. He visited Rome, Naples, and Venice, and met with employment as a portrait painter in each of those cities. On his return from Italy he was invited to the court of Saxony, where he painted portraits of the electoral family and the principal courtiers. He died at Ratisbon about 1690. His historical works were altar-pieces for the churches in different parts of Germany. He was also a good engraver. The following portraits are his best plates : Friedrich Wilhelm, Elector of Brandenburg. Marquard Schenk von Castell. Wilhelm Ludwig, Duke of Wiirtemberg. 145 A BIOGRAPHICAL DICTIONARY OF BLOCK, Daniel, a painter of portraits, was bom at Stettin, in Pomerania, in 1680. He was a scholar of Jakob Scherer, a portrait painter of reputation, under whom he soon became proficient ; and he ultimately surpassed his instructor. He was em- ployed at the courts of Denmark and Sweden, and passed many years in the service of the Duke of Mecklenburg. By the exertion of very reputable talents he gained a large fortune, of which he was deprived by plunder. He died in 1661. BLOCK, Jacob Eogeb, a Dutch painter, was bom at Gouda in 1580. He went to Italy when he was very young, and applied himself particularly to the study of architecture and perspective. He made designs of the fine remains of antiquity in the environs of Rome, and, on his return to Holland, painted some pictures composed from those subjects, which were highly esteemed. Hou- braken reports that Rubens, in a journey he made through Holland, visited this artist, and on seeing his works, pronounced him the ablest painter of his country in the subjects he represented. He also excelled in military architecture, and was taken into the service of the Archduke Leopold, whom he accompanied in some of his campaigns. He was killed by a fall from his horse in 1632. BLOCKLANDT, Antonis van. See Montfoobt. BLOEM, A., was a native of Germany, and resided at Vienna in the seventeenth century. He was chiefly employed by the booksellers. He en- graved the portraits, views, battles, &c. for a book entitled ' Istoria di Leopoldo Cesare,' published at Vienna in 1674. The plates are etched, and finished ^vith the graver. BLOEM, M., is the author of a picture of ' Dead Game,' in the Hermitage, St. Petersburg, which bears his name and the date 1653 ; another picture of still-life in the same gallery is also attributed to him. No details of his life are recorded. BLOEMAERT, Abraham, a Dutch painter and engraver, was born at Gorcum about 1564. He was the son of an architect and sculptor, who placed him under the tuition of Joost de Beer, but he seems to have profited most by studying and copy- ing the works of Frans Floris. In 1581 he went to Paris, where he stayed three years, studying under Jean Bassot and Herry, two unimportant painters. On his return to his native country he studied at Herenthals under Hieronymus Francken. He subsequently painted at Amsterdam and at Utrecht, where he died about 1658. He painted history and landscapes, allegory, mythology, ani- mals, and flowers, and was a very productive artist. His colouring is excellent, but his drawing is very defective, and frequently negligent. The following are his best works : Berlin. Museum. Joseph's Dream. Copenhagen. Gallery. The children of Niobe killed by the arrows of Apollo {painted for the Emperor Rudolph. Signed). „ „ Hercules and Omphale; Venas and Adonis. Hague. Gallery. Hippomenes receiving the prize {signed and dated 1626). „ „ The Marriage of Peleus {signed and dated 1638). Mvmich. Finakothek.'RsSsiig of Lazarus {dated 1607 ; one of his best works). Paris. Louvre, i^ativity {signed and dated 1612). Utrecht. Gallery. Adoration of the Kings. Bloemaert numbers among his scholars his four sons, and Jan Gerritsen Cuj-p, Gerard and 14G M'^illem van Honthorst, Jan and Andries Both, Cornelis van Poelenburg, and Jan Baptist Weenix. As an engraver, he has a claim to considerable attention. We have by him a number of plates etched in a free, bold, and masterly manner, some of which are in imitation of pen-drawings. But his most esteemed prints are those executed in chiaroscuro, the outlines of which, contrary to the usual process, are not cut on the blocks of wood, but are etched on copper. These are very spirited, and produce a good effect. His prints are some- \ times signed vnth his name at full length, but more frequently marked Ab. Bl. in., or A. Bl., or thus, A.Bloem. The following are his principal prints : ETCHINGS BY A. BLOEMAEBT. St. John, with a lamb. The Magdalene penitent St. Peter penitent. The H0I7 Family ; J. Starterus exc. 1593. Juno. Four Landscapes, with figures and animals. PRINTS IN CHIABOSOUBO. Moses and Aaron. The Virgin and Infant Jesus. The Holy Family. Two Busts, the Virgin Mary and St. Joseph. St. Simon, with the Instrument of his martyrdom. The Magdalene, with a crucifix. St. Jerome reading ; A . Bio. Another St. Jerome ; after Parmigiano ; marked F. P. A naked Infant ; after Titian. A Woman with a veil ; after Parmigiano. BLOEMAERT, Adbiaan, was the fourth son of Abraham Bloemaert, and received his first instruc- tion from his father. He was sent to Italy, where he studied some time. He afterwards visited Vienna, where he met \vith employment, and ulti- mately settled at Salzburg, and was killed in a duel in 1668. He painted history and portraits with some success. Heineken attributes to this artist several plates of portraits, although they are without his name. BLOEilAERT, Cornelis, a very eminent en- graver, the third son of Abraham Bloemaert, was bom at Utrecht in 1603. He was instructed by his father in the first principles of design, and from a natural inclination for engraving, he de- voted himself entirely to that art. His first master was Crispyn van de Passe, and it was not long before he surpassed his instructor. In 1630 he went to Paris, where he distinguished 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 he lived the greater part of his life. He died there in 1680. This admirable artist distinguished himself 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 distances in his subject. Previous to his time there was a great inattention to harmony, the lights being left in- discriminately clear, so that the picture was ren- dered spotty and incongruous. By this essential improvement he has established his claim to origin- ality, and may be said to have given birth to that admirable style which was afterwards so success- fully followed by the great engravers of the French school, Audran, Baudet, Picart, and Poillv. His works are universally admired ; they are numerous, and several of them are become very scarce. Some of his prints are marked C. Bl. and PAINTERS AND ENGRAVERS. or (J. Bio. The following are others Corn. Bio., the principal : SUBJECTS FROM HIS OWN DESIGNS. Fianciecus Bonisignus, secretary to Prince Leopold ; C.Bl. Giovanni Battista Toretti, Florentine ; Rome. P. de Grebber ; P. Haarlem consec. ; C. Bio. sc. J. Doens, Scot. Tbeol. Jacques Faverau ; after IHepenteeck ; oval. Moses in the Bulrushes. T/ie Virgin Mary, and the Infant Jesus caressing her. A Thesis, with three of the Popes in niches. A Frontispiece, where St. Ignatius is presented with a Map. SUBJECTS AFTER ABRAHAM BLOEMAERT. Bartholomeus Aribertus, liber Baro Malgrati. Athanasius Kircher, Jesuit. Cardinal Francesco Peretti di Moutalto. The Tomb of D. Nomi. The Virgin Mary, with the Infant Jesus sleeping. The Infant Jesus, with a Glory. The Assumption of the Virgin ; fine composition. St. Jerome in the Desert. The Four Doctors of the Church disputing on the Sacrament. St. Francis kneeling before the Infant Christ. Christ carrying His Cross, and St. Ignatius ; very fine. Avarice, an old Woman counting money by candlehght. Liberality, a yoxmg Woman giving drink to a child. An old Woman warming her hands at a stove. A half-length figure playing the Eomel-pot, called the Mustard Grinder. Four, called Travellers reposing. Two landscapes, in one a woman with a basket, sitting xmder a tree, and in the other, a woman sitting ; fine and scarce. Thirteen, the twelve Months of the Year, and the Zodiac. A Cat, with a Rat under her paws ; fine. There are many copies of this plate. The great Owl, with a pair of spectacles and a book. SUBJECTS AFTER ITALIAN MASTERS, ETC. The Virgin, with the Infant seated on a throne, with St. Eoch and St. Sebastian ; after Baroccio. The Holy Family, with St. Joseph with Spectacles ; after Carracci. The Crucifixion ; after the same. St. Margaret ; after the same. The Nativity ; after Fietro da Cortona. The Virgin and Infant Jesus, with St. Martha holding the Palm of Martyrdom ; after the same. The Birth of Christ ; after Schiavone. The Genius of Poetry distributing wreaths ; a circular plate. St. John in the Wilderness ; Videns Joannes, (^c. ; after Ciro Ferri. Christ at table with His Disciples ; after the same. The Eesurrection ; after the same. St. Paul preaching at Athens ; after the same. The Holy Family, with St. Francis kneeling ; after the same. St. Anthony of Padua kneeUng before the Infant Jesus ; after the same. St. Peter raising Tabitha from the dead ; after Guer- cino; extremely fine. The most capital plate of this master. The Virgin Mary adoring the Infant Jesus sleeping ; after Guido. The Annunciation ; after Lanfranco ; inscribed SpiT^tus sanctus, Sfc. St. Luke painting the Virgin and Infant ; after Raphael. The Adoration of the Shepherds ; after the same. The Holy Family ; after Parmiyiano. The Resurrection ; after Paolo Veronese. The Virgin and Infant Christ ; after Titian. BLOEMAERT, Frederie, the second son of Abraham Bloemaert, was born at Utrecht about the year 1600, and distinguished himself as an en- graver. He learned the art from his father, and was chiefly occupied in engraving after his designs. We have a number of etchings by him as vrell aa prints in chiaroscuro. His principal work was a drawing-book, containing 173 plates, engraved from the designs of his father. He also executed a few plates entirely with the graver. His prints are sometimes signed A. Bloem. inv. F. B. filius fecit, and sometimes F. B. The following are principally after his father's designs : Twelve of the Archbishops and Bishops of Utrecht, two of which are by Corn. Bloemart, Thomas a Kempis. St. Francis in a Hermitage. The Body of Leander on the sea-shore. A set of sixteen figures of Men and Women ; marked F. B.fec. A set of thirty, of Beggars ; on the title is inscribed Nudus inops mutilus, F. B. fee. The Five Senses. The Four Seasons. Twenty Landscapes ; F. B.fllius fecit et exc. A Landscape, with a Pigeon-house. Fourteen of Animals and Birds ; entitled Verscheydt Besten und Vogelen. Four of Cock-fighting ; De JSanabijters. BLOEMAERT, Hendrik, was the eldest son of Abraham Bloemaert. He painted portraits, but never rose above mediocrity. He died in 1647. A portrait of a man signed Bloemaert jEtatis 50, A. 1643, in the Hermitage at St. Petersburg, is attributed to him. BLOEMEN, Jan Frans van, called Obizonte, was born at Antwerp in 1662. His pictures bear no resemblance to the taste of his country, which may be accounted for by his having visited Italy when he was very young, and having there passed the remainder of his life. He there studied under Antonius Goubau. He died at Rome in 1740 (?). The name of Orizonte was given him by the Society of Flemings at Rome on account of the beauty and delicacy with which he painted the distances in his landscapes. His works are well known in this country, and are justly esteemed. Inferior to Gaspard Poussin, he may still be ranked among the able painters of landscape. He made choice of the most interesting views in the vicinity of Rome and Tivoli, which he represented with great truth and even grandeur. In his forms, as well as in his touch, he appears to have imitated the fine style of Gaspard Poussin, and in some of his best pictures (for he is very unequal) he has approached the picturesque beauty of that admirable painter. He was also influenced by Claude Lorrain. There is scarcely a palace at Rome that is not ornamented with some of his works. His best pictures are in the pontifical palace at Monte Cavallo, and in the Colonna, Doria, and Rospigliosi palaces. The Louvre has six landscapes by him, the Vienna Gallery three, the Hermitage St. Petersburg three, the Berlin Museum one, the Milan Gallery one, and the Dresden Gallery one. He etched five plates of views near Rome, executed in a bold and masterly style. BLOEMEN, Nobbert van, called Cephalus, the youngest of the three brothers, was bom at Ant- werp in 1670. He studied and painted portraits and conversation-pieces in Rome, and afterwards returned to his native country and settled at Amsterdam, where he died in 1746. BLOEMEN, Pieter van, called Standaart, or Stendardo (Standard), a brother of Jan Frans van Bloenien, was born at Antwerp in 1657. Following the example of his brother, he went to Italy for improvement. The name of Standaart was given him by his countrymen at Rome from 147 A BIOGRAPHICAL DICTIONARY OF his occasionally painting attacks of cavalry. After passing some years in Italy he returned to Flan- ders with the studies he had made from the objects worthy of notice in the neighbourhood of Rome. In 1699 he was made director of the Academy at Antwerp ; he died there in 1719. The pictures of this master represent battles, the march of caravans, horse-fairs, &c., ingeniously composed, with a number of figures, horses, and other animals, extremely well drawn, and painted with uncommon freedom and spirit. He decorated his landscapes with the ruins of architecture and statues from the studies he had made in Italy, and his figures are designed in a superior style to the usual taste of his country. The Dresden Gallery has six pic- tures by him, the Vienna Gallery two, the Frank- fort two, the Hermitage St. Petersburg one, and the Copenhagen one. He etched some of his own works. BLOEMERS, Arnoldus, bom at Amsterdam in 1792, painted flowers, fruit, and animals. He was instructed by Antonie Piera, but principally imitated Van Huijsum. He died at the Hague in 1844. The Rotterdam Gallery has a flower-piece by him. BLOIS, Abraham de. See De Blois. BLOK, Anna C. See Fischer. BLOK. Johanna. See Koerten. BLOKLANDT, Antoxis van. See Montfoobt. BLOMBERG, August Gotthold Dietrich Hugo, Baron von. a poet and painter, was born at Berlin in 1820. He studied under Wach in the Academy at Berlin, and under L^on Cogniet at Paris, and copied Rubens's works in the Louvre. He died at Weimar in 1871. Among his paintings may be mentioned : ' Das Domroschen.' 1844. Keptune and AmyTnone. 1847. Twenty-seven sketches from Dante. A Town of the Middle- Ages. The Merchant of Venice. 1866. Benvenuto Cellini in Engelsberg. King William at Koniggratz. 1867. BLOMMENDAAL, Reteb Jacobsz, a painter of Haarlem, entered the Guild of that city in 1662, and died there in 1675. Nothing further is known of him. BLOND, Le (or Blon). See Le Blond. BLONDEAU, Jacques, a French engraver, was born at Langres about the year 1639. He en- graved at Rome several plates after the Italian painters, and some after the pictures of Pietro da Cortona in the Pitti Palace at Florence. He seems to have imitated the style of Cornells Bloemaert, but he never in any way equalled that fine engraver. He also engraved some portraits, without putting his name on the plates. We have by him the following : PORTRAITS. Cardinal Francesco Lorenzo Erancati. 1681. Cardinal Fortuna Caraffa. 1686. Cardinal Maximilian Gandolfi. 1686. Cardinal Opitius Pallavicini. General Enee. Count of Caprara. Eene d"Est, Duke of Modena. John George III., Elector of Saxony. John Sobieski, King of Poland. Cardinal Bichi ; after Bourgignon ; oval. SUBJECTS AFTER VARIOUS MASTERS. The Pulpit of St. Peter ; after Bernini. The Magdalene, half length ; afttr Calandrucn. Ihe Martyrdom of St Laurence : after Pietro da Cor- tona. 148 Eight allegorical subjects ; from the pictures by Fidrt da Cortona, in the Pitti Palace ; small plates. The Circumcision ; after C. Ferri. The Crucifixion ; after the same. St. Augustine appearing to St. Theresa; after iht same. BLONDEEL, Lansloot, or Lancelot, who was bom at Bruges about 1495, was originally t mason, on which account he took a trowel as his monogram. He did not turn his attention towards art until he was twenty-five years of age. His pictures display a study of the Italian style, and are noticeable for architectural backgrounds. Speci- mens are in the churches of Bruges and elsewhere. A ' Last Judgment ', in the Berlin Gallery, formerly given to him, is now thought to be possibly by Jehan Bellegambe. Blondeel designed the chim- ney-piece in the Council Hall at Bruges, which contains statues of Charles V. and other monarchs. He died at Bruges in 1560. BLONDEL, Jean FRANgois, a French architsct and engraver, was bom at Rouen in 1705. He came to Paris in 1739, and opened a school, the fame of which gained him admission into the Academy in 1765. He published a description of the fetes given by the city of Paris in 1740, on the marriage of Madame Louise Elizabeth of France with Don Philip, Infant of Spain. The plates, representing the temporary buildings, fire- works, &c., are chiefly engraved by himself. He also etched the plates for some large volumes on Architecture, published by himself. Blondel died in Paris in 1774. BLONDEL, Merey Joseph, a French historical painter, was born in Paris in 1781. He was a pupil of Regnault, carried off the grand prize in 1803, and was elected a member of the Institute in 1832. His principal works are — ' Philip Augustus at Bouvines' (1819), painted for the Duke of Orleans ; ' The Fall of Icarus,' and ' .^olus letting loose the Winds against the Trojan Fleet ; ' the grand staircase of the Louvre, the ceiling of the hall of Henry II., and that of the Grand Hall, in the same building ; ' Justice protecting Commerce,' six very effective bas-reliefs in grisaille in the Bourse at Paris ; the Gallery of Diana, at Fon- tainebleau ; ' Homer at Athens,' and ' Zenobia on the Shore of the Araxes,' formerly in the Luxem- bourg ; ' The Surrender of Ptolemais to Philip Augustus,' at Versailles, and several others. He died at Paris in 1853. BLOOT, Pieteb de. See De Bloot. BLOOTELING, Abraham, (or Blotelikg,) a very eminent Dutch designer and engraver, was born at Amsterdam in 1634. From the style of his etchings it is not unlikely that he was brought up under the Visschers. On the inroad of thoj French into Holland in 1672, he came to England,! where he met with encouragement, but did not^ reside here longer than two or three years. Thi< laborious artist produced a great number of etch-i ings, some plates executed with the graver, an(r several in mezzotint. In 1685 he published thai collection of gems of Leonardo Agostini, etche by himself. He died after 1698. He some times signed his plates with his name at lengthJ and sometimes marked them ^^'ith a cipher, com-] posed of A and B, thus •-''±5 . The works o^ this engraver are sufficiently interesting to excu our giving a more than usually detailed list them: PAINTERS AND ENGRAVERS. ETCHINGS AND PLATES WITH THE GRAVER. PORTRAITS. Xhomas Sydenham, Bishop of 'Worcester; after Mrs Beali' John 'Wilkins, Bishop of Chester ; after the same. Anthony, Earl of Shaftesbury ; after Greenhill. One of the scarcest prints of this artist. Edward, Earl of Sandwich ; after Leiy. Edward, Earl of Montagu ; after the same. James, Duke of Monmouth ; after the same. Cornells Tromp, Admiral of Holland ; after the same Prince Eupert ; after the same. 1873. Aert van Nes, Admiral of Holland ; L. de Jonghe pin.v. Constantijn Huygen ; after Netscher. John Henry Thim ; A . Utech pinx. Jerome de Beverningh ; after Vaillant. "Willem van Haren ; after the same. 1680. Egbert Meesz Kortenaer, Admiral of Holland ; Bart. van der Heist jnrix. The Marquis de Mirabelle ; after Van Dyclv. Ferdinand de Fiirstenberg, Bishop of Paderbom ; A . Blotelina sc. 1669. Michel Aoriaensz de Euyter, Admiral ; Bloteling fee. aqua forti. Sir Thomas More, Lord High Chancellor. Edward Stillingfleet, Canon of St. Paul's. Henry, Duke of Norfolk. 1678. Jane, Duchess of Norfolk. 1681. Augustus Stellingwerf, Admiral of Friesland. Comehs de Wit, Vice Admiral of Holland. Tierck Hides de Fries, Admiral of Friesland. ComeUs Speelmau, Vice Admiral. VARIOUS SUBJECTS AFTER HIS OWN DESIGNS AND OTHER MASTERS. Twelve Views of Gardens ; inscribed Alcune Vedute, <^c. Eighteen circular plates of subjects of sacred history, with flowers ; A . Bloteling fee. A Landscape, with Diana bathing ; J. van Aeck pinx. ; A. Bloteling exc. A Landscape, with AJpheus and Arethusa ; the same. Six Views of the Environs of Amsterdam ; Jac. Kuis' dael inv. ; A. Bloteling fee. 1670. Actseon devoured by his Dogs ; G. Flink pinx. A Shepherd playing on his Pipe, with a Shepherdess ; after the same. The Golden Age ; G. Lairesse jrinx. ; N. Visscher exc. The Marriage of St. Catharine ; after Raphael. Two Heads of Children ; after Rubens ; rare ; some impressions have the name of Rubens. The Study of the Head of a Man ; after Rubens ; A. Bloteling fee. et exc. ; rare. Four Studies of Lions; after Rubens; inscribed Varia Leonum IconeSy a P. P. Two Huntings of the Boar and Stag ; fine. PRISTS IN MEZZOTINT. PORTRAITS. .Justus Lipsius ; A. Bloteling fee. Michelangelo Buonarroti ; A. Bloteling fee. Frans Mieris, painted by himself; A . Bloteling fee. Jan de Wit, Grand Pensionary of Holland ; after Be Baan. Cornelis de Wit, the brother of Jan ; after Be Baan. Staverinus, an old Jew, holding a Medal : Com. Bega pinx. Titus Gates ; Hawker pinx. Desiderius Erasmus ; H. Holbein pinx. 1671. Henry Bennet, Earl of Arlington ; after Lely ; oval. Charles, Earl of Derby ; after the same. Abraham Symmonds, an artist ; after the same. Queen Catharine ; after the same. William Henry, Prince of Orange ; after the same. 1678. Nell Gwyn ; P. Lely pinx Mary of Modena, Duchess of York ; after the same. Cornehs Tromp, Admiral of Holland ; after the same. Michiel Adriensz de Euijter, Admiral of Holland ; J. Lievens pinx. The Emperor Leopold I. ; C. Morad pinx. Henry Casimir, Prince of Nassau ; M. van Muscher pinx. Portrait of a Venetian Lady ; Titiano inv. Constantijn Huygens ; B. Valliant pinx. 32.11 de Cronefeld ; after the same. VARIOUS SUBJECTS FROM HIS OWN DESIGNS AND OTHER MASTERS. The Five Senses ; after C. Bega. The Four Ages ; circular ; after the same. Hercules destroying the monster ; G. Lairesse pinx, St. Peter penitent ; after P. Moreels. A Landscape, with mythological figures ; F. de Neve pin.v. The Temptation of St. Anthony ; Cam. Procaccini pinx, A Man holding a glass ; Rostrate pinx. Bust of a Man ; circular. Bust of a young Man crowned with laurels ; circular. Bust of Hippolyta ; oval. Two Heads, with Plu-ygian and Grecian Head-dresses ; one plate. The Satyr, and a Peasant ; oval. Vanitas, a Cliild blowing bubbles. Abundance, a figure sitting. The head of a Vestal, crowned with roses. Small bust of Jupiter ; circular. Small bust of Venus ; same. Half length of a Boy holding a Cat. Cupid and Psyche. A Blind Man playing on the Flute. Andromeda. BLOT, Maurice, a French line-engraver, was bom in Paris in 1754. He was a pupil of Augustin de St. Aubin, and engraved some portraits and fancy subjects in a neat style. He died in Paris in 1818. We have by bim : L'Occupation du Mi5nage, and Companion ; after Aubry. La Promesse de Mariage, and Le Verrou ; after Fra- gonard. Marcus Sextus ; after Guerin. Meditation ; after Guido. A Boy blowing bubbles ; after F. Mieris, Mars and Venus ; after N. Poussin. La Vierge aux Cand^labres ; after Raphael, Vanity ; after Leonardo da Vinci. The Judgment of Paris ; after Van der Werf. The Dauphin and Madame Royal, the children of Louis XVI. ; after Madame Le Brun. 1786. Giovaimi Angelo Braschi, Pope Pius VI., a frontispiece for the Life of that pontiff. 1799. Jupiter and lo ; after Regnault (Mus^e Francais). Jupiter and Calisto ; after the same (Musfie Fran9ais). Andr6 Guillaume de G^ry, abb6 of St. Genevieve ; after himself. BLOTELING. See Blooteling. BLUNCK, DiTLEV Conrad, who was bom at Breitenburg, near Itzehoe, in 1799, studied from 1814 to 1827 in the Academy of Copenhagen, under Eckersberg. In 1828 he went to Rome, where he spent ten years, and was much influenced by the style of Canstens. On his return from Italy he lived at Vienna and at Hamburg, where he died in 1853. Among his best works are the following : Christian IV. at Eothenburg. 1823. Elijah raising the Widow's Son to life. 1827. The Four Ages of Man. Manifestation of God to '\ Ezekiel. 1830. \ In the Copenhagen Gallery. The Engraver at his work- ( r ^ n table. 1826. ] Noah in the Ark . , \ln the Thorwaldsen Mu- Thorwaldsen with Danish ^ ,ev^m^ Copenhagen. Artists in a Roman Inn. ; > r ^ BLYHOOFT, Zacharias, a Dutch painter, of whom but little is known ; it is supposed that he lived at Middelburg between 1625 and 1700. Two pictures by him are noticed in the Catalogues of Hoet and Terwesten, and, in regard to their merit, compared to those of Netscher. For this reason he is noticed here, as many pictures are ascribed to Netscher that resemble his manner, but are not by him. 149 I A BIOGRAPHICAL DICTIONARY OF BLYTH, Robert, an English engraver, was born in 1750. We have some spirited etchings by him from drawings by John Hamilton Mortimer, A.R.A. He led a careless life, and committed suicide in 1784. The following are his best plates : Three, of Studies ; in the style of Sahator Rosa and De Lairesse. Four of the same, with inscriptions. Bust of an Oriental Chief. 1779 ; oval. Bust of an old Man ; oval. Banditti going on an expedition. 1780. Banditti returning from an expedition. 1780. The Captive. 1781. The life and death of a Soldier ; four plates. Fishermen. A Nymph, with a basket of flowers, sitting on the sea- shore, with a shepherd. Caius Marius reflecting on the ruins of Carthage. Nebuchadnezzar recovering his reason ; companion. Homer reciting his Verses to the Grecians. BOADEN, John, a portrait painter, exhibited his works for many years, between 1812 and 1838, at the Royal Academy and the Society of British Artists. He died in 1839. In the South Kensing- ton Museum is a portrait of the Rev. Chauncy Hare Townshend by him. BOATERI, Jacopo, a native of Bologna, and a pupil of Francia, flourished in the 15th century. He is known as the author of a ' Holy Family,' in the Pitti Palace, Florence. The dates of his birth and death are alike unrecorded. BOBA, George, a painter and engraver of the 16th century, known by the name of MaItre Georges, was a native of Rheims, and is said by some to have been a disciple of Frans Floris, and by others of Titian. His name in full, or included in a monogram very small, is found on some etch- ings of landscapes \vith historical subjects, after Primaticcio ; Bartsch gives an account of six of them. BOBADILLA, Geeonimo de, a Spanish painter, was born at Antequera, a small town in the vicinity of Seville, in 1620. According to Palomino he was a scholar of Francisco Zurbaran, whose manner he followed. He excelled in painting historical sub- jects of a medium size and perspective views. He used a peculiar varnish on his pictures, which Murillo compared to crj-stal. He was a greiit collector of academic figures, drawings, models, and sketches of celebrated artists. He was one of the founders of the Academy at Seville in 1660, and continued to support it until his death, which took place in that citj- in 1680. BOBBIN, Tim, a name assumed by John Collier, the caricaturist. See Collier. BOCANEGBA, Pedro Atanasio, a Spanish painter, was born at Granada in 1638. He was a scholar of Alonso Cano, but, according to Palomino, improved himself in colouring by studying the works of Pedro de Moya and X^an Dyck. In the cloister of Nuestra Seiiora de Gracia, at Granada, is a picture by him of the ' Conception,' and at the College of the Jesuits is one of his most esteemed works, representing the ' Conversion of St. Paul.' He died at Granada in 1688. He was vain and arrogant, and boasted his superiority to all the artists of his time ; but on being challenged to a contest of ability by Mathias de Torres, he slunk from the trial, and left Madrid. His works were, however, much coveted, and no collection was considered complete without a specimen. The ' Death of St. Clara ' by him is in the Hermitage, St, Petersburg. 150 BOCCACCINO, Boccaccio, was bom at Cremona, it is believed, in 1460, and was either a pupil or co-disciple of Domenico Panetti. Influenced by Mantegna, he became a celebrated painter, and executed in Sant' Agostino, at Cremona, several frescoes, in 1497. He visited Rome, but not being successful with his ' Coronation of the Virgin,' in Santa Maria Transpontina, he returned to Cremona. Some of his works bear a strong resemblance to those of Perugino, particularl}' his ' Marriage of the Virgin,' and ' The Madonna, with St. Vincent and St. Anthony,' in the church of San Vincenzio at Cremona, which have been frequently regarded as the productions of Vannucci. One of his most admired performances is a frieze in the cathedral at Cremona, where he has represented the ' Birth of the Virgin,' and some subjects from her life, painted in 1606 — 1518. In these Lanzi considers him inferior to Perugino in composition, less beautiful in the airs of his heads, and less vigor- ous in light and shadow, but richer in his drapery, more varied in colour, more spirited in his attitudes, and perhaps not less harmonious and pleasing in his architecture and landscape. Lanzi observes of this painter, that he was the best modern among the ancients, and the best ancient among the moderns. He was one of the instructors of Ben- venuto Garofalo. His works extend from 1496 to 1518, and this last date is usually given as the year of his death ; but his will was made in January, 1525 (new style), and an inventorj' of the pro- perty divided among his heirs, December 26th, 1625. The following are some of his best works : Cremona. Cathedral, Appearance of the Angel to Joachins. 1515. „ ,, Meeting of Joachim and Anna „ „ Birth of the Virgin. 1515. „ „ Marriage of the Virgin. „ ., The Annunciation. 1508. „ „ The Visitation. „ „ Adoration of the Shepherds. ,, „ The Circumcision. „ ,, Christ reasoning with the Doc- tors. 1518. „ „ Christ between the four Patron Saints of Cremona. 1506. {All the ahove are frescoes, „ "S Quirico, Virgin and two Saints. 1518. Ferrara. PinacotecaJ)ea\.h of the Virgin. Loudon. Xat, Gal, Procession to Calvary. Paris. Louvre, Holy Family. Veiii f. Acad, Marriage of St. Catharine. i'. GtuWano.Virgin and Child with four Saints. BOCCACCINO, Camillo, the son of Boccaccio Boccaccino, was born at Cremona in 1511, and was brought up under his father. Educated in the Gothic maxims of Boccaccio, and only permitted the career of a very short life, he, however, formed to himself a style which was both pleasing and grand ; and he was considered as the greatest genius of the Cremonese school. In 1637 he painted in the niches of the cupola of San Sigis- mondo the ' Four Evangelists,' so much in the style of Correggio, that it appears almost incredible that a young man of twenty-six years of age, who had never frequented the school of that painter, could approach so near to the greatness of Cor- reggio, both in the intelligence of perspective and in foreshortening. Two other works of this painter, at Cremona, are justly admired — the ' Raising of Lazarus ' and the ' Adulteress before Christ,' surrounded by friezes of a numerous group of Angels, finely composed, and designed in the PAINTERS AND ENGRAVERS. loftiest style. This promising artist died in the prime of life, in 1546. BOCCACCINO, Francesco, was born at Cremona about the year 1680. He studied at Rome, first under Brandi, and afterwards in the school of Carlo Maratti, under whom he acquired a pleasing manner of composing and painting easel pictures of historical subjects, which were well esteemed in private collections, and of which he painted more than of larger works for the churches. He some- times imitated the style of Albani, and, like that painter, he was fond of treating mythological subjects. He died in 1750. BOCCARDI, Giovanni, known as Maestro Gio- vanni, was a miniature painter who lived at Florence in the early part of the 16th century, and who, with his son Francesco, painted (1507-23) a number of the choir-books of Monte Cassino and Perugia. The influence of the school of Raphael was noticeable in these productions. BOCCATI, Giovanni, of Camerino, is known by a picture — signed and dated 1447 — in the Gallery of Perugia. The subject is ' The Virgin and Child enthroned, and surrounded by Angels, Seraphim, and Saints.' BOCCHI, Faustino, was bom, according to Or- landi, at Brescia in 1659. He was a scholar of Angelo Everardi, called II Fiamminghino. He chiefly excelled in painting battles and skirmishes of cavalry, which he composed with great in- genuity, and touched with a spirited pencil. His figures, though on a small scale, are correctly drawn, and his landscapes are very pleasing. He died in 1742. BOCCIARDO, Clementb, called Clementone— according to Soprani, from the prodigious size of his person — was bom at Genoa in 1620. He was a scholar of Bernardo Strozzi, and accompanied Bene- detto Castiglione to Rome, where he studied some time, and afterwards visited Florence, where he met with encouragement, and painted his portrait for the Florentine Gallery. It is engraved in the ' Museo Fiorentino.' His principal works are at Pisa, of which Lanzi distinguishes his ' Martyrdom of St. Sebastian,' in the church of the Carthusians. More ingenious in his compositions, and more correct in his design, than Strozzi, he is inferior to hira in the truth and purity of his tints. He died in 1658. BOCCIARDO, DoMENico, was born at Finale, near Genoa, about the year 1686, and was a dis- ciple and a follower of the style of Giov. Maria Morandi. Without the possession of much inven- tion, he was a correct designer and an agreeable colourist. In the church of San Paolo, at Genoa, is a picture by this painter of St. John baptizing several figures. BOCHOLT, Franz von, a German engraver, who flourished from 1458 to 1480, is said to have been a shepherd at Mons, in Hainault ; but it is more probable he was a native of Bocholt, a small town in the bishopric of Miinster. His prints, amounting to fifty-five, are chiefly copies after the plates of Martin Schongauer and Von Meckenen, although he engraved some few plates from his own designs. They are all executed in a laboured, BtifE style, and are generally marked F. v. B. The following are by him : COPIES FROM MARTIN SCHONGAUER. St. Anthony carried into the air by demons St. .Tames reading St. Michael and the Dragon. COPIES FROM ISRAEI, VON MECKENEN. The Judgment of Solomon. The Annunciation. The Virgin and Child ; in an arch. SUBJECTS FROM HIS OWN DESIGNS. A Friar struggling with a Girl, who defends herself with her distaff. Samson stranghng the Lion. Two Men quarrelling. St. George and the Dragon, with ' Francis van Bocholt,' in very old characters. BOCK, Hans, was a German painter of the 16th century, who flourished at Basle, where he executed, within and without the Rathhaus, some colossal frescoes, which render his name famous. The Rathhaus also possesses a painting of the ' Calumny of Apelles,' by him. His works, though mannered, display much power and energy. BOCKHORST, Jan van. See Boekhobst. BOCKHORST, Johann von, called Langen Jan, was born at Miinster in 1610. His family had settled at Antwerp when he was young, and he became a scholar of Jacob Jordaens. Under that able in- structor he became a very distinguished painter of historical subjects. There are many of his pictures in the churches in Flanders, and they are deservedly ranked among the best productions of the Flemish school. In 1633 lie entered the Guild of St. Luke at Antwerp. He seems to have taken the works of Van Dyck as his model, and some of his best pictures are so much in the styla of that admirable painter that they may easily be mistaken for his works. He also excelled as a portrait painter; many of his portraits are only inferior to those of Van Dyck. He died in 1668. The following are some of his principal works : . . f Church «f Triptych — Resurrection : Annun- werp. I Beguines. ciation : and Ascension. „ St. Augustin. The Empress Helena with the true Cross. Ghent. St. Jacques. Martyrdom of St. James. Lille. Museum. Martyrdom of St' Maurice. 1661. Madrid. Gallery. Mercury. ^, „ Ulysses in female attire at the Court of Lycomedes. BOCKLIN, J. C. was a German engraver, who executed a set of British portraits for a German edition of the ' History of England.' They are poorly engraved, and the whole are copied from the prints by White. BOOKMAN, G.,was a mezzotint engraver, who, if not a native of England, resided here in the first half of the 18th century. He appears to have been also a painter, as he engraved a plate of ' St. Dunstan and the Devil,' which is signed with his name, with the addition of pinx. et sculp., 1743. He died about 1768. We have several portraits by him, among which are the following : ■William Augustus, Duke of Cumberland ; after Van Loo. Another Portrait of the same, with his hat on ; ad vivum. 1746. Mary, fourth Daughter of George II., consort of Fred- erick II., of Hesse Cassel ; after J. JVorsda/e. Philip Yorke, Earl of Hardwicke ; after M. Dahl. Thomas Chubb, the Deist. BOOKMAN. R., is known as the painter of portraits of Nav.il Heroes at Greenwich Hospital and Hampton Court, and also as a mezzotint engraver. It is believed that he died about 1769. B0CKSBER6ER, Hans, (or Bocksperger,) born at Salzburg in 1540. He painted battle-pieces, hunting-parties, allegorical, mythological, and his- torical subjects ; and was principally occupied with 151 ■ A BIOGRAPHICAL DICTIONARY OF the decorations of houses at Munich, Augsburg, Ingolstadt, Passau, Ratisbon, Landshut, and Salz- burg. As a wood-engraver he illustrated the fol- lowing : The Bible with 122 plates. 1565. Livy. 1573. Flavius Josephus. 1565 — 1571. The Book of Animals, by G. Schaller. 1592. All of these were published by Feyerabend, at Frank- fort. Besides these, there exist by him several handsome designs for armour. BOCQUET, Nicolas, a French engraver, men- tioned by Basan, lived about the year 1601. There are two indifferent prints by him : Adam and Eve ; after Raphael. St. Bruno kneeling before a Crucifix ; after Bon ie Boullongne. BODART, PlETEB, a native of Holland, resided at Leyden about the year 1723. His prints are little known in England. His principal work is a drawing-book, entitled " Les Principauz f ondements du Dessein," published at Leyden in 1723. It con- sists of a great number of plates of heads, hands, feet, figures, and groups, from the designs of Gerard Hoet. They are chiefly etched, in an indifferent style. BODDINGTON, Henry John, was born in 1811. He was one of the sons of Edward Williams, of Barnes, and changed his name because so many of his family were painters. He was a member of the Society of British Artists, and a constant con- tributor to their exhibitions, usually sending views on the Thames, or other river subjects. He also exhibited at the Royal Academy. He died at Barnes in 1865. BOdEKKER, Johannes Frederik, a Dutch portrait painter, was born at Cleve in 1660. He was a scholar of Jan de Baan, and met with great encouragement in his profession at Amsterdam and the Hague. One of liis best productions was the half-length portrait of Duke Eberhard Ludwig of Wiirtemberg. There is a poorly-scraped mezzo- tint by this artist of a ' Boy and a Girl,' half- figures, with flowers, after his master, J. de Baan. He died at Amsterdam in 1737. BODEMER, Jakob, was bom in 1777 at Not- tingen, in the vicinity of Carlsruhe. He worked at first as an enamel painter in Geneva, but in 1799 entered the Academj' of Vienna, and devoted him- self to the profession of enamel portrait paint- ing, and brought that art to perfection by the inventi'on of a glass-like coating to the pictures. He died at Vienna in 1824. The following are specified among his productions : Mary with the Child Jesus (in possession of Prince Zin- zendorf). Madoun'a iu Prayer ; after Holbein {Count Czernin's). Cupid ; after Paolo Veronese. Portraits of the Imperial Family of Austria. BODENEHR, Moritz, engraver to the court at Dresden, was born at Freiburg in 1665 and died at Dresden in 1749. He engraved a suite of thirty- two mythological and poetical pieces after Samuel Bofschild, which were published, with his name, in 1693. His father, Johann Georg Bodenehr, was an eminent engraver, who was born in 1631, and died in 1704 ; and his brothers, Gabriel and Georg Conrad, followed the same profession. Their sons seem to have continued it, for the name of Bodenehr is found to a late period, but with no particular distinction. There was, however, a second Johann Georg Bodenehb, an engraver and 152 worker in mezzotint, who was born at Dresden in 1691, and died at Augsburg in 1730. BODERECHT, Mabkus, a German engraver in mezzotint, flourished about the year 1739. He was chiefly employed in portraits, and among others engraved that of Johann Thomas Banner, with the above date. BODINIER, Gulllaume, a French historical and portrait painter, was born at Angers in 1795. He studied at Rome under the direction of Pierre Gu^rin, and exhibited at the Salon from 1827 to 1857. After a long residence in Rome he returned to his native city, where he became director of the Museum, and died in 1872. His best work is the ' Angelus in the Campagna of Rome,' painted in 1836, and formerly in the collection of the Duke of Orleans. BODMER, Gottlieb, born at Munich in 1804, was a painter, designer, and lithographer. He first painted portraits under Stieler. In 1829 he drew upon the stone the celebrated Madonna di San Sisto, after the engraving of F. Miiller, and after- wards two paintings after H. Hess, viz., ' Christmas Eve,' and a small altar-piece, fie visited Paris, and died at Munich in 1837. The following are notable works : The Dep.irture of King Otto. King Ludwig I. in his family circle. The Knight and his Love ; after Folti. The Swiss Grenadier ; after Kirner. BOECE. See Boetius. BOEGLER, Karl, who was born at Munich in 1837, practised there and at Wiesbaden as a painter of architecture and views. He died in his native city in 1866. In the New Pinakothek at Munich there are three views of buildings, dated 1865, by him. BOEHMER, Karl Wilhelm, was a painter and engraver of Saxony. He was brother-in-law and scholar of Dietrich. There is a series of land- scapes and marine subjects engraved by him, with the dates 1744 and 1754, published in 8vo and 12mo, with his name or monogram. The series is rare. BOEKEL, — VAN, a pupil of Frans Snyders, painted living and dead animals. He died in Paris in 1673. In the Louvre there is a picture by him of a man with dogs and game. BOEKHORST, Jan van, (or Bockhobst,) who was born at Deutekom in l661, was a scholar of Kneller. He passed some time with that artist in London, and painted portraits in his manner. He also painted battle-pieces and some historical com- positions, which are rare. He returned to his own country, where he died in 1724, at Cleve. In the castle at Stockholm there are the Four Evangel- ists, and an Angel, by him ; and in the Belvedere at Vienni a 'Nymph surprised by Satyrs.' BOECKLIN, Aknold, the Swiss idealist painter, was born in 1827 at Basle. At the age of eighteen he was sent to Dusseldorf, where he studied land- scape painting under Schirmer. He then spent six months at Brussels, copying the Dutch master- pieces there, and after a few weeks in Calame's studio at Geneva, he went to Paris, where he was an eye-witness of the revolution of 1848. His mili- tary duties recalled him to Basle, and in 1850 he took up his residence in Rome, where he lived for the next seven years. He married in 1853. The scenery of the Campagna made a lasting impression on him, and much of his time was spent wandering about the country and observing Nature in all her u w o « Q o < p < w Q B H O Q Z ►J in W H PAINTERS AND ENGRAVERS. moods. Boecklin never painted direct from Nature, and his landscapes represent no particular spots, but they are Italian in character and feeling, and were the result of the reminiscences stored up in his mind during these first years in Rome. In 1859 he achieved his first great success with ' Pan among the Reeds,' which was exhibited at tlie Art Union at Munich, and bought for the Pina- kothek. At Munich, also, Boecklin, through the medium of Paul Heyse, made the acquaintance of Count Schack, for whom, during the next sixteen years, many of his most important pictures were painted. In the following year he was appointed a teacher in the Academy of Art at Weimar, but in 1862 he again went to Rome. It was during this sojourn that he paid a visit to Naples and Pouipeii, where the antique frescoes roused his enthusiasm and had great influence on his art. Having received some commissions from his native town he returned to Basle in 1866. Here he painted a series of frescoes for the Garden House of Herr Sarasin, and also the frescoes over the staircase of the Museum. From 1871 to 1874 he was again in Munich, but his works, in which, for the first time, he introduced those creatures of his own imagining which play so large a part in his later pictures, met with such opposition from critics and the public that he again returned to Italy. With the exception of a few years spent at Zuricli, he lived for the rest of his life at Florence. His health gave way in his later years, and he died on the 16th of January, 1901. Boecklin's paintings are purely ideal conceptions. They bear no relation to reality, but are the creation of the artist's fancy. He never painted a story in the literary or historical sense, but used figures and scenes as a medium for the expression of his emotions. He peopled his ideal landscapes with nymphs, satyrs, and other mythological figures, or with wonderful imaginary creatures, in which he gave symbolical shape to the spirit of Nature. His sea-pictures, with their sport- ing Tritons, Naiads, and Sea-centaurs, best exhibit the extraordinary brilliance and transparency of his colouring. His art was too bold and too original to be readily accepted, and for years he suifered from most severe criticism. It was not until the time of his residence at Zurich (1885-1892) that he received due recognition. The majority of his pictures, many of which exist in several versions, are in private hands. The Schack Gallery, Munich, possesses, among other works : — ' Pan startling a Shepherd,' ' The Walk to Emmaus,' ' Villa by the Sea,' ' A Rocky Chasm,' ' Old Roman Tavern,' ' Triton and Nereid.' The principal pictures in public galleries are : Basle, Jf«se«m, Centaurs Fighting; The Sacred Grove; Vita Somnium Breve. Berlin, National Gallery, Mary grieving over the Body of Christ ; The Regions of the Blessed ; The Hermit ; Sea-Breakers ; Portrait of the Artist. Bremen, Museum, The Adventurer. Breslau, Nilesian Museum, The Sanctuary of Hercules; Attack by Pirates. Dresden, Gallery, Faun-family at the Fountain. Leipzig, Museum, The Island of the Dead; Hymn of Spring. BOEL, CoENELis, a Flemish engraver, was bom at Antwerp about the year 1580. He worked chiefly with the graver, in the style of the Sadelers, in whose school it is probable 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 Otto Voenius,' published at Antwerp in 1608. His most con- siderable works were eight large plates of the battles of Charles V. and Francis I., executed in conjunction with Jode de Gheyn, the younger, after Tempesta. He was probably in England, as ap- pears 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 Richmont, 1611. We have also by him a Portrait of Henry, Prince of Wales, an oval plate, with an ornamental border ; and another plate, of 'The Last Judgment,' Cornelis Boel fecit, without the name of the painter. BOEL, CORYN, the son of Jan Boel, the en- graver, was born at Antwerp in 1620. He en- graved several of the plates for the book called ' Teniers's Gallery,' after the pictures in the collec- tion of the Archduke Leopold William. We have also some etchings by him, principally after the pictures of the elder Teniers, representing peasants regaling and merry-makings. His death is not recorded. BOEL, Jan, who was born at Antwerp in 1592, was free of the Guild of Luke in 1610, married in 1619 and had nine children — among whom were Coryn and Pieter. He practised as an engraver. BOEL, Jan Baptist, the son of Pieter Boel, the engraver, was born at Antwerp in 1650. In 1674- 75 he was admitted as a master's son to the Guild of St. Luke, and died in 1688-89. In the Antwerp Museum is a picture called ' Vanity,' representing a dead swan, with a peacock and flowers, painted by him for the Guild of St. Luke in 1679-80. BOEL, Pieter, an excellent painter of animals, birds, flowers, and fruit, and the son of Jan Boel, the engraver, was born at Antwerp in 1622, and was a scholar of Frans Snyders. Desirous of im- provement, he ..went to Italy, where his works were much admired, both at Rome and at Genoa. On his return to Flanders he met with great en- couragement. Four of his best pictures, repre- senting the Four Elements, are in a private col- lection at Antwerp. He died at Paris in 1674. His touch is free and spirited, and his colouring natural. The Munich Gallery has a picture by him of ' Two Dogs guarding dead Game ' ; a ' Boar Hunt ' is in the Hague Gallery, and the Madrid Gallery has five works by him ; a picture of Still Life is in the Antwerp Museum. We have some very spirited etchings by Boel of various animals, and a set of six plates of birds of prey, with landscapes, entitled ' Diversi Uccelli a Petro Boel.' BOETIUS, Christian FRiEnRicH, (or Boece,) a German engraver, was born at Leipsic in 1706. He was a pupil of Zink and C. A. Wartmann, and resided chiefly at Dresden, where he was made professor of the Electoral Academy in 1764. He engraved several of the plates for the Dresden Gallery, some portraits, and various other subjects. He died at Dresden in 1782. The following are among his best prints : Landscape with a Monument ; after Breenhergh. La Notte ; after Corregyio. The Meyer Madonna ; after Holbein {one of kis best works). Landscape with a Cow and Sheep ; after Karel du Jardin. A Woman holding a Pot with Coals, and a Boy blowing ; after Rubens. Sportsmen at the Door of an Inn ; after Wouwerman. Interior of an Inn ; after T. IVyck. The Portrait of Boetius ; in imitation of a chalk draw- ing. 1771. Portrait of Charles Hutin ; the same. Portrait of Raphael Mengs ; the same. Portrait of J. Casanova ; the same. 153 A BIOGRAPHICAL DICTIONARY OF BOETTGER, Johann Gottlieb, a German en- graver, was bom at Dresden in 1766. He was a pupil of J. G. Schulz, and has engraved several plates for the booksellers and others, among which we have : Portrait of F. TV. B. de Ramdohr ; after Graaf. Calliope; after Angelica Kaufnann. Ganymede; after Vogel. A Vestal ; after the same. BOTTNER, WiLHELM, who was born at Cassel in 1749, and died in 1805, is represented in the gallery of his native town by a picture of 'Dsedalus and Icarus.' BOETTO, GiovENAL, was, according to Delia Valle, a Piedmontese, and flourished at Turin from the year 1642 till 1682. He distinguished himself as a fresco painter, and was principally empjoyed in embellishing the palaces and public edifices at Turin with allegorical subjects, which were in- geniously composed, and designed with taste and elegance. Among his most admired works are twelve frescoes, in the Casa Garballi, representing subjects emblematical of the Arts and Sciences. Lanzi affirms that he excelled as an engraver, but his prints are not specified. BOEYERMANS, Theodore, or Dirk, who was born at Antwerp in 1620, was a follower of Van Dyck. He was free of the Guild of St. Luke in 1654, and his name occurs at intervals on the registers nntil the time of his death, which took place at Antwerp in 1677-78. His works — historical and portraits — are correctlj' designed and agreeably coloured, and show a good knowledge of chiaro- scuro. Amongst them we find : Antwerp. Musemn. The Ambassador. „ „ The Pool of Bethesda. 1675 T. BOEIJERMANS PINXIT. „ „ The Visit (signed). „ „ Antwerp as patroness of painters. inscribed ANTVEEPI.E pictobvji NTTEICI P"- „ ,. Head of a 'Woman. „ I'i'i.JffcjJte.s. Assumption of the Virgin. 1671. Convent \ „ of Swurs V Miraculous cure of a Paralytic. Noires. J BOGDANI, James, known as a fruit and flower painter in England in the time of Queen Anne, was a Hungarian by birth. After a long residence in London, he died in Great Queen Street in 1720. Some of his pictures are in the Royal Collection (Walpole). BOGLE, John, exhibited miniature portraits in London from 1769 to 1792. In early life he lived in Glasgow and Edinburgh ; afterwards he came to London, where it is said he died in poverty. BOGUET, Nicolas Didier, a French landscape painter, was born at Chantilly in 1755, and passed the whole of his life in Rome, where he died in 1839. There are examples of his work in the Galleries of Versailles, Aix, and Montpellier. BOHER, FBANgois, a French painter, sculptor, and architect, who was likewise a poet, was born at Villefranche in 1769, and became director of the school of design and architecture at Perpignan. He died in his native town in 1825. BOIDELSIN, — , (or Boidessin,) was a French painter who flourished at Metz at the end of the 17th century. There is a ' Nativity ' by him in the convent of the Visitation of St. Mary at Metz ; and he also painted a ' Vierge au Mont Carmel,' which is well designed and drawn. 154 BOILLY, Alphonse, a French engraver, was the son of Louis Leopold Boilly, the portrait painter. He was born in Paris in 1801, and was a pupil of Pierre Alexandre Tardieu and of Forster. He died at Le Petit Montrouge in 1867. Among his best works are : The "Woman taken in Adultery ; after TSUan. The Miracle of the Loaves ; after Muril/o. George Washington, whole length ; after Gilbert Stuart. Marie Thi5r^se Antoinette, Infanta of' Spain, Dauphiness of France ; after Tocque. BOILLY, Julien Leopold, a painter, engraver, and litliographer, who was born in Paris in 1796, was the son and pupil of Louis L6opold Boilly. He also studied under Gros. In 1826 he made a journey to Italy, and on his return published a series of studies of the costumes of the country. He also executed portraits in pastel and in chalk. A portrait of his father, by him, is in the Lille Museum. He died in Paris in 1874. BOILLY, Louis Leopold, was born at La Bassee, near Lille, in 1761. His only master was his father, Arnould Boilly, a wood-carver. He under- took to paint when in his twelfth year a picture of ' St. Roch curing the Plague,' for a chapel of that saint. In the following year he executed for the brothers of St. Roch a burial scene containing por- traits. These are still to be seen at La Bassee. In his fourteenth year he went to an Augustine priory at Douai, where he painted several portraits and genre pictures. At Arras he painted more than 300 small portraits in two years. About 1786 he settled in Paris, executing a vast number of works. In 1799 he gained a prize of 2000 frs., and in 1833, by the desire of the Academy, was invested with the Legion of Honour. He is said to have painted in all over 5000 portraits, besides other works. An ' Arrival of a Diligence ' by him, signed and dated 1803, is in the Louvre. In the Lille Museum are a series of twenty-seven portrait studies for his ' Interior of the atelier of Isabey,' and a sketch for the entire work. Many of his works have been engraved by Tresca, Cazenove, Petit, Chaponnier, and others, whilst he is stated to have produced about a hundred prints himself. He exhibited many times from 1793 to 1824, and died in Paris in 1845. BOILVIN, Emile, French engraver ; born at Metz ; at first devoted his talent to painting. A pupil of Pils ; exhibited several clever genre pictures, and it was not till 1868 that his first efforts in the field of engraving were made. Hia plates were notable for their spontaneity and freshness, and, while a faithful translator of a great artist's work, he yet contrived to infuse into each masterpiece that he engraved something of his own poetic personality. French painters owe much to Boilvin, from Courbet and Meissonnier to Dagnan, whose 'Cene' he was at work upon when his death occuiTed. Of the famous pictures which he eugraved in masterly fashion we have Franz Hals' 'Femme au Gant'; Van der Heist's ' Paul Potter et sa Famille ' ; Rubens' ' La Vierge aux Innocents ' ; Boucher's ' Le Triomphe de Galat^e ' ; Lancret's ' La Femme aux Parasol,' &c. He obtained a medal of the Third Class in 1877, of the Second Class in 1879, a Grand Prix at the Universal Exhibition of 1889. He was in that year created Chevalier of the Legion of Honour. His death occurred in Paris in the August of 1899. BOIS, Dr. See Do Bois and Dnsois. PAINTERS AND ENGRAVERS. BOISFREMONT, Charles de, one of the pages of Louis XVI., went to America during the Revolu- tion, and there taught hinaself painting. On his return he commenced exhibiting his works, in which he seems to have adopted Prud'hon as his model. Art is indebted to him for the restoration of the pictures at Versailles when they were in a very bad state of decay. The date of his birth is uncer- tain. He died in 1838. He exhibited amongst others the following : The Death of Abel. 1803. Hector upbraiding Paris (gold medal and 500 francs). 1806. The Descent of Orpheus into Hell ((/old medal and 1000 francs). 1808. The Clemency of Napoleon towards the Princess of Hatzfeld (purchased by the Governments and executed in tapestry at the Gobelins for the cabinet of Napoleor at the Tuileries). 1808. The Education of Jupiter on Mount Ida (forming the ceiling of the pavilion of Marsan). 1812. The Good Samaritan (in the Romn Museum). 1822. The Death of Cleopatra (also in the Rouen Museum). 1824. The Chastity of Joseph. 1826. Le DiSshabill^. Same year. BOISSARD, Michel J., was a French engraver of the seventeenth century. 'A Holy Family,' of the year 1650, is his only known engraving. BOISSARD, Robert, an engraver, was born at Valence about 1570. He worked in the manner of Theodoor de Bry. Housed the same mark as Ken^ Boivin, but their works should not be confounded. In France and England we have by him : Portrait of Robert, Earl of Essex ; after Bromley Portrait of Henry IV. of France. Nymphs bathing ; in the manner of Aldegrever. Judgment of Paris ; in the manner of Lucas van Leyden. BOISSELIER, Antoine F^llx, a French his- torical and landscape painter, was born in Paris, in 1790. He was a pupil of Berlin, and exhibited, in 1819, ' The Death of the Athlete Polydamas ; ' in 1822, ' The Death of Bayard ' (now at Fontaine- bleau) ; and in 1824 obtained the first gold medal. He died in 1857. BOISSELIER, Fi5lix, 'the elder,' a French his- torical painter, was born at Damphal (Haute- Mame) in 1776, and in early life was employed as draughtsman in a manufactory of decorative papers. At the time of the Revolution he was thrown into prison, and after regaining his liberty entered the studio of Regnault. In 1805, and again in 1806, he obtained the grand prize in painting, and to- wards the end of the latter year went to Rome, where he died in 1811. His ' Death of Adonis,' exhibited in 1812, is now in the Louvre. BOISSEREE, Melchior, an artist and antiquary, was bom at Cologne in 1786. He undertook, in conjunction with his brother, Sulpice Boisseree, and J. B. Bertram, the formation of a collection of pictures by ancient German masters, to which the three devoted twenty years' labour and the bulk of their fortunes. These pictures, with some few exceptions which are in the chapel of St. Maurice at Nuremberg, were purchased by the King of Bavaria, in 1827, for 120,000 thalers (£18,000), and are now in the Pinakothek at Munich. Boisseree executed and published in 1834 a series of large litho- graphs of these pictures in thirty-eight numbers. He was also the discoverer of a new and simple method of painting upon glass by means of the brush alone, and employed it for the reproduction of the best works in the ancient collection formed by him, as well as of some chefs-d'osuvre of the Italian school which are now at Bonn. His death took place at that town in 1851. BOISSEVIN, L., was a printseller, and is sup- posed to have engraved the following plates : Charles I. Oliver Cromwell. Cardinal Barberini ; dated 1623. BOISSIER, Andr6 Claude, a French painter of religious subjects, was born at Nantes in 1760. He studied under Brenet, and settled at ChSteau-Gon- tier. Among his best works are an ' Assumption ' and an ' Apotheosis of St. Vincent de Paul,' both of which are at Pekin ; a ' Temptation of Christ,' and an ' Adoration of the Shepherds.' He died at ChSteau-Gontier about 1840. BOISSIERE. See De la Boissiere. BOISSIEU, Jean Jacques de, a French painter, more celebrated as an engraver, was born at Lyons in 1736. He studied first in his native city, but afterwards went to Paris, where he numbered Joseph Vernet and Greuze among his friends, and then to Italy. He subsequently returned to Lyons. Declining health compelled him to give up painting in oil in favour of drawing and engraving, and he preferred to live in retirement near Lyons to shining in his profession in Paris. He died at Lyons in 1810. He painted some pictures of simi- lar subjects to those by Ostade, — the Dutch School was ever his favourite, — and also some portraits. Two Landscapes with figures and buildings by him are in the Berlin Gallery — one is dated 1773 ; and a Landscape with figures is in the Louvre. Boissieu is, however, principally known by the charming etchings he has left us of landscapes and other subjects, both from his own designs and those of other masters. The number of his plates, which are generally marked D. B., with the date, is 140. The following are his best prints : A mountainous Landscape, with Waterfall ; after Asselyn. A Landscape, with Shepherds, by the water-side ; after Bercheni. The Quack Doctor ; after K. du Jardiii. An Old Man, with a Boy reading; in the manner of Rembrandt. A Cooper working in a Cellar ; the same. A Landscape, with a Boy driving an Ox; after Ruisdael. A Landscape, with figures in a Boat, and a Mill ; after the same. The Great Mill ; after the same. The Mower's Rest ; after Adriaan ran de Velde. An Italian Landscape, with Women washing. A Forest, with a Cottage, and a Man on Horseback, with Peasants. Another Forest scene ; the companion. A Landscape, with figures and animals, in the middle a Hill, on which is a Cross, and an old Man kneeling. A View near Tivoli, with a Man and a Woman mounted on a Mule, driving Cattle through a Rivulet. A Landscape, with a Hermit, at the entrance of a Cavern. 1797. A Landscape, with large figures, and two Cows standing in the Water. The two last mentioned, with the first and 'The Great Mill,' are his best plates. See ' Catalogue raisonne de son (Euvre.' Lyons. 1878. 8vo. BOIT, Charles, the son of a Frenchman, was bom at Stockholm about 1663, and began life as a jeweller. He went to England and established himself as a drawing-master, but afterwards took to painting in enamel, an art in which he excelled so much that he was commissioned to paint for Queen Anne a plate twenty-four inches by eighteen in commemoration of the victories of the Duke of Marlborough and Prince Eugene, which, however, 155 A BIOGRAPHICAL DICTIONARY OF was never finished. At the death of the qneen. in 1714, he fell into difficulties, and fled to France, where he was much patronized by the court. He became a member of the Academy in 1717, and died in Paris in 1727. Horace Walpole gives a long account of him, and mentions many enamel portraits and copies of celebrated paintings exe- cuted by him. BOITARD, Lonis Pierre, who was bom in France, was a pupil of La Farge. He went to Eng- land with his father in the reign of George I., and became celebrated as an engraver of book plates. He married an English lady, and died in London in 1758. His most important work was a repre- sentation of the Ranelagh Rotunda, after Paolo Pannini. Other good plates of his are those he executed for Spence's ' Polymetis.' He also en- graved some portraits, among which is that of Brown, the soldier who distinguished himself at the battle of Dettingen, and one of Elizabeth Canning. BOIVIN, Ren-6, (or BoTviN,) a French draughts- man and line-engraver, was born at Angers about the year 1530. and died, as is believed, at Rome in 1598. He engraved several plates in the style of Cornells Cort, and we have also some etchings by him. Some of his plates are from his own designs, and some from those of Rosso del Rosso, called by the French Maitre Roux. He sometimes signed his works with his baptismal name, Renatus, and sometimes mth a cipher composed of an R and B, thuSj^j^ Tljg following are his principal plates: Twelve Portraits of Philosophers and ancient Poets. Two Portraits of Clement Marot. Portrait of John Sebastian Psanserus. Portrait of George Vicelius, Theologian. Susannah and the Elders. The departure of Hagar and Ishmael from the House of Abraham ; a spirited etching. Banditti robbing the Cart of a Peasant ; etching. The Plates for a work entitled " Ljvre de la Conqueste de la Toison d'or, par le Prince Jason de Tessalie." The Triumph of Virtue and the Defeat of Vice ; after Hosso del Mosso. Francis I. advancing towards the Temple of Immor- tality, leaving behind him Ignorance and the Vices ; after the same. BOIZOT, Marie Louise Adelaide, a French line- engraver, was bom in Paris in 1744. She was the daughter of Antoine Boizot, a painter, and sister of Louis Simon Boizot, a sculptor, and was in- structed in art by her father and by J, J. Flipart. She engraved with great neatness several portraits and other subjects, and died about the year 1800. The following are among her works : Jean Joseph Guillaume Brute, Doctor of Sorbonne ; 31. L. A. Boizot del. et fee. Joseph II., Emperor of Germany ; after L, S. Boizot. Louis XVI., King of France ; after the same. Marie Antoinette, Queen of France ; after the same. Louis Stanislas Xavier, Count of Provence, afterwards Louis XVIII. ; after the same. Marie Josephine Louise, Countess of Provence ; after the same. Charles Philippe, Count of Artois, afterwards Charles X. ; after the same. Marie T"hcrese, Countess of Artois ; after the same. Madame Elizabeth, sister of Louis XVI. ; after the same. St. Catharine ; after L. Carracei. The Dutch Breakfast ; after G. Metsii. A Boy with a Birdcage ;" after Ketscher. A young Turk ; after the same. La Liseuse ; after Greitze. BO JAN, J. L., was a French engraver, who flourished about the year 1670. He was chiefly employed by Jean Berain in engraving some of 156 the plates for his large work of the Omamenta in the Louvre and the Tuileries. BOKLUND, JoHAM Kristoffer, who was bom in 1817 at Kulla-Gunnarstorp, Sweden, f.tudied imder Korner in Lund, and then in Copenhagen, Stock- holm. Munich, and lastly under Couture in Paris. In 1856 he returned to Stockholm, where he became a member of the Academy of which he was after- wards Director, and held various important posts, including the Curatorship of the National Museum. He painted scenes from the Thirty Years' War, historic pictures, genre subjects, and portraits. Many celebrated persons sat to him. He died at Stockholm in 1880. BOKSHOORN, Joseph, a Dutch portrait painter, was bom at the Hague, and came to London in 1670, where he died at the age of thirty-four. He was a scholar of Sir Peter Leiy, whose works he copied in g^eat perfection. He also copied por- traits by Van Dyck, particularly that of the Earl of Strafford, which was in the possession of the Earl of Rockingham. Vertue mentions portraits by him of Mr. Davenant (son of Sir William) and his wife. BOL, CoRNELis, was a native of Holland, and flourished about the year 1660. He visited England before the fire of London, as he painted views of that conflagration. He also painted representations of Sutton Place in Surrey, Arundel House, Somerset House, and the Tower. He etched some plates representing the seaports of Holland, among which is that of the Briel. BOL, Ferdinand, was bom at Dordrecht in 1611. Of his life we know but little. He went when a child with his parents to Amsterdam, his future home ; studied under Rembrandt ; was made a citizen ; married, in 1653, Elisabeth Dell ; and died there in 1681. His masterpiece, the ' Four Regents of the Leprosy Hospital,' — which formerly hung in that institution at Amsterdam, and is now in the Townhall, — at a certain exhibition held for chari- table purposes is said to have received more notion and praise than any of the works of his master, Rembrandt, Yet Bol was a most uncertain painter ; and although, while under tlie influence of Rem- brandt, he produced works that may have passed as being the work of the master himself, he latterly degenerated into a bad imitator of Rembrandt, and appears even to have exaggerated the faults of his manner and style without retaining the power of giving the superb effects of light and shade which, while in that master's studio, he certainly once pos- sessed. This change is apparent in those paintings of Bol that bear a later date than 1660, when he had probably left Rembrandt. The following are his principal paintings : Amsterdam. Museum. Portrait of Ferdinand Bol. „ „ Portrait of Arthur Quellinus, Sculptor; Bol. 1663. „ „ Portrait of Admiral Michiel Adri- ansz de Ruvter ; F. BOL fecit. 1677. Amsterdam. „ A Mother with her two Children ; F. BOL FEcrr. „ ,, The Instruction ; F. BOL. 1663. „ " Portrait of Admiral de Ruyter. „ Town Hall. Foni Kegents of the Leprosy Hos- pital {his 7iiaslerpiece). Berlin. Jfuseum. Portrait of an Old Lady; F. bol FECIT. 1642. Brussjls. Gallery. Portrait of a Man ; F. bol f. 1660. The F and the B interlaced as given above. (^Formerly called a Rembrandt.) h0^ PAINTERS AND ENGRAVERS. Brussels. Gallery. Cambridge. Fitzml- \ Ham Mus, j Dresden. Gallery. Frankfort. Stddel. Hague. Gallery. Liverpool. Institvie. London. Nat. Gallery. „ No)'tWiro6k \ Coll. J Leyden. Tovm Sail. Munich. Pindkothek. Paris. Louvre. )» »» »» " , Petersburg. Hermitage. Rotterdam. Museum. Portrait of a Woman; F. BOL F. | 1660. (Formerly called a Rem- . brandt.) Portrait of Saskia van Ulenburgh, wife of Rembrandt van Ryu. A Portrait. Rest on the Flight into Egypt ; F. BOL FECIT. 1644. Jacob's Vision ; f, bol fecit. Joseph presenting Jacob to Pha- raoh. Portrait of Ferdinand Bol. Portrait of a Young Man holding his Hat and Gloves in his Hand ; F. BOL. 1644. Portrait of a Man with Curly Hair ; F. BOL. 1659. Portrait of Van Juchen. Portrait of Engel de Ruijter ; F. BOL. 1669. The Angel appearing to Hagar. Portrait of an Astronomer ; F BOL FECIT. 1652. Portraits of a Bride and Bride- groom. A Scene from Guariui's ' Pastor Fido.' Allegory of Peace (jiaiiited in 1664). Abraham, about to offer up Isaac- stopped by an Angel. Portrait of a Man clothed in Blacli A Philosopher in Meditation. Portrait of a Mathematician. Portrait of a Man ; F. bol. 1659 Portrait of a Countess of Nassau- Siegen (probably Ernestina, wifi of John the youmjer). Portraits of Persons, unknown — as Theseus and Ariadne. The Savant, writing. Portrait of a Man. Portrait of a Lady, in black, seated, holding her gloves. Portrait of a Young Man, his right hand on a table. Portrait of a Young Lady, stand- ing before an old Man, who i-- seated (miscalled ' Esther ami Afiasuerus^). The Philosopher (signed). Portrait of a Young Man (xcith a fori/ed signature of Rembrandt). 1641. Portrait of an Old Woman ; F. BOL. 1651 ; OUT 81 JAEB. Portrait of Dirk van der Waeijen ; F. BOL. 1656. Portrait of a Lady ; F. bol i^ecit. 1652. Bel's etchings are highly esteemed ; they are executed in a bold and free manner, and his lights and shadows are very judiciously managed. Al- though they are not equal in lightness of touch and tasteful style to the etchings of Rembrandt, they possess great merit. The following is a list of nearly the whole of his prints : PORTRAITS AND HEADS. A young Man, with a round Hat ; marked Bol fee. An Officer with his hands on the Hilt of his Sword ; Bolfec. 1643. A young Man, with a Cap and Feathers ; F. Bol. 1642. A young Woman, half length, with a Cap and Feathers ; marked F. Bol f. 1644 ; fine, oval. The Woman with the Pear, at a Window ; in the manner of Rembrandt ; very fine. An old Man sitting in a Chair, with some Books and an unhghted Candle ; marked £o/; scarce. An old Man, half length, with a Bonnet, leaning on a Cane ; in the manner of Rembrandt ; F. Bolfec. 1642. Bust of an old Man, seen in front, with a fur Robe, fastened with Diamonds ; no name ; very scarce. VARIODS SUBJECTS. A Philosopher in Meditation, resting on a Table, on which are some Books and a Globe ; very fine. Another Philosopher, holding a Book ; F. Bol. 1642. The Astrologer, an old Man sitting at a Table, with Books and a Globe; he wears a flat Hat, and his Hands are crossed. The Family — A Woman suckling a new-bom Lifant, with a Man holding Linen ; F. Bol. 1649. Abraham's Sacrifice ; an arched plate ; F. Bol f. Hagar in the Desert, with the infant Ishmael ; F. Bolf. A very scarce print, mentioned by Heineken. The Sacrifice of Gideon. St. Jerome in a Cavern, contemplating a Crucifix ; F Bolf BOL, Hans, or Jan, a Flemish painter and en- graver, was born at Mechlin in 1534. After study- ing two years under an obscure painter, he travelled through Germany, and passed some time at Heidel- berg, where he was employed by the Elector of the Palatine for two years. After visiting his native city he went, in 1672, to Antwerp, where he stayed till 1584. He then visited Bergen, Dor- drecht, and Delft, but he subsequently settled at Amsterdam, where he died in 1593. His works, which were greatly esteemed, included several copies from the most eminent masters. Van Mander speaks highly of two pictures by this master, representing ' Dsdalus and Icarus,' and ' The Crucifixion.' He is, however, more known as a painter of landscapes and views in the neighbour- hood of Amsterdam. A Landscape by him is in the Berlin Gallery. He also painted portraits and fruit and flower "pieces. In later life he devoted himself entirely to miniature painting, in which he was very successful. The cabinet of miniatures at Munich possesses good examples of his art. He etched several plates from his own designs in a slight spirited style, which he sometimes marked H. B., and sometimes H. Bol, the H and B joined together. We have the following prints by him : The Reconciliation of Jacob and Esau ; circular. The first interview between tho Servant of Abraham and Rebekah. Twelve circiilar plates of tho Twelve Months of the Year; Ad. Collaert excud. A set of twelve Landscapes ; H. Bol inv. Joh. Sadeler txc. A set of twelve Landscapes ; M. Cock exc. E. Bol. A large Landscape, with a Man in a Boat catching a Goose, with several figures. BOLDRINI, Leonardo, lived in the 16th century, and is the author of an altar-piece, whose panels are now hanging apart in the church of San Gallo, near Zogno. No further information of him is known. BOLDRINI, Niccol6, frequently confused with Niccol6 Vicentino, was an engraver on wood, born at Vicenza in the early part of the Ifith century, and who was still living in 1566. His prints are chiefly after Titian, and it is thought that he studied under that master ; they are executed in a bold free style. His works are scarce. He marked his prints with the cipher »> !< <,» • ^^ have the following by him : John, Baron de Schwarzenburg ; with a border; after Albrecht Uilrer. The Wise Men's Offering ; after Titian, with his cipher. 167 A BIOGRAPHICAL DICTIONARY OF St. Jerome praying ; in a landscape ; after the tame. St. Catharine. St Sebastian, and four other Saints ; after the same. A moontainoos I.andscape, with a Woman milkmg a Cow. Venus seated on a Bank, holding Cupid, a Sqmrrel on the Branch of a Tree ; marked Titianus inv. Nicolata Boldrinus Vicentiiius inddebat. 1566. BOLLMAN, HiEROXTMCS. By this artist, who was probably a native of Germany, we have some prints after Raphael and other eminent painters of the Italian schooL They are executed in a bold, free, and efEective style, and possess considerable merit. BOLLONGIE. Haxs or Jan Bolongiee. flourished in Holland in the middle of the seventeenth cen- tury. He entered the Painters' Guild at Haarlem in 1623, and is again mentioned in the records in 1642. Neither his birth nor his death is recorded. In the Rotterdam Museum is a ' Scene of a Carni- val,' signed H. Bollongie, 1628. A flower-piece, marked I. B. 1625, in the Dresden Gallery is attri- buted to him. HoBATius Bolongier of Haarlem was also a painter; he died in 1681. BOLOGNA, An'Prea da, was a follower of Vitale. A painting by him, representing ' The Virgin and Child,' signed De Bononia natus, Andreas fatus A.D. McccLxsiL.is in the church Del Sacramento at Pansola, near Macerata. Another example of this painter is in a convent at Fermo, but Bologna does not possess any work by him. BOLOGNA, Cbistoforo da, has been claimed as belonging to Bologna. Modena, and Ferrara. As his works are found in the last-named city, it is presumed that he lived there. He painted toward the close of the 14th and the beginning of the 15th century. Among his works at Ferrara, an ' En- tombment,' signed Xpofobus fecit, in the Costabili Collection, is worthy of note. BOLOGNA, Lattanzio da, was, according to Baglione, a native of Bologna, and a scholar of the Carracci, On leaving that celebrated academy he went to Rome, and was emploj-ed by Sixtus V. in painting the ceiling of one of the saloons in the Lateran. He also painted the ceiling in the chapel of Sixtus V. in the church of Santa Maria Mag- giore, representing a choir of angels. In Santa Maria de' Monti is a fine picture by him of the ' Flagellation.' This painter promised to arrive at a high rank in the art, but being naturally of a weak constitution, which was probably impaired bv constant application, he died, much regretted, at the age of 27. BOLOGNA, Lorenzo da. See Sabbatini. BOLOGNA, Niccol6 da, is the author of a mis- sal, with the date 1.374. in the Munich Gallery, and of miniatures in a Commentary on the New 'Testa- ment, in the library of the Vatican, at Rome. BOLOGNA, Pellegrini da. See Pellegrinl BOLOGNA, Simone da, who painted from 1370 to 1377 at Bologna, is thought to have been a pupil of Franco Bolognese. He is also called 'Simone de' Crocifissi.' in contradistinction to Vitale, who never treated that subject, whilst Simone painted little else. His figures are somewhat masculine and coarse. His chief works are in Bologna : S. Giacomo J ^^^ J Crucifixion (Simon PBcrr hoc Maggiore. J q.^^^^ ( oprs a.d. jicccixx.). S. Stefano. Fourth church. Crucifixion (sifjtifd). n Seventh church. St. Ursula and her companions. „ Academy. {CoKT^^tiou of the Virgin ' ( (Sqion fecit). 158 Other paintings by him are in Modena, Ferrara, and elsewhere. BOLOGNA, ToMMASO Vincitobe da. See Vin- CITORE. BOLOGNA. Vitale da. See Cavalli. BOLOGNESE, Franco, a miniature painter of the 14th century, is said to have received instruc- tion from Oderigi of Gubbio. In conjunction with that master and Giotto he was employed by Pope Boniface VIII. to illustrate several books, now in the library of the Vatican. Though inferior to Giotto, Dante gives him a higher rank in the 'Purgatorio' (xi. 83). Franco Bolognese was the founder of a school of painters at Bologna, and instructed, amongst others, Vitale, Lorenzo, Si- mone Jacopo, and Cristoforo da Bologna. BOI-OGNESE, II. See Grimaldi, Giov. Fb., alsc Monti. BOLOGNINI. Carlo, who is mentioned in the ' Abecedario Pittorico ' of Padre Orlandi, was bom at Bologna in 1678 (Zani says 1662), and was first a scholar of Mauro Aldrovandini. lie afterwards studied under Giulio Trogli. He excelled in paint- ing architectural views and perspective, and was much employed at Vienna, where he resided some years. He died in 1704. BOLOGNINI, Giacomo, the nephew of Giovanni Battista Bolognini, was bom at Bologna in 1664. He received his instruction in the art from his uncle, and became a reputable painter of history. There are some of his pictures in the churches at Bologna. In that of SS. Sebastiano e Rocco there is a picture of ' St. Francis receiving the Stigmata : ' and in that of the Purita, ' The dead Christ, with the Virgin Mary and Mary Magdalen.' He died in 1734. BOLOGNINI, Giovanni Battista. a Bolognese painter and engraver, was born at Bologna in 1611, and died at the same place in 1688. He was one of the ablest scholars of Guido Reni. There are several of his pictures in the churches at Bologna. In Santa Maria Nuova is a picture by this master, representing ' The Virgin Mary and Infant Jesus, with St. Dominic, St. Eustatius. and Mary Mag- dalene.' In the church of the Servi, ' The dead Christ, with the Virgin Mary, St. John, and others;' in Santa Lucia, ' The Immaculate Conception,' and in the PLnacoteca of that town is a ' Magdalen ' by him. This artist etched some plates after the works of Guido, in a slight spirited manner ; among them are the following : The Murder of the Innocents ; after Guido. St. Peter made Head of the Church ; after the tame. Bacchus and Ariadne ; in three sheets ; after the same. The Crucifixion : after the picture in the church of the Capuchins at Bologna. BOLONGIER. See Bollongie. BOLSWERT, Boetius Adam a, an eminent en- graver, was bom at Bolswert, a town in Friesland, about 1580. It is not said by whom he was in- structed in the art of engraving ; but, in company with his younger brother Scheltius, he settled at Antwerp as a printseller and engraver. He died in that city about the end of the year 1633. He worked entirely with the graver, and seems to have adopted the free open manner of Cornells Bloemaert. The plates that he engraved after Rubens are, however, in a more finished style, and fuller of colour. He sometimes signed his plates dams «2»olsvert.& sometimes 34jy ^olsuerd. His principal plates are the following: PAINTERS AND ENGRAVERS. PORTRAITS AND SUBJECTS FROM HIS OWN DESIGNS. F. Adam Sasbout; inscribed Omnia vanitas. John Bergman, Jesuit, kneeling before an Altar, point- ing to a Skull. St. Aloysius Gonzaga kneeling before a Crucifix. William Louis, Count of Nassau. William of Nassau lying in State. 1618. Seventy-seven plates for the ' Life of Christ ; ' published at Antwerp 1622 and 1623 ; Het Leven, &c. The plates for a book entitled ' The Pilgrimage ; ' pub- lished at Antwerp in 1627. VARIOUS SUBJECTS AFTER DIFFERENT MASTERS. The Adoration of the Shepherds; after Abr. Bloemaert. 1618. The Repose in Egypt ; after the same. Twenty-four of the Hermits of the Deserts ; Silva Ana- ghoretica ; published at Antwerp in 1619 ; after the same. Twenty-six of the Ifermitesses ; after the same. Four of landscapes and figures ; after the same. 1613. Set of twenty landscapes; numbered; after the same. 1616. Fourteen of animals; after the same; B. a Bolswert fee. 1611. Jesiis Christ, with Mary and Martha; after J. Goiemar ; B. & Bolswert sc. ; scarce. The Judgment of Solomon ; after Rubens. The Resurrection of Lazarus; after the same; very fine. The Last Supper; after the same; P. P. Rubens pinx. Boet. & Bohicert sc. ; very fine. Men contending against Animals ; after D. Vincken- booms ; B. d Bolswert sc. ; scarce. A Landscape, with Adam and Eve in Paradise ; after the same; B. li Bolswert sc; scarce. BOLSWERT, ScHELTiDS i, a very distinguished engraver, was the younger brother of Boetius Adam a Bolswert, and was born at the town of Bolswert, in Eriesland, in 1586. He settled with his brother at Antwerp, where he became one of the most cele- brated engravers of his country. He died there in 1659. The plates of this excellent artist are worked entirely with the graver, and it does not appear that he made any use of the point. He engraved many plates after the most eminent of the Flemish masters, but he has particularly dis- tinguished himself by the admirable performances he has left us, after some of the finest pictures of Rubens and Van Dyck, which he represented with a judgment and ability that give them more effect than can well be expected in a print, and appear to exhibit the very character and colour of the paintings. It was not unusual for Rubens to retouch his proofs, in the progress of the plates, with chalk or with the pencil, which corrections, attended to by the engraver, contributed not a little to the characteristic expression we find in his prints ; proofs of this description are to be met with in the portfolios of the curious. He engraved with equal success historical subjects, huntings, land- scapes, and portraits ; and the number of his prints is very considerable. His plates are gener- ally signed with his name, or thus, 1^0^ l^oL ols. The following are his principal prints, of which we have given rather a detailed list : VARIOUS SUBJECTS, MOSTLY AFTER HIS OWN DESIGNS. The Infant Jesus and St. John playing with a Lamb. The Virgin Mary, and Infant Jesus sleeping. The Virgin giving suck to the Infant. The Virgin Mary, with her hands folded on her Breast. The Virgin Mary with the Infant in the clouds, with Angels and Cherubim. The Infant Jesus caressing the Virgin Mary, and St. Joseph holding a Pear. Twelve half-length figures of Saints. Twelve other halt-length figures of Saints, beginning with St. Peter. A Hermit kneeling before a Crucifix. Mater Dolorosa. Jesus Christ triumphing over Death. St. Barbe, Martyr. St. Stanislaus Koska, kneeling before an Altar. St. Francis Borgia. St. Alfonso Rodriguez. Robert Bellarmin, of the Society of Jesus. Leonard Lessius ; another Jesuit. An emblemiitical subject of Prince Ferdinand ; inscribed In te spes reclinata recumhit. Two plates of a Thesis ; dedicated to Sigismund, King of Poland. Six plates, with the Frontispiece, for the Academie de I'Espee ; by Thibault. 1628. The Dispute between the Gras and the Meagre; B. A. Bohicert inv. VARIOUS SUBJECTS, AFTER DIFFERENT FLEMISH MASTERS. The Death of a Saint, and that of a Sirmer ; after IHe- penbeeck. The Dead Christ on the Knees of the Virgin Mary ; after the same. The Crucifixion of the Three Jesuits at Japan ; after the same. The Crucifixion; Jac. Jordans inv. et pinx.; the best impressions are before the cum Privileyio Regis. Mercury and Argus ; after the same ; the good impressions are before the address of Blooteliug ; fine. The infant Jupiter ; after the same ; fine. Pan playing on a Flute ; after the same ; fine. A Concert; entitled Soo d'Oude songen, soo pepen de Jongen ; after the same. Pan holding a Basket of Fruit, and Ceres crowned with Com, and a Man sounding a Horn ; after the same ; very scarce. •■ The Salutation ; after Gerard Zegers. The Return of the Holy FamUy out of Egypt ; after the same. The Virgin appearing to St. Ignatius, who is kneeling ; after the same. St. Francis Xavier, tempted by the Devil; after the same. Peter denying Christ ; after the same; very fine. Abraham sacrificing Isaac ; after Theoodor Rombouts. A Concert ; after the same. The Virgin with the Infant Jesns holding a Globe ; after Erasmus Quellinus. The Communion of St. Rosa ; after the same. The Triumph of the Archduke Leopold William, Governor of the Netherlands, 1653 ; four sheets ; after the same. PORTRAITS, ETC., AFTER VAN DYCK. Andries van Ertvelt, painter of Antwerp. Martin Pepin, painter. Adriaan Brouwer, painter. Jean Baptiste Barbe, engraver. Justus Lipsius, historiographer. Albert, Prince of Aremberg. Mary Ruthven, wife of Van Dyck. Margaret of Lorraine, Duchess of Orleans. Willem de Vos, painter. Sebastiaan Vranck, painter. Maria mater Dei. The Holy Family, with an Angel holding a Crown. The Virgin and the Infant Christ on her Knee, with a Female Saint holding a Palm. The Holy Family, with the Infant sleeping in the Arms of the Virgin. The Holy Family in a landscape, with several Angels. Christ crowned with Thorns ; very fine. The Elevation of the Cross. The Crucifixion, a grand composition, with two Men on horseback, and a figure presenting the Sponge to Christ. On the other side, the Virgin Mary and St. John standing, and Mary Magdalene kneeling and embracing the Cross. This is considered one of the most beautiful engravings by Bolswert. In the first 159 A BIOGRAPHICAL DICTIONARY OF impressions, which are very scarce, the hand of St. John is not seen on the shoulder of the Virgin : in the second impressions, the hand of St. John rests on the Virgin's shoulder, and the name of Van Dyck is changed from the left to the right hand comer of the plate. In the last impressions the hand was erased, probably to give tnem the appearance of first impressions, but the trick is easily discovered by the superiority of the first in point of clearness and colour. SUBJECTS AFTER KTJBENS. The Brazen Serpent; the best impressions are those which have the word ^ntlcerpit^ at the right hand comer, without the name of G. Hendrix. The Marriage of the Virgin ; the best impressions have the name of Hendrix^ without the word Atittcerpia: The Annunciation ; the best impressions are those with the address of Jif. van d^n Enden. The Nativity ; the best impressions have the same ad- dress. The Adoration of the Magi : the tame. The Return of the Holy Family from Egypt ; the same. The Feast of Herod, with Herodias presenting the Head of St. John to her Mother. The Executioner giving the Head of St. John to He- rodias. The miraculous Draught of Fishes ; in three plates. Christ crucified between the Thieves ; G-. Hendrix exc. The Crucifixion, a Soldier on horseback piercing the side of our Saviour ; dated 1631 : extremely fine. The Crucifixion, with the city of Jerusalem in the dis- tance ; M. van den Enden exc. The Dead Christ in the Lap of the Virgin Mary, with St. Francis ; the same subject is engraved by Pontius. The Resurrection ; Jf. van den Enaejt excudit. The Ascension ; the same. The Four Evangelists. The Fathers of the Church ; Sic. Lauwers exc. The Destruction of Idolatry ; in two sheets ; the tame. The Triumph of the Church ; in two sheets ; the same. The Immaculate Conception : Ant. Bon. Enfant exc. The Assumption ; arched ; M. ran den Enden exc. The Assumption, with one of the Disciples lifting the Stone of the Sepulchre ; il. van den Enden ; the im- pressions with the address of G. Hendrix are posterior, and those with the name of C van Merlcn are re- touched. The Infant Jesus embracing the Virgin Mary ; 31, ran den Enden exc. The Virgin Mary holding a Globe, and the Infant Jesus holding a Sceptre. The Holy Family, with the Infant Jesus and St. John caressing a Lamb. The Holy Family, with a Parrot on a Pillar ; A. JBonen- fant exc. St. Ignatius and St. Francis Xavier ; the first impres- sions are before the name of Eubens. The Education of the Virgin by St. Anne ; the best im- pressions are without the name of Hendrix. St. Cecilia ; very fine. St. Theresa at the Feet of Christ, interceding for the Souls in Purgatory ; J/, van den Ejiden exc. The Continence of Scipio ; the best impressions are be- fore the address of G. Hendrix. Sileuus, drunk, supported by a Satyr, with another figure ; the best impressions are those with the name of Bolsteert only, without the address. LANDSCAPES AND HDXTIXGS. A grand Landscape, deluged by a Torrent ; in a moun- tainous part of it the subject of Baucis and Philemon. A large Landscape, with a view of the Sea-coast and a Shipwreck. A grand woody Landscape, with the Chase of Meleager and Atalanta. A view near Mechlin, with Haymakers and a "Waggon, and figures driving Cattle. A view of a Stable with Horses and Cows, and the sub- ject of the Prodigal Son, — These five landscapes are highly esteemed and finely executed. A set of twenty smaller Landscapes. A set of twelve Himtings of different animals, of which one is a Lion Hunt, with figures on horseback ; very spirited and fine. 160 BOLT, JoHANN Fbiedrich, an engraver who worked principally in stipple, was born at Berlin in 1769, and died there in 1836. He was a pupil of D. Berger. His best works are after Cranach, Ramberg. and Dahling. BOLTON, James, a pupil of B. Clowes, the engraver, was known as a flower painter in water colour in the North of England. He died near Halifax in 1799 (Redgrave). BOLTRAFFIO. See Beltraffio. BOLZETTA. See Cadorin, Matthias. BOM, Pieter, a Flemish artist, who painted landscapes in distemper, was bom at Antwerp in 1530. He was admitted into the Guild of St. Luke in 1560, and became dean of that corporation in 1699. The date of his death is not known. BOMBELLI, Sebastiano, was bom at TJdine in 1635. and was a schohar of Guercino. He after- wards went to Venice, where he studied and copied the works of Paolo Veronese and Tintoretto with so much success that some of his reproductions are scarcely to be distinguished from the originals. He painted historical pieces in the early part of his life, but from the lucrative prospect opened to him in portraits, he was induced to devote himself to that branch of the art, although he had already painted some historical pictures of great promise. He visited most of the courts of Germany, where he painted portraits with success. Boschini says that for portraits he could not be surpassed. He died in 1724. The Belvedere at Vienna possesses a portrait of Francesco de' Medici by him, and his own portrait by himself is in the Uffizi, Florence. BONACINA, Giovanni Battista, an engraver, was bom at Milan about the year 1620. He engraved some plates of portraits and historical subjects in a neat style, though rather dry and stiff. They are executed entirely with the graver, and he seems to have imitated, \vithout, however, equalling, the style of Cornells Bloemaert. We have the following by him : PORTRAITS. Pope Clement K. Guido Visconti. Hermes Visconti. Giovanni Battista Conte Tmchi. SUBJECTS. The Alliance of Jacob and Laban ; after Ptetro da Cor- tona. St. Martin kneeling before the Virgin and Infant Jesos ; after the same. The Holy Family, with St. Catharine and St. John ; after A ndrea del Sarto. BONASIA, Bartolommeo, is the author of a Pieta in the Modena Gallery, signed ' Hoc opus pinxit Bartholomeus de Bonasciis,' and dated 1485. BONASONE, Gujlio, (or Buonasone,) an Italian painter and very distinguished engraver, was bom at Bologna about the year 1498, and worked from 1521 to 1574. He studied painting under Lorenzo Sabbatini, and there are some of his works in the churches at Bologna ; particularly in San Stefano is a fine picture by him of the ' Souls in Purgatorj-.' He is, however, much more cele- brated as an engraver than a painter, and in this branch of art had the advantage of being educated by Mare-Antonio. Bonasone has engraved after the works of Michelangelo, Raphael, Giulio Romano, Parmigiano, and others, and several plates from his own designs. His prints, with a very few exceptions, are entirely worked with the graver, and although his style is neither so clear, firm, nor PAINTERS AND ENGRAVERS. masterly a8 that of his admirable instructor, nor his outline so correct and pure, his works are exe- cuted with great facility and considerable elegance, and they are held in no small degree of estimation by the judicious collector. We admire in his prints an excellent distribution of the lights and shadows, and a breadth in the masses that is very masterly. His plates are generally marked with his name, either at length or contracted, as Julio Bonoso, and sometimes with the initials B., I. B., or /. B. F., and also with the cipher /"\g- His work is considerable ; the following is a list of his plates most worthy of notice : PORTRAITS. The Pope Marcellus II., without the name ; scarce. Philippus Hispaniarum princeps, Caroli V. filius ; Julio S.F. Cardinal Pietro Bembo. ^t. 77 ; after Titian. Raphael d'Urbino, with and without the name. Michelangelo Buonarroti; circular. Francisci Flori Antwerpiani inter Belgos pictoris. Joannes Bernardinus Bonifacius, &c. m.d.xlviii. Cardinal Ardingbello ; after a monument. SUBJECTS OF SACEED HISTORY. Adam and Eve ; after his own design. Adam tilling the Earth and Eve spinning ; the same. The Holy Family ; J. Bonasone, Tnventore. The Nativity ; the same. The Resurrection ; the same. Twenty-nine of the Passion; entitled Passio Domini nri. Jesu Christi ; Julii Bonasonis opus, &c. Thirteen of the Life of the Virgin ; marked with a B., and some of them with a D. Adam and Eve driven from Paradise ; after Amico Aspertino. St. George ; after Giulio Romano ; with the names of the artists. The Holy Family ; after the same. The Nativity, a grand composition ; attributed to Giulio Romano. The last Judgment ; after Michelangelo ; inscribed Julius Bonasonius Bonone proprid Michaelis Angeli, &c. Solomon, David, and Jesse, part of the Sistine Ohapel ; after the same ; Julio Bonasone imitando^ &c. The Creation of Eve ; after the same ; with his name. Judith with her Servant coming out of the Tent of Holofemes ; after the same. The Miracle of the Manna, and Moses striking the Rock, on the same plate ; F. Parmesanino inv. ; Julio Bo- lognese fee. 1546. Another Nativity ; after Parmigiano. St. Joachim and St. Anne, presenting the Virgin Mary to the High Priest ; after the same. The Virgin Mary and Imant Jesus in the Air ; after the same, F. P. I. V. ; J. Bonasonis imitando, &c. St. Peter and St. John healing the Lame ; after Perino del Vaga, St. Paul preaching ; oval ; after the same. Christ seated on the Tomb, supported by two Angels, with the Virgin Mary and St. John ; after Polidoro B. 1532. The Nativity of John the Baptist ; after Pontormo ; Jacobus Florentinus Inventor, Julio B. F. St. Cecilia ; after Raphael. Christ meeting St. Peter ; after the same. St. Peter made Head of the Church ; after the same. Noah coming out of the Ark ; after the same. Joseph sold by his Brethren ; after the same. The Cup found in Benjamin's Sack ; with the names of Raphael and Bonasone. The dead Christ on the Tomb, with the Virgin Mary ; after Raphael, without the name of the engraver. The Entombment of Christ; after Titian, with the names of the painter and engraver. 1563. SUBJECTS OF PROFANE HISTORY. Alexander with Bucephalus and Roxana ; circular ; Julio Bonasone, inventore. M The Triumph of Oupid and Psyche ; Julio Bonasone, inventore Apollo in his Car, with the Hours, and Time walking on Crutches before ; L. V. B. Julio Bonasone, inventore. Scipio wounded, retiring from the Battle ; /. V. Bonoso imitando, &c. Clelia, with one of her companions, on Horseback escap- ing from the Camp of Porsena ; /. V. Bonoso imitando, &c. Twenty — Of the History of Juno, with Italian ver'ses ; after his own designs The Fall of Phaeton ; after Michelangelo. Three Female Figures with Veils ; after the same. The Shipwreck of ^neas ; after Parmigiano. Niobe and her Children ; after Perino del Vaga. 1541. The Roman Charity ; a frieze ; after Polidoro. Mars and Venus ; after Primaticcio. Achilles dragging the Body of Hector ; after the same. The Taking of Troy ; after the same ; two sheets. 1545 Bonasonis F. The Rape of Europa ; after Raphael ; with the names. Venus attended by the Graces ; after the same. The Birth of Adonis ; dated 1586. There are also several plates of free subjects and statues, bassi-rilievi, and architectural subjects, de- scribed in Heinecken's ' Dictionnaire des Artistes.' Cumberland's Catalogue of the prints of Giulio Bonasone is the most accurate that has hitherto been published. BONATO, Pietro, a pupil of Volpato, was born at Bassano in 1765, and died in 1820. He engraved plates after Reni, Correggio, &c. BONATTI, Giovanni, was bom at Ferrara in 1635, and having shown an early inclmation for the art, he was, at the age of fourteen, taken into the protection of Cardinal Carlo Pio, who placed him in the school of Guercino, under whom he studied three years. He afterwards went to Rome, where he became a scholar of Pietro Francesco Mola. He was employed in several works for the public edifices. In the gallery of the Capitol are two pictures by this master, one representing Rinaldo and Armida, the other Sisera and Jael. There are other works by him in the Chiesa Nuova, and Santa Croce in Gerusalemme at Rome, where he died in 1681. In the Uffizi is a 'St. Charles Borromeo ' by him. BONA VERA, Domenico Maria, an Italian en- graver, was born at Bologna about the year 1650. He learned the art of engraving from his uncle Domenico Maria Canuti. His plates are chiefly etched, and finished with the dry point. He en- graved eighteen plates, from the designs of Titian, for a book of anatomy for the use of students. He used a cipher similar to that of Dominique Barriers and of Domenico Bettini, Xj) . We have the following prints by him : The Baptism of our Savioiu- by St. John ; after Albani ; D. Bonavera sc. {one of his best works). St. Anne teaching the Virgin Mary to read ; after Bom. Maria Canuti ; Bom. Bonavera fee. St. Theresa with the Infant Jesus ; after the same. The Martyrdom of St. Christiana ; after the same (one of his best works). St. John preaching ; after Lodov. Carracci ; D. Bonavera. Lot and his Daughters ; after Ann. Carracci; D. Bona- vera. The Cupola at Parma, the Assumption ; after Correggio ; Domenico Bonavera sc. 1697. BONAY, Francisco, a Spanish landscape painter, was born at Valencia in 1655, and died in Portugal in 1730. His landscapes are ornamented with buildings after Perelle, and cattle in the manner of Berchem. His chief work is a landscape in the sacristy of the Carmelites at Valencia. 161 A BIOGBAPHICAL DICTIONARY OF BONCONSIGLIO. See Buonconsiglio. BONCUORE, Giovanni Battista, was bom at Abruzzo in 1643, and studied at Rome under Fran- cesco Albani. He painted historical subjects with considerable success, and his pictures are distin- guished by great force and vigour of effect, though sometimes heavj' in the execution. One of his most esteemed works is an altar-piece in the Chiesa degli Orfanelli, at Rome. He died in 1699. . BOND, John Daniel, a landscape painter of Birmingham, flourished in the latter half of the eighteenth century. He died near Birmingham in 1803, aged 78. BOND, R. Sebastian, landscape painter, was born at Liverpool in 1808. He was educated in his native citv, and practised there for the greater part of his life, settling finally at Bettws-y-Coed. He occasionally exhibited in London between 1846 and 1872, but most of his works appeared at Liverpool and in the midland counties. He died in February 1886. BOND, William, was one of the engravers of the portraits of Sir Joshua Rej-nolds. His talents are well exemplified in the portraits which he executed for Yorke's ' Royal Tribes of Wales,' pub- lished in 1799. It is beUeved that he died early in the nineteenth century. He was Governor of the Society of Engravers, founded in 1803. BONDONE, Giotto di, commonly called Giotto, the founder of the noble line of Italian painters, was the son of a peasant named Bondone, and was born in the little village of CoUe in the commune of Vespignano, not many miles to the north of Florence. Vasari gives 1276 as the date of his birth, but Antonio Pucci in his ' Centiloquio ' speaks of him as being seventy years of age at the time of his death in 1336, which would make the date of his birth 1266. This latter date is accepted, not without reason, by several modern writers, who prefer to trust certain internal evidence regarding tlie master's life and works, rather than the oft-times uncertain testi- mony of Vasari. The pretty story, also, that tells how the famous painter Cimabue first saw the shepherd boy Giotto drawing one of his sheep upon the smooth surface of a rock, is relegated by modem authorities to the realms of fable. It was Ghiberti who first told this pastoral anecdote in his ' Com- mentario,' and it was merely repeated by Vasari ; but an anonymous commentator on the ' Divina Commedia,' who wrote at the end of the fourteenth century, gives a different account. This writer states that Giotto was apprenticed by his father to a dealer in wool, but that on the way to his work he always went into Cimabue's bottega, and finally, being nussed for some time by his master, he was found there painting busily, whereupon, following the advice of Cimabue, his father took him from the wool trade and placed him a.s a pupil with Cimabue. Whatever truth there may be in this or other legends touching Giotto's boyhood, it is fairly probable that he did study, for a time at least, under the guidance of Cimabue, although it is the opinion of some modem critics that much of his earlier training was acquired at Rome and even at Assisi. In the absence, how- ever, of any recognizable work belonging to this more j'outhful period of his career, all set opinions regarding his early artistic education must remain more or less matters of conjecture. Whoever may have been his first masters, he soon began to follow a far greater teacher than any of these, no other, 162 indeed, than Nature herself, who had been so long neglected for Tradition. Traditionary types soon failed to satisfy the daring young innovator. His genius led him at an early stage to look at nature for and by himself, and in so doing he effected a, total change in the spirit of the painting of hia time — a change similar to, although in its after- workings far more complete than that which had been already initiated in the field of sculpture, some years before, by the Pisani. It is more than probable that Giotto himself owed no small debt to the example of these great sculptors — and more especially to that of his contemporary Giovanni — in the right direction of his own ideals, and even in the formation of his style and taste. The influence of Giovanni's art upon Giotto is distinctly to be traced in many of the latter's works, and there is every reason to believe that the sculptor's power- ful personality acted as an incentive of no small account in first pointing out to the young painter the right road to the free expression of his latent artistic impulses. Once upon the right path, Giotto's great powers of naturalistic expression evidently developed themselves with wonderful rapidity, enabling him to break, almost at once, the bonds of tradition which bound so many lesser men, and to > open the way to an entirely new and original school of painting. In estimating the value of his work we must therefore regard not only that which he individually accomplished, but also the influence of his example upon those who came after him. He led the way, and all the great naturalistic artists of the next two centuries but followed in the path that he pointed out. In his unswerving fidelity to the naturalistic ideal, he soon surpassed those very Pisan stone-cutters from whom he had probably received his first inspiration, and so powerful and lasting was the influence which he left behind him, that it was directly felt by sculptors, as well as painters, long after the school of Pisa had died a natural death. As has already been said, it is difficult to trace satisfactorily Giotto's development, so many of his early works having perished. Some of his earliest, according to Vasari, were undertaken for the Badia of Florence, and he mentions especially an 'An- nunciation,' wherein fear and astonishment were most wonderfully depicted on the face of the Virgin. All the paintings in the Badia have been destroyed, although the ' Annunciation ' that called forth Vasari's admiration is supposed by some to have been a work by Lorenzo Camaldolense, now in the Accaderaia at Florence. Other paintings, in Arezzo, have shared a fate similar to that of those in the Badia. -i Opinions now differ widely regarding the chronological sequence of Giotto's remaining works, recent criticism having considerably altered the generally accepted arrangement of the master's paintings. The prevalent opinion, still upheld by the great majority of critics, which places the famous frescoes of the Life of St. Francis, in the upper church at Assisi, first on the list, appears to be based on tradition rather than upon any critical study of the works themselves, and it is undoubt- edly to Rome that we must look for the oldest of the master's recognizable productions. We know for a fiict that Giotto was present in the latter city in 1298, that he executed in that year, for his patron Cardinal Stefaneschi, nephew of Boniface VIII., the famous mosaic of the ' Navicella," and that he also finished, at about this same period, at GIOTTO DI BONDONE GIOTTO THE FINAL JUDGMENT [Arena Chapel, Padua o Q Z o o H H O I— I O o H H O O tn O < w D d. W X H r PAINTERS AND ENGRAVERS. the order of the same prelate, a large high-altar- piece for the church of St. Peter. But one of these works can be rightly said to have been preserved to us. The ' Navicella ' — an allegorical represent- ation of the Catholic Church, wherein the Apostles are seen in a boat, with Christ saving St. Peter from the waves — although still shown to the public in the portico of St. Peter's, may safely be said no longer to retain more than a reminiscence of Giotto's original composition, so thoroughly and frequently has it been restored. The altar-piece, however, still remains almost complete in its original parts, and in a comparatively exceptional state of preservation. It was removed from its ancient honourable po.sition at the time of the destruction of the old basilica of St. Peter, and now hangs dismembered on the walls of the Sagrestia dei Canonici, in the new church. Before this great work, in all probability the earliest of the master's authenticated paintings, Giotto's real position in the history of art becomes at once apparent. Were this altar-piece alone preserved to us of all his creations, it would still be amply sufficient to uphold for him the proud title of the founder of Modern Painting. The most casual comparison with the work of his predecessors is sufficiently convincing to make clear at once the great transformation which the artist here succeeded in effecting. His figures are dignified and also graceful, at times reminiscent of the antique, but never a mere copy of it ; the folds of his draperies are at once simple and flowing, clearly showing the contours of the body, in utter contrast to the minute and oft-times meaningless lining of the Byzantine artists ; his representation of movement is free and unconstrained. It is precisely in his development of these last-named qualities, and especially in that of Form, that Giotto achieved his greatest artistic triumphs. So important a factor in his art is this same quality of Form, that it is almost solely upon a study of this distinctive feature that Giotto's latest critics have based their chronological arrangement of his works. Again, in the matter of colour, he has placed before us something differing entirely from the painting of his time. But what is equally in contrast to the work of his Italian and Byzantine predecessors, is the individual expression of his figures — and it was doubtless this which most strongly impressed his contemporaries. "The persons in grief look melancholy," exclaims an old writer in speaking of his work, " and those who are joyous look gay." Such naturalism must indeed have been irresistible in its effects on a public so long accustomed to the rigid conformity of Byzantine types. Of the other works which Giotto is known to have executed in Rome, none now remain except the fragment of a fresco in San Giovanni in Laterano, representing Boniface VIII. in a balcony, announcing the opening of the Jubilee of 1300. We are in ignorance as to when Giotto under- took his first commission at Assisi, but of the long series of frescoes which he has left in the church of San Francesco in that town, the earliest, repre- senting scenes from the Lives of the Virgin and of Christ, in the right transept of the Lower Church, appear, in point of style, to belong to a period closely following on the completion of the Stefaneschi altar-piece, with which they have much in common. In charm of colour and grace of expression, these works are to be classed among the most pleasing of all the master's creations — M 2 while in depth of feeling and dignity of conception, the last fresco of the series, representing the Cruci- fixion, remains among the masterpieces of early Italian painting, far surpassing the later and more realistic treatment of the same subject in the Paduan Arena. The famous allegories of 'Poverty, Chastity, and Obedience,' and the ' Glorification of St. Francis,' on the central ceiling of the Lower Church, come next in order, and are too well known to require special description. It is sufficient to say that they show a marked technical advance over the master's earlier work, and in them Giotto has given special prominence to his sense of decorative effect, entirely disprov- ing the common assertion that he was lacking in this latter quality of his art. From these alle- gories we may pass to the three interesting frescoes in the right transept, representing certain miracles of St. Francis — works which exhibit a decided tendency toward a more realistic style of treatment than is to be found in any of the master's previous creations. Before leaving the Lower Church, mention must also be made of the paint- ings, generally attributed to Buffalmacco and Taddeo Gaddi, in the Chapel of the Magdalen, several of which clearly show Giotto's own handi- work. Two of these, one representing the Magdalen anointing Christ's feet, the other the Raising of Lazarus, are especially noticeable for strong dramatic treatment, and closely foreshadow the later work at Padua. Others of these frescoes show the co-operation of assistants, and are un- equal in merit. - The long series of paintings in the Upper Church, depicting the principal events of St. Francis' life, has given rise to endless discussions among art critics of the past half-century. By the great majority of writers these frescoes are still looked upon as the earliest of Giotto's extant works — an opinion doubtless having rise in the tradition that Giotto here carried on and com- pleted ' Cimabue's ' earlier work, and also in great measure due to the changed appearance given these frescoes by excessive and total repaint. Sufficient may still be gathered, however, from what remains, to clearly prove their real position in the chronological order of Giotto's works. The advanced feeling for form, the energy of movement and simplicity of narration, so clearly shown throughout the greater part of this remarkable series, surely point to a date of execution posterior to all the frescoes in the Lower Church, and but shortly preceding those in the Arena Chapel. The last nine subjects of this pictured history, relating to the death and miracles of the Saint, exhibit a marked divergence in style from those that pre- cede them, and are probably by the same unknown pupil of the master to whom are due the frescoes in the chapel of St. Nicholas, in the Lower Church. It is not quite certain at what date Giotto went to Padua ; but the Scrovegno Chapel, in the old Arena of that city, was not built until 1303, and it was its founder, Enrico Scrovegno, a noble citizen of Padua, who employed Giotto to decorate it. The undertaking was an arduous one, but the result was equal to the opportunity. In a series of thirty-eight frescoes, the master depicted, in a triple course along the walls, the histories of the Virgin and of her Divine Son. Beneath these Unes of pictures were placed thoughtfully-con- ceived figures of the antagonistic Virtues and 163 A BIOGRAPHICAL DICTIONARY OF Vices, while the Last Judgment was painted above the arch of the doorway, and the An- nunciate Virgin, to whom the chapel was dedi- cated, was above the opposite arch. This great decorative work at Padua may well be looked upon as the culminating expression of Giotto's art Nowhere do we find his ideal of concise directness of representation more successfully expressed than is the case here, and nowhere do we find him reaching a similar perfection in the presentation of form and movement. The entire decoration of this beautiful chapel rightly takes a foremost place among the wonders of modern art. To enter into a detailed mention of the various frescoes would here be impossible. The great painting of the ' Last Judgment' alone would offer material sufficient for an almost endless study. The influence of Dante was no doubt strong over Giotto at the time when he painted this great work, and it is conceived quite in a Dantesque spirit. It is impossible to enumerate aU the works that Vasari attributes to Giotto. Most of these have long since perished, so that we have only his tes- timony in respect to thera ; but it would really seem that Giotto went about from one place to another in Italy, painting wherever he went, in the manner Ruskin describes, being regarded merely as " a travelling decorator of walls at so much a day, having at Florence a hottega or workshop for the sale of small tempera pictures." It is not certain whither Giotto next went, after his work at Padua was accomplished. Vasari states that he painted at various times at Pisa, Verona, Ferrara, Ravenna, Urbino, Arezzo, Lucca, and Naples, but it is difficult to trace him in these cities, though here and there some dilapidated fresco is assigned to him. At Naples, especially, an important series of frescoes, illustrating the Seven Sacraments of the church, in the chapel of the Incoronata, has long been attributed to him, but without reason, they being evidently later works by a pupil. It appears certain, from a document not long since brought to light, that Giotto really was in Naples in the year 1333, working at the orders of King Robert, with whom he seems to have been on terms of friendly in- timacy. No genuine work remains to us, however, to testify to his labours in that city. In Florence, Giotto painted no fewer than four family chapels in the then newly-built church of Santa Croce. All of these chapels were covered at different dates with whitewash, the decorations of two of them being irretrievably lost thereby. Others of these paintings, however, in the Bardi and Peruzzi chapels, have been freed from their covering, and although terribly re- stored and repainted, still afford the spectator some idea of their original beauty. The frescoes of the Bardi Chapel illustrate the history of St. Francis, the same subject that was treated in the earlier pictorial history at Assisi. A comparison of the two series is interesting. Although lacking in the energy of expression so characteristic of the earlier works, the latter series shows a great advance in distribution and arrangement In the ' Death of St. Francis,' more especially, Giotto suc- ceeded in producing one of the most perfect and beautiful compositions known to Italian art, and one which was repeatedly copied both by sculptors and painters during the two centuries following. Ghirlandaio, as late as the end of the fifteenth 164 century, copied Giotto's composition closely, in his well-known fresco in the church of the SS. Triniti. The paintings in the Peruzzi Chapel, evidently of a somewhat later date, have for their subject scenes from the lives of the Baptist and of St. John the Evangelist. Although in many parts even more ruined than their companions of the Bardi Chapel, they still show Giotto at his best as a composer, and enable us to arrive at some faint idea of the monumental quality of his maturer style. Still another celebrated series of frescoes in Florence — those in the chapel of the Podesti, or Bargello — have long been considered to be by Giotto's hand, but they hardly stand the test of a severe critical examination, and are appar- ently the work of an exceptionally able follower whose identity remains as yet to be discovered. Apart from the Stefaneschi altar-piece, but few genuine panel-pictures by Giotto have been handed down to us. Of those which bear unmis- takable signs of his handiwork, the best known and most important is doubtless the large picture of the Virgin and Child adored by Angels, in the Florence Academy. The Louvre also possesses a fine, though much-damaged, altar-piece, represent- ing the Stigmatizatioa of St. Francis. A most exquisite example of the master's work is to he found in the sacristy of the Arena Chapel at Padua. Another genuine little painting, repre- senting the Presentation of Christ in the Temple, ' is in the possession of Mrs. J. L. Gardner, of Boston, U.S.A. The much-quoted Baroncelli altar-piece, with its apocryphal signature, although still looked upon by many otherwise competent critics as a genuine work, certainly shows nothing in common with Giotto's known manner, and is visibly the production of a pupil or follower not far removed from Taddeo Gaddi in character. To Taddeo himself undoubtedly belong the two long series of little panels still bearing Giotto's name, in the Accademia at Florence. Of Giotto's private life little is known. Like Dante he appears to have been devoted to the Franciscan order. He was a man of great natural ability, of shrewd understanding and sound com- mon-sense, and, according to all the anecdotes that are told of him, was exceptionally quick at repartee. He married, at the beginning of the fourteenth century. Donna Ciuta di Lapo, and had eight children, remarkable, it is said, for their ugliness. Giotto's last work in Florence was as an archi- tect. In 1334, after the death of Arnolfo, he was made superintendent of the works of Sta. Maria del Fiore, and it was from his design, although successively altered in its later stages by Andrea Pisano and Francesco Talenti, that the beautiful Campanile of Florence arose. The lower range of bas-reliefs around this beU-tower — illustrative of the Creation of Man and his subsequent occupa- tions — were also very probably executed under bis influence and inspiration, if not from his designs, by Andrea Pisano. Giotto died at Florence on January 8, 1337, iind was buried in tlie church of Sta. Maria del Fiore. His numerous pupils and followers, known imder the general name of Giotteschi, many of whom had already attained celebrity during the master's own lifetime, were deeply imbued by his teaching, and carried on his work with varying success throughout the length and breadth of Italy in the same naturalistic spirit as himselfl w X O O w o w PAINTERS AND ENGRAVERS. BIBLIOGRAPHT. Ghiberti. * Commentario.' Vasari. Ed. SansoDi. Orowe and Cavalcaselle. ' New History of Painting in Italy.' Euskin. 'Giotto and his Works in Padua,* 'Mornings in Florence.' Chini. ' Storia del Mugello,' 1876. Thode. 'Giotto,' 1899. Zimmerman. 'Giotto,' 1899. Berenson. ' Florentine Painters of the Renaissance.' Perkins, F. M. ' GioUo,' London, 1902. F.M. P. BONE, Henrt, the celebrated painter in enamel, was born at Truro, in Cornwall, in 1755. His first employment was with a manufacturer of china at Plymouth ; he afterwards employed his talents at Bristol in painting landscapes and groups of flowers to ornament porcelain, by which means he acquired a thorough knowledge of that art, in which he be- came so eminent. He removed to London in 1779, and became distinguished by painting in enamel 'The Sleeping Girl,' after Sir Joshua Reynolds. But the works that will give him lasting fame are the ' Portraits of Illustrious Englishmen,' eighty- five in number, which he enamelled after the original pictures in the royal and other collections. These must have cost him much labour, expense, and anxiety ; but, unfortunately, little pecuniary reward. They are now at Kingston L.iey, Wim- borne, in the possession of Mr. Ralph Bankes. In 1811 he produced a copy in enamel (eighteen inches by sixteen) of Titian's ' Bacchus and Ariadne,' for which he received 2200 guineas. He was elected an Associate of the Royal Academy in 1801, and in the same year was appointed painter in enamel to George III. In 1811 he was made a full member of the Academy, and died in 1834, when his miniatures were dispersed by auction. BONE, Henry Pierce, the son of Henry Bone, was born in 1779, and was instructed in enamel- painting by his father. He painted and exhibited portraits and other subjects in oil from 1799 to 1833, when he turned his attention definitely to enamel painting, which he practised till 1855, when he died in London. He was enamel-painter to Queen Adelaide, and to Queen Victoria and the Prince Consort. BONE, Robert Tbewick, was born in London in 1790. He was the son of Henry Bone, the cele- brated enamel painter, who instructed him in art. He exhibited classical and sacred pictures at the Royal Academy and the British Institution from 1813 to 1838, and succeeded in gaining, in 1817, the £100 premium for his picture of ' A Lady with her Attendants at the Bath.' He died in 1840. BONESI, Giovanni Girolamo, according to Za- notti, was born at Bologna in 1653, and was a scholar of Giovanni Viani. He painted several pictures for the churches and public edifices at Bologna, in which he appears to have imitated the style of Carlo Cignani. Among his most esteemed productions are the following : ' St. Francis of Sales kneeling before the Virgin,' in the church of San Marino ; ' St. Thomas of Villanuova giving Alms to the Poor,' in San Biagio ; and ' The Virgin and Infant Christ, with Mary Magdalene and St. Hugo,' at the Certosa. He died in 1725. BONFANTI, Antonio, called II Torricella, was a native of Ferrara, in which city there are Beveral of his works in the churches and convents. His most esteemed pictures are the 'Purification,' and ' Christ disputing with the Doctors,' in the church of San Francesco, and the ' Holy Family ' in that of La Santissima Trinita. BONFIGLI, Benedetto, (or Buonpiglio, ) was born at Perugia about 1420. His earliest work was an ' Annunciation,' originally in the Orfanelli at Perugia. His masterpiece is a series of frescoes in the Palazzo del Consiglio in the same city, which re- present the Lives of St. Louis of Toulouse and St. Herculanus ; they were commenced in 1454 and not finished in 1496, in which year Bonfigli's will is dated. This work occupied much of his time, and gained him considerable reputation in his native city. An 'Adoration of the Magi,' said to have been painted in 1460, in San Domenico, is con- sidered one of his best productions. Among other pictures of his may be mentioned a Banner {Gon- falone) painted in 1465 for the brotherhood of San Bernardino, and representing the deeds of their patron saint; another Gonfalcme painted for the brotherhood of San Fiorenzo in 1476, in honour of the Virgin, who had been prayed to intercede for the cessation of the plague ; a ' Virgin of Mercy,' painted in 1478 for the church of the Commenda di Santa Croce ; and several others in and around Perugia. Bonfigli is especially noticeable for the correctness of his perspective, the beauty of his colouring, and his love of detail. He was much influenced by Domenico Venezianoand Pietro della Francesca. According to Lanzi, Perugino was his pupil, but there is nothing to corroborate the statement. We have no record of Bonfig-li after 1496. ^ BONHEUR, FRANgois Atjguste, painter, was born at Bordeaux^in 1824, and was his father's pupil. He was the brother of Mile. Rosa Bonheur. His first picture exhibited at the Salon was 'Children and Cockchafer,' in 1845. He afterwards painted portraits, but was best known by his land- scapes with cattle. He died of heart disease in a railway carriage in Paris, February 21, 1884. BONHEUR, Rosaline, was born at Bordeaux in 1822, and died in Paris in July 1899. Her father was Drawing-master and Director at the Free School of Design for Girls in Paris, but Rosaline was not intended for the same profession, and was to have been a dressmaker. Despite all her wonderful success in her father's school and other places of education, where she carried off all the drawing prizes and failed hopelessly in every other branch of learning, she was bound to the business which her parents had selected for her, and which they were determined she should adopt. Her misery, however, was so pro- found that her father relented, took her away from business, undertook her training himself, and allowed her to sketch and paint to her heart's delight. ' Goats and Sheep' was exhibited at the Salon when she was eighteen, and ' Cows in Pasture ' in the following year, while in 1846 she had no less than fourteen pictures at the Salon, and was awarded one of its medals. This did not, however, satisfy her, and she aimed at the highest prize, gaining it in the form of a special first-class medal three years afterwards, when she was but twenty-five. Soon after that her father died, and so great was her genius that almost without effort she stepped into his vacant position, one which had never before been held by a woman. 'The Horse Fair,' her greatest picture, was exhibited in 1853. It created a great sensation, was sold 165 A BIOGEAPHICAL DICTIONARY OF at a very high figure, and eventually found its way to America at a price exceeding twelve thou- sand pounds, and is still in New York. A small replica of it by her own hands is in the National Gallery. From the time of painting this picture Rosa adopted male attire and ever afterwards appeared in it, save on one occasion when she went to greet her Empress and to receive the Cross of the Legion of Honour. Other notable works which she executed were ' Haymaking in the Auvergne,' ' A Stampede,' ' Scottish Raid,' 'Ploughing in the Nivemais,' ' Horses and Cattle,' ' Horses at Water,' ' Horses for Sale.' The bulk of her pictures contained representations of horses, and were marked by much vigour, movement and dramatic effect. Her drawing was remarkably accurate and her colouring very truthful. She was a successful artist, and was enabled to pur- chase a country home at Fontainebleau, where she carried out most of her later work. She was a woman of striking appearance, having a very large head covered with shaggy white hair which she brushed up high and wliich gave her a sort of lion-like appearance, but she was a person of strong affection and a very vivacious companion. Many of her best works can be seen in the Luxembourg and also in a special gallery of her works which was founded sifter her decease in Paris, q, c, W. BONI, GlACOMO, was bom at Bologna in 1688, and was a scholar of Marc Antonio Franceschini, whom he greatly aided in his works, particularly at Rome. He is also said to have studied under Carlo Cignani, whose style is discernible in many of his works, such as the ceUing of Santa Maria della Costa at San Remo. and in that of San Pietro Celestini at Bologna. He excelled particularly in fresco, and painted a saloon in the Palazzo Pallavi- cino, which was much admired, and a fine picture of 'The infant Jupiter.' He died in 1766. BONI, MiCHELE Giovanni, known as Giambono, (sometimes Zamboko,) was a pupil and contem- porary of Jacobello, and was both a painter and a mosaicist. He was bom at Venice about the beginning of the fifteenth century. At the Academy of that city is a ' Redeemer between St. Bernardino and other Saints,' painted soon after the canon- ization of that saint, which occurred about 1470. Count Riva of Padua possesses a ' Virgin and Child ' by this artist. He also executed in the Cappella de' Mascoli in St. Mark's, Venice, mosaics repre- senting scenes from Life of the Virgin. BONIFACCIO, Francesco, was born at Viterbo in 1637, and was a scholar of Pietro da Cortona at the time that Ciro Ferri and Romanelli studied under that master. He was a respectable painter of historical subjects, which he treated in the man- ner of his instructor, and painted several pictures for the public edifices of his native city. In the Palazzo Braschi is a picture by this master of ' The Adulteress before Christ.' BONIFACCIO, Natalis, (or Bonifazio,) an Italian engraver who flourished about the year 1590. His plates are principally etchings, which are executed in a free, spirited style. His most considerable works were the plates he engraved for a book published at Rome in 1590, composed by D. Fontana, architect to Pope Sixtus V., concerning the removal of the Vatican obelisks. He has in- scribed his name on these plates, Natalis Bonifacius Sihenicensis fee. BONIFAZIO (or Bonifacio) is a name borne by three artists, who all came originally from 166 Verona. There still exists much confusion as to the authorship of the various works attributed to them. The following notices show those pictures which are gener illy given to each painter. Bonifazio I., commonly called Bonifazio Vebonese, was a follower, if not a pupil, of Palma Vecchio. He was also much influenced by Giorgione and Titian, and several of his best works, which are remarkable for a Titian-like beauty of colouring, have passed under the names of those masters. Bonifazio I., the most important member of the family, died in 1540. His works are seen in most Italian Galleries, and in those of Vienna, Dresden, St. Petersburg, and Paris. The following are his principal productions : — Florence. Pitti Pal. Repose in Egypt {also ascribed to Paris B&rdont). „ „ Finding of Moses (Jormerly attri- buted to Giorgione). London. Sai. Gall. Santa ConTersatione. Milan. Brera. Finding of Moses (formerly given to GioTffione'). Modena. Gall. The four Virtues. Rome. Colonna Pal. Holy Family {formerly called a Titian). Venice. Acad. Massacre of the Innocents. „ „ Dives and Lazarus. „ „ Judgment of Solomon. „ iS. Stffano. Madonna and Child (?). „ Pal. Giovanelli. Holy Conversation. Bonifazio II., commonly called Bonifazio Veneziano, died in Venice in 1553, aged sixty-two. He probably studied under Bonifazio I. The following pictures are attributed to him : — Berlin. Gall. Woman taken in Adultery. MDLn. Borne. Borghese Pal. Christ in the House of Zebedee. „ „ Ketum of the Prodigal Son. Bonifazio III., who painted at Venice from about 1555 to 1579, is supposed to be the author of the following paintings : — Venice. Gall. The Queen of Sheba before Solo- mon. 1555. „ „ Adoration of the Kings. 1558. „ „ Several Figures of Samts. BONIFAZIO DA VALDARNO. See Bembo. BGNINGTON, Richard Parkes, was bom at the village of Arnold near to Nottingham, on October 25, 1801. His father, who was for a time Governor of Nottingham Gaol, but lost his appoint- ment through irregularities, became afterwards a portrait painter and went to Paris. Young Bonington, then fifteen, was permitted to study in the Louvre, and enter as a student at the Ecole des Beaux Arts : he was also an occasional pupil of Baron de Gros, and thus belongs by training more to the French than to the British School. Gros' studio was in his time the favourite meeting-place of all the jounger men of revolutionary tendencies, but although Bonington absorbed many of their ideas, he was able to keep away from their ex- travagances by reason of his repeated journeys to London, where be never lost an opportunity of studying the work of Constable. He painted his first landscapes in Normandy and Picaniy, but in 1822 paid a long visit to Italy, sojourning especially in Venice, and filling his portfolios with sea pieces and historical scenes. He then returned to England, where he was but little known, and his early exhibited works shown at the British Institution excited much amaiement, as they were so French in their technique and yet so redolent of English feeling. He had bruught back with him from Venice the seeds of consumption, caaght, W z o > o < O w ^ O <; Pi <; (1- O ei w H O ■< Q W X H O H o p o en w O s I w W o > < 2; o < o z o H 3 Q < s H r, 3? '3< =1. ;<; R. P. BONINGTON THE OLD GOVERNESS iLoitvre, Paris PAINTERS AND ENGRAVERS. it is said, in long evenings' exposure on the canals of that fascinating city. Then in Paris, while sketching in the sun, he received a sunstroke which brought on first of all somnambulism and then brain fever. From the former he never entirely recovered, and the consumption making rapid progress laid him aside completely, and he died in London on September 23, 1828, before he had completed his twenty-seventh year. Eugene Delacroix was his great friend and comrade, and the eminent artist has thus described him : — " I knew Bonington well and loved him much. His English composure, which nothing could disturb, robbed him of some of the qualities which make life pleasant. As a lad he developed an astonishing dexterity in the use of water-colours, which were in 1817 an English novelty. Other artists were perhaps more powerful or more accurate than Bonington, but no one in the modern school, perhaps no earlier artist, possessed the ease of execution which makes his works, in a certain sense, diamonds, by which the eye is pleased and fascinated, quite independently of the subject and the particular representation of nature. The same is true of the costume pictures which he afterwards painted. Even here I could never grow weary of marvelling at his sense of effort and his great ease of execution. Not that he was quickly satis- fied ; on the contrary, he often began over again perfectly finished pieces which seemed wonderful to us. His dexterity was, however, so great that in a moment he produced with his brush new effects which were as charming as the first and more truthful." Tlje career of Bonington is a very sad instance of genius cut off in its bloom. He was at once, as Muther says, "the most natural and the most delicate in that Romantic school in which he was one of the first to make an appear- ance. He had a fine eye for the charm of Nature, saw grace and beauty in her everywhere, and represented the spring and the sunshine in bright clear tones. No Frenchman before him had so painted the play of light on gleaming costumes and succulent meadow greens." His spirited im- pressionist works, full of careful observation, are the direct result of his study of Constable, and it was largely to his influence and to the ability which he had to carry the Constable quality over to France, that the men of the Barbizon school, whose forerunner he was, were able to acquire that influence of Constable which is so marked in their works and which they brought down to the present day. Bonington is the link of union between the men of classic fame in England and the Barbizon school, with all its developments on the landscape art of France. At the British Institution he exhibited in 1826 two ' Views on the French Coast,' and also the 'Column of St. Mark's, Venice,' now in the National Gallery. To the Royal Academy he sent four pictures, ' Henry III. of France ' and ' The Grand Canal, Venice,' both painted in 1828, and two ' Coast Scenes.' Two of his best known works are ' Henri IV. and the Spanish Ambassador ' (which was sold in the San Donate collection in 1870 for i'3320, and is now in the Wallace Gallery), and ' Francis I. and the Duchesse d'Etampes,' now in the Louvre. There are three of his water-colours in the Museum at Kensington, but in no gallery can his work be so well studied as at Hertford House, wliere there are no less than thirty-four of his paintings ; ten being in oil and the remainder in water-colour. Amongst those in oil, in addition to those just mentioned, are ' Francis I. and Marguerite of Navarre,' representing the scene where the King has just written on the window-pane the famous verse, ' Souvent femme varie, Bien fol qui s'y fie,' 'Anne Page and Slender,' 'Tlie Seine near Rouen,' 'A Rustic Scene,' and 'The Piazza San Marco, Venice.' In water-colours there are many scenes from Venice, Bologna, Milan, Rouen, and various places in France, also some Oriental scenes and some charming historical episodes, as 'The Earl of Surrey with the fair Geraldine,' ' Death of Leonardo da Vinci,' etc. 6. C. W. BONINI, GiEOLAMO, called L'Anconitana, was, according to Padre Orlandi, a native of Ancona, and flourished about the year 1660. He was a favourite scholar and imitator of Francesco Albani, and assisted that master in many of his principal works, particularly in the Sala Famese, and in the palaces at Bologna. A ' Christ adored by Saints ' by him is in the Louvre. He died about 1680. BONINSEGNA, Dnccio di. See Bugninsegna. BONIS, Floriano. See Bdoni. BONISOLI, AoosTiNO, was bom at Cremona in 1633, and was first a scholar of Battista Tortiroli, and afterwards studied a short time under Miradoro Agoatino Bonisoli, a relation, an artist of little note. He was indebted to his natural genius and his study of the works of Paolo Veronese more than to either of his instructors. He was more employed in easel pictures of sacred subjects than for the churches. The only large work by him that is recorded is a picture in the Conventuali at Cremona, representing the dispute between St. Anthony and the tyrant Ezzelino. He died in 1700. BONITO, GinsEPPE, was born at Castellamare, in the kingdom of Naples, in 1705. He was a scholar of Francesco Soliinena, and one of the most successful followers of his style. He ac- quired considerable celebrity as a painter of history, and was much employed as a portrait painter. He was appointed painter to the Court of Naples, where he died in 1789. A Portrait of a Turkish Ambassador by him is in the Madrid Gallery. BONNAR, William, a painter of portraits, hi.s- tory, and genre, was born at Edinburgh in 1800. His father was a house-painter of considerable skill, and the son, having from his early years evinced a remarkable aptitude for drawing, was apprenticed to one of the leading decorators of the time. When George IV. visited Edinburgh in 1822, Bonnar assisted David Roberts in decorating the assembly rooms for the grand state ball which was given in honour of the occasion. Shortly afterwards some signboards painted by him at- tracted the notice of Captain Basil Hall, who sought out and encouraged the young artist. In the year 1824 his picture of 'The Tinkers' estab- lished him as a favourite with the public, and shortly after the formation of the Royal Scottish Academy (in 1830) he was elected one of the members. Bonnar died at Edinburgh in 1853. He left behind him many fine pictures, several of which have been engraved. In the Edinburgh Gallery there are his own Portrait and a Portrait of G. M. Kemp, the Architect of the Scott Monu- ment, Edinburgh. BONNART, Henbi, a French painter and en- graver, was the brother of Robert, Jean Baptiste, and Nicolas Bonnart. He was born in Paris in 1642, became rector of the Academy of St. Luke, 167 A BIOGRAPHICAL DICTIONARY OF and died in Paris in 1711. Le Blanc attributes to hira 201 plates, of which 20 are religious subjects, 46 portraits, and 135 costume prints. His son, Jean Baptiste Henri Bonnabt, followed his father's profession, and died in 1726, aged about 48 years. In Perrault's ' Cabinet des Beaux- Arts,' published in Paris in 1690, there is a plate of a ceil- ing ornamented with figures, which is probably by him ; it is etched in a free, masterly style, finished with the graver, and marked Jean Bonnart, Junior, del. et sculp- BONNART, Jean Baptiste, painter and en- graver to the king, was bom in Paris in 1654, and was still living in 1752. Le Blanc assigns to him 34 subjects, of which one is ' Jesus Christ on the Mount of OHves,' 9 portraits, and 24 costume pieces. BONNART, Nicolas, who was an engraver, was the eldest brother of Henri, Robert, and Jean Baptiste Bonnart, and was bom about 1636. Le Blanc attributes to him 379 plates, of which 15 are scriptural subjects, some of them after the works of his brother Robert, 27 mythological, 32 historical, 24 portraits, and 208 plates of costumes, manners, &c. He died in 1718, aged 81 years. His son, Nicolas Bonnabt, an engraver, died in 1762, at the age of about 74 years. BONNART, Robert, who was hkewise an en- graver, was born in Paris in 1652. He was godson of Robert Nanteuil, and a pupil of Van der Meulen, after whom he engraved several plates. He was appointed painter and engraver to the king, and subsequently assistant-professor at the Academy of St. Luke. He died after 1729, and has been often confounded with his son, Robert FRAsgois Bon- nart, who was professor at the Academy of St. Luke, and was still living in 1759. Le Blanc men- tions only nine plates by him, among which are : Portrait of Louis XTV. Portrait of the Dauphin Louis. The Taking of Valenciennes in 1677 ; after Van der Meulen. The Taking of Cambrai in 1677 ; after the same. The Siege of Douai ; after the same. The Entrance of the Queen into Arras, two sheets ; after the same. BONNCIONE, E.,was an engraver who flourished about the year 1670, and whose name is affixed to a small plate, representing Diana in a chariot drawn by Dragons, with a Cupid behind her, after F. Bol. It is slightly etched in a poor, dark style. BONNEAU, Jacob, the son of a French engraver, exhibited landscapes painted in water-colours, both at the Incorporated Society of Artists and at the Academy, from 1765 to 1784. He was well known as a drawing master, and was largely employed by the booksellers, for whom, among other plates, he engraved the heads prefixed to the ' History of the American Buccaneers,' published in London in 1741. He died at Kentish Town in 1786. BONNEFOND, Jean Claude, who was born at Lyons in 1796, studied under Bevoil, and became successful in representing scenes from peasant life. About 1 826 he went to Rome, and became influenced by the style of Robert and Schnetz, and painted sacred as well as genre subjects. In 1831 he be- came director of the Art School at Lyons, and in 1837 a member of the Academy. He died in that city in 1860. In the Museum of Lyons there are by him — The Bed-chamber. 1824. A Woman tired with travelling, succoured by monks. 1827. 168 The Ceremony of the Holy Water, on the day of Epiph- any, at the church of the Greek-CathoUcs at Kome. 1831. Portrait of Jacquard. 1834. ( Commissioned by the town of Lyons.) A Greek officer wounded. Rome. 1826. A Koman goatherd deploring the loss of his goat. 1836. BONNEMAISON, F^r^ol, was a French portrait painter and lithographer, who was distinguished by the skill with which he restored many of the pictures taken to Paris under the first empire. He was educated in the school of Montpellier, and died in Paris in 1827. The Chevalier Bonnemaison published in 1818 a ' Suite d'^tudes calqu^es et dessin^es d'apres cinq tableaux de Raphael,' and in 1822 a series of lithographs from paintings of the modern French school in the gallery of the Duchess de Berry. BONNEMER.FRANgois, was a French painter and engraver who was bom at Falaise in 1637. He worked with Monier, the younger Comeille, and the yoimger Vouet on the ceiling of the gallery of the King's Audience Chamber at the Tuileries, and was commissioned by the king to copy some works of Carracci in the Farnese Gallery at Rome. He engraved several plates after Le Brun, and was the master of Minageot. He died in Paris in 1689. BONNER. George William, one of the earliest English wood-engravers, was bom at Devizes in 1796. He was celebrated for his revival of the art of prinring tints by means of a combination of blocks. He died in 1836. BONNER, Thomas, was bom in Gloucestershire in the first half of the 18th century. He was celebrated as one of the best of the topographical draughtsman and engravers of his day. He illus- trated Collinson's 'History of Somersetshire' (1791), Polwhele's ' Devonshire ' (1797), a ' Perspective Itinerary,' and many other works. It is believed that he died soon after 1807. BONNET, Louis Marin, a French engraver in aquatint and in chalk, was bom in Paris in 1743. He resided for some time at St. Petersburg, where he engraved some portraits of persons of the Russian Court. On his return to Paris he published several plates, executed in imitation of drawings in crayons, of which stj'le he pretended to be the inventor. They are chiefly after Boucher, and other modern French masters. Bonnet died about the year 1793. BONO FEKRARESE. See Ferrara, Bono da. BONOMI, Joseph, the elder of the name, was born at Rome in 1739, and went to London in 1767 to decorate buildings for the brothers Adam. In 1775 he married a cousin of Angelica KaufE- mann. In 1789 he was elected an Associate of the Royal Academy, and from that time constantly exhibited architectural drawings. In 1804 he was appointed architect of St. Peter's at Rome. He died in London in 1808. BONOMI, Joseph, the son of the architect, was born in London in 1796. He passed many years in Egj'pt, and became distinguished for his great knowledge of hieroglyphics. He assisted Owen Jones in the decoration of the Egyptian Court at the Crystal Palace, and published ' Nineveh and its Palaces,' and works on Egj^jt, Nubia, and Ethiopia, illustrated with his own drawings. In 1861 he was made curator of the Soane Museum. He died at Wimbledon in 1878. BONONI, Bartolommeo, is the author of a 'Virgin in Glory,' in the Louvre, that is signed FRANCESCO BONSIGNORI > ' 'J " - M .A . ' Hi. Id ' " Anderson fholo] \_San Giovanni e Paolo, Venice DETAILS OF A POLYPTYCH PAINTERS AND ENGRAVERS. and dated 1507. No further information can be given of this artist. He is thought to liave been a native of Pavia. BONONI, Carlo, was bom at Ferrara in 1569, and was instructed in the art by Giuseppe Mazzuoli (called II Bastaruolo), under whom he studied until he was twenty years of age. Contemporary with Ippolito Scarzellino, and unable to equal Iiim in the tenderness of his tints and the beauty of his expression, he endeavoured to rival him in the boldness of his design and the vigour of his colour- ing. Bent on improvement, he visited Bologna, where the Carracoi were then in the zenith of their fame. Their works inspired him with a new idea of his art. After passing some time at Bologna, he went to Rome, where he improved his style of design by studying after the antique. His predi- lection for the style of the Carracci drew him again to Bologna, where he copied some of their principal works. He afterwards went to Venice, where the splendid productions of Paolo Veronese appear to have excited the liveliest admiration. The works of Correggio at Parma seem to have been not less the objects of his contemplation. In his smaller works he approaches so near to the style of the Carracci that he was called ' the Carracci of Ferrara.' In his extensive decorative works he exhibits the magnificence and richness of Paolo Veronese. Such are his ' Fe;ist of Ahas- uerus,' painted in the refectory of the Regular Canons at Ravenna, the ' Feast of Herod ' in San Benedetto, and the 'Miracle at Cana' in the refectory of the Certosini at Ferrara. The UflBzi, Florence, possesses a ' Liberation of St. Peter from Prison' by him, and in the Modena Gallery there are four of his works. He died at Ferrara in 1632. BONONI, LlONELLO, was the nephew and scholar of Carlo Bononi, and flourished about the year 1749. The excellent instruction of his uncle might have enabled him to arrive at celebrity in the art, but his negligence and depravity prevented his success. His most creditable performances are two pictures he painted for the chapel of the hospital of Santa Maria Novella, representing 'The Visitation of the Virgin to St. Elizabeth,' and 'The Holy Family.' BONONIA, Jac. de Avaciis de. See Degli AVANZI. BONONIA, SmoNE da. See Bologka. BONONIENSIS, Fr., was an Italian engraver, by whom we have some very spirited etchings, executed in a bold, masterly style. They are chiefly from the works of Paolo Veronese, and are usually signed with his name. BONSER, J., was a native of Holland, who worked there and at Lyons between the years 1629 and 1642. He was principally employed by the publishers, for whom he engraved, among other book-plates, some frontispieces in a very indif- ferent style, with figures and ornaments. BONSIGNORI, Francesco, (miscalled by Vasari, and others after him, Monsignori,) was born in 1455 at Verona, where he lived under the influence of Liberale till he was thirty-two years of age. He then visited Mantua in 1487, and became influenced by the works of Mantegna. He painted historical subjects with much success, and was largely patron- ized by the Marchese Francesco Gonzaga. He died at Caldiero, near Verona, in 1519. Less learned and correct in his design than Mantegna, he is more modern in his style ; and his colouring, particu- larly in the carnations, has more of the morbidezza. He excelled in painting animals, which he was fond of introducing into his works ; and from the fact that his paintings of these occasionally de- ceived other animals, he was called ' the modern Zeuxis.' In the Brera at Milan is one of his best pictures, representing ' St. Louis ; ' and in the re- fectory of the church of the Franciscans at Man- tua are some perspective views, which show him to have been a perfect master of that branch of art. His last production was 'The Vision of Christ to the nun Ozanna,' dated 1519, and now in the Academy at Mantua. Of others may be mentioned : Florence, Bargello, Christ bearing the Cross. London, National Gallery, Portrait of a Venetian Senator (signed Francischs Bonsignoeius Veeonensis P 1487). See cartoon in the Albertina LUrary at Vienna. Mantua, Academy, Christ ascending Calvary ; Pal. Gonzaga, several paintings, 1495-6 ; & Francesco, Last Supper, 1506; S. M. d. Grazie, St. Sebastian. Verona, Gallery, Madonna enthroned with four Saints ; S. Bernardino, Madonna, Child, and Saints, 1488 ; S. Nazaro, Madonna, vrith Saints, 1514. Vienna, Albertina Col., Eight portraits in black chalk, 1487. BONSIGNORI, Fra Gibolamo, (miscalled Mon- signori,) the brother of Francesco Bonsignori, was born at Verona about the year 1440. At an early period in his life he became a monk of the order of the Dominicans, and in the church of his monas- tery he executed some altar-pieces. He at first studied the works of Mantegna, but in his later productions he followed the style of Fiesole. He also studied Leonardo da Vinci, and produced ex- cellent copies of some of his works ; in particular, of the ' Last Supper.' It was originally in the great library of »an Benedetto at Mantua, but now in tlie possession of Count Arco at Paris. He also painted a ' St. John,' which is now in the Zecca at Milan. Among his early paintings there is, besides the altar-piece, a 'Last Supper' in the Dominican monastery, and a ' Madonna ' in fresco in Santa Anastasia at Verona. He died of the plague at Mantua about 1519. Another brother of Francesco, Fra Cherubino Bonsignori, excelled in miniature painting. BONSTETTEN, Abr. Sigm. August von, a Swiss landscape painter, born in 1796, of a good family. He was brought up for the military service, and served in a Swiss regiment in the pay of the Dutch Government. After the separation of Belgium from Holland, he gave up soldiering and devoted himself entirely to art. Possessed of con- siderable property, his works but seldom appeared at the public exhibitions. He died atSinneringen, near Berne, in 1879. BONTEKRAAY. See Mytens, Dan. BONVICINO, Alessandro, one of the best painters of northern Italy of the sixteenth century, commonly known as Moretto, was born at Rovato, near Brescia, about 1498. He at first studied under Ferramola, whom he assisted in the painting of an organ screen in the cathedral of Brescia in 1618. It is said that he was a pupil of Titian, whose style he approached nearer than anj' of his countrymen ; but whether he worked under him at Padua, Venice, or Vicenza is not known. His portraits have been compared to those of that great master. Romaniiio's work also had great influence on his style. Moretto imparted instruc- tion to the famous portrait-painter Moroni. In later life, he attempted to introduce into his works something of the greatness of Raphael, and 109 A BIOGRAPHICAL DICTIONARY OF became the author of a very attractive style. An uncommonly graceful turn of his heads, an ex- pression of devotion and fervent piety in his figures (which generally represents sacred sub- jects), a freshness of colour approaching to Titian, are the characteristics of the works of Bonvicino. He occasionally painted in fresco, but was less successful in this than in oil. The date of his death is unrecorded ; he painted as late as 1554, and died probably in 1555. He was buried in the church of San Clemente, Brescia, which city pos- sesses many of his best works. The following is a list of Moretto's most important paintings :. — Berlin, Museum, Virgin and Child, St. Elizabeth, and Saints {siyned ales : moeettvs Prls F mdxli) ; Adoration of the Shepherds (signed). Brescia, ^. Clemente, Five Virgin Martyrs; Ascension of the Virgin ; St. Ursula ; .S. Francesco, Majesty of St. Margaret, 1530 ; iS. Giovanni Evangelista, Coronation of the Virgin (an early uork) ; Massacre of the lunocents; Scenes from the Life of John the Baptist (painted in 1521 in competition with Romanino) ; S. Maria delle Grazie, Enthronement of St. Anthony of Padua ; 5. Maria Calchera, Christ in the house of Simon, 1544; Gallery, St. Nicholas of Bari, 1539, and many others; SS. Nazaro e Celso, Coronation of the Virgin ; Transfiguration, 1541 ; Tosi Coll., Virgin and Child in Heaven; Supper at Emmaus; Portraits. Florence, ['JJizi, Portrait of a Man; Descent of Christ into Hades. Frankfort, Stddel, The Virgin and Child with SS. Anthony and Sebastian. London, National Gallery, Portrait of Count Sciarra Martinengo Cesaresco ; St. Bernardino with various Saints ; Portrait of an Itahan Noble- man, 1526. Paris, Louvre, St. Bernardino of Siena and St. Louis of Toulouse ; St. Bonaventura and St. Anthony of Padua. Petersburg, Hermitage, Faith (formerly called a Palma Vecchio). Venice, 6'. Maria delta Pieta, The Feast of the Pharisee (signed AxEX MoEETTus BHri. F. KDXLViin). Verona, .S. Giorgio Maggiore, Virgin and four female Saints, 1540. Vienna, Belvedere, St. Justina and a Knight (one of his best icorks; formerly ascribed to Pordenone and engraved, by Rahl, as his iork). BONVIN, Francois Saint, a French painter of still-life and of interiors in the style of Chardin, born at Vaugirard, Paris, November 22, 1817. His father was a garde-champetre, and Bonvin was educated in the drawing-school of the fine de rficole de M^decine. For more than thirty years he was a constant exhibitor at the Salon, gaining the Legion of Honour in 1870. In 1881 he entered the Hospital of Saint Jean de Dieu to be operated on for the stone, and for the rest of his life was an invalid. He died in 1888. Pictures ; L'ficole des Orphelins (Langres Museum) ; La Charity U\iort Museum); Le Refectoire; Servante a la Fontaine (Luxembourg Museum). BONZI, PiETRO Paolo, who was born at Cortona, is generally known as II Godbo (the Hunchback). He is sometimes called da Cortona. from his birth- tdace ; sometimes de' Carracci, from his liaving been brought np in their academy; most fre- quently dalle Frutta, from his excellence in paint- ing fruit. He first attempted historical painting, and gave proof of his incompetency in his picture of 'The Incredulity of St. Thomas,' in the Rotunda at Rome. He was not much more successful in landscapes. But he surpassed every artist of his country in painting fruit. His arrangement of these objects is tasteful and picturesque, and his colouring has all the voluptuous richness of nature, with a relief that is perfect deception. His works are _tlie ornaments of several of the palaces at Rome, particularly the festoons in the Palazzo Mattel. His oil pictures are not less admired than his works in fresco. In the Stockholm Gallery are five fruit pieces by him. A male portrait by h im is in the Berlin Gallery ; and in the Louvre is a picture, attributed to him, of 'Latona turning the Peasants into Frogs.' He died at Rome, aged 60, during the pontificate of Urban VIII. (1623— 1644). BOOM. See Verboom. BOON, Daniel, a Dutch painter, flourished in England in the reign of Charles II. He painted drunken scenes and revellings, in which his ambi- tion appears to have been to introduce as much of ugliness and deformity as a mind naturally vulgar could conceive. He died in London in 1698. BOONEN, Arnold van, an eminent portrait painter, was bom at Dordrecht in 1669. He was first a scholar of Arnold Verbius, but afterwards of Godefried Schalken. He painted genre pictures in the style of the latter, but met with such en- couragement in portrait painting that he devoted himself almost wholly to that branch of art. He was an excellent colourist, a faithful designer of his model, and was soon distinguished as one of the ablest artists of his day. He painted a great number of portraits, among whom were Peter the Great, the Elector of Mentz, the Landgrave of Hesse-Darmstadt, the Prince and Princess of Orange, and the Duke of Marlborough. He painted some large pictures for the halls of the different companies at Amsterdam and Dordrecht He died in 1729. The Dresden Gallery has seven works by him. His son, Kasper van Boonen, also painted portraits. BOONEN, Jasper van, who was bom at Dor- drecht in 1677, was a younger brother of Arnold van Boonen. He p.iinted portraits with consider- able success. He died in his native town in 1729. BOOTH, William, who was bora at Aberdeen in 1807, was noted for his female portraits in miniature. He exhibited at the Royal Academy from 1827 to 1845, the year of his death. BORCH, Gerard ter. See Ter Borch. BORCHT, VAN DER. See Van der Borcht. BORCHT, Jacob a, an engraver, executed several of the plates for the 'Academie de I'Bspee,' by G. Thibault, published at Antwerp in 1628. He worked entirely with the graver in a style resem- bling that of Jakob de Gheyn. BORDIER, Pierre, of Geneva, flourished in the 17th century. He was the friend, and subsequently brother-in-law, of Jean Petitot the elder, and as- sisted him in many of his works, usually executing the hair of his portraits and the backgrounds. Works executed entirely by him are very rare, and he was more famous for his discoveries in modes of miniature painting and enamelling than for any particular picture. It is said that he was employed by the Parliament to paint a ' Memorial of the Battle of Naseby,' which they presented to Fairfax, their victorious general. See also Petitot, Jean, ' the elder.' BORDINO, J. F., an Italian eng^raver, flourished about the year 1604. He engraved the plates for a volume in quarto, entitled, ' Series et Gesta Pon- tificum,' published in the above year. BORDONE, Paris, an eminent painter of the Venetian school, was bom at Treviso in 1500. He was of a noble family, and after having received an education suited to his birth, as he had shown a decided inclination for art, he was placed in the ALESSANDRO BONVICINO CALLED MORETTO Haiifsta ngl photo\ [National GaUery, London PORTRAIT OF AN ITALIAN NOBLEMAN ALESSANDRO BONVICINO MORETTO Hanfstdngl photo] \_Naiiofial Gallery, Lo/idu/i ST. BERNARDINO OF SIENA, WITH OTHER SAINTS PARIS BORDONE Naya fhotd] THE FISHERMAN BRINGING THE RING TO THE DOGE GRADENIGO {^.-iccadcmia, ]'e7iice PARIS BORDONE Hanfstangl photol [^Naiional Gallery^ London PORTRAIT OF A LADV PAINTERS AND ENGRAVERS, Berlin. Museum distinguished school of Titian, under whom he studied for some time. After this he became a pupil of Giorgione, whom he imitated with much success. Subsequently, however, he devoted him- self entirely to the study of Titian, and became a faithful imitator of that great master, bo that hia works have often been confused with the originals. He also excelled in portrait painting, and his pictures of that description are not inferior to those of any artist of his country, Titian only excepted. His first productions were executed in Treviso, Vicenza, and Venice, and were the objects of universal admiration. His most important work was the dome of the church of San Vicenzo at Treviso, in which he has represented, in six com- partments, 'The Annunciation,' 'The Nativity,' 'The Adoration of the Magi,' 'The Crucifixion,' 'The Ascension,' and 'The Assumption of the Virgin.' In 1538 he was invited to France by Francis I., and he there painted the portraits of that monarch and the principal personages of his Court. He was knighted by Francis II. From Paris he returned to Venice by way of Augsburg and Milan, at the former of which he painted in the Fugger Palace, and at the latter in the chapel of St. Jerome. He died at Venice in 1571. The following are some of his best works : , The Chess-players (O Paris B). A man iu black. Madonna and Saints {two: Nos. 177 and 191). Holy Family, with St. Jerome and St. Elizabeth. Daphnis and Chloe. Portrait of a Genoese Lady (siyned Paris B O). Madonna and two Saints. Baptism of Christ. Portrait of a man. Man counting jewels. Christ taking leave of His mother. Portrait of a man {signed Paris B. F., and dated MDXXXX). . Holy Family. Mars and Venus. The Fishermen presenting the ring of St. Mark to the Doge (his masterpiece) . A young Lady at her toilet. Venus and Adonis in an arbour. And Jive others. BOREKENS. See Borrekens. BORESUM. See Bobssdm. B0R6ANI, Francesco, was a native of Mantua who flourished about the middle of the 17th cen- tury. He was a scholar of Domenico Feti. He did not, however, follow the style of his instructor, but imitated, with some success, the graceful man- ner of Parmigiano. There are several of his works in the churches of San Pietro, San Simone, and Santa Croce, at Mantua, which prove him to have been an artist of no mean ability, and, according to Lanzi, are deserving of more admiration than is generally bestowed on them. BORGHEGGIANO. See Alberti, Chebubino. BORGHESE, Ritter. See Goidotto. BORGHESE, Giovanni Ventura, was a native of Citti di Castello, and a scholar of Pietro da Cor- tona. He assisted that master in some of his most considerable works at Rome, and after the death of his instructor was engaged to finish some of his paintings left imperfect. In the church of San Niocol6 da Tolentino there are two pictures by this painter, representing 'The Annunciation,' Dresden. Gallery. London. Nat. Gall. Lovere. Tadini Coll. Milan. £rera. Munich. Gallery. Padua. Gallery. Paris. Louvre. Rome. Colonna Pal. „ Doria Pal. Venice. Academy. Vienna. Gallery. and 'The Virgin Mary crowned by Angels.' His best works are considered to be four paintings in the church of Citta di Castello, representing scenes in the life of St. Catharine. He died in 1708. BORGHESE, Pietbo. See Dei Fbanceschi. BORGHESI, Ippolito, a native of Naples, and a scholar of Francesco Curia, flourished about the year 1550. He painted historical subjects with some skill, and also successfully imitated Raphael and Andrea del Sarto. His most considerable work is an altar-piece, representing the ' Assump- tion of the Virgin,' in the chapel of Monte di Pieta at Naples. BORGIANI, Orazio, a painter and engraver, was bom at Rome in 1577 (?). He was instructed in the art of painting by his brother, Giulio Borgi- ani, called Scalzo ; but was more assisted in his progress by assiduously studying and copying the works of the great masters in his native city. The patronage bestowed on the arts by Philip II. of Spain induced him to visit that country, where he passed some years, and met with considerable suc- cess, his works being held in great estimation. On his return to Rome he was patronized by the Spanish ambassador, for whom he painted several pictures, and he was also employed in painting for the churches. The date of his death is unknown. He painted as late as 1630. In the Uffizi is his portrait by himself. As an engraver he has left some plates etched in a bold, free manner, and more finished than is usual in the works of a painter. Ho usually marked his plates with a cipher composed of an ff and a B >-A — / thus : LD [LjoJ We have by him: iXJ/ UlQJ The Resurrection, a composition of many figures ; marked with the last of the above ciphers. The dead Christ, in a foreshortened position, with the two Marys and St. John ; dated 1615. St. Christopher giving his hand to the Infant Jesus. St. Christopher carrying the Infant on his Slioulder. Fifty-two Bible histories, called RaphaeVs Bible ; dated 1615. BORGO SAN SEPOLCRO, Raffaellino dal. See Dal Colle. BORGOGNONE. See Courtois. BORGOGNONE, Ambrogio. See Stefani da Fossano, Ambrogio. BORGOGNONE dalle Teste, II. See Giacohi- NETTi Gonzalez. BORGOMAINERIO, Lnioi, who was born at Como in 1836, was one of the cleverest caricatur- ists in the ' Spirito Folletto,' and the founder of the 'Mefistofele.' Subsequently he went to Brazil to engage in similar work for a comic paper, but died at Rio Janeiro in 1876, soon after his arrived. BORGONA, Jdan de, a painter of Toledo, was a distinguished artist of his time, both in fresco and oil, and produced several works in his own city, which were held in great estimation. He worked in conjunction with Alvar Perez de Villoldo, Alonso Sanchez, Francois d'Anvers, and other eminent painters. At Alcala de Henares he painted in 1493 the theatre of the university, and was em- ployed from 1508 to 1511 in the cathedral at To- ledo, where he painted first the altar of the Arabian Chapel, and afterwards a picture of ' The Conquest of Oran.' At Avila he finished the pictures com- menced by Pedro Berruguete and Santos Cruz. He also painted portraits of several cardinals. His colouring and mode of casting his draperies were considered equal to the best masters of the Italian 171 A BIOGRAPHICAL DICTIONARY OF and German sonools of the time. He died at Toledo in 1533. BORLUYT, GoiLLiAaME, who was a burgher of the city of Ghent in 1557, designed a series of plates, illustrating Ovid, which were engraved by the Little Bernard (Bernard Salomon). BORRAS, Francisco Nicolas, a Spanish historical painter, was born at Cocentayna in 1530, and studied under Vincento Joanes at Valencia. He painted the great altar-piece of the monastery of St. Jerome at Ghent, and required for pay- ment to be admitted as one of the order, which was gladly conceded to him. He painted an astonish- ing number of pictures for this immense establish- ment, devoting the greater part of his life to the purpose of decorating it. Some of his pictures were also at Cocentayna, at Ontiniente, at the Escorial, at Aldaya, and Valencia. He led an ex- emplary life, and died at the age of 80. A cata- logue of his principal works may be seen in Cean Bermudez. BORREKENS, Jan Pieter FRANS,(or Borekens,) who was born at Antwerp in 1747, painted land- Bcapes, many of which are ornamented with cattle and figures by Ommeganck and other masters. He died at Antwerp in 1827. BORREKENS, Matthys, a Flemish engraver, was born at Antwerp about the year 1615. He was chiefly employed in copying the plates of the eminent engravers, particularly Bolswert, and some others, for Martin van den Enden, and other print- sellers. He worked entirely with the graver, and appears to have imitated, though without much Buccess, the style of Pontius. We have also some original plates by him of portraits and other sub- jects. His principal prints are as follow : Christ bound, and kneeling, with two Angels holding the instruments of the Passion ; The Good Shepherd : after JJiepenteeck. Augustus Carpzon, Plenipotentiary of the Duke of Saxony at the treaty of Osnaburg ; Gerard Schepeler, another Plenipotentiary at that treaty ; after Ans. van Halle. 1649. The Immaculate Conception ; St. Francis Xavier, on a white ground ; St. Ignatius ; Rubens jiinx. ; M. van den Enden exc. St. Barbara, with a Tower on her Head ; Rubens pinx. ; Mat. Boreckens sc. ; scarce. The Crucifixion, with the Virgin Mary, Magdalene, and St. John J Ant. vanDycJc pi)u:. ; Eras. Quellinus del. BORRONI, Cavaliere Giovanni Angelo, was born at Cremona in 1684, and was a scholar of Angelo Massarotti, and afterwards of Robert Le Longe. On leaving those masters he was taken under the protection of the noble family of Crivelli, and was employed some years in ornamenting their palace. He afterwards painted several pictures forthe churches at Cremona and Milan, particularly in the latter city. In the cathedral at Milan he painted St. Benedict in the act of interceding for the city. In the Pinacoteca of that city is a portrait of a man by him. He died at Milan in 1772. BORSATO, Giuseppe, who was born at Venice in 1771, painted interiors of churches — sometimes in the manner of Canaletto. In the Belvedere, Vienna, there is an ' Interior of St. Mark's, Venice,' by him. He died in his native city in 1849. BORSSOM, Abraham van, (Borssum, Borssem or BoRESUM,) painted landscapes, views of cities, animals, and birds. He is supposed to be the son of a painter. Antoon van Borssom. Little is 172 known of his life : he was born in Holland in the second half of the 17th century, and studied under Rembrandt towards the close of that artist's career. A painting of ' Cattle in a Pool ' in the Dulwich Gallery is said to be by him, and a picture of still-life in the Hermitage, St. Petersburg, is also attributed to him. His colouring and chiaroscuro bear a resemblance to Rembrandt's. His drawings are fine, and highly estimated in Holland. BORSSUM, Adam van, lived in 1666. He painted landscapes and animals, and imitated A. van der Meer and Paul Potter. His colouring is natural, and his pencilling firm, yet free and spirited. BORUM, Andreas, who was born at Hamburg in 1799, studied painting in the Academy at Munich, and then devoted himself to lithography, in which he was very successful. He died at Munich in 1853. The following are his principal plates : The Coliseum ; after Rottmann. Milan Cathedral ; after Miiiliara. Sea piece ; after Adriaan van de I'elde. 'V'iews on the Rhine. BORZONE, Luciano, was born at Genoa in 1590, and was a scholar of Filippo Bertolotto, his uncle, and of C. Corte. He painted history and portraits, but particularly excelled in the latter. In the church of San Domenico at Genoa is a picture by Borzone of ' The Presentation in the Temple,' and in Santo Spirito 'The Baptism of Christ.' While he was painting the ceiling of the Chiesa della Nunziata at Genoa he fell from the scafEolding, and was killed, in the year 1645. He etched some plates : Portrait of Giustiniani. St. Peter delivered from Prison. Prometheus devoured by the Vulture. Children playing. A set of devout subjects. Luciano Borzone had three sons : Giovanni Bat- TisTA, who died in 1656, and Carlo, who died in 1657, completed several paintings begun by their father ; Maria Francesco, the third son, excelled in painting landscapes and sea-pieces in the style of Claude Lorrain and Gaspard Poussin, and came to be employed at the court of Louis XIV. He was born in 1625, and died in 1679. BOS, Balthazar, a Flemish engraver, flourished about the year 1520. He engraved a middle-sized plate, lengthways, representing ' The Judgment of Paris,' which is probably from his own design, as he adds the word fecit to his name. BOS, CoRNELis. See Bosch. BOS, Gaspar See Van den Bos. BOS, Jerom. See Aeken, Hierontmus van. BOS, LODEWIJK, was bom at Bois-le-Duc about the year 1450. He painted flowers, fruit, and plants, which he finished in an extraordinarily polished manner. The insects on the plants are curiously drawn, and painted with surprising pre- cision. He also painted small portraits in the same laboured style. He died in 1507. BOS, Marie R. du. See Du Bos. BOSBOUM, Johannes, Dutch painter, born at the Hague on the 18th of February, 1817. He studied in the studio of B. J. Van Bree, and became well known for his town views and church interiors. One must especiallj' mention his ' Tomb of the Count of Nassau at Breda ' and ' The great Pro- testant Church at Amsterdam,' belonging to the King of Bavaria. He gained a third-class medal at the Universal Exhibition at Paris in 1855, and also exhibited in those of 1867, 1878, and 1889, obtaining, amongst others, a silver medal. He PAINTERS AND ENGRAVERS. was created Chevalier of the Orders of the Lion of the Netherlands and of Leopold of Belgium, dying on the 14th of September, 1891. BOSC, Du. See Du Bosc. BOSCH, B. VAN DEN. See Van den Bossche. BOSCH, CoRNELis, (Bos, or Bos,) a Dutch engraver, was born at Bois-le-Duc about the year 1510. He went to Italy when young, and spent the greatest part of his life at Rome, where he died. His style of engraving resembles that of Marco da Ravenna and Eneas Vicus, but exhibits inferiority. He was more successful in copying the works of Raphael and Giulio Romano. His plates are executed with the graver, in a dry formal % style. He usually marked ^ r\ t JP them with one of these f — r\ fK i (\ ciphers : ^ ±J , ^ U K^ 'U The following are his best works : The Last Judgment ; with his cipher. 1530. Lot asd his Daughters. 1550. David and Uriah. 1546. Jesus preaching to the Jews; inscribed Seati qui, &c. Venus in her Car. 1.546. Venus and Cupid coming to Vulcan. 1546. Combat of the Centaurs and the Lapithse; in two sheets. 1550. Death seizing a Monk. The Equestrian Statue of Marcus Aurelius. A set of sixteen of Trophies, Arms, and Grotesques; Some. 1550 to 1553. Moses breaking the Tables of the Law ; after Raphael. 1550. Moses presenting the Law to the People; after the same. 1551. The Triumph of Bacchus ; after Giulio Romano : in two sheets. 1543. The Entombing of Christ ; after Frans Floris. 1554. The Battle of the Giants. The Descent from the Cross. 1545. BOSCH, Elias, was a German engraver, whose works are little known, though they are not desti- tute of merit. His plates are executed entirely with the graver, in a neat, finished style. His name is affixed to a small print representing 'The Holy Family, with Angels,' after Johann von Aachen. BOSCH, Jac. van den. See Van den Bosch. BOSCH, Jerom. See Aeken, Hieronymds van. BOSCHAERT, Nicolas, was born at Antwerp in 1696, and was a scholar of Crepu, a flower painter of some reputation, whom he soon surpassed, and became a very eminent artist in that line. His pictures of flowers and fruit are painted with great lightness of touch, are delicately coloured, and are disposed with taste. He was frequently employed in painting flowers and fruit in the pictures of contemporary artists. BOSCHER, Philip van, flourished in the seven- teenth century ; no details of his life are recorded. A picture of a ' Widow,' signed P. V. B. f., in the Hermitage, St. Petersburg, is attributed to him. BOSCHI, Fabrizio, was born, according to Baldinucci, at Florence about the year 1.570. He was a scholar of Domenico Passignani, imder whom he made so great a progress that at the age of nineteen he executed, in fresco, a consider- able work of the ' Life of St. Bonaventure,' which that author reports to have excited the admiration of the artists of his time. One of his best per- formances was 'The Martyrdom of St. Peter and St. Paul,' painted for the church of the Certosa, at Florence. Another capital picture by him is in the church of the Dominican convent of St. Lucia, ■. representing ' The Assumption of the Virgin, sur- rounded with Angels, and the Apostles below.' He died in 1642. BOSCHI, Francesco, was bom at Florence in 1619, and was the nephew and scholar of Matteo Roselli. He finished some of the works left im- perfect at the death of his master, and painted several pictures of his own compositions for the churches at Florence. His greatest merit, how- ever, consisted in portrait painting, which he practised with great ability. He died in 1675. A ' St. Matthias ' by him is in the Ufiizi at Florence. BOSCHINI, Marco, was born at Venice in 1613, and was educated in the school of Palma. He did not confine himself to an imitation of the manner of his master, but occasionally attempted the bolder style of Tintoretto. One of his most esteemed works is an altar-piece, representing 'The La.st Supper,' in the sacristy of San Giro- lamo, at Venice. He also distinguished himself as an engraver, and usually signed his name on his plates, Marcus Boschinius. Boschini was also a writer on art, and was the author of ' La Carta del Navegar pittoresco,' published at Venice in 1660. BOSCOLI, Andrea, was a native of Florence, and flourished in 1553. He was a scholar of Santo de Titi, and acquired some reputation as a painter of history. His best work is a picture of ' St. John preaching,' in the church of the Teresiani at Rimino. He also painted portraits with consider- able success ; that of himself is in the Florentine GaUerj'. Florent le Comte says he engraved nineteen plates, but does not specify them. He died about 1606* BOSELLI, Antonio, was a Bergamese artist, who lived in the early part of the 16th century. He was a sculptor as well as a painter. His earliest known work is a fresco in the church of Ponteranica, near Bergamo, which is dated 1495. In 1514 he painted the altar-piece at Santa Maria Maggiore, Bergamo, representing ' Christ in Glory, with the Virgin and Saints.' In the Lochis Car- rara Gallery of the same city is a panel with St. Lawrence, between SS. John the Baptist and Barnabas ; and in the church of San Cristoforo is a picture representing ' St. Peter, St. Paul, and St. Luke,' and bearing the inscription, Hoc opus An- tonium scito pinxisse Bosellum, die 23 Februarii, 1509. In the church of the Augustines is another of his works representing ' The Virgin and Infant Jesus in the clouds, and several Saints below.' Records prove that he was living as late as 1627, and it is believed that he assisted Pomponio Amalteo, in Friuli, in the years 15.34 to 1536. The dates of his birth or death are not known BOSELLI, Felice, was bom at Piacenza in 1650, and was a disciple of Gioseffo Nuvolone. For some time he attempted historical painting, in which he was not very successful ; but he after- wards adopted a branch of the art more suited to his genius, and became a very reputable painter of animals, birds, and fish. His pictures of these subjects are highly esteemed in his native country, and are to be found in the best collections at Piacenza. He succeeded so well in copying an- cient pictures as to deceive experienced judges. He died in 1732, aged 82. BOSER, Karl Friedrich Adolf, who was born at Halbau in Prussian Silesia in 1811, studied in Dresden, Berlin, and Diisseldorf ; his paintings, 173 A BIOGRAPHICAL DICTIONARY OF chiefly genre subjects and portraits, were popular. He died at Diisseldorf in 1881. BOSHART, WiLHELM, who was bom at Munich in 1815, at first studied for the medical profession ; but, abandoning that, he devoted himself in 1844 to art, studied under E. Schleicb, and soon became famous for his landscapes. He died in 1878. BOSIO, Antonio, a Romish priest, who was a Maltese by birth, reopened and explored, towards the close of the 16th century, the catacombs of Rome. He made accurate engravings of the most remarkable paintings and objects which he found there, and pubhshed them together with explana- tory text (see Kugler's ' Handbook of Painting,' revised by Lady Eastlake, p. 12. 1874). BOSSAERT, Thomas Willeboets. See Wille- BORTS. BOSSAM, John, an English painter, lived in the reigns of Edward VI., Mary, and Elizabeth. Nicho- las Hilhard calls him " a most rare English drawer of story works in black and white," and says that "for his skill he was worthy to have been Serjeant painter to any king or emperor." It is believed that he became a minister in the Church. BOSSART, Robert, was a German engraver who flourished about the j-ear 1595. He is sup- posed to have been a pupil of Hendrik Goltzius, from the resemblance in their style, although that of Bossart is much inferior. He engraved a set of prints, in which the different nations of Europe are represented by figures, emblematical of what each country was celebrated for. He also engraved a portrait of B. Spranger, dated 1695. BOSSCHAERT, Thomas Willeboets. See Wil- leboets. BOSSCHE, B. VAN den. See Van den Bossche. BOSSE, Abraham, a French engraver, was born at Tours in 1602. He was the son of a tailor, and went to Paris to gain instruction in art about the year 1617, but under whom he studied does not appear. Becoming acquainted with the mathema- tician Desargues, whose works he afterwards pub- lished, he devoted himself to the study of perspective, and became professor of that art in the Academj' of Painting. He was also elected an honorary academician, but his vanity and bad temper were before long the cause of a quarrel with his col- leagues, and of his ultimate expulsion from their ranks. From 1648 to 1654 the diplomas had been given in the name of M. Martin de Charmois, one of the principal founders of the Academy and its acknowledged chief, but in the last-named year the Academy, deeming this practice to be incon- sistent with its dignity and freedom of action, resolved that all its diplomas should be returned and exchanged for new ones. To this unanimous decision of his colleagues Bosse refused to submit, unless the phraseology common to all were re- placed by certain laudatory words which he had contrived to get inserted in the original document. Being unwilling to precipitate a quarrel, the Academy allowed the matter to rest for nearly three years, during which time Bosse not only went to its meetings, but circulated against it pamphlets overflowing with wit and hatred. At length there was no alternative left but to declare Bosse deprived of his rank of academician. He left Paris and retired to Tours, but before long he returned to the capital, where he resided until his death, which took place on the 15th of February, 1676. He was buried in the Protestant cemetery of Les Saints-Peres. Bosse ap- pears to have formed his style upon that of Callot, 174 and his plates, which are etched and then finished with the graver, display much spirit and freedom. They consist mainly of allegorical figures, scenes of civil life, popular types, costumes, frontispieces, and vignettes. He also practised painting and archi- tecture, and wrote several works on those arts and on perspective, which are described in the " Cata- logue des Traitez que le sieur Bosse amis au jour," 1674. The best known of these are the"Traicte des manieres de graver en taiUe douce sur I'airin," 1645, which was republished by Cochin in 1745, the " Traits des manieres de dessiner les Ordres de I'Architecture antique," 1664, and " Le Peintro converty aux precises et universelles regies de son Art," 1667, which contains some curious informa- tion respecting the disputes which arose between the author and his colleagues in the Academy of Painting. He painted in the manner of Callot, and his pictures are very rare. The Louvre has no example, but there is one, ' The Foolish Virgins,' in the Musee de Cluny, and another, ' An Interior," in the Museum of Douai. M. Georges DuplessL? published in 1859 the "Catalogue de I'CEuvre d' Abraham Bosse," in which are carefully described 1449 works, most of which are from the engraver's own designs. Besides these M. Duplessis enumer- ates 57 pieces executed by Bosse in conjunction with other artists. The following are the most important of his works : — David holding his sling (fronde), the head of Goliath at his feet ; beneath are eight verses in praise of the Fronde. 1651. Judith putting the head of Holofemes in a bag. The Virgin and ChUd, with four Angels above ; within a border ; after St. Igny. The History of Jezebel ; sis plates. The Parable of the Prodigal Son : six plates. The Parable of the Eich Man and lazaras ; three plates. The Parable of the Wise and Foohsh Virgins ; seven plates. The Acts of Mercy ; seven plates. La deroute et confusion des Jansenistes. 1654. The Senses ; five plates. The Ages of Man ; four plates. 1636. The Seasons ; four plates. The Quarters of the World ; four plates. The Elements ; four plates. The Gauls imploring the clemency of Csesar. IDustrations to Hozier's "Noms, Snmoms, Qnalitez, Armes, et Blasons des Chevaliers et Officiers de rOrdre du S. Esprit," 1634 ; four plates. The Marriage of Ladislaus IV., King of Poland and Sweden, and Louisa Maria de Gonzaga, Princess of Mantua, at Fontainebleau, 1645. Jacques Callot, the engraver. Louis XIII., King of France, as Hercules. James Howell, the historiographer ; full length, the head engraved by Mellan. Cardinal de Richelieu. The Infirmary of the Hopital de la Charity at Paris. Le Jardin de la noblesse fran^oise, 1629 ; eighteen plates ; after St. Igtiy and Bosse. La noblesse fran^oise a I'EgUse ; thirteen plates ; after St. Igny. Les Gardes fran^oises ; nine plates. Les Cris de Paris ; twelve plates. Les Quatre Jardinieres ; four plates ; after BeUange. Le Manage a la ville ; six plates. Le Manage a la campagne ; three plates. Le Mari qui bat sa femme : La Femme qui bat son man ; two plates. The Painter, the Sculptor, the Engraver, and the Priater ; four plates. The Schoolmaster and the Schoolmistress ; two plates. The Trades ; seven plates. Lettre amoureuse du Capitaine Ertranagant a sa Maistresse : Eeponse de la Damoiselle a la lettre du Capitaine Extrauagant ; two plates. 1640. PAINTERS AND ENGRAVERS. Am buueurs tres iliustres et haut-crieurs du Koi boit ; twenty-four small subjects engraved on one plate and intended to be cut up and drawn for on the FSte des Eois. r j; q. BOSSI, Benigno, an Italian designer and engraver, was born at Porto d'Arcisato, in the Milanese, in 1727. He was intended to have studied paint- ing under Pompeo Batoni, but the death of that artist prevented it, and he was advised by Mengs and Dietrich to apply himself to engraving. He stayed a long time at Nuremberg and at Dresden, but during the seven years' war he was under the necessity of leaving Saxony, and went in 1760 to Parma, where he was favoured with the patronage of the duke. He died there about 1800. We have the following prints by him : His own Portrait. The Presentation in the Temple. 1755. Forty small etchings of Heads, and other subjects ; very spirited. A set of Vases, and a Masquerade ; after Petitot. Four of Trophies. 1771. Four of the Attributes of the Seasons ; circular 1770. Two of Children. A set of twenty-nine small plates ; after the drawings of Tarmigiano. Allegorical figures representing the Towns in Piedmont. St. Catharine; after the celebrated picture belonging to the family of SanvitaU. The most esteemed plate of the artist. BOSSI, Giuseppe, of Milan, who was born at Busto Arsizio near Milan in 1777, studied paintings from works in the Brera and at Rome. On his re- turn to Milan he became secretary of the Academy, for which he acquired casts and pictures in Paris. He was instrumental in the establishment of Schools of Anatomy and of Mosaic Painting. Be- sides executing numerous historical works, he made a copy of Leonardo's ' Last Supper,' and also wrote a Life of that artist: and furthermore published poems in the Milanese dialect. He died at Milan in 1816 ; he is represented in the Uffizi by his own portrait, and in the Pinacoteca at Milan by his own portrait and by a Dance of Amorini. BOSSIUS, Jacob, an old Flemish engraver, was born about the year 1520. He resided chiefly at Rome, and he is supposed to have learned the art of engraving fronj some of the pupils of Marc- Antonio. He worked with the graver in a neat but rather stiff style, and his drawing is not very correct. His prints, however, possess considerable merit. He sometimes marked his plates with his name at length, and sometimes BB. We have the following by him : Portrait of Michelangelo Buonarroti. Bust of Cardinal Otto Truchsess, of Albani ; with a border, and an emblem of Charity ; Jac. Bossim Belgia incidebat. Bust of St. Thomas Aquinas; Jacob Bossius Belgta incidit. The Crucifixion ; Jacobus Bossius incid. Four, of the Four Evangelists; marked B. B. F. — Cock^ exc, Jacob's Ladder ; after Raphael ; marked Jac. b b. St. Peter and St. John curing the lame Man ; Jac. Bos.f. The Statue of Pyrrhus, King of Molossia ; after the an- tique ; signed Jacobus Bossius Belgia incid. 1562. BOSSU. See Le Bosstj. BOTELLI, Felice, who was born at Piacenza in 1652, studied under Nuvolone, and painted animals, birds, and fish with great spirit and beauty. He died in 1732. BOTET, F., a native of France, flourished about the year 1750. Among other prints he engraved some plates representing gallant subjects and bamboohades, after Charles Antoine Coypel. BOTH, Andries, was born at Utrecht about 1609. He followed almost the same career as his brother, Jan Both, — studied under liis father, then under Bloemaert, and subsequently accompanied his brother to France and Italy. He chiefly employed his time in painting figures in his brother's land- scapes ; and works entirely by him are very rare. He was drowned in a canal at Venice in or before 1644, and his loss is said to have caused his brother great atfliction. Independent of the reputation Andries Both acquired by the charming figures whieli he introduced into the landscapes of his brother, he painted several pictures of his own composition, in the manner of Bamboccio, but more agreeably coloured ; they generally repre- sent merry-makings, fairs, and quack-doctors, sur- rounded by figures, designed with great humour, and full of character : they are highly esteemed. He also practised the art of engraving with some success. We may mention by him : _. St. Anthony praying, with a skull ; marked ^yr}oth, reversed. St. Francis, with a crucifix before him ; the same. Bust of a Man, in Profile, with a Cap and Feather ; marked TV) Two Beggars, xlj • Two of Dutch Merry-makings ; J . Both iiiv. etfec. Six Landscapes, numbered ; of which the first is marked A. Both. The Five Senses, represented by grotesque figures ; de- signed by Andries and engraved by Jan Both. BOTH, Jan, was bom at Utrecht about 1610. He and his elder brother Andries studied under their father, who was a painter on glass, and from him they learned th^ first rudiments of design ; but they were afterwards placed under Abraham Bloe- maert, with whom they studied until they found them- selves sufiBciently advanced in art to travel. They journeyed through France and Italy, and made a stay in Rome, where Jan Both, inspired by the beauty of the scenes around him, and emulated by the applause bestowed on the works of Claude Lorrain, was not long before he produced some landscapes that received the unqualified admiration of the artists themselves ; and Andries, who had studied the works of Bamboccio, decorated them with figures, painted in such perfect unison with the landspapes that it could hardly be believed that they were not by the same hand. The figures in no way intruded on the enchanting effect of the landscape, and the landscape occasionally withheld its attraction to give value to the charm of the figures. The sympathy of their affections had blended itself with the exertion of their talents ; and in their works everything was warm, tender, and harmonious. The landscapes of Both exhibit the most beautiful scener3' ; his colour is glowing, yet delicate, and there is a sparkling effect of sunshine in his pictures that has scarcely been equalled. Sometimes we admire the freshness of nature, enlivened by the first beams of the rising sun ; at others the brilliant glow of its meridian splendour ; and we sometimes contemplate the rich tintings of evening in an Italian sky. The figures and cattle by Andries, with which they are en- riched, are grouped and designed with great taste and elegance. The works of these excellent artists had reached a distinction, even in Italy, that se- cured to them both fortune and fame, when a melancholy accident cut asunder the tender tie by which they were united, and deprived the world of 175 A BIOGRAPHICAL DICTIONARY OF the combination of their powers. While they resided at Venice, returning home from an entertainment, in or before 1644, Andries imfortunately fell into one of the canals, and was drowned. Both did not long remain in Italy after the death of his brother, but returned to Utrecht, where he endeavoured, it is said, to supply his loss by having the figures in his landscapes painted by Comelis Poelenburg. He died after 1662. (See 'Catalogue of Dulwich Gallery' by Dr. Richter.) The following are some of his principal works : his brother Andries assisted in the greater part ; they are nearly invariably signed J. Both — the J and the B interlaced. Amsterdam. Gallery. Italian Landscapes (three). A Farm. „ Artist studying from Nature (one of his best tcorks). Antwerp. Museum. Italian Scene. Berlin. Gallerj/. Italian Landscape. 1650. Brussels. Galleri/. Italian Landscape. Copenhagem. Gallery. Italian Landscapes {tico). Dresden. Gallery. Landscapes with Figures (five). Dulwich. College. A Mountain Path (a;i(i/oi/ro dil ^'aga, 1831. Cupid and Psyche ; Cupid bending his bow; after drawings by Ingres from antique sculpture; for the 'Musfe Fran^ais,' 1806. Ptolemy II. Philadelphus and Arsinoe ; after a draxcing by Ingres from an antique cameo. Belisarius ; after Gerard, 1806. Francis I. and his sister, Margaret of Navarre; after Richard, 1817. Hope supporting Man to the Tomb : after Caraffa, 1801 Le.s Penibles Adieux ; afier Hilaire Ledru ; in dotted manner, 1802. Napoleon Bonaparte, First Consul ; after Robert Lefevre, 1802. Napoleon I., Emperor of the French; "full-length; after Gerard, 1808. Marie Louise, Empress of the French, 1810. Napoleon, King of Rome ; after Gerard. Baron Alexander von Humboldt ; an etching ; after a sketch by Gerard, 1806. Thomas Jefferson, President of the United States of America; in dotted manner, 1801. Charles Maurice de Talleyrand-Peri gord. Prince of Benevento; full-length ; after Gerard, 1314 fi. B. G. BOUGH ET, Louis AkdrS Gabriel, a French historical painter, scholar of David, painted sub- jects from sacred and profane history, poetry, and portraits. He obtained the first grand prize in 1797, and continued to exhibit until 1819. Gabet does not mention the date of his birth or death. BOUCHET, Louis F. du. See Dn Bouchet. BOUCHOT, FRAxgois, a painter and engraver, was bom in Paris in 1800. He studied engraving under Richomrae, and then became a pupil of Reg- nault, and subsequently of Lethiere, and obtained the ' grand prix de Rome ' in 1823. He exhibited at the Silon from 1824 till his death, which occurred in Paris in 1842. A 'Drunken Silenus ' by him is in the Lille Gallery, and the ' Burial of General Marceau ' in the Mairie at Chartres. He was also celebrated for his portraits. BOUCK, or BOUCLE, — van. See Boekel. BODCQUET, Victor, a Flemish painter, was born at Fumes in 1619. He was the son of Marcus Boucquet, a painte' little known. Descamps sup- poses he must have visited Italy, as his works exhibit a manner that partakes little of the taste of his country. He painted historical subjects, and was also esteemed as a portrait painter. His works are distributed in the different churches of the towns in Flanders. The}- are well composed, and, like those of most of the artists of his country, are well coloured. In the great church of Nieuport are two altar-pieces by this master, one of which, representing • The Death of St. Francis,' is par- ticularly admired ; and in the town-house there is a large picture by him, considered as his principal work, representing ' The Judgment of Cambyses.' The principal altar-piece in the church at Ostend is by Boucquet : it represents the Taking down from the Cross. He died at Fumes in 1677. BODD, R., a Dutch engraver, flourished about the j-ear 1590. He was principally employed in en- graving portraits for the booksellers : among others is a portrait of Hendrik Goltzius, the painter and PAINTERS AND ENGRAVERS. engraver, crowned with laurel by Fame. It is executed with the graver, in a stiff, formal style. BOUDAN, Alexandre, was a French engraver, who died in Paris in 1671. There is by him a portrait of Anne of Austria, queen of Louis XIII. BOUDEWYNS, Adriaan Frans, not Anton Frans (Bauduins, or BAnDouiN), was born at Brus- sels, in 1644 ; he studied under a landscape painter named Ignace van den Stock, and was received into the Guild there in 166.5. He then studied under A. F. van der Meulen, and afterwards painted landscapes in an Italian manner, which Pieter Bout decorated with figures. The Dresden Gallery has ten of their joint productions, the Madrid Gallery nine, the Uffizi in Florence three, the Louvre one, and the Vienna Gallery has two, and they are also seen in the Galleries of Antwerp, Rotterdam, and Brunswick. The date of Boudewyns' death is not known for certain. Besides painting, Boudewyns devoted much of his time to en- graving. His plates are chiefly after the pictures or designs of Van der Meulen, and are etched in a bold, free style, producing a good effect. His works are as follow Six Landscapes, with Figures ; middle-sized plates. Six large Landscapes ; dedicated to Ph. de Cham- pagne. Eight Landscapes, with Buildings. Two Stag -hunts ; one dedicated to the Marquis de Louvois. A large Landscape, with the March of the King to Vincennes ; dedicated to Ch. le Brun. A large Land- scape, with the Queen going to Versailles ; dedicated to the Due de Noailles. Six Views of Towns in France. Two Views of Versailles ; as it was, and as it is. View of the Castle of Vincennes. View of the Palace of Fontainebleau ; two sheets. Two Views of Gardens in Italy ; after A. Genoeh. BOUDIN, Edgene, a distinguished French marine painter. The son of a Honfleur pilot, he was from his infancy acquainted with the sea, and none of his fellow-artists could equal him in his renderings of its atmosphere and movement. He was a close student of nature, and exhibited first at the Salon in 185.3, but it was not till 1881 that he was honoured with a medal of the third class, a second-class medal following in 1883. In 1889 he gained the gold medal, and was created knight of the Legion of Honour in 1892. Two of his best works are in the Luxembourg, namely, ' Une Corvette Russe'and'La Rade Villefranche.' He died in 1898 at the age of seventy-three. p. p BOUGH, Samuel, a Scotch landscape painter in oil and water-colours, was born in 1822 at Carlisle, where he worked for two years in the town clerk's office. He received no systematic instruction in art, although he became connected with many artists. His first efforts were in scene paintmg and decorating interiors. In 1855 he removed to Edinburgh, becoming an Associate of the Scotch Academy in 1857, and a member in 1875. He died at Edinburgh in November 1878. Amongst his most important works are : Shipbuilding on the Clyde. Kirkwall. Borrowdale. lijndon, from Shooter's Hill. St. Monan's. Winton Castle. Arran Hill. The Baggage- Waggon. Ben Nevis. A Windy Day. BOUHOT, Etienne, a French painter of archi- tectural views, both exterior and interior, was horn at Bard-les-Epoisses (Cote-d'Or) in 1780. He studied under Prevost, and his works are numerous and much esteemed. He died at Semur in 1862. BOUILLARD, Jacques, a French draughtsman and line-engraver, bom at Versailles in 1744, was editor of 'The Gallery of the Palais Royal.' He N 2 engraved classical subjects after Poussin, Annibale Carracci, and Guido Reni, as well as after Le Sueur, Mignard, and Van Loo. He was a member of the Academy of Painting and Sculpture, and died in Paris in 1806. His best plates are : A Holy Family ; after Aimibale Carracci. The Dream of Polyphilus ; after Le Sueur, St. Cecilia ; after P. MUfyiard. BOUILLON, Pierre, a painter and engraver, was born at Thiviers (Dordogne) in 1776, and studied under Monsiau. He carried oft' the first great prize in painting in 1797. Among other pic- tures he produced 'Conjugal Piety,' exliibited in 1804; 'Christ Resuscitating the Widow's Son' (1819); and 'The Clemency of Caesar towards Cinna.' The last two were commissioned in 1817 by the Government, and were placed, the former in the council chamber in the Louvre (where it still is), and the latter in the palace of St. Cloud. He engraved the plates for the ' Musee des An- tiques,' published in three volumes folio. He died in Paris in 1831. BOUIS, Andr6. See Bouts. BOULANGE, Louis Jean Baptiste, a French landscape painter, was bom at Verzy (Mame) in 1812. He studied under PSris and E. Delacroix, and obtaiined a medal in 1859. He died January 1878. BOULANGER, Clement, who was born in Paris in 1805, studied under Ingres, and died in 1842 at Manisa (Magnesia) in Asia Minor. His pictures are chiefly historical, but he also painted landscapes and portrails. BOULANGER, Gustave Rodolphe Clarence, painter, was born ^n Paris, April 25, 1824. He laegan his art education at an early age, and when only fourteen was sent by an uncle to Africa, where he spent eight months making sketches, and where he seems to have imbibed his love for Oriental subjects. He became a pupil of Paul Delaroche and of Jolivet, and in 1849 gained the 'prix de Rome,' and remained in Italy till 1856. He devoted himself to Roman and Grecian archaeological theiues somewhat in the manner of Mr. Alma Tadema. In 1882 he was elected a member of the Institute, and was long a profe-sor at the ficole des Beaux Arts. He married Madame Nathalie, of the Com(5die Fran9ais, and to this theatre he presented a portrait of his wife, painted in 1867. He was also the author of a series of mural pictures in the Foyer de la Danse of the new Opera house in Paris, and of two in Prince Napoleon's Pompeian house in the Avenue Mon- taigne, the 'Flute Player' and the 'Wife of Diumed,' themes which he several times repeated. He died in Paris, September 22, 1888. BOULANGER, Jean, though a native of France, is better known in Italy than in his own country. He was born at Troyes in 1606, but went to Bologna when he was young, and entered the school of Guido Reni. Under that able instructor he acquired a correct and graceful mode of designing, and a tender and harmonious colouring. His merit re- commended him to the protection of the Duke of Modena, who appointed him painter to the court ; and he ornamented the ducal palace with several historical pictures, composed and painted in the elegant style of his master. He established an academy at Modena, and had many pupils. He died in 1660. In the Modena Gallery there are live works by him. 179 I A BIOGRAPHICAL DICTIONARY OF BODLANGER, Jean, a French line- engraver, cousin to the painter of the same name, was born at Amiens in 1607. He seems to have attached himself at first to an imitation of the style of Fran- fois de Poilly, but he afterwards took up a mode of engraving which had before been practised by his contemporarj', Jean Morin, but which he greatly improved, of finishing the flesh and naked parts of his figures with dots, instead of strokes, or with a mixture of both, which gave a very soft and mellow effect ; but as he finished the draperies and backgrounds with rather a harsh use of the graver, there was a want of union in the effect of his plates. Notwithstanding this defect, his prints have considerable merit, and are justly held in estimation. He died in Paris about 1680. The following are some of his principal plates : POETBAITS. Uaria Theresa of Austria, Queen of France ; after Frire Luc. Pope Urban Tin. ; J. Boiilanger inv. et fee. Charles II., King of England. Gustaviis Adolphus, King of Sweden. Ijeopold, King of the Romans. Henry of Castile, Abbot of St. Martin. J. Kegnault de Segrais, of the French Academy. J. Jacques Olier, Cure of St. Sepulcre. Paul Beiurier, Canon of St. Genevieve ; after Jacq Le Fevre. Diiniel de Cosnac, Archbishop of A't ; after Claude Le Febvre. v. Louis de Seckendorf ; after C. Seheffer. Michael Nostradamus, Physician. St. Vincent de Paul. Mademoiselle Le Gras, Foundress of the Filles de la Charite. Francis Isidor de Hayrien. Franijois de Clermont, Bishop of Noyon. SUBJECTS FROM HIS OWN DESIG.»IS. Two Busts of our Saviour and the Virgin Mary. Bust of the Virgin, surrounded by a border of Laurel : oval. The Virgin Mary and Infant Jesus ; half length. The Virgin Mary and Infant, with St. John presenting a Cross. SD3JECTS AFTER DIFFERENT MASTERS. The Virgin and Infant Christ holding some Pinks, called the Virgin of the Pinks ; after Raphael. A Bust of the Virgin ; inscribed Mater atnabilis ; after the same. The Holy Family, with St. Joseph giving the Infant some Cherries ; after Carracci. The Virgin of Passau ; after Solaria. The Virgin Mary, with the Infant sleeping in her Arms ; after Guide. The Virgin and Infant Jesus, with St. John kissing his Foot ; after the same. The Holy Family ; after Koel Coypel. The Holy Family ; half-length figures ; after X^ic. Loir. The Infant Christ ; inscribed Salvator Mundi, &c. ; after the same. 1651. Christ bearing His Cross ; after Ale. Mignard. The Virgin and Infant, with St. John kissing His Foot ; after P. Mignard. The Descent from the Cross ; after S. Bourdon. The Entombment of Christ ; after the same. The Crucifixion ; after Ch. le Briin. St. Francis de Paula ; after S. Voiiet. The Dead Christ supported by Joseph of Arimathea. The Pompous Cavalcade on the occasion of Louis XIV. coming of age. BOULANGER, Louis, was bom of French parents at Vercelli, in Piedmont, in 1806. He studied painting under Guillon-Lethiere and A. Dev^ria, and entered upon the practice of art under the influence of the chiefs of the romantic school ; and with an amount of early renown, which he afterwards retained. He was intimate with 180 Victor Hugo, who dedicated to him some of his poetical effusions, a compliment which he returned by illustrating the poet's works in some of his most effective canvases. Boulanger obtained a medal of the second class in 1827, and one of the first class in 1836, and the decoration of the Legion of Honour in 1840 ; whilst in 1860 he was appointed director of the Imperial School of Fine Arts at Dijon. He had for a time a great reputa- tion, but died almost forgotten, at Dijon, in 1867. He exhibited at irregular intervals, after 1828: Mazeppa. 1S28. The Departure. 1S2S. The last scene of Lucrezia Borgia, in water-colours. 1S34 (purchased hi/ the Duke of Orleans). The Triumph of Petrarch. 1836. St. Jerome with Roman Fugitives. 1855. Romeo purchasing the Poison. 1857. Lazarillo and the Beggar. 1357. Don Quixote and the (Joat-herd. 1859. Othello. 1859. Macbeth. 1859. " Vive la joie." 1866. BOULANGER, Matthieu, was a native of France, and flourished about the year 1680. He is supposed to have been a son of Jean Boulanger, the engraver. He was chiefly employed in engrav- ing portraits for the booksellers, which are executed in a stiff, heavy style. BODL.\NGER, Pierre Esimanuel Hippoltte, a Belgian landscape painter, was born in 1837. He studied in the Academy at Brussels and at Tervu- eren and the neighbourhood. He exhibited at the Brussels Exhibition in 1866, and at Ghent in 1867, when his pictures were much noticed. He ob- tained a medal in 1872 for his ' AU^e des Charmes.' He also exliibited ' Environs de Tervueren ' at the Salon in 1873, and ' Spring-time in Brabant' at the International Exhibition at Kensington in 1874. He died at Brussels in 1874. BOQLLONGNE, Bon de, (or Boulogne,) the elder son of Louis de BouUongne, was born in Paris in 1649. He was instructed by his father, and having painted a picture of ' St. John,' which was shown to Colbert, he was sent to Rome for improvement, under the pension of the king, sind there he remained five years. He afterwards visited Lombard3', and passed some time studying the works of Correggio and the Carracci. On his return to Paris he was a candidate for a seat in the Academy, which he obtained in 1677, and painted for his picture of reception ' Hercules combating the Centaurs ' (now in the Louvre). He was made professor in 1692. Louis XIV. took him into favour, and employed him to paint the staircase at Versailles, under the direction of Charles le Brun. In 1702 he painted in fresco the cupola of the chapel of St. Jerome, in the church of the InvaUdes. One of his best works is ' The Resurrection of Lazarus,' in the church of the Carthusians. At Versailles he painted ' Venus and Cupid,' and ' Bacchus and Silenus ; ' and in the Trianon, in 1710, ' Juno and Flora,' and ' The Toilet of Venus,' both now in the Louvre. In addition tc these and the ' Hercules,' the Louvre possesses an ' Annunciation,' • St. Benedict restoring a Child to life,' and a ' Marriage of St. Catharine,' by him. ' The Calling of the Sons of Zebedee,' by him, is in the Dublin Gallery. He possessed a particular talent for painting what the Italians call ' pastici,' or imitation of the style of other masters, without the servility of copies. He died in Paris in 1717. We have a few etcliings by this painter: PAINTERS AND ENGRAVERS. The Holy Family. St. John preaching in the Wilderness. St. Bruno. Frontispiece for an Almanack ; dated 1694 A satirical print against the Author of the ' Mercure Galant;' inscribed, ^4 A ha, galant, vous raisonnez en ignorant. BOULLONGNE, Louis de, ' the elder,' (or Bon- LOONB,) a French painter, was born in Paris in 1609, and was a pupil of Blanchard. He visited Rome, and studied the works of Titian, Guido Reni, and other great artists ; and on his return to Paris became professor of the Academy, and painter to the king. His principal works are in the church of Notre-Dame at Paris, where he has painted 'The Miracle of St. Paul at Ephesus,' 'The Martyrdom of St. Simon,' 'The Beheading of St. Paul,' and ' The Presentation in the Temple.' He painted many pictures for churches, and made good copies of several of the masterpieces which the celebrated banker Jabach had purchased from the collection of Charles I. — amongst others, ' The Labours of Hercules,' after Guido ; the ' Marquis del Guasto,' and ' The Disciples at Emmaus,' after , Titian ; and a ' Nativity ' after Carracci. He died in Paris in 1674. He etched thirty-nine plates, among which may be mentioned : Le Livre de Portraiture (twenty-six plates). A Holy Family, with the Bird. The same subject, at the foot of a Column. The Miracle of St. Paul at Ephesus. The Beheading of St. Paul. The Rape of Helen ; after Guido. His two daughters, Genevieve and Madelaine, were also painters, and were received into the Academy in 1669. The former, who married Jacques Clarion, the sculptor, died at Ais in 1708, aged 63, and the latter in Paris in 1710, aged 64. BOULLONGNE, Louis de, 'the younger,' (or Boulogne,) who was born in Paris in 1654, was the younger son of Louis de Boullongne the elder, and received instruction from his father. He was one of the most assiduous students of the Academy, and gained the prize for painting when he was eighteen, and was consequently sent to Rome, under the pension of the king, in 1675. He there copied for the Gobelins manufactory, in their original size, ' The School of Athens,' and the ' Disputa ' of Raphael. He returned, through Lombardy and Venice, to Paris in 1680, and the following year he was received into the Academy ; his reception picture was ' Augustus ordering the Temple of Janus to be shut' In 1693 he was made professor, in 1717 rector, and in 1722 director; in this same year he received the Order of St. Michael, and was ennobled in 1724. Having in 1725 been appointed painter to Louis XIV., he was employed at Fontainebleau, and in the chSteau of Meudon. In the church of Notre-Dame, at Paris, he executed two fine pictures, 'The Purification,' and ' The Flight into Egypt.' The works of this painter show that he had profited more by his residence at Rome than has been usual with the artists of his nation. There is a fine character in his heads, his drawing is correct, and his colour is more vigorous than is generally found in the artists of the French school. He died in Paris in 1733. He exhibited at the Salon from 1699 to 1704. We have the following etchings by him : The Holy Family, the Infant Jesus holding a Bird by a String. The Holy Family, with St. John. The Dead Ohrist, with the Marys and Disciples. The Martyrdom of St. Peter. The Martyrdom of St. Paul. The Flagellation of St. Andrew ; after Paolo Veronese St. Bruno. The Roman Charity. BOULONOIS, EsMB de, an engraver, from his name was apparently a Frenchman. He was a print-seller, and lived about the middle of the 16th century. The prints we have by him are princi- pally portraits, and are entirely worked with the graver, in a neat but stifE style. Among others, we have the following portraits : Christopher Plantin. George Buchanan. Lady Jane Grey. Hans Holbein, painter. Anthony More, painter. BOUMAN, PiETER, a landscape painter, born at Dordrecht about 1765, painted views in the neighbourhood of Haarlem, waterfalls, winter scenes, and similar subjects, so prevalent with the modem Dutch artists. His works were deservedly held in estimation BOUNIBU, Michel Honors, a French painter of historical and genre subjects, and engraver in mezzotint, was born at Marseilles in 1740. He was a pupil of Pierre, and became a member of the Academy at Paris in 1767. He was keeper of the prints at the Bibliotheque Nationale from 1792 to 1794, and for the next twenty years professor of drawing at the Ecole des Ponts-et-Chauss^es. He exhibited many pictures at the Salon, and at his own studio those of ' Adam and Eve after their expulsion from Paradise,' and ' Bathsheba,' the former of which he himself engraved. The Bor- deaux Museum has a ' Head of a Woman,' and ' Baigneuses ' by film. , He died in Paris in 1814, leaving a daughter, Emilie Bounieu, afterwards Madame Raveau, who inherited her father's talent, and exhibited historical subjects and portraits from 1800 to 1819. Bounieu engraved about fifteen subjects from his own designs, among which are the following : Adam and Eve after their expulsion from Paradise. The Magdalen. Love led by Folly. The Punishmeut of a Vestal. The Birth of Henry IV. ; an allegory. The Deluge. The Odalisque. BOUQUET, Emile, a French historical, genre, and landscape painter, was born in 1819 at Lyons, and studied under Bonnefond. He sometimes worked in pastel. He died at Marseilles in 1876. BOURDON, Pierre, was a French engraver, who resided in Paris about the year 1703. He engraved a set of plates from his own designs, representing ornaments with figures for goldsmiths and jewellers. They are very neatly executed, and are inscribed Petrus Bourdon inv. et fecit. BOURDON. Pierre Michel, a French historical and portrait painter and engraver, was born in Paris in 1'778. He was a pupil of Regnault, and painted fur the town of Pau a ' Crucifixion,' which has been spoken of with praise. He engraved a series of plates entitled ' Conoours decennal,' as well as some for the ' Mus^e Filhol,' of which he was director. He died in Paris in 1841. BOURDON, SiBASTlEN, an eminent French painter and engraver, born at Montpellier on the 2nd of February, 1616, was the son of a painter upon glass, from whom he received his earliest instruction in the rudiments of art. At the age of 181 A BIOGRAPHICAL DICTIOXARY OF seven he was taken by an uncle to Paris, and there placed under the tuition of Jean Barthelemy, with whom he remained until he was fourteen years of age, when he returned to the south, and painted in fresco a ceiling in a chSteau near Bordeaux. He then went to Toulouse, but met with so little encour- agement that he resolved to enlist. His military duties, however, proved so irksome to him that his commanding ofScer, who recognized his talent, gave him some hours' leave each day until his friends procured his discharge. Being then eighteen years of age he went to Rome, where he was forced to make copies of the works of Claude Lorrain, Andrea Sacchi, Bamboccio, and other artists then in vogue, in order to gain a livelihood ; but after a stay of three years, being a Protestant, he thought it expedient to quit Rome on account of the jealousy of an obscure painter named De Rieux, who threatened to denounce him as a heretic to the Holy Inquisition. On his way home he visited Venice, and soon after reaching Paris married Susanne Du Guernier, the sister of the miniature- painters of that name. There a brilliant success awaited him, for in 1643 he was selected to paint the "niai" offered annually to the cathedral of Notre-Dame by the Goldsmiths' Guild. The sub- ject chosen was the ' Martyrdom of St. Peter, and the picture, now in the Lou\Te, at once established for him a reputation which has been preserved almost intact to the present day. He was one of the twelve artists who, in 1648, founded the Academy of Painting and Sculpture, and was one of its rectors from 1655 until his death. In 1652 the troubles of the Fronde drove him to Sweden, where he became first painter to Queen Christina, whose portrait, painted by him and engraved by Nanteuil and Michel Lasne, remains the historic por- trait of the famous sovereign. Upon the conversion of the Queen to the Roman Catholic faith, and her consequent abdication in 1654, Bourdon returned to Paris, and, among other works, painted for the church of St. Benedict the ' Descent from the Cross,' now in the Louvre, which was much admired. Family affairs calling him to Montpellier, he there painted, in 1659, for the cathedral church of St. Peter, an immense picture of the ' Fall of Simon Magus,' which was severely criticised by a local painter named Samuel Boissiere. An affray ensued, and matters threatened to become serious, when Bourdon prudently left Montpellier. After his return to Paris he, in 1663, painted, with the fable of Phoebus and Phaeton, the nine compartments of the ceiling of the fine gallery of the Hotel de Bretonvilliers in the He St. Louis, a mansion which has now entirely disappeared. This was Bourdon's most important work, and it is fortunate for his renown that the decorations of the Hotel de Bretonvilliers have been handed down by the engravings of Friquet de Vaurose, one of his favourite pupils. His last work was a ceiling in the Tuileries, representing the ' Deification of Hercules.' Bourdon died a Calvinist in Paris on the 8th of May, 1671. He was endowed with wonderful fertility of imagination and facility of execution, but the quality of his work was very unequal, and his drawing often incorrect. He painted historical and genre subjects, portraits and landscapes, the last somewhat resembling those of Salvator Rosa. He has enjoj-ed a great reputation as a colourist, notwithstanding the somewhat vulgar preponderance in his pictures of reds and browns. The Louvre possesses drawings by him which are perhaps of even greater value than his paintings. 182 They are 29 in number, and include tLe studies for the ' Martyrdom of St. Peter ' and the ' Descent from the Cross,' as well as the so-called portrait of himself, which he introduced into his picture of the ' Fall of Simon Magus.' The engravings of Bour- don, especially his ' Acts of Mercy,' are very fine, and wiU always bear witness to his great talent in etching, and his skill in the use of the graver. Robert-Dumesnil, in his ' Peintre-Graveur Fran- ^ais,' describes 44 plates, all of which are from his own designs. The following are the principal subjects : The Acts of Mercy ; seven plates. The Betum of Jacob. Joseph's Dream. The AngeUc Saintation. The Visitation. The Annunciation to the Shepherds. The Fhght into Egypt ; four different plates. The Holy Family vrith the 'Washerwomaa. La Vierge a I'ecuelle. La Vierge au rideau. The Eepose in Egypt. The Return from Egypt. Landscapes ; twelve subjects. The following are the most important of Bour- don's works which are preserved in the public galleries of Europe : Amsterdam. Museum. The Marriage of St. Catharine. Bayeux. Museum. Qneen Christina of Sweden. Cassel. Gallery. Soldier and Peasants playing Cards. B „ An Old Man awakening a Com- rade. Copenhagen. Galltry. Laban carrying away his Idols. Florence. Vffizi. The Eepose in Egypt. Grenoble. Museum. The Continence of Scipio. Hague. Museum. The Four Quarters of the TVorld. Lille. Museum. The Sarionr supported by Angels. Liverpool. Soyal lust. A BacchanaUan Scene. London. Nat. Gall. The Return of the Ark from Captivity. Madrid. Museo del St. Paul and St. Barnabas at Fardo. Lystra. MontpelMer. Cathedral. The Fall of Simon Magus. „ Musee Fabre. The Descent from the Cross. „ „ The Discovery of the Body of St. Theresa. „ „ A Halt of Gipsies. „ „ A Landscape ; very large. „ „ A Landscape with a River. „ „ Portrait of a Spaniard. „ „ Portrait of a General. Munich. Gallery. View in the Environs of Rome. Naples. Gallery. Portrait of a Farnese Princess. Paris. Lourre. The Martyrdom of St. Peter. „ „ The Descent from the Cross. „ „ Laban seeking his Idols. „ „ The Sacrifice of Noah. „ „ Solomon sacrificing to Idols. „ „ The Virgm and Child, with St. John. „ „ The Adoration of the Shepherds. „ ., The Eepose in Egypt. „ The Presentation in the Temple. „ Christ blessing Uttle Children. ", „ The Beheading of St. Protais. ,, „ Julius Caesar at the Tomb of Alexander. „ „ A Halt of Gipaes ; t«o pictans. „ ,, The Beggars. ., „ Portrait of Himself. ;, ,. Portrait of Himself; the head only by Bourdon, the remainder by Eigaud. ,, Portrait of Ren^ Descartes. „ „ Portrait, supposed to be that of Michel de Chamillart, Marqtus de Cany. .. {^Tat^Coll.}^^'^""^- PAINTERS AND ENGRAVERS. Tetersburg. Hermitage. The Massacre of the Innocents. » » The Holy Family ; within a gar- land of flowers by Jean Bap- tiste Monnoyer. „ „ The Death of Dido. n it ^ Landscape. Toulouse. Museum. The Martyrdom of St. Andrew. Turin. Gallery. The Massacre of the Innocents. Versailles. Palace. Portrait of Himself. „ ,1 Portrait of his Father, Marin Bourdon. R. E. G. BOURGEOIS, Florent Fiddle Constant, a French landscape painter, engraver, and litho- grapher, was born in Paris in 1767. He studied under David, but spent much of his time in Italy. Landon mentions him as an artist distinguished for the richness of his compositions and the purity of his style, and describes three of his pictures as being in the manner of Gaspard Poussin. His death did not take place earlier than 1836. BOURGEOIS, Sir Peter Francis, was descended from a family of some importance in Switzerland. His father went to reside in London, where Francis was bom in 1756. His early destination was for the army, and Lord Heathfield offered to procure him a commission; but he liad received instruction in the rudiments of art from a painter of horses, and though he was a constant attendant at military evolutions and reviews, it was rather for the purpose of representing the manoeuvres with his pencil than of acquiring a knowledge of military tactics. Some of his juvenile attempts ha^^ng been shown to Reynolds and Gainsborough, those distinguished artists encouraged him to persevere in the cultivation of art. He was accordingly placed under the instruction of Loutherbourg for a sufScient time to acquire a correct knowledge of the true principles of painting, after which he resolved to prosecute his studies in the great school of nature, and in contemplating the works of the most eminent masters. He had scarcely reached the nineteenth year of his age when he had acquired considerable reputation as a painter of landscapes, battles, and sea-pieces, which were considered as uncommon productions for so young an artist, and as certain indications of future excellence. In 1776 Bourgeois set out on a tour through the Netherlands, France, and Italy, and studied with indefatigable assiduity the works of the most cele- brated masters of the different schools. When he returned from the Continent, he continued the exercise of his talents with increased ardour and reputation, and his exhibitions in the Royal Academy added considerably to the number of his admirers. When the Prince Primate, brother to the unfor- tunate Stanislaus Augustus, King of Poland, visited this country, he was particularly pleased with the works of Bourgeois, and made him the most flattering offers to induce him to return with him to Poland, which were gratefully acknowledged, though they were politely declined. In 1791, how- ever,hewa8 appointed painterto the Kinguf Poland, who also conferred on him the honour of a Knight of the Order of Merit, on which occasion he was introduced at our Court, and the King was pleased to confirm the title. Sir Francis was elected an Associate in 1787, and a Royal Academician in 1793, and in 1794 was appointed landscape painter to George III. Sir Francis Bourgeois was the intimate friend of Desenfans, a celebrated picture-dealer, and de- voted a great part of liis time to assisting that gentleman with his judgment in the formation of an extensive collection of pictures (many of which were originally intended for the National Gallery at Warsaw), which, with a considerable property, were left to him at the death of Desenfans in 1804. He did not survive the liberality of his friend many years. The valuable assemblage of paint- ings which he inherited, containing good examples of Rembrandt, Cuyp, Wouwerman, Murillo, Poussin, and other masters, he bequeathed to Dulwich Col- lege, together with £2000 to build a gallery to receive them, and £10,000 to provide for its main- tenance. Sir Francis died in consequence of a fall from his horse in 1811, and was buried in the chapel of Dulwich College. The number of his pictures is considerable, and they were greatly esteemed in his lifetime. There are eighteen of them in the gallery of Dulwich College, among which are : Landscape and Cattle. A Friar kneeling before a Cross. View on the Sea-shore. Landscape, with Cattle and Figures. Religion in the Desert. Tobit and the Angel. Portrait of Sir Peter Francis Bourgeois. BOURGUIGNON, Le. SeeCouRTOis.GuiLLAtraE, and Jacques ; also Perrier, Franqois. BOURGUIGNON-GRAVELOT, Hubert Fran- cois, who was born in Paris in 1699, and died there in 1773, executed drawings for subjects of bijou- terie as well as designs for illustrations of Racine, Voltaire, and Marmontel. BOURNE, James, a water-colour landscape painter, worked in London in the early part of the nineteenth century. He exhibited at the Royal Academy as late as 1809, but was living some time afterwards. Four views by him are in the South Kensington Museum. BOURSSE, Esaias, a Dutch painter of domestic interiors, was horn at Amsterdam about 1630. He was working in his native city from about 1656 to 1672. He visited Italy, and made several voyages to the East Indies in the service of the Dutch East India Company. His works are rare, and but little known. Tlie Rijks Museum at Amsterdam has an 'Interior with a Woman spinning'; the Suermondt Museum at Aix-la-Cliapelle has an example ; and Sir Richard Wallace an 'Interior, with a Woman sitting by a Child in a Cradle.' BOUSONNET. See Bouzonnet. BOUT, Pieter, who was born at Brussels in 1658, painted chiefly in conjunction with Boude- wyns (see notice of that painter), whose land- scapes he ornamented with figures, representing assemblies, merry-makings, and such like subjects. He did a like service for Van Artois, as for instance in a picture of ' Winter ' in the Brussels Gallery, and a Landscape in the La Caze Collection in the Louvre. He occasionally painted pictures entirely his own composition. His death took place at Brussels not earlier than 1731. He has etched a few plates in a slight painter-like manner, as follow : Four 'Winter Scenes, with Skaters, and a variety of figures. Two, a Landscape, with a Statue of Neptune, and a View of the Sea-strand in Winter, with a Fish- market. Two, the Bride conducted to Church, and a Country Market BOUTELOUP, Guillaume, a French painter, flourished at Blois in the middle of the 16tli 183 A BIOGRAPHICAL DICTIONARY OF century. He •was employed by the Kings Henry II., Francis II., and Charles IX., and as early as 1558 held the office of painter in ordinary to the king. In 1560 he painted the portrait of Thony, the favourite fool of Francis II., and in 1572 his name appears for the last time in the accounts of the royal household. BOUTELODP, Loms Alexandre, a French line- engraver who also worked in mezzotint, was bom in Paris in 1761. Among other works he engraved the portraits of Caroline of Austria, Queen of Naples, after a drawing by himself, and of Car- dinal de Richelieu, from a terra-cotta bust by De- seine. The date of his death is not recorded. BOUTERWECK, Fbiedrich, (or Buterweck,) was born at Tamowitz, in Silesia, about the year 1800. He was trained in the school of Kolbe at Berlin, and afterwards pursued his studies under Delaroche in Paris, where he three times carried off the gold medal. In 1834 he made a tour in Italy, and later in Spain, Scotland, and the East After a while he removed from Berlin to Paris, where he lived for twenty-five years. In the course of his life he obtained twenty-three medals and numerous orders. He died in Paris in 1867. The following are among his best works : Orestes pursued by the Furies. 1833. Romeo taking leave of Juliet. 1S36. Isaac and Eebekah. 1S40. Episode from Gamacho's "Wedding. Jacob and Eacbel. 1S44. Baptism of the Ethiopian Eunuch. 1848. BOUTON, Charles Mabie, who was bom in Paris in 1781, was a pupil of David. He was jointly with Daguerre the inventor of the Diorama. He was highly successful in representations of perspective and atmospheric effects, and in the distribution of light, and was therefore to be looked upon rather as a painter of decorations than of pictures in the ordinary sense. Amongst his productions of the latter class, there were some specimens in the Luxembourg, and in some of the royal palaces. In 1810 Bouton obtained a gold medal ; and in 1819 the great gold medal for his picture of ' St. Louis at the Tomb of his Mother,' a medal equiva- lent to the great prize, which Horace Vemet only carried off against him by one vote. He died in Paris in 1853. BOCTS, Albert, the son of Dirk Bouts, was a Brabant painter, who died at an advanced age in 1549. He is mentioned by Molanus in his manuscript 'History of Louvain ' as having painted an ' Assumption of the Virgin ' in the church of St Peter, at Louvain. The picture is not now to be found. BOUTS, Dirk, Theodoricus, Latin, Thierry, French, called also by error Stuerbout, and by some writers Thierry de Haarlem, was the son of a landscape painter of Haarlem of the same name as his son. He settled in Louvain before 1448, and was employed on various important works for the m'micipality. In 1468 he is men- tioned in the town records as portrahierdere or municipal painter ex officio, bis dues being merely "90 pltcken for a coat." About the same date he finished two large pictures which he had been commissioned to paint for the Council Chamber in the Hotel de Ville at Louvain. These paintings, now in the Brussels Gallery, illustrate a legend in the chronicle of Godfrey of Viterbo, which sets forth the virtue of justice as exemplified in a judgment of the Emperor Otho III. They 184 are striking and powerful works with life-size figures, painted perhaps with more attention to detail of costume than to grace of form, but forcible in colour and thorough in execution. In these latter qualities indeed they strongly resemble Roger De La Pasture of Toumai, better known by the Flemish equivalent Van der Weyden. For his paintings in the Council Chamber Bouts re- ceived the sum of 230 crowns, and was also commissioned in May 1468 to paint a large painting of the ' Last Judgment,' finished by him in 1472. Another large picture was undertaken by him about the same time, but he did not live to finish it, his heirs being paid after his death for what he had done on it according to a valu- ation made by Hugo Van der Goes. Other works of this painter are : A Triptvch of the Martvrdom of St. Erasmus, in the Church of St. Peter at 'Louvain. About 1463. A large and fine Triptych of the Last Supper, in the same church, the shutters of which, representing Abraham and Melehi2edech, and the Gathering of the Manna, are at Munich, and the wings, which depict the Eating of the Passover, and the Angel bringing the food to Elias, at Berlin. This work occupied the painter three years and ten months, and he was paid for it the sum of 200 Khenish florins. There are a few other works by him in foreign galleries, and many which are now proved to be by him were for a long time attributed to Memlinc. Bouts was born in 1400, and he died on May 6, 1475. By liis will, which was made on April 17, 1475, he divided his estate between his two sons, his two daughters, who were nuns in the Convent of Dommelen, and Elizabeth van Vosshem his second wife, widow of John van Thienan, burgomaster of Louvain. A family of painters of the name of Stuerbout appears to have settled in Louvain in the early part of the 15th century. Hubert Stuerbout the painter and his sons Hubert, Gieles, and Frissen, are mentioned in several records of jaj-ments made between 1439 and 1467, but it does not appear that this Hubert was any relation to Dirk Bouts. See Crowe and Cavalcaselle, 'Early Flemish Painters,' 2nd edit. 1872; Molanus,' Historiae Lovaniensium,' a work in manuscript, and 'Journal des Beaux Arts,' 1867, pp. Ill and 112; also Ed. van Even, ' L'ancienne dcole des peintres de Louvain,' 1870. W. H. J. W. BOUTS, Dirk, a landscape pamter, mentioned in the manuscript of Molanus, ' HistoriiB Lovani- ensium,' as ha\-ing been the father of two sons. Dirk and Albert Bouts, and as having died early in the loth century. BOUTS, Hubert, called a painter of Louvain. This is Hubert Stuerbout who is mentioned in the preceding article. BOUTTATS, PiETEB Balthazar, a Flemish engraver, was bom at Antwerp in 1666, and be- came dean of the Guild of St. Luke. He died in 1731. BOUTTATS, Fredebik. an engraver, was bom at Antwerp about the year 1620. He engraved several plates aJEter his own designs, principally portraits, and some after other masters. They are worked with the graver, in a neat style, and are not with- out merit. We have by him, among others, tlie following : Charles Emmanuel, Duke of Savoy. Ciharles Gaspar, Elector of Treves. THIERRY BOUTS Hanfitdngl photo] [^Munich ST. CHRISTOPHER PAINTERS AND ENGRAVERS. Queen Christina of Sweden. Oliver Cromwell. Frederick William, Elector of Brandenburg. John George, Elector of Saxony. Jan Baptist Heil, portrait painter ; se ipse pinx. Daniel van Heil, landscape painter ; J, B, van Heil pinx. Leo van Heil, architect and painter ; same painter, David Rijckaert, painter ; se ipse pinx. The Virgin and Infant Jesus, with St. John {dated 1655). Cavaliers and Ladies playing at Cards ; F. Boutats fecit. BODTTATS, Gaspar, the younger brother of Frederik Bouttats, was born at Antwerp about the year 1625, and died there in 1703. He engraved chiefly for the booksellers, and some few plates after different masters. They are principally etched, and some finished with the graver. The following are by him : Frontispiece for the Psalms of St. Augustine ; Gaspar Boutats fee. The Massacre of St. Bartholomew. The Assassination of Henry W. The Decollation of Count Nadasti, Count Oorini, and Marquis Fraucipani. A Sutler's Tent ; after Ph. IVouwerman. He also etched the plates for a folio volume of ' Views of Jerusalem, and the surrounding Country ;' after the designs of Johannes Peters. BOUTTATS, Gerard, the youngest brother of Frederik Bouttats, was born at Antwerp about the year 1630. He settled at Vienna, where he was appointed engraver to the University. His prints are chiefly portraits ; the following are the principal : Adamus Munds, Physician. 1657. Antonius d'Aumout. Charles Joseph, Archduke of Austria. Don Pedro, King of Portugal. The Resurrection. BOUTTATS, Philibert, a Flemish engraver, the son of Frederik Bouttats, was born at Antwerp about the year 1650, and died at the age of 72. His prints consist chiefly of portraits, and are rather neatly engraved. The following portraits are by him : Pope Innocent XI. The Dauphin, Son of Louis XIV. ; oval. Mary Antonia Victoria, of Bavaria, Dauphiness. Elizabeth Charlotte, Duchess of Orleans. "William Henry, Prince of Orange. Christian V., King of Denmark. Herman Werner, Bishop of Paderborn. John Sobieski, King of Poland. Thesis, with the Portrait of the Bishop of MUnster. BOUVIER, Adgostus Jules, a painter of figure subjects in water colour, first exhibited at the British Institution in 1848. In 1853 be vf.is made a member of the Institute (then the New Society) of Painters in Water Colours. He died in London in 1881, aged 54. BOUYS, AndrS, a French portrait painter and mezzotint engraver, was born at Hyeres about the year 1656. He studied under Francois de Troy, and acquired sufficient reputation to gain admission into the Academy in 1688, when he presented a portrait of the painter Charles de La Fosse, now at Versailles, where there are likewise two portraits of himself, one of them representing also his first wife. He died in Paris in 1740, having engraved several portraits, among which are the following : Andre Bouys and his first Wife. Francois de Troy, painter. Claude Gros, de Boze ; And. Boys pinx. ad viviim. 1708. Fran9ois Rene, Marquis de Bellay ; Bor/s pinx. Jean Baptiste Massillon, Bishop of Clermont; Boys fee. De Marais, famous musician, BOUZAS, Joan Antonio, was born at Santiago about the year 1672. He was a scholar of Luca Giordano, at Madrid, and proved a very promising artist. He painted easel pictures, which bear a resemblance to those of his master. The troubles occasioned by the war of the succession obliged him to withdraw himself from Madrid, and he returned to his native city. His principal works are in the churches at Santiago. In the cathedral is a picture of ' St. Paul and St. Andrew,' and in the convent of the Dominicans are two altar-pieces by him. He died in 1730. BOUZEY. See Woeiriot. BOUZONNET, Antoine, (or Bousonnet,) called A. Stella, was the nephew of Jacques Stella, and was born at Lyons in 1634. He was instructed by his uncle in the rudiments of design, and is said to have been a reputable painter. For his picture of 'The Pythian Games' he was in 1666 received a member of the Royal Academy at Paris, where he died in 1682. We have a few etchings by him, among which is ' Moses defending the Daughters of Jethro,' after Poussin. BOUZONNET, Antoinette, known as A. Stella, was the sister of Antoine and Claudine Bouzormet, and was born at Lyons about the year 1637. Al- though she was not equal to her sister in the use of the graver, her prints possess considerable merit. Her drawing is generally correct and full of taste. A third sister, FRAN90ISE, was also a talented engraver. We have, among others, the following prints by Antoinette : Komulus and Relhas suckled by a Wolf ; after Antoine Bouzoniiet. The Entry of the Emperor Rigismund into Mantua; after Gtitlio Romano. BOUZONNET, Claudine, called C. Stella, was the niece of Jacques Stella, and was born at Lyons in 1636. She learned the principles of design from her uncle, but applied herself to engraving, in which she greatly distinguished herself. Her plates are chiefly after the pictures of Jacques Stella and Nicolas Poussin ; and perhaps no artist has been so successful in engravings after the latter painter, she having greatly surpassed Jean Pesne. Her design is correct, and the characters of the heads are admirably expressed. She died in Paris in 1697. The following are her best prints : A set of seventeen plates of pastoral subjects, including the title ; after Jacques Stella. Fifty plates of the Sports of Children, and rural sub- jects ; after the same. The Marriage of St. Catharine ; after the same. Moses fouud in the Bulrushes; in two plates; after N. Poussin. Moses striking the Rock; after the same; very fine. The Crucifixion, called the Great Calvary; after the same ; very fine. St. Peter and St. John curing the Lame Man ; after the same. The Holy Family, with St. Elisabeth and St. John ; after the same. Another Holy Family, with children bringing flowers ; after the same. BOVINET, Edme, a French engraver, who was born at Chaumont in 1767, was a pupil of Patas. His works are after the most eminent Italian, Dutch, and French painters ; some are in the Galerie du Musee Napoleon. He died at Creil about 1832. The best of his engravings are : 185 A BIOGRAPHICAL DICTIONARY OF The Campo Vaccino ; after Claude Lorrain. The Schoolmaster ; after Ostade. Orpheus and Eurydice ; after Poussin. BOVINI, Francesco. In the description of the pictures at Ferrara, by C. Barotti, there are men- tioned two altar-pieces by this master, in the church of tlie Oratorio della Penitenza in that city, one representing 'The Immaculate Conception,' the other ' The Adoration of the Magi.' BOWER, Edward, is known as the painter of a portrait of Charles I., ' The King seated at his Trial,' in the possession of Mr. W. H. Pole Carew, and of Lord Fairfax and otlier celebrated men. Some of his worUs were engraved by Hollar. BOWLER, Thomas Williaji, a landscape painter, lived for some years at the Cape of Good Hope, and published a series of views of Cape Town and its neiglibourhood. He afterwards visited Mauritius, and brought home many drawings taken in that island. He died in 1869. BOWLES, Thumas, an English engraver, was born in London about the year 1712. He published a set of thirty views of the public edifices in and near London, of which some of the plates were engraved by himself, the others by Fourdriniere, Vivares, and others ; among them are : A View of London from the Thames. 1751. Somerset House. 1753. Greenwich Hospital. 1745. The Rotunda at Ranelagh. 1751. The Royal Exchange. St. Mary-le-Bow. BOWNESS, William, was born at Kendal in 1809. He was an exhibitor in the Suffolk Street Gallery and at the Royal Academy from 18-41 to 1855, sending portraits and occasionally figure sub- jects. He died in 1867. BOWRING, Benjamin, an English portrait painter in oil and miniature, exhibited at the Royal Academy from 1773 till 1781. BOWYER, Robert, born in 1758, was n cele- brated miniature painter in the reign of George III. , and was much patronized by the Court. He published a ' History of England,' with portraits, which bears his name. He died at Byfleet in 1834. BOXALL, Sir William, was born on the 29tli of June, 1800, at Oxford, and received such edu- cation as his father, a supervisor of excise, was able to afEord at the Grammar School at Abingdon. As he early showed a love and ability for drawing, he was sent to London, and in 1819 obtained ad- mission into the Art Schools of the Royal Academy. About eight years later he went to Italy to study the works of the old masters, which laid a sure foundation for that judgment and discrimination on art matters which were afterwards of such eminent service to him. He returned to London in 1829, and in that year exhibited ' Jlilton's Recon- ciliation with his Wife,' and a portrait of Thomas Stothard ; and thenceforth till 1866 he was a con- stant contributor to the annual exhibitions of the Royal Academy, sending in all no less than eighty- three works. Though for some years he continued to paint allegoric subjects, as for instance his 'Lear and Cordelia' and 'Hope,' yet he finally devoted himself to portraiture. Among the persons who sat to him were — Allan Cunningham, Copley Fielding, Landor, David Cox, Coleridge, Words- wortli, Frederick Huth, and the Prince Consort, Mrs. Hanbury Leigh, Miss Harriot Hosmer the American sculptor, Mrs. Cardwell, and Mr. and Mrs. Pete. 186 Soon after the death of Sir Charles Eastlake, in December 18G5, Boxall was appointed director of the National Gallery. He was compelled, how- ever, in 1874, to resign the directorship, the duties of which he had performed with judgment, discre- tion, and zeal, and in recognition received the honour of knighthood on the 24th of March, 1871. In 1852 he had been elected an Associate of the Royal Academy, and twelve years later he received the full membership, which he resigned in 1877. He was also an honorary member of the Academy of S m Fernando at Madrid. He died in London on the Gth of December, 1879. In the Diploma Gallery at Burlington House there hangs his portrait of John Gibson, the sculp- tor, painted in 1863, and exhibited in the follow- ing year; in the National Gallery he is represented by a single work, and that neither typical nor a masterpiece. It is entitled ' GeraLline,' and repre- sents a lady at her toilet ; it was exhibited at the Royal Academy in 1850. BOYCE, G. S., born in 1826, was educated as an architect, and articled to Mr. Little. He travelled largely on the Continent, and made careful studies of various styles of architecture ; but, on meeting David Cox at Bettws-y-Coed in 1849, he took up landscape art, though he did not exhibit till 1853. In 1864 he was elected an Associate of the old Water Colour Society, but waited fourteen years for full membership. He was one of the founders of the Hugarth Club ; and was a great friend and admirer of the late Dante G. Rossetti, and brother-in-law of H. T. Wells, R.A. He retired in 1893, dying three years later. BOYCE, Johanna Mart. See Wells. BOYCE, Samuel. The name of this engraver is affixed to a portrait of Edward Russell, Earl of Orford. He died in 1775. BOYDELL, John, who was born at Dorrington, in Shropshire, in 1719, was the son of a land- surveyor, who brought him up to his own pro- fession, which he followed until he reached the age of twenty. Having at that period accidentally met with Badeslade's %news of different country seats in England, particularly one of Hawarden Castle, with whicli he was well acquainted, he determined to learn the art of engraving. With this resolution he came to London, and bound him- self a pupil to Toms, the engraver of the plate he had so much admired. Under that artist he applied liimself with great assiduity for six years. On leaving his instructor, his first publication was a set of six views near London, which, on account of there being a bridge in each of them, was called ' The Bridge Book.' He afterwards engraved many plates of views in England and Wales, which he published in one volume, at the price of five guineas. This publication may be regarded as the basis on which he raised the structure of his future eminence, and, as he used himself to express it, was the first book that ever made a lord mayor of London. By the profits of this work he was enabled to commence that encouragement to young artists which he afterwards carried to so laudable an extent. The art of engraving was at that time at a very low ebb in England, and the collectors of prints were in the habit of receiving them from abroad. It may be very justly attributed to the persevering industry of Boydell that it was carried to such perfection as to occasion the works of British engravers to be sought after through every PAINTERS AND ENGRAVERS. part of Europe. The distinguished success which crowned the labours of this extraordinary man in the promotion of engraving served only to excite him to further projects for the advancement of the arts ; and he formed an extensive and liberal plan for the encouragement of painting in his prodigious undertaking — tlie illustration of Shakespeare, with engravings from pictures painted by the most eminent English artists. It is said to have been Boydell's intention to have bequeathed the Shake- speare Gallery of Paintings to the public, but the disastrous consequences of the French Revolution, which operated very prejudicially to his extensive concerns, made it necessary for him to apply to Parliament to dispose of it by lottery. His applica- tion was acceded to. In 1774 he was elected alderman of his ward, and in 1791 served the office of lord mayor with great distinction. Boydell lived to the advanced age of 86, respected by all who knew him. He died in 1804. The extent of Boydell's labours may be esti- mated from the fact that he issued 4432 plates, which were published in forty-eight folio volumes, of which twenty-six volumes were occupied with the English school, fourteen with the Italian, six with the Dutch and Flemish, and two with the French school. BOYDELL, JosiAH, who was born at Stanton, in Shropshire, in 1750, was nephew of John Boydell. He painted a few pictures for the edition of Shake- speare published by his uncle, which were fairly well executed. He also exhibited portraits and other works at the Academy from 1772 to 1779. He was an alderman of London, and Master of the Stationers' Company. He died at Halliford in 1817. BOYER, Jean Baptiste, Marquis d'Aguilles, a French nobleman, was born at Aix, in Pro- vence, in 1650, and was procurator-general of the parliament of that town. His love of the arts led him into an intimacy 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 excellent taste. He died at Aix in 1709. Some of his plates are executed with the graver, the others scraped in mezzotint. Among others we have by him : The Marriage of St. Catharine ; after Andrea del Sarto ; with the graver. Two figures of Christ ; on one plate ; the same. Two Landscapes ; after Brecourt ; the same. St. John the Baptist ; after Manfredi ; mezzotint. Bust of a Man ; the same. BOYNE, John, born in the County Down about 1750, is known as a water-colour painter of some repute. He was apprenticed to Byrne, the landscape engraver, but it is said led a wild kind of life. He died in 1810. A drawing by him, ' A Meeting of Connoisseurs,' is in the South Kensington Museum. BOYS, Andre. See Bouys. BOYS, H. DU. See Dn Boys. BOYVIN, Ren6. See Boivm. BOZAUS. See Woeiriot. BOZE, Joseph, a French portrait and miniature painter, was born at Les Martigues (Bouches-du- Rhone) about 1746. He painted the portraits of Louis XVI. and Marie Antoinette, and, being devoted to the court and the royal family, narrowly escaped the guillotine. He was thrown into prison, but the fall of Robespierre set him at liberty, and he came to England, where he remained until the restoration. He died in Paris in 1826. His own portrait is among his drawings in the Louvre. BOZZATO, II. See Ponchino. BRABANT, Henri BELLECHOSE de. See Bellechose. BRACCIOLI, Giovanni Francesco, who was born at Ferrara in 1698, was first a scholar of Giacomo Parolini, but afterwards went to Bologna, and studied under Giuseppe Crespi. On his return to Ferrara he was employed in painting for some of the churches and convents. In the oratory of the Theatines is an altar-piece by tliis master, repre- senting ' The Annunciation ; ' and in the church of St. Catharine there are two pictures, one 'The Flagellation,' and the other ' Christ crowned with Thorns.' According to Barotti, these are his best works. He died at Ferrara in 17G2. BRACELLI, Giovanni Battista, an Italian painter and engraver, was born at Genoa about 1584. He was a scholar of Giovanni Battista Paggi, and painted historical pictures in the style of his master. He engraved the plates for an architectural work published at Rome by Giacomo Borozzio. They are executed in a neat, stiff style. He died young, in 1609. BRACQUET, Philippe, a French historical painter, was born at Douai at the commencement of the 16th century. He was an artist of merit, and worked at Valenciennes in 1558. BRADEL, P. Jean Baptiste, a French draughts- man and engraver, was born in Paris about 1750. He was chiefly employed in engraving portraits, which are neatly executed, and which include the following plates: Pope Benedict XIV. Pope Clement XIY. Madame Louise, of France. Louis Francois Gabriel de la Motte, Bishop of Amiens, General Paoli. Prosper Jean de Crebillon. Jean Bart, Admiral. The Chevalier d'Bon. An allegorical subject ; inscribed TrUms et unua. A Boy playing on the Tambour de Basque. BRADLEY, William, was born at Manchester in 1801. Left an orphan when only three years of age, he commenced life as an errand boy, but his innate taste for drawing prevailed over all impedi- ments, and at sixteen years of age he began prac- tice as an artist, taking portraits at one shilling each, and advertising himself as " portrait, minia- ture, and animal painter, and teacher of drawing." He had a few lessons himself from Mather Brown, then in high repute at Manchester ; and at the age of twenty-one went to London, where he was for- tunate enough to obtain an introduction to Sir Thomas Lawrence, who gave him encouragement. After remaining some years in the metropolis, in the course of which time he paid occasional visits to Manchester, he finally, in 1847, settled down in the latter town ; where, as in London, he enjoyed a large share of patronage. Amongst the portraits painted by him are those of Lords Beresford, San- don, Denbigh, Bagot, and Ellesmere ; Sir E. Kerrison, John Gladstone, B. Hcywood, James Emerson Tennent ; Col. Currieton, C. B., Col. Anderton, the Rt. Hon. W. E. Gladstone, Sheridan Knowles, W. C. Macready, &c. As an artist Bradley undoubtedly possessed high talent. His heads are remarkable for skilful drawing, and he 187 A BIOGRAPHICAL DICTIONARY OF was not second to any man of the day in produc- ing a striking and intellectual likeness. During his later years his health failed, his mind was affected, and he lost the money he had made in his early career. He died in 1857. BRAED, NicOLAAS, was a Dutch engraver, who flourished from the year 1600 till about the year 1630. He engraved several plates from the designs of Hendrik Goltzius and Jakoh Matham. His name is also affixed to a small upright plate, represent- ing ' Christ before Pilate,' after Tintoretto. BRAEKELEER. See De Braekeleer. BRAKENBURG, Richard, was born at Haarlem in 1650. He was first instructed in art by Mom- mers, a landscape painter, but he afterwards be- came a scholar of Bernard Schendel, whose style was more suited to his genius. He painted simi- lar subjects to those of his master, representing merry-makings and drunken assemblies. His pic- tures are painted with facility, although they have the appearance of being very highly finished ; and he perfectly understood the management of chiaro- scuro. His greatest defect is his incorrect drawing of the figure. He died at Haarlem in 1702. The Vienna Gallei-y has two ' Peasant Scenes ' by him, the Berlin Museum one, and the Amsterdam Gallery one. In the Brussels Gallery is a ' Children's Feast,' signed and dated 1698; and the Rotterdam Museum has a ' Doctor's Visit,' signed and dated 1696. In Windsor Castle are two good ' Artists' Studios ' by him. He also sometimes practised the art of engraving. BRAMANTE da MILANO. See Milano. BRAMANTE DA URBINO. SeeLAZZABl. BRAMANTINO. See Sdardi. BRAMBILLA, Giovanni Battista, was a native, of Piedmont, and flourished about the year 1770. He was a scholar of Cavaliere Carlo Delfino, and I acquired no mean reputation as a painter of history. | There are some of his works in the churches at Turin, of which the most worthy of notice is a| picture of the ' Martyrdom of St. Dalmazio,' in the [ church dedicated to that saint. BRAMBINI, Ambrogio, was a native of Italy, and flourished about the year 1580. Among other works he engraved a large plate, entitled ' Bene- dizione del Pontefice nella Piazza di San Pietro.' The composition consists of a great number of figures, and it is executed in a slight style, some- what resembling that of A. Tempest a. It is from a design of C. Duchetti, and is inscribed Ambrosius Bram. F. BRAMER, Leonard, was born at Delft in 1596. In 1614 he started on a rambling tour, and went through France and Italy, in the latter of which he passed many years of his life. At Rome he was a member of the Colouy of Dutch Artists, presided over by Elzheinier. He resided for some time at Florence and at Venice. On his return to Delft he founded a Guild of St. Luke, and ailorned the meeting-hall with frescoes. He also decorated the Doelen, a public edifice in Delft. The date of his death is not recorded ; he was still living in 1667. He painted historical subjects of a small size, which he ornamented with vases of gold and silver, imitated witli a precision bordering on servility. His pencil is, however, light and spirited, and he was a perfect master of chiaroscuro. He also excelled in paint- ing night-pieces with towns on fire, and caverns with the light coming from above, in the manner of Rembrandt, and this has led persons, unacquainted with the time in which he lived, to suppose he was 188 a scholar of that master. A ' Descent from the Cross ' by Bramer, in which the body of Christ was lighted by a sun's ray, after Rembrandt's manner, was formerly in the Museum of Rotterdam, but it perished in the fire. He also executed seventy-two indian-ink drawings of the ' Bulenspiegel,' and was to some small extent an engraver, three plates of his being mentioned, viz., 'Christ with Nico- demus,' a ' Musician,' and ' Still Life.' Among his best paintings may be noticed : Delft. Town Hall. Archers. Dresden. Oallery. Christ mocked {signed and dated lt)37). „ „ Solomon in the Temple. „ „ Solomon and the Queen of Sheba. Madrid. Gallery. The grief of Hecuba. „ „ Abraham and the three Angels. Vienna. Selvedere. Vanity. „ „ Transitoriness. BRAND, Christian HfiLFGoxT, who was born at Frankfort-on-the-Oder in 1695, and studied un- der Agricola, left that town and settled, in 1720, at Vienna, where he became celebrated for his landscapes. He died at Vienna in 1756. The Belvedere has by him four pictures, landscapes with figures of cattle. BRAND, Friedrich AnonsT, the son of Christian Hiilfgott Brand, was born at Vienna in 1735. He was a member of the Imperial Academy, and died at Vienna in 1806. He painted several historical subjects and landscapes, which are favourably spoken of by the German authors, and engraved some plates, both with the point and with the graver, in the use of which he was instructed by Sohmutzer. Among others, we have the following by him : The Breakfast ; after Torenvliet. A View near Nuisdorf . View of the Garden of Schoenbrunn. Banditti attacking a Carriage. The Entrance to the Town of Crems. BRAND, JoHANN Christian, a German painter and engraver, was born at Vienna in 1723, and was instructed in art by his father. Christian Hiilfgott Brand. He acquired great celebrity in Germany as a landscape painter, and was made professor of the Imperial Academy at Vienna in 1770. Ho died there in 1795. The Belvedere at Vienna has a ' Battle of Hochkirchen ' by him, and six land- scapes ; and in the Darmstadt Gallery there is a picture of ' Fishermen on a Sea Coast.' He etched several plates of landscapes, in a spirited style, among them the following: Eighteen of Landscapes, Heads, and Animals. 1786. Four Landscapes, with Peasants. Six other Landscapes, engraved in a different manner. BRANDARD, E. P., born in 1819, was a younger brother of the eminent line-engraver, R. Brandiird, to whom he was apprenticed in Islington as a lad. He was an ardent admirer of Turner, who often visited the studio to touch the proofs of his works. He engraved several : among them the ' Grand Canal at Venice,' as well as ' The Hay Wain,' and ' Salisbury Cathedral,' by Constible. He engraved a view of Balmoral Castle for Queen Victoria's 'Journal of the Highlands,' and contributed numerous plates to the Art Union of London. He exhibited many drawings at the Royal Academy and other galleries, and died on April 3, 1898. BRANDARD, .John, a brother of Robert Brand- ard, was born at Birmingham in 1812. He was for many years well known as an excellent PAINTEKS AND ENGRAVERS. lithographic artist. He designed many hundred illustrated title-pages for music in a pretty, though weak, style. He died in 1863. BRANDARD, Robert, a landscape engraver, was born at Birmingham in 1805. He went to London in 1824, and entered the studio of Edward Goodall, with whom, however, he remained only a year. He engraved some of the subjects for Brockedon's 'Passes of the Alps,' Captain Batty's ' Saxony,' Turner's ' England and Wales,' and ' English Rivers,' and numerous plates for the ' Art Journal,' after Turner, Stanfield, Callcott, Herring, and others. His most important engrav- ings on a large scale were Turner's ' Crossing the Brook,' ' The Snow-storm,' and ' The Bay of Baiae.' He also published two volumes of etchings, chiefly landscapes, after his own designs. He occasion- ally exhibited small oil pictures at the British Institution, which were distinguished by a good feeling for nature and a healthy tone of colour. He died in 1862. ' Rooks at Hastings,' in water- colour, by him, is in the South Kensington Museum. BRANDEL, Petr Jan, a Bohemian painter, was born at Prague in 1668. He was a scholar of Jan Schroter, and in four years surpassed his master. He gave proof of his ability in many pictures painted for the churches and other public edifices at Prague and Breslau. He died in the greatest poverty at Kuttenberg in 173.5. In the Belvedere at Vienna is a picture of ' The Woman taken in Adultery,' by him. BRANDENBEKG, Johann, was born at Zug, in Switzerland, in 1660. He was the son of Thomas Brandenberg, a painter, by whom he was instructed in the art. On the death of his father he was taken under the protection of the Count of Ferrara, who took him to Mantua, where he was so struck with the fine works of Giulio Romano that he applied himself with great diligence to studying and copy- ing them. On his return to his native country he gave convincing proof of the advantage his study had been to him in pictures he painted for the churches of the different towns in Switzerland. He painted pastoral subjects in fresco on the ceiling of the concert-room at Zurich. His his- torical pictures are well composed, correctly drawn, and vigorously coloured. He died in 1729. BRANDES, Georq Heinrich, was born at Bort- feld, in Brunswick, in 1803, and learned the rudi- ments of painting under the guidance of F. Barthels at Brunswick. From 1823 to 1825 he attended the Academy of Munich, where he first devoted himself to historic painting under the tuition of Cornelius, but afterwards turned his attention to landscapes. On quitting the Academy he pro- ceeded to the Tyrol. His pictures from the Bavarian mountains won him a reputation by their grandeur of disposition and effective colouring. In 1830-31 he visited Italy, and passed much of the time in Rome. On his return he settled down in Brunswick, and became a teacher of painting and design as well as gallery inspector at the Ducal Museum. In 1845, together with Neumann, he restored the old mural paintings in Brunswick Cathedral. He died at that city in 1868. The following are among his most important works : View near Borne. Subiaco. The Inundation. Landscape in the Harz Mountains during a Thunder- storm. View near Salzburg (in the Neva Pinakot/iek at Munich). BRANDI, DoMENico, a painter of birds, animals, and landscapes, was bom at Naples in 1683, and died in 1735 or 1736. He was painter to the Viceroy of Naples. In the Madrid Gallery is a landscape with herdsmen and cattle by him ; the Bordeaux Museum also has a landscape attributed to him. BRANDI, GiACiKTO, was born at Poli, near Rome, in 1623. He was first a scholar of Giovanni Giacomo Sementi, of Bologna ; but he afterwards studied under Lanfranco. In the early part of his life he painted some admirable pictures in the style of tliat master, but from his love of pleasure and expense he was frequently obliged to finish his works in a negligent way for the sake of despatch. In his best pictures we find a grand style of composition, a firm and free handling, a fine character in his heads, and even a vigorous colour. This is not, however, the case with the majority of his pictures, which are frequently feeble in effect and incorrect in design. He was head of the Academy of St. Luke, and was made a knight of the order of Christ. His principal works at Rome are, 'The Assumption of the Virgin, with St. John the Baptist, St. Silvester, and other Saints,' painted in the vault of San Silvestro ; at the principal altar of the church of Gesii e Maria al Corso, 'The Crowning of the Virgin;' the vault of the church of San Carlo al Corso, representing ' The Fall of Lucifer ; ' in the church of San Rocco, ' St. Roch giving the Sacrament to the Plague-stricken.' He died at Rome in 1691. The Dresden Gallery possesses by him a ' Daedalus and Icarus,' and ' Moses with the Tables of the Law,' and in the Belvedere, Vienna, is a picture of ' Paul and Anthony, the first Hermits,' by him. BRANDMULLER, Georg, an eminent Swiss painter, was born at Basle in 1661. He was the son of a member of the council, and his father possessing a collection of drawings and prints, Brandmiiller evinced an early inclination for the art by copying some of them, and he was placed under the tuition of an obscure painter named Gaspar Meyer. When he was seventeen years of age he was sent to Paris, and had the advantage of studying under Le Brun, who found sufiicient ability in his pupil to employ him to paint from his designs, in the works he was then engaged in at Versailles, and this he accomplished to the entire satisfaction of his master. On his return to Swit- zerland he was invited to the Court of Wiirtemburg, where he met with great encouragement. His genius was equal to the composition of grand historical subjects, which he treated with nobleness, and painted with great spirit and fire. One of his most esteemed works is a ' Descent from the Cross,' in the church of the Capuchins at Dornach. He also excelled in portrait painting, which he rendered more than usually interesting by the introduction of analogous and historical attributes. This artist is regarded in Germany as one of the ablest painters of his time, and probably would have left behind him a still more brilliant reputa- tion if his talents had been permitted a longer career, but he died when still young in 1690. BRANDT, — , a native of the Hague, who flour- ished about 1683, was a pupil of G. Netscher, and showed great talent in the manner of his master, but died at his birthplace in the flower of his age. BRANDT, Albertus Jonas, born at Amsterdam in 1788, was a scholar of J. E. Morel, after whose death in 1808 he passed two years with G. van Os. 189 A BIOGRAPHICAL DICTIONARY OF He painted dead game, fruit, and flowers. His works are deservedly esteemed. He died at Amsterdam in 1821. BRANDT, R., a German engraver, flourished about the year 1660. His name is affixed to a middling-sized upright plate, from his own design, representing • The Virgin and Infant Christ, with St Joseph and an Angel.' It is etched in a style resembUng that of Benedetto Castiglione, but the draWng is incorrect. BRANSTON, Allen Robert, the son of _ a copper-plate engraver, was bom at Lynn in 1778. When he was of age he went to London, and took lessons in wood-engraving, in which he quickly rivalled the best artists of the day. He illustrated Bloomfield's ' Wild Flowers,' published in 1806, a ' History of England,' published by Scholey, and other works. His best engraving is ' The Cave of Despair ' in Savage's ' Hints on Decorative Print- ing.' He died in London in 1827. BRANWHITE. Chables, who was bom in 1818, was a native of Bristol, and a pupil of his father, a miniature painter. He formed a friendship with William Miiller, with whom he studied, and by whose style he was much influenced. He fre- quently exhibited at the Society of Painters in Water-Colours, of which — at his death, which occurred in 1880 — he had been a member for some years. His works are chiefly landscapes. The Environs of an Ancient Garden."! Received prizes 1852. >from Glasgov) A Frozen Terry. 1853. J Art Union. Ferry on the Thames {London Univ. Exh. 1862). BRASCASSAT, Jacques Raymond, was bom at Bordeaux in 1805. He studied under Richard and Hersent. The Duchess de Berry presented him with £1000, to enable him to pass five years in Italy. In 1830 he turned his attention to animal painting, following the style of Paul Potter. He gained in 1828 a second class medal, and a first class in 1831 ; he was also made a Chevalier of the Legion d'Honneur in 1837, and became a member of the Institute in 1846. He died in Paris in 1867. The Louvre possesses a ' Bull ' bj- him, signed and dated 1842. and a ' Landscape with Animals ' of the year 1845; and three Landscapes are in the Bordeaux Museum. BRASCH. M., was a genre painter who lived in the first half of the 18th century. He was at one time a pupil of Peter Horemans in Munich, but Uved subsequently at Augsburg. He painted hunting scenes and conversation pictures ; the latter in the maimer of Horemans. BRASSAUW, Melchiob, a native of Antwerp, flourished in the eighteenth century. A picture of ' The Prodigal Son,' in the Amsterdam Gallery, bears his signature. BRASSEUR, Antoise, painter, was bom at Lille in 1819, and brought up at the Comtesse Foundling Hospital. He gained a wide reputation as a restorer of pictures, following his calling at Cologne. On his death, in 1886, he left his large collection of pictures to the museum of his native town. BRAUN, Adam Johann, was bom at Vienna in 1750, and was from 1789 a member of the Academy of Arts of his native city. He painted genre pic- tures in the style of Gerard Dou and Mieris ; as well as portraits, among others that of a ' Lady at the Work-table,' (signed and dated 1785,) which is in the Belvedere at Vienna. He was also a 190 clever restorer of paintings. He died at Vienna in 1827. BRAUN, AuGUSTiN, (or Bbun.) was a painter and engraver who was bom at Cologne about 1570, and died later than 1627. Of his works there are mentioned : paintings. Cologne, Wallraf Museum, The Martyrdom of St. Febrinia; Church of S. George, Seven Pictvires from the Passion ; St. Mary in tapitol. Seven Pictures from the Life of St. Martin. Dresden, Gallery, Scenes from the Life of the Virgin — and of Christ. ESGRiVISGS. 37 Scenes from the Life of the Virgin Mary; aftir Albrecht Durer and others. St. Peter in a Ship with the Keys, 1596. A Memorial in form of an Altar, 1595. BRAUN, BABTHiLEMT, a French historical paint- er, was a native of Lorraine. He was working at Nancy in 1583, and became painter in ordinary to the Duke of Lorraine. BRAUN, Caspeb, who was born in 1807 at Aschaffenburg, first studied painting in the Munich Academy, and then turned his attention to wood- engraving, in which he received instruction from Brevieres in Paris and Dessauer in Munich : and in this branch of art he was very successful. He died in 1877. BRAUNGART, J., a painter of landscapes and architecture, was bom at Rottenacker, in Upper Swabia, in 1803, and died in 1849 at Esslingen. He has left some elegant productions, including views of the Frauenkirche at Esslingen and land- scapes in the Tyrol. BRAUWER. See Bbouweb. BRAUWERE, De. See Db Bbauwkbb, also BsorwER. BRAY. See De Bbay. BREA, LoDOVico, a native of Nice, flourished about 1500. There are some of his works still to be seen in the churches in Genoa and the neigh- bourhood, which have remained nearly as fresh as when they were first painted. In Sant' Agostino is one of his best works, representing ' The Murder of the Innocents,' and a ' Coronation of the Vir- gin ' (1513) is in Santa Maria di Castello. His pictures are generally signed with his name, and are dated from 1483 to 1513. According to Soprani, his works are well composed for the time, and his figures tolerably drawn and gracefully turned. BREBES, J. B., was a French engraver, who executed in a neat style some plates after the designs of Ant. Desgodetz for the work entitled ' Les Edifices de Rome,' which was published in 1682. He also engraved some plates after Sebas- tien Bourdon, and other painters, but they are very indifferent. BREBIETTE, Pierre, a French painter and engraver, was born at Mantes in 1696. He studied under Lallemand, in his youth travelled in Italy, became painter to the king in 1637, and died in Paris between the years 1638 and 1650. He is said to have been a painter of some celebrity, but his works in painting are now unknown. Among other works he engraved several plates from his own designs, which are composed in a very agree- able style, and etched in a spirited and masterly manner. He marked his prints with the letters PB enclosed within a heart thus ^ The fol- lowing are his principal works : PAINTERS AND ENGRAVERS. SDBJECTS FROM HIS OWN DESIGNS. Pierre Br^biette, Calcographus, in a Border, with two Angels. Francois Quesnel, Pictor, with two figures of Painting and Fame. A set of various subjects ; inscribed Opera diversa a Peter Brebietteiuventa, 1638. The Nativity. The Adoration of the Magi ; an un- finished plate. The Virgin Mary kneeling before the Infant Saviour, with two Angels. The Virgin, with the Infant Jesus sleeping. The Virgin, witii the Infant crowned. Several Saints kneeling before the Virgin. The Conversion of St. Paul. The Martyrdom of St. Catharine. The Martyrdom of St. Sebastian. The Combat of the Lapithas; a frieze. The Death of the Cliildren of Niohe ; a frieze, 1625. Thetis at her Toilet ; a frieze. Sacrifice to Ceres ; a frieze. Orpheus surrounded by Animals. Four oval plates of the Seasons. Ten friezes, of Bacchanalian subjects. Twelve friezes, of ditto ; after various masters. Four friezes, of Marine Gods. The Holy Family, with St. John; after Raphael. The Holy Family, with St. John ; after Andrea del Sarto. The Martyrdom of St. George; after Paolo Veronese. Paradise; after Palma; a grand composition, in two sheets ; fine. BRl^CE, Jean Marie de, a French historical and portrait painter, was born at Brece about 1502. This very skilful artist, who was likewise an en- graver, flourished in Paris in 1530, and was em- ployed at the Carmelite convent of Brece in 1534. BRECKELENKAMP (Brecklinkam, &c.). See Bbekelenkam. BREDA, Carl Fredrik von, painter to the Swedish Court, was born at Stockholm in 1759. He was a pupil of Reynolds, and distinguished himself especially in portrait painting, on account of which he obtained the sobriquet of ' the Van Dyck of Sweden.' He obtained much praise for his ' Four Presidents at the Reichstag of 1810,' and the portrait of Lagerbring, at the Ritterhaus in Stockholm. His ' Belisarius ' is another of his best paintings. He died in 1818. His son Johan Fredrik Breda, born in London in 1788, died at Stockholm in 1835, was also a painter. BREDABL. The following table shows the relationships of the various members of this family of artists. According to Kramm, the form Bkeda is an error, but a picture in the Amsterdam Gallery, ascribed to Jan Frana van Bredael, is signed I BREDA F : Willem van BredaeL I Pieter, 1622—1719. Jan ?iet8r, 1664?— 1?33. Alexander, d. 1720. Jan Frans, 1683—1750. Frana. George. BREDAEL, Alexander van, (not Breda,) was a native of Antwerp, who painted Italian views, fairs, and markets with figures and cattle, which were held in some estimation at his time. He died in 1720. A ' Fete in Antwerp ' signed Alexander VAN Bredael. f. is in the Lille Gallery. BREDAEL, Jan Frans van, (not Breda,) the son of Alexander van Bredael, was born at Antwerp in 1683, and was instructed in art by his father. He attached himself to study and copy the works of Philips Wouwerman and Jan Brueghel, and was the most successful of the imitators of the former. He visited England with Rysbrack the sculptor. His pictures became in vogue, and after a residence of a few years he returned to Flanders amply re- munerated for his labours. In 1726 he was made director of the Academy of St. Luke at Antwerp. When Louis XV. made his entry into Antwerp in 1746, he was pleased with the works of this artist, and ordered four of them to be purchased for him ; and the example was followed by many of the attendant courtiers, who liberally paid for all the pictures he could finish. The works of Bredael have little claim to originality, being entirely com- posed and painted in undi.sguised imitation of Wouwerman ; but he never came near his model, either in the purity of his colour or the exquisite touch of his pencil. His skies and distances are as blue as the admirers of gaudiness can wish them. Tlie Dresden GaUery has two works by him— a ' Horseman having his Steed shod,' and a ' Hawking Party ; ' a ' Military Camp ' by him is in the Louvre, and a ' View of a Village ' is in the Amsterdam Gallery. He died at Antwerp in 1750. BREDAEL, Jozef van, a Flemisli painter, born at Antwerp, August 14, 1688, painted landscapes, but was best known as a copyist of the works of Brueghel, Wouvermans, and others, for the picture- dealer Jacob de Witte. In 1736 he settled in Paris, where he became painter to the Duke of Orleans. He died m Paris in 1739. There is a river land- scape by him in the Rijks Museum at Amsterdam. BREDAEL, Pieter van, was born at Antwerp in 1622, and entered the Guild in 1650. It is not said under whom he learned the art, but he imi- tated the works of Jan Brueghel, in whose style he painted small landscapes, with figures neatly touched and well coloured. He passed some time in Spain, where his pictures were much admired. From the objects he introduced into his landscapes, it is very probable he had been in Italy, as they represent the ruins of architecture in the environs of Rome. He died at Antwerp in 1719. The four works attributed 'to him in the Vienna Gallery are stated to be by another painter. Two Italian landscapes with figures by him are in the Academy at Bruges, and one is in the Hague Gallery. BREB, Matthecs Ignatius van, born at Ant- werp in 1773, was instructed by Regemorter ; Ije afterwards went to Paris, and after having obtained by a ' Cato in Utica ' the second prize for Rome, he went to that city in 1797 — returning to his na- tive countryin 1804. His conceptions are fre- quently poetical, and his compositions graceful, delineated with a light, free, and spirited pencil ; but his colouring is rather too florid in some instances. Among his most important works are ' The Patriotism of the Burgomaster Van der Werft,' in the Town-Hall at Leyden, and 'The Death of Rubens,' in the Museum at Antwerp. He brought forward some of the most eminent of the later Flemish painters, among whom are Wappers and De Keyser. Van Br^e died at Antwerp in 1839. BRfiB, PHiLlPPns Jacobds van, scholar of his brother Mattheas, was born at Antwerp in 1786. He studied at Antwerp, in Paris (where he became a scholar of Girodet), and at Rome ; and also visited Germany and England. He employed himself on historical, fancy, and architectural sub- jects. Of the last, the Belgian Government pur- chased his ' View of the Interior of the Church of St. Peter at Rome,' and presented him with a gold medal in addition to the price. He was made conservator of the Museum at Brussels, where he died in 1871. BRBEMBERG. See Bbeenberqh. BREEN, GiSBERT, or Claes, van, a Dutch en- graver, flourished about the year 1600. His plates 191 A BIOGRAPHICAL DICTIONARY OF are executed entirely with the graver, in a neat manner, resembling the style of Jacob de Gheyn, but inferior in every respect, though not without considerable merit. We have the following plates by him : The Portr«dt of James I., with the Queen and Prince of Wales. Six, of subjects from the Lives of young Libertines ; C. V. Breenf. A Woman carrying a Basket of Eggs to Market, with a Man with a Basket of Fowls ; after Claus Cock. A Man and Woman walking, followed by a figure of Envy ; after the same. An Ass that is washed recompenses the trouble by kicking and biting ; C. van Manner pvtx. G. v. Breen sc. Two young married Persons dissipating their Dower ; the same. The Companion, representing them reduced to Misery ; tJie same. A Concert ; after Sbrassm. BREENBEKGH, Bartholomeds, (or Breem- BERG,) an eminent Dutch painter, who was known in France and Italy by the name of Bartolome, was born at Utrecht about 1620. The name of his instructor has not been recorded, but he studied the works of Poelenburg with great assiduity, and he was ranked among the most promising artists of his country before his departure for Italy, where he lived the greatest part of his life. The environs of Rome are so many li^^ng pictures for the con- temptation of the artist ; and the beautiful sites of Albano, Frescati, and Tivoli are naturally the haunts of the intelligent landscape painter. This delightful scenery furnished the subjects of his pic- tures, which he decorated with figures, generally representing some subject of Bible history. There is an elevated style in the arrangement of his works, and he seems to have inhaled the taste of Italy with the atmosphere he breathed. In some of his works he imitated Titian and the Carracci. His pictures have nothing of the characteristic vulgarity of his country. His best works are small ; when he attempted a larger scale he was less successful. There is great suavity in bis colouring, and his pencil is exquisite and delicate. He was still living in 1663. Of his works, which are seen in many European galleries, we may notice three Land- scapes mth Ruins, in the Dulwich Gallery ; six landscapes (some with subjects introduced) in the Louvre ; a 'Monk praying' in the Munich Gallery ; a ■ Landscape with Ruins and Cattle ' at Vienna ; and ' Joseph selling Bread during the Famine in Egypt' (signed and dated 1644) in the Dresden Gallerj' — a good example of his historical pictures. Breenbergh also etched several plates from his own designs with great spirit and intelligence ; they are highly esteemed, and good impressions of them are now scarce. He usually marked his plates with the initials of his name, with an I', for fecit, thus, B. B. F. One of his plates is marked ■with the cipher T^ We have by him : Twenty-four of Landscapes, with Ruins, Figures, and Animals; inscribed I'erschiden verf alien Gebouden, with his portrait. Another set of twelve ; entitled Antiquities of Rome. A Landscape ; marked with the above-mentioned cipher. Joseph delivering Corn in Egypt ; inscribed Erat fames, &c. ; B. B. F. The Martyrdomvof St. Laurence ; same mark BREGEON, Angelica, an ingenious lady, was, according to Basan, the wife of Jean Baptiste Tillart, a French engraver. She executed some I 192 plates with the point and graver, among which is a print representing a youth drawing, ^er Carle van Loo. BREKELENKAM, QniarN, (or Bbeklinkam, not Brekelencamp, nor Breckelenkamp,) a Dutch painter, was born probably at Swammerdam, near Leyden. He was a scholar of Gerard Dou, though he did not attach himself to the high finishing of that master, but adopted a style formed on a mixture of the manner of Dou with that of Rem- brandt. He was established at Leyden in 1648, in which year he was received into the Guild of St. Luke, and in that city he spent the remainder of his life. He had two wives and nine children. His signed works extend from 1653 to 1669. His pictures represent the interior of Dutch cottages, with figures. There is a very natural expression in the airs of his heads, his touch is light and spirited, and he was well acquainted with the prin- ciples of chiaroscuro. His works are found in the choicest collections in Holland, and are held in considerable estimation in this country. The fol- lowing are some of his principal works : Amsterdam. Museum. Interior. „ „ The Fire Comer. 1664. „ „ The Mouse-trap. 166S. „ Six Coll. The Three Ages. Augsburg. Gallery. The Coppersmith. 1654. Berlin. Gallery. The Vegetable-seller. 1661. Brunswick. Gallery. Old Woman with Vegetables; and others. Paris. Louvre. A Monk writing. „ „ The Consultation. Petersburg. Mermitage. A Hermit. 1660. „ „ The Disappointed Drinker. BREMDEN, Daniel van, who flourished at the Hague in the first half of the 17th century, was a Dutch engraver of little note. He worked with the graver in a neat but tasteless style. There is a small plate by him of ' Ladies and Gentlemen at an Entertainment,' after De Vlieger ; besides some plates after A. van der Venne, and some portraits. BREMOND, Jean FEANgois, a pupil of Ingres and Couder, was born in Paris in 1807. He pro- duced some excellent portraits as well as historical pictures. His death occurred in Paris in 1868 Among his paintings are : Portrait of his Daughter. St. Francis of Assisi. St. Catharine of Alexandria. The Entry of Christ into Jerusalem. Susannah in the Bath. BRENDEL, Heinrich Albert, who was oom at Berlin in 1827, studied in the academj- of his native city, and under Wilhelm Krause. In 1851 he went to Paris, and studied under Couture and Palizzi ; thence to Italy, and home to Berlin in 1853, completing his studies under StefEeck. For the next ten years he resided principally in Paris, and worked in the summer months at Barbison, in the forest of Fon- tainebleau, which was also the scene of the labours of Millet, Rousseau, Diaz, Troyon, and other sirtists; and he continued, till 1869, to visit Barbison in the summer, after he removed in 1865 to Berlin for the winter. In 1868 he was made a member of the Berlin Academy, and in 1875 became Professor at the Art Scbool'of Weimar. He died in 1878. His first works were sea-pieces, but he afterwards devoted himself to animal painting (more especi- ally horses and sheep), in which he was very suc- cessful. He received medals at various exliibitionfl at Paris, Berlin, Munich, Vienna, and Nantes. PAINTERS AND ENGRAVERS. Berlin. Gallery. Ketnm to the Village. Paris. Luxembourg. Sheepfold at Barbison (exhibited at the Salon in 1863). BRENET, Nicolas Gdy, a French historical painter, tlie son of Guy Brenet, an engraver, was born in Paris in 1728. He was admitted into the Academy in 176.3, and became an Academician in 1769, on which occasion he presented his picture of 'Theseus finding the arras of his father JEgeus,' which, together with his ' Generosity of Bayard,' is now in the Louvre. There are likewise some paintings by him at Versailles. He also etched two plates, which are now very rare. Brenet was one of the first masters of Baron Gerard and of Taunay : he was nominated assistant-professor in the Academy in 1773, and professor in 1778. He died in Paris in 1792. BRENNAN, Michael G., who was bom at Sligo, studied in the schools of the Royal Dublin Society and of the Hibernian Society, and subse- quently in Italy. He exhibited for some years at the Royal Academy. He died in 1871 in Algiers. In the Dublin Gallery are two views at Capri by him. BRENTANA, Simone, was bom at Venice in 1656, but resided principally at Verona. He formed his style by an assiduous study of the works of Tintoretto, whose bold and vigorous manner he preferred to more finished and laboured productions. To the fire of Tintoretto he added Bomething of the dignity of the Roman school. Few of his pictures are in private collections, as he was chiefly employed by the sovereigns of his time, and for the churches. One of his finest pictures is ' The Martyrdom of St. Sebastian, who is crowned by an Angel,' in the church dedicated to that saint. BRENTEL, Feiedeich, a German engraver and miniature painter, was born at Laugingen in 1580, and became a citizen of Strassburg in 1601. His principal work is a set of plates for ' The Funeral of Charles III., Duke of Lorraine,' published at Nancy about 1610. They are from the designs of Claude de La Ruelle and Jean La Hire, and are etched in a slight, spirited manner. Other notice- able plates of his are a ' View of the large Hall at Stuttgart' (1619), and 'John Frederick L, Elector of Saxony ' (1609). He died at Strassburg in 1651. The prints of Brentel are etched with a very light point ; and his monogram is found on a series of landscapes ornamented with historical subjects and rich borders, and bearing the dates 1617 and 1619. There are proofs of these borders without the land- scapes and figures. BRESCIA, Giovanni Antonio da, was an en- graver of the 15th and 16th centuries, and is said to have been a brother of Giovanni Maria da Brescia. It is probable that he learned engraving in the school of Andrea Mantegna, as his plates are executed precisely in the style of that artist, though they are neater and more finished. He wanted, however, his instructor's correctness of drawing. His attempt to imitate Albrecht Diirer was without success. He en- graved thirty-seven plates, which ©• A , D> he signed with the cipher I /\ D"^ The following are the most important : The Virgia suckling the Infant Jesus; Jo. An. Br. The Virgin adoring the Infant, St. Joseph sleeping; iame mark. The Scourging of Christ; Jo. Anton. Brixian. 1503. There are second impressions of this plate; dated 1509. Hercules and Antaeus ; Jo. An. Bx. Hercules strangling the Lion ; inscribed D. Here, invicto. A naked "Woman and Child, with a Satyr playing on a Pipe ; marked 1507 ; Jo. An. BX. A white Horse, the same as that engraved by Albrecht DiiTer; I.A. Brix. 1505. A grotesque ; below, a Satyr and a Woman ; inscribed, Victoria A ugusia ; Jo. A n. A Holy Family, with SS. Elisabeth and John ; after Mantegna. An Entombment ; copy after the same, Mary with Saints ; after Maphael. BRESCIA, Fra Giovanni Mabia da, was bom at Brescia in the latter part of the 15th century. He was brought up a goldsmith, a profession at that time connected with the arts ; and, after studying painting and engraving for some time, he became a monk of the order of the Carmelites at Brescia, and painted several pictures for the church of his monastery, and in the cloister some fresco works, representing subjects from the history of Elijah and Elisha. He also engraved some plates, which are executed in a manner that appears to be a feeble mixture of the style of Marc-Antonio and Andrea Mantegna. We have by him the following plates : The Virgin and Infant Jesus, the Virgin holding a Book. The Virgin and Infant in tlie Clouds ; a circular plate, with a Latin dedication and his name ; Fr. Jo. Ma. Brix. Carmelita dicavit. M.D.II. St. Gregory resuscitating a Youth ; inscribed ojnts Fr. Jo. MariiB Brixensis or. Carnielitaram. M.CCCCC.II. The History of the Emperor Trajan ; on a Balcony at the upper part of the plate is seen the Pope, and the words Divus Gregorius ; and at the top opus Fr. is Jo 3fari(e Brixensis or. Carynelitarum. M.CCCCC.II. Three Monks of the Order of the Carmelites. 1512. BRESCIA, Leonabdo, was, according to Barotti, a native of Ferrara, and flourished about the year 1530. There are many of his pictures in the churches and convents of that city, the most es- teemed of which are ' The Assumption of the Virgin,' in the church of II Gesii ; 'The Annunci- ation,' in the Madonna del buon Amore ; and ' The Resurrection,' in Santa Monica. It is supposed that he died in 1598. Artists of the name of Brescia are very numerous ; there are thirty so named in Zani. BRESCIANINI da SIENA. See Puccinelli. BKESCIANINO delle Battaglie, II. See Monti, Francesco. BRESCIANO, GioviTA, called Beescianino, is said by Cozzando to have been a native of Brescia, and a scholar of Lattanzio Gambara. He was a reputable historical painter, both in oil and in fresco. He flourished about the year 1580. BRESCIANO, Gib. See Savoldo, also Muziano. BRESCIANO, PiETRO. See Avogadbo. BRESCIANO, ViNC. See Foppa. BRESSANO, Gib. See Mdziano. BRETEUIL, Jacqoes Lauee, Comte de, a French nobleman, was a great amateur of the arts, who, according to Basan, between 1730 and 1750, etched several plates after Berchem and other masters. BRETHERTON, Charles, the son of James Bretherton, was bom about the year 1760. At an early age he gave proof of the most promising talents as a designer and engraver. He executed several plates of portraits for Walpole's 'Anec- dotes,' as well as views and landscapes, which possess great merit ; and he produced some charm- ing drawings of his own composition, one of which, representing ' Kate of Aberdeen,' was engraved by Tomkins. He died at an early age in 1783. 193 A BIOGRAPHICAL DICTIONAEY OF BRETHERTON, James, an English engraver, distinguished himself by several etchings and plates in aquatint, from the designs of H. W. Bunbury, and other masters, as well as from his own compositions. His works are dated from 1770 till 1790. BRETON, Francois Pierre Hippolyte Ernest, a French artist and archseologist, was born in Paris in 1812. He studied under Regnier, Watelet, and Champin, and exhibited some landscapes at the Salon. He contributed to Gailhabaud's ' Monu- ments anciens et modernes,' and in 1843 published ' Monuments de tons les Peuples.' His latest works were ' Pompeia,' 1855 ; ' Athenes,' 1861 ; and ' L'Alhambra,' 1873. He died in Paris in 1875. BRETSCHNEIDER, Andreas, a German en- graver, etcher, and designer, was born at Leipsic about 1578, and was working there up to 1640. Among his best engravings may be cited : A Nobleman in Spanish clothing. Christ on the Cross. 1601. Gustavus Adolphus on horseback. Eleven views of the Festivities at Dessau in 1614. Thirty woodcuts of BibUcal Representations. BRETSCHNEIDER, Johann Michael, who was born at Aussig, in Bohemia, worked at Prague in the early part of the eighteenth century. A ' Musical Entertainment ' by him is in the Pinako- thek at Munich. BRETT, John, marine painter, born in 1830. He was greatly influenced in early life by the writings of Ruskin, and the whole Pre-Raphaelite movement, as exhibited in his works, ' The Stone- breaker,' shown in 1858, and ' The Val D'Aosta,' in the following year. After 1870 he turned his attention to the sea-shore of the south of England, producing luminous skies and calm seas. Among his most powerful works we can name, ' Spires and Steeples of the Channel Isles ' (1875), ' Mount's Bay ' (1877), ' Cornish Lions ' (1878), and ' Britan- nia's Realm,' bought by the Academy in 1880. His 'Sere and Yellow Leaf was exhibited in 1895, and he died in 1902. p p BRETT, Joseph William, the son of a clergy- man, was born in 1816. He was one of the com- petitors for the decoration of the Houses of Par- liament, and sent in a cartoon of ' King Richard forgiving the Soldier who shot him,' which was unsuccessful. He died by his own hand at Chelsea in 1848. BREU, JoRO (or Brew, or Prew), — who flourished at Augsburg from about 1512 to 1530, and died there in 1536, — was a painter and draughtsman on wood, whose style was influenced by Hans Burck- mair. A Madonna and Child by him (formerly wrongly ascribed to Burckraair) is in the Berlin Gallery ; it is signed with his monogram, and bears the date 1512 ; and the ' Battle of Zama,' by him, is in the Pinakothek at Munich. BREUGHEL. See Brueghel. BREDIL. See Dubreuil. BREUKELAAR, Hendbik, a Dutch artist of great promise, was born at Amsterdam in 1809, and was instructed by C. and J. A. Kruseman. He painted the picture of ' Van Speyk at the tomb of De Ruyter,' and others, which gained him the applause of his countrymen. His works are not numerous, owing to his early death, which occurred in 1839. BREVIl^RE, Louis Henri, bom at Forges-les- Eaux in 1797, was a French wood-engraver, to whom is due the honour of having revived the art I j4 of wood-engraving, which had been neglected in France since the 17th century. His works number about 3000, and among them may be especially noticed the Palais de Gaillon, the arch of the Gros- Horloge at Rouen, and his engravings from the designs of Chenavard, Grandville, Meissonier, Descamps, Fragonard, Girardet, Fran5ai8, Tony Johannot, RafFet, Dev^ria, Gavarni, Gustave Dorl, Bertall, and others. He died at Hyeres in 1869. BREW. See Breu. BREWTNALL, Edward Frederick, was bom in 1846. As a painter in water-colours he exhibited first in 1868 at the Royal Society of British Artists a picture entitled ' Post Time.' The following year appeared 'Missing,' and in 1872 'Chestnuts.' He was elected a member of that Society in 1882. He made his first appearance at the exhibitions of the Royal Society of Painters in Water-Colours in 1875 witli four pictures, and in 1883 became a full member of the Society. His pictures there ex- hibited include — 'When Love was Young' (1878), ' The Honeymoon ' (1880), ' The Visit to the Witch ' (1882), ' Blue Beard's Wife ' (1884), ' The Ravens' (1885), 'Where to Next? ' (1886), 'On the Wing' (1888), 'The Red Fisherman' (1891), 'The Shell' (1894), 'The Fisherman and the Genie' (1897), and ' La Vie de Boheme' (1900). He painted also in oils, and latterly contributed to the Royal Academy among others the following — ' Merely Players' (1898), 'On the Embankment' (1899), and 'The Inn by the Sea' (1900). He died in 1902. BREYDEL, Feans, was born at Antwerp in 1679, and was instructed by Rysbraek, the landscape painter. He painted conversations and gallant assemblies, and also portraits of a small size, agree- ably coloured and neatly touched. He passed a great part of his life at the court of Hesse-Cassel, where his works were much esteemed. He also visited England. He died at Antwerp in 1750. The Dresden Gallery has two signed works by him. BREYDEL, Karel, called ' Cavalier Breydel,' was a brother of Frans Breydel, and was born at Antwerp in 1677. He was also a scholar of Rys- braek, under whose instruction he remained three years. He afterwards went to Italy, and on his return painted at Nuremberg, Frankfort, Cassel, Antwerp, and Brussels, executing a number of landscapes, and views of the Rhine, in the manner of Griffier. He is more reputed as a painter of battles and attacks of cavalry, which are ingeniously composed, and painted with spirit, after the manner of Van der Meulen. The Museum of Brussels has two ' Cavalry Skirmishes ' by him, and the USizi, Florence, two small landscapes, and the Cassel Gallery a ' Paradise' and a landscape. He died at Ghent in 1744. BRIARD, Gabriel, was a landscape and por- trait painter of some grace and facility of hand, the master of Demarne, and the father of Mme. Le Brun. He visited Italy in 1749, became an Academician in 1768, and died in 1777. BRICART, Claude, a French engraver, who flourished about 1730. He executed several plates after J. B. Santerre and others. BRICCIO. See Brizzi. BRIDELL, Frederick Lee, was bom at South- ampton in 1831. He very early showed a talent for painting, and at the age of fifteen began life in his native town as a portrait painter. Some of his works attracted the notice of a picture- dealer, who first employed him to reproduce por- < « a o H CO w PAINTERS AND ENGRAVERS traits, and then sent him to Munioli and other continental cities to copy the works of the great masters. On his return to England he sent, in 1851, a picture, ' A Bit of Berkshire,' to the exhi- bition of the Royal Academy. This was followed by ' Mountains of the Tyrol ' in 1856. Soon after- wards he went to Rome, where he married in 1858 the daughter of Mr. W. J. Fox, at that time member for Oldham, a lady of much artistic talent. In the following year he exhibited his finest work, ' The Coliseum by Moonlight,' which was after- wards included in the International Exhibition of 1862. His other important paintings were ' The Temple of Love,' from Spenser's ' Faerie Queene,' and ' Sunset on the Atlantic' Ue worked with too much energy, and died of consumption in 1863. After his death forty of his best paintings were sold at Christie's, some of them realising £1000 each. BRIDGFORD, Thomas, an Irish portrait and subject painter, was born at Dublin in 1812. He studied and for a short time painted portraits in London, and for many years exliibited portraits and figure subjects at the Royal Academy (W. Mulready, R.A., and A. Cooper, R.A., in 184'2). In 1844 he returned and settled at Dublin, where he became a member of the Hibernian Academy. He died on the 21st November, 1878. Amongst his works are : The Arrest of Sir H. Slingsby. An Irish Wake. The Deserter. Golden Moments. Passing Shadows. BRIERLY, Sir Oswald Walter, marine painter, son of a doctor was born at Chester on the 19th of May, 1817. He left the Academy of Henry Sass in Bloomsbury to study shipping at Plymouth, exhibit- ing first at the Royal Academy in 1839. Two years later he started round the world, settling for some years at Auckland. In 1851 he returned to England and accompanied the Allied fleets to the Baltic, and the Prince of Wales on his Nde tour. He also sailed with the Duke of Edinburgh in 1867-8, on the Galatea's trip round the world. ' Blake going on the Resolution ' is his greatest work. He ceased exhibiting at the Academy in 1872, when elected member of the Royal Water-Colour Society. Appointed Marine Painter to Queen Victoria in 1874, he became Curator of the Pamted Hall at Greenwich in 1881, was knigiited in 1885, and died in London, 14th December, 1894. BRIG6S, Henky Perronet, was born at Wal- worth in 1792, or 1791. He was related to the wife of John Opie, and, possibly through his influence, entered the Academy Schools at an early age. In 1814 he exhibited his first portrait at the Academy. Four years later he attempted an historical picture, ' Lord Wake setting fire to his Castle to prevent a visit from Henry VIII.,' and soon afterwards 'Othello relating his Adventures.' In 1826 he ex- hibited ' The First Conference between the Spaniards and Peruvians, 1531,' and in 1827, 'Juliet and her Nurse,' both of which are now in the National Gallery. He was elected an Associate of the Academy in 1825, and was made an Academician in 1832. Henceforth his talent was so much in demand for portraiture that, against his own wishes, he abandoned historical painting in favour of that more lucrative art. One of his finest works is ' Lord Eldon receiving the Degree of D.C.L. at Oxford.' He died in London in 1844. His picture 2 of ' George III. presenting the sword to Earl Howe, OB board the " Queen Charlotte," 1794,' painted in 1827, is now in Greenwich Hospital. BRIGHT, Henry, was born at Saxmundham, Suffolk, in 1814. He was at first apprenticed to a chemist at Woodbridge, and afterwards became dispenser in the Norfolk and Norwich Hospital. Here, having fallen in with John Bemay Crome, Cotman, and others of the Norwich School, he threw up his appointment, and entering on art as a profession, went to London, where he was soon after elected a member of the New Society (now called the Institute) of Water-Colour Painters, and became acquainted with some of the then leading artists — Stanfield, David Cox, Prout — and other celebrated men. He painted in oil as well as water-colours, exhibiting in the former medium for the first time at the Royal Academy in 1845. His pictures display great breadth and richness of colour, especially those depicting the banks of rivers. His snow scenes, of which he executed several, are very carefully painted. He died at Ipswich in 1873. BRIGSTOCKE, Thomas, first studied in Sass's studio, then in the Royal Academy Schools, and under H. P. Briggs, and subsequently under J. P. Knight. He also studied at Paris, Florence, Rome, and Naples, during eight years. He exhibited his first picture, ' AInaschar, the Barber's fifth Brother,' at the Royal Academy in 1842. Five years later he went to Egypt with a letter of introduction to Mohammed Ali Pasha, by whom he was kindly received, and well employed in painting portraits of himself and his family. There Brigstocke spent sixteen months painting chiefly at the Palace of Shoubra, on the Nile, near Cairo, and at Ras el Tin, Alexandria. His chief portraits are : General Sir'Wm. Nott, in the Town Hall of Calcutta. „ „ „ „ in the Town Hall of Carmarthen. „ „ „ „ in the Oriental Club, London. Mohammed Ali, in the Palace of the Citadel, Cairo. „ „ in the Palace of Ras el Tin. „ „ in the Oriental Club, London. Cardinal 'WisomaQ, in St. Cuthbert's, near Durham. General Sir J. Outram, in the Oriental Club, London. Sir Hy. Holland, M.D. He also painted an historical picture, entitled the ' Prayer for Victory.' All the above pictures were exhibited at the Royal Academy. Brigstocke died in 1881, aged seventy-two. BRIL, Matthys, was born at Antwerp about 1548. It is not known under whom he studied, but he went to Italy during the pontificate of Gregory XIII., by whom he was employed in the Vatican, where he painted in fresco several land- scapes, and had a pension settled on him by that pontiff. He would probably have reached a high rank in the list of landscape painters, but he died in the prime of life at Rome in 1584. The Louvre has two 'Stag Hunts' by him, and the Dresden Gallery has also two landscapes with sulijeils. BRIL, PAUL0S, the younger brother of Matthys Bril, was born at Antwerp in 1556. He was first instructed in the art by Damiaen Ortelmans, and was himself employed in painting the tops of harpsichords, which were usually so ornamented at that period. The fame which his brother had acquired in Italy inspired him with the emulation of equalling him in reputation ; and he thought the most probable means of success was to imitate liis example, and to follow him to Italy. Passing through France, he was under the necessity 195 A BIOGRAPHICAL DICTIONARY OF of stopping at Lyons to recruit hia exhausted finances by the exercise of his talent, and having succeeded, he at length reached Rome, and placed himself under the instruction of his brother. But his best studies were made from the landscapes of Titian, some of which he had an opportunity of copjing, and he began to distinguish himself by a style which, though founded on the great principles of that master, was sufficiently original to be con- sidered as his own. For some time he assisted his brother in his works in the Vatican, and on the death of that artist, the pension of the Pope was continued to Paulus ; and, according to Baglioni, on the succession of Sixtus V. he was engaged in some considerable works in the Sistine Chapel, in Santa Maria Maggiore, and in the Scala Santa in San Giovanni in Laterano. He was not less patronized by Pope Clement VIII., by whose direction he painted his prodigious work in the Sala Clementina, a landscape of grand scenery, sixty-eight feet wide, in wliich is introduced the subject of St. Clement, with an anchor fastened to his neck, thrown into the sea. He also painted easel pictures of landscapes, some of which Anni- bale Carracci occasionally embellished with his admirable figures. Bril died at Rome in 1626. The following are some of his best paintings : The Euins. The Prodigal Son. Landscapes (four). Landscapes {two). A Sea-piece. Landscapes {nine). Landscapes {two). Landscapes (four). Landscapes (ttro). Landscapes {fiyht). Landscapes (two). Landscapes. Paulus Bril etched several landscapes in a masterly and spirited style, four of which are in the set published by his scholar Nieulandt. We have by him the following prints : Four Landscapes in the set published by Nieulandt. Two Landscapes ; marked Paulus Bril, inv. et fee, kc. A View in the Campagna, with Buius ; P. Bril fee 159C. Another View in the same ; the companion. BRILLON, — , was a native of France, and, according to Basan, engraved several plates after Watteau and other French painters. BRLNCKMANN,PHiLiPPHiEKONYMns,(orBRlNK- MAN,) a German painter and engraver, was born at Spires in 1709. He was a pupil of J. G. Dathan. His favourite subjects were landscapes, but he also painted historical subjects 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 Mannheim, where he died in 1761. In the Stiidel at Frankfort is a 'Swiss Landscape' signed P. H. Brinckmann fecit, 1745. He etched some plates in a picturesque and spirited style. The following are his principal prints: PhiUpp Hieronymus Brintman ; se ipse fee. David with the Head of Goliath. 1741. The Death of Pyramus. The Repose in Egypt ; Rembrandt inv. ; Srinkmanfec. The Resurrection of Lazarus ; Brinkmanfec. Mary Magdalene at the Feet of our Saviour. Christ and the Samaritan Woman. The Presentation in the Temple ; P. J. Brinkman inv. et fee. Six pleasing Landscapes ; Pk. Britik. del. etfec. 196 Amsterdam. Galleri/. Antwerp „ Berlin. Dresden. ^, Florence. Uffizi. Pitii Pal. Madrid Gallery. Munich. Gallery. Paris. Louvre. Petersburg. Hermitage Rome. Palaces. BRION, Gust AVE, was born at Rothau in the department of the Vosges in 1824, and in 1841 entered at Strassburg tlie studio of Gabriel Guerin, with whom he remained three years ; he also received tuition from Andreas Friedrioh, the sculptor ; but he soon afterwards went to Paris, where his first work appeared at the Salon in 1847 ; it was entitled ' Interior of a Farm at Dambach.' Six years later he gained a medal of the second class for his ' Sshlitteurs de la Foret-Noire ' and the ' Potato Harvest during an Inundation,' the former of which was subsequently burned at Strassburg by the Prussians. His fame was further estab- lished by his ' Le Train de Bois sur le Rhin ' in 1855, and from that time his works continued to increase in public favour, and gained considerable praise and recompense for their author. Brion received numerous medals in 1853, 1863, 1867, 1868, &c., and the decoration of the Legion of Honour in 1863. He died in Paris in 1877. With few exceptions, such as the ' Siege of a Town by Romans under Julius Caesar,' painted on commis- sion for Napoleon III., and at the cost of much research to the artist, Brion rarely indulged in historical subjects. He delighted to represent peasants in their natural avocations : here they gather in their potatoes or chat by the village well ; there they conduct barges laden with wood down the river ; now we see them at a marriage, now hearing mass or attending a burial. Putting aside several subjects drawn from Normandy and Brittany, from the Basque Provinces, and from a stay in Italy, Brion remained true to his love of Alsace, and it is of the doings of her peasantry that he tells us in his paintings. The following are his principal works : Salon, Paris Exhibition, Salon, 1847 1853 1852 1855 Interior of a Farm at Dambach, ' SchUtteurs ' of the Black Forest, Potato Harvest during an Immdation, Wood-Barge on the Rhine ) {engraved by Jazet) y Burial in the Vosges, „ * La Fete-Dieu,' „ The Miraculous Well, „ Mountebank in the Middle Ages, Gathering Potatoes {in the Nantes Museum), A Church Porch, „ Burial on the Rhine, „ The Skittle-Players, „ A Protestant Mamage in Alsace (etehedby Kajon) „ The Wedding Feast {etched by Bellin), „ The Blessing, . London Exhibition, The Pilgrims of St. Odile, Salon, The End of the Deluge, „ ' La Qui^te au Loup,' tt Reading the Bible in Alsace, „ A Wedding in Alsace, „ First Steps, „ The Reveil, Encampment of Pilgrims, „ Brion also illustrated ' Les Miserables ' of Victor Hugo, and ' Notre-Dame de Paris ' (see ' Flemish and French Pictures,' by F. G. Stephens). BRIOT, Antoine, a French engraver, flourished in the latter part of the 17th century. He engraved a set of different habiliments, from the designs of St. Igny. BRIOT, Isaac, a French engraver and draughts- man, was born in 1585, and died in Paris in 1670. His plates are rather neatly executed, in the style of Wierix and mostly from his own compositions, but the drawing is defective. The following may be noticed : rOBTRAITS. Cardinal de Richeheu. Cardinal d'Amboise, archbishop of Rouen. 1857 1859 »» 1861 1862 1863 1864 1864 1863 1874 1876 1877 PAINTERS AND ENGRAVERS. Saspard, Comte de Coligny. Tbe poet Francois Malherbe, in 4to. The poet Marini, in 4to. SUBJECTS. The Alliance of France with Spain. St. John the Baptist in the Deserl. St. Peter weeping. L'Oraison dominicale eipliqu^e par des emblemes. Two small plates. The Virtues. Seven small plates. The Sibyls. A set of smaU circular plates. Ovid's 'Metamorphoses.' A set of plates published 1637. Marie Bbiot, daughter of Isaac, with her father, executed plates after Paul de La Barre, J. B. Coriolan, St. Igny, and others. BRISEGHELLA. See Eismann Briseghella. BRISSART, P., was a native of France, and flourished about the year 1670. We have by him a large print, representing a bird's-eye view of the royal palace of Vincennes, from his own design. It is etched in a slight, neat style, but without much effect. He also engraved several plates from the works of Jean Baptiste Santerre. BRISTOW, Edmdnd, an animal painter, was born at Windsor in 1787. He exhibited his works on one occasion only, viz., at the British Gallery. He was of an eccentric character, and little is known concerning him. Some of his works are in the possession of the Queen, but a greater number belong to Mr. H. Ingalton, of Ventnor. He died at Eton in 1876. BRITANO. See Ghisi, Giov. Batt. BRITTON, John, who became celebrated as an architectural draughtsman, was born in 1771 at Kingston St. Michael, in Wiltshire, where he passed the first few years of his life, attending the village school and assisting his father, who kept a general shop. In 1787 he went to London. In 1799 he exhibited some architectural drawings at the Royal Academy, and in 1801 he pubhshed the ' Beauties of Wiltsliire,' in two volumes, in which work he was assisted by Brayley. This was followed by the ' Beauties ' of all the other counties, the whole work being completed in twenty-six volumes, which took him twenty years to produce. In 1805 he commenced his 'Architectural Antiquities of Great Britain,' which was completed in five quarto volumes, containing 360 engravings. This was followed by his 'Catliedral Antiquities of England,' in fourteen volumes, folio and quarto, with 300 engravings (1814—1835). In 1825, in conjunction with Augustus Pugin, he commenced ' The Archi- tectural Antiquities of Normandy,' and in 1829 a 'Dictionary of Architecture and Archeology of the Middle Ages,' besides several smaller books, including works on Norwich, York, Canterbury, and other calhednils. He also contributed articles on British topography to Rees's ' Encyolopsedia.' From 1845 till shortly before his death he was occupied upon his ' Autobiography,' which had nearly approached completion when he died in 1857, in London. BRIXIA. See Brescia. BRIZE, CoRNELis, a Dutch painter of still-life, was born at Haarlem in 1635. His pictures repre- sent musical instruments, books, papers, &c., grouped in an ingenious manner, and painted with such uncommon truth that they become interesting, notwithstanding the insignificance of the subjects. He also painted armour, and imita- tions of bas-reUefs, but his pictures of the former subjects are most esteemed. He died at Haarlem in 1679. BRIZIANO. See Ghisi, Giov. Batt. BRIZIO, Menechino del, (or Brizzi). See Ambrogi, Dom. BRIZZI, FiLlPPO, (or Briccio,) the son of Fran- cesco Brizzi, and scholar of Guido, was born in 1603. In the church of San Silvestro at Bologna is an altar-piece by Brizzi, representing ' The Virgin Mary, with St. John the Baptist and St. Silvester ; ' and in San Giuliano is a picture painted by him of ' St. Giuliano crowned by Angels.' The Modena Gallery has an ' Eoce Homo.' He died in 1675. BRIZZI, Francesco, (or Briccio,) called Nosa- DELLA, an Italian painter and engraver, was born at Bologna in 1574. He studied at first under Barto- lommeo Passerotti, but was afterwards admitted into the school of Lodovico Carracci. In archi- tecture, perspective, and landscape he surpassed all his fellow-disciples. He approached Lodovico more closely than any other artist. The graceful beauty of his cherubs excites admiration ; and here, in the opinion of Guido, he outshone even Bagnaoavallo. In the Pinacoteca at Bologna are a ' Madonna and Child ' and a ' Bacchus and Ariadne ' by him. In engraving he was instructed by Agostino Carracci, and he is said to have for- warded some of the plates of that master. His own prints, though nearly equal to Agostino's in point of execution, are very inferior in correctness of drawing, and in beauty of expression. He died at Bologna in 1625. The following are his principal works as an engraver : A large Landscape, from his own design. St. Koch ; after Parmigiano, The Holy Family ; after Correcfijio. The Return out of Bgypt ; after Lod. Carracci. Portrait of Cinthio Aldobrandini ; after L, Carracci. A Frontispiece ; inscribed Explicatione del sacro lenzuolo. 1599 ; after the same ; scarce. Another Frontispiece ; inscribed Tempio al Cardinale Cinthio Aldohrandini. 1579; after the same. Another Frontispiece, with the Arms of the Duke of Modena, and in the middle some Children ; after the same. 1594 ; very scarce. St. Francis kneeling, holding the Infant Jesus, and the Virgin Mary in the Clouds ; after the same. The Virgin Mary crowned, with the Infant Jesus, and two Angels ; after L. Carracci. The great St. Jerome; the plate left imperfect by Agostino Carracci^ finished by Brizzi. Clirist and the Samaritan Woman ; after Ag. Carracci, 1610. A Bhnd Man led by a Dog ; after Annibale Carracci. BROCANDEL. See Rovira. BKOCAS, Henry, born at Dublin in 1766, was well known as a landscape painter and as a draw- ing-master in the Dublin schools. He died in 1838, leaving three sons, Henry, Samuel, and William, who all followed art as a profession in Dublin. BROCKEDON, William, was born at Totnes, Devonshire, in 1787. He became a student at the Royal Academy in 1809, and in 1815 went to Paris to improve himself by paititing at the Louvre. On his return he painted a picture on the subject of 'The Acquittal of Susannah.' which lie presented to his native county, and which is now in the Crown Court at Exeter. He next painted ' Christ raising the Widow's Son,' for which he was awarded a prize of one hundred guineas by the directors of the British Institution. During his stay at Rome, in 1822, he painted 'The Vision of the Chariots to Zechuriah,' which, by the Pope's permission, was 197 A BIOGRAPHICAL DICTIONAKY OF exhibited in the Pantheon. He afterwards pub- lished various series of Landscapes, from sketches taken in his travels, as ' The Passes of the Alps,' ' Illustrated Road-Book from London to Naples,' 'Excursions in the Alps,' and 'Murray's Hand- book for Switzerland. ' He last exhibited at the Royal Academy in 1836. He displayed no ordin- ary talent in the various departments of painting — historical, landscape, and portrait, which he com- bined in his practice. He died in London in 1854. He was a Fellow of the Royal Society, and member of the Academies of Rome and Florence. His portrait, by his own hand, is in the UfEzi ; and a view of Laodicea, by him, is in the South Kensington Museum. BROCKY, Charles, who was bom at Banat, in Hungary, in 1808, was the son of a hairdresser, who died whilst his son was still young. To gain a living the youth joined a body of strolling actors. After passing through many vicissitudes, he was at length placed in a free drawing school at Vienna, whence he went to Paris, where he studied at the Louvre. When about thirty years of age he visited London, where he took up his abode. His first contribution to the Royal Academy was in 1839, and from tliat time he exhibited portraits, ideal subjects, and miniatures on ivory somewhat fre- quently ; amongst others a 'Nymph' (in oil) in 1850, and ' Spring,' ' Summer,' ' Autumn,' and 'Winter' in 1852. He died in 1855. A sketch of his life by Norman Wilkinson was published in 1870. BROECK, B., C, and E. van den See Van DEN BrOECK. BROECK, Moses Vyt den, or Veit van den. See Dytenbrodck. BROEDELET, Jan, was a Dutch engraver of mezzotints, who flourished about the year 1700. We have by him ' Cephalus and Procris,' after Gerard Hoet. BROEDERLAM, Melchior, (or Broederlain,) of Ypres, who was 'painter and valet' to Philip the Hardy, was born at Lille, and flourished about the year 1400. The work which brings this early master into notice is the painting on the wings of an altar-chest carved by Jacques de Baerse for the chapel of the Cartnusians at Dijon ; principal parts are in the Museum of Dijon ; the subjects repre- sented are 'The Annunciation,' 'The Visitation,' 'The Presentation,' and 'The Flight into Egypt.' Broederlam's painting is noticeable for simplicity and purity of character, and beauty of colour. BKUEN. See De Broen. BROEKS, Gaspar, was a Dutch painter of merry-makings and boorish frolics, into which he introduced much low humour and character. He was a pupil of Jan Baptist van der Meiren, and entered the Guild of St. Luke at Antwerp in 1694- 95. He died in 1716. In the Dresden Gallery are two pictures, both signed I. Broers. BROMEIS, August, a landscape painter, who was born at Wilhelmshohe in 1813, first studied in the academy of his native town, then at Munich, from 1831 to 1833, in which year he went to Rome, where he was much influenced by the style of J. A. Koch. Bromeis returned to Germany in 1848, and resided at Frankfort and Diisseldorf, and at Cassel, where he was made Instructor and Professor of Paintmg at the Academy in 1867. He died at Cassel in 1881. Among his most successful pic- tures, which are landscapes of an ideal character, are: 198 The Campagna at Eome {in the Town Gallery at Cassel). Italian Landscape. 1S69 {in the National Gallery at Berlin). The Grave of Archimedes in Sicily. Stormy Landscape. Forest near Diisseldorf. BROMLEY, John Charles, the second son of William Bromley, was born at Chelsea in 1795. He is known as the engraver in mezzotint of Hayter's ' Trial of Lord William Russell,' Leslie's 'Lady Jane Grey refusing the Crown,' Lewis's 'Monks preaching at Seville,' and other important works, including many excellent portraits. He died in 1839. His younger brother, James Bromley, who was likewise a mezzotint engraver, executed several portraits after Hayter, Ross, and other painters. He died in 1838, aged thirty-seven. BROMLEY, Valentine Walter, who was bom in 1848, received his art education from his father, and at the early age of nineteen became an Asso- ciate of the Institute of Painters in Water-Colours. He frequently acted as art correspondent for the ' Illustrated London News.' He also worked much as a book-illustrator ; amongst other works. Lord Dunraven's ' Great Divide ' was illustrated by him. He died at Fallows Green, Harpenden, in 1877. BROMLEY, William, was born at Carisbrooke, in the Isle of Wight, in 1769, and was apprenticed to an engraver named Wooding in London, and soon attracted favourable notice. Of his early works the most popular are the prints in ' Macklin's Bible,' and his engravings of Stothard's designs illustrating the ' History of England.' He en- graved also two of Sir Thomas Lawrence's por- traits of the Duke of Wellington, and one of the young Napoleon. He was elected an associate engraver of the Royal Academy in 1819, and was employed for many years by the trustees of the British Museum in engraving the Elgin marbles after drawings by Corbould. He died in 1842. BROMPTON, Richard, a portrait painter, was a pupil of Benjamin Wilson. He afterwards went to Italy, and resided some time at Rome, where he received instructions from Raphael Mengs. He was there introduced to the patronage of the Earl of Northampton, and accompanied that nobleman to Venice, when he was appointed ambassador to the republic. At Venice he painted a convers- ation-piece, in which he introduced the portraits of the Duke of York and several English gentle- men then on their travels. The picture was after- wards exliibited at the rooms in Spring Gardens in 1763, at which time he returned to England, and for some years practised portrait painting. Ex- travagant living brought him to the King's Bench, but he was rescued by the Empress of Russia, at whose request he went to St. Petersburg, where he was appointed portrait painter to the empress, and where he met with much employment. He died in that city in 1782. Among liis best works are : The Prince of Wales in the Kobes of the Garter, in 1772; mezzotinted hy John Saunders. Prince Frederick in the Robes of the Bath ; mezzotinted by John Saunders. The Earl of Chatham. Admiral Saunders ; in Greemoich Hospital. BRONDGEEST, Albertds, a Dutch painter, was horn at Amsterdam, December 2, 1786. He was a pupil of P. G. van Os and of H. Numan. He travelled in Germany, became a member of the Netherlands Institute and of the Antwerp Academy, and painted many landscapes and I PAINTERS AND ENGRAVERS. marines. He died at Amsterdam, July 30, 1849. Works : Amsterdam. R. Museum. A River Scene. 1837. n „ Ditto {afier Cuyp). BRONKHORST, Jan van, was born at Utrecht in 1603. He was taiiglit glass-painting by T. Verburgh, and studied afterwards under P. Mat- thieu at Arras, and under Cliamus at Paris. He practised that branch of the art with great suc- cess, and executed the fine windows in the new church at Amsterdam. When he was thirty-six years old he became acquainted with Cornelis Poelenburg, and abandoned glass-painting to imi- tate the style of that master, and painted several pictures in oil, which were much admired. Several of these works are in the Museums of Brunswick and Rotterdam. He etched some landscapes after Poelenburg, and other subjects from his own designs. He died in 1680. Bartsch describes eighteen of Ids prints, which he signed J. G. fecit, or J. G. B. fecit. The most important are : The Dying Christ ; after Poelenhurq. A Nymph sleeping in a Grotto ; after the same. Koman Ruins, in nine plates ; after the same. A Magdalen ; after Haftleven. BRONKHORST, Johannes, was born at Leyden in 1648, and lived for some time at Horn. He was especially noted for his water-colour paintings of foreign birds and beasts. He died in 1726. BRONKHORST, Pieter van, a Dutch painter, was born at Delft in 1588. He excelled in paint- ing the interiors of churches and temples, which he ornamented with small figures representing his- torical subjects. In the town-house at Delft he painted two large pictures — one of 'The Interior of the Temple, with Solomon pronouncing liis Judgment,' and the other, ' Christ driving the Money-changers out of the Temple.' He died in 1661. BRONTIN, Pierre, a French historical painter of the 16th century, was born in the department of the Nord. He settled at Lille about 1610, and executed many pictures for the churches of that city. BRONZING. SeeALLORi. BROOKE, Henry, who was born at Dublin in 1738, painted historical subjects in London from 1761 till 1767, when he returned to Dublin where he died in 1806. BROOKE, William Henry, who was born in 1772, was a nephew of Henry Brooke, the author of ' A Fool of Quality.' He exhibited portraits and figure subjects at the Royal Academy occasionally between 1810 and 1826, but is best known by his illustrations to books : Moore's ' Irish Melodies,' Walton's ' Angler,' Keightley's ' Mythology,' and other works. He died at Chichester in 1860. BROOKES, Warwick, draughtsman and de- signer, was born at SaLford, of poor parents, in 1808. On leaving school he was placed as " tear- boy " under his uncle, a block-printer in some calico printing works. But his drawings having attracted the attention of his master, he was pro- moted to the designing-room. In 1838 a 'School of Design ' was established at Manchester, and Brookes was one of the first to avail himself of its instruction. He was afterwards one of the most zealous among the band of young men who associated themselves for study from the life as "The United Society of Manchester Artists." Brookes now began to make a local reputation, and the Manchester Exhibition of 1857 brought him before a wider public. His contributions were noticed and admired by the Prince Consort, and he was brought into contact with many brother artists, and for a time paid yearly visits to London. He was about this time engaged by the Rossen- dale Printing Company, and, among other books, illustrated the works of Dr. John Browne. In 1865 the first symptoms of lung disease showed themselves. He was gradually forced to give up ;ictive work, and in 1871 was granted a pension of £100 a year on the Civil List. He died at Salford, August 11, 1882, and was buried at Brook- lands, near Sitle, Cheshire. For further particulars see the ' Portfolio ' for November and December, 1886. BROOKING, Charles, an eminent marine painter, was born in 1723. He is said to have been employed in some department of the dock- yard at Deptford, and it does not appear that he liad the advantage of receiving any regular educa- tion in the art. He acquired considerable skill as a marine painter, and was fond of making pictures of sea-fights and of ships' manoeuvres, in which he displayed his knowledge of nautical tactics. Unfortunately he was nearly all his life in the hands of the lower class of dealers, and it is said had just won by his art the patronage of a gentle- man of property when he died of decline in the year 1759, leaving his family destitute. Several of his works were engraved by Ravenet, Canot, and others. There is a large sea-piece by him at the Foundling Hospital. BROOKS, John, an engraver in mezzotint, is said to have been_^ a native of Ireland. James McArdell was his apprentice, and both went from Dublin to London about 1727. Brooks led a disso- lute life, and for years lived in seclusion. He died about 1760. His works are chiefly portraits. We have by him Hugh Boulter, Archbishop of Armagh, Primate of Ireland, and William Aldrich, Lord Mayor of Dublin ; dated 1742. There is also an engraving of ' The Battle of the Boyne ' by him, after Wyck. BROOKSHAW, Richard, an engraver in mezzo- tint, was born about 1736. He executed several good portraits, and other subjects. After prac- tising in London for many years, he went to Paris, where he was well received. He died soon after 1804. We have by him, among others, the following : Louis XVI., King of France. Marie Antoinette of Austria, Queen of France. A half-length Portrait of a young Lady holding a Vase ; after /Sir Joshua Het/twlds. A Portrait of General Paoh. James Bouverie. son of the Earl of Radnor ; after Sir Joshua RtijHolds. The Enchantress ; after Mitrrai/. Return from Egypt'; after Rubens. Moonlight, a Sea-piece ; S. Kobellpinx. A Storm at Sea ; the same. BROSAMER, Haks, an old German engraver, was born at Fulda about the year 1506. On account of the small size of his prints he is ranked among what are called the I/ittle Masters. He designed both on wood and copper, although he was pro- perly a wood-engraver, signing himself on his por- trait of the Landgrave of Hesse, ' Formschneider zu Erfurt,' where he resided during the latter part of his life. In his copper engravings his style is somewhat modern, and resembles rather the en- gravers who copied the designs of others than l'J9 A BIOGRAPHICAL DICTIONARY OF those of tlie earlier period, wlio invented their own subjects. He sometimes marked his plates ^ with his name, and sometimes with the cipher fcj annexed. The foUo^Tinf: are his principal El works : COPPEB-PLATES. The Portrait of George Wicelaus. 1543. The Portrait of Jolin II., Abbot of Fulda. Samson and Delilah ; Johannes Brosamer Fulda degens faciebat. 15 H. B. 45. David and Bathsheba. Solomon and his "Wives worshipping the Idol. 1543. Xantippe riding on Socrates. Laocoon and his Children. 1538. Marcus Curtius leaping into the Gulf ; circular. 1540. The Judgment of Paris. The Cmciflrion; Joh. Brosamer Fuld . o- • Ilouse. } Peasants Smging. „ Hertford House. A Sleeping Peasant Madrid. Musettm. The Comic Trio. Munich. Finakolhek. Peasants playing Cards. >! ». Spanish Soldiers playing at Dice. ») n Three Peasants smoking. » » A Peasant playing the Fiddle while others sing. » » Two Peasants fighting separated by a third, n „ Pf a-sants fighting in an Ale-bonse. >. „ A Village Doctor dressing a Pea- sant's Arm. n », Peasants Singing. !) „ A Peasant with a Lame Foot. Paris. Louvre. Interior of a Smoking-room. 1, „ The Smoker. A- B. Pesth. Gallery. Peasants drinking. Petersburg..ff lowed his father's profession, and afways painted landscapes, which are frequently mistaken for his father's work, and a daughter Paschasie, who mar- ried the painter Van Kessel. In 1605 we find that Brueghel married again. His second wife, Cathe- rina van Marienburg, bore him, among other chil- dren, a daughter Anna, who subsequently became the first wife of David Teniers. In 1601 Brueghel bought the freedom of Antwerp ; in 1602 he was dean of the Guild ; he was also a member of the 'Violet' Society. He died at Antwerp in 1625. Though it is as a landscape painter that Brueghel won most of his fame, yet his subject-pictures are little behind the works of his contemporaries in that branch of art. They are conceived with a sense of humour, and are carefully executed. His productions were so much admired by Ruhens that he solicited him to paint the landscapes in several of his easel-pictures. One of the most esteemed specimens of their united talents was a picture of ' Adam and Eve in Paradise,' in which the figures of Adam and Eve, and perhaps the horse, were admirably painted by Rubens in one of the finest landscapes of Brueghel. It was formerly in the collection of the Prince of Orange, but was taken to Paris by the French, and is now in the Hague Gallery. Brueghel performed a similar service for Van Balen and Rottenhammer, and he painted small figures with so much neatness and accuracy that he was invited to decorate with them the churches of Steenwijck and the landscapes of Momper. His 'Views of Flanders' are faithful transcripts of the scenery of the country ; and his trees, plants, and even insects are drawn and painted with the utmost precision. In art Jan Brueghel was as superior to his father as the latter was to his son Pieter. He painted scenes from peasant life, as well as demoniacal subjects, with much success. His works display a sound know- ledge of cbiarosouro. The following are some of his -principal paintings : Augsburg. Gallery. Lan(lsrape.and figures(wj most important work (from a Novella. J design by Michelangelo). London. Xat. Gall. Madonna, St. John, and Angels. Lucca, Mansi Col/ec- Holy Family {signed and dated tion. 1520). Modena. Gallery. Madoima and St. John. Oldenburg. Gallery. St. Scbasti^in. (See Crowe and Cavalcaselle, III. p. 493, «««£}.) BUGUET, Hen-bf, a French historical and por- trait painter, was bom at Fresne (Seine-et-Mame) in 1761. He was a pupil of David, and painted in 1817 for the chateau of Pau ' Francis I. knighted bj' Bayard.' His portraits of Louis XVIII. and Charles X. have been engraved by Bertrand. He died in Paris about 1833. BUISEX, A. VAX, (or Butsen,) was a native of Holland, and flourished from 1700 till about 1725. He was chiefly employed in engraving for the booksellers, and appears to have resided some time in England, as he engraved a plate represenitng ' David pla_\-ing on the Harp,' for the octavo edition of Cowley's 'Poems,' published in 1700. He also engraved some of the plates for the work entitled ' Figures de la Bible,' from the designs of Picart and others, published at Amsterdam in 1720. BULARCHDS. The earliest picture of which the ancient writers have given a description is ' The Battle of the Magnesians,' painted by this artist, who appears to have flourished about 720 years before the Christian era, as, according to Pliny, this picture was purchased for as much gold as would cover its surface by Candaules, King of Lydia, who died about 700 years before Christ. After Bularchus we encounter a gap of upwards of two centuries and a half in the history of paint- ing. It appears, however, that it was practised PAINTERS AND ENGRAVERS. with success in the island of Rhodes, at the time of Anacreon, who lived about 500 years before our era. That poet, in his twenty-eighth and twenty- ninth Odes, mentions the practice of the art called encaustic painting, and that it was effected by mixing wax with the colours. BOLLINGER, Johann Balthasar, a Swiss land- scape painter, was born at Langnau, in the canton of Zurich, in 1713. He was first a scholar of John Simler, but afterwards went to Venice, where he studied two years under Giovanni Battista Tiepolo. He first attempted historical painting, but his natural genius led him to landscapes, and he be came very eminent in that branch of the art. He afterwards passed some time at Amsterdam, where he appears to have studied with attention the works of the best artists of the Dutch school, par- ticularly Both and Berchera, whose manner he imitated. He died at Zurich in 1793. He etched several plates in a free, painter-like style, the fol- lowing being the principal : The Portrait of J. B. Bullinger ; se ipse fee. A Frontispiece, with a number of Genii. Two Mountainous Landscapes, with figures. A set of fifty Landscapes ; some from his own designs, and the others after J. F. Ermels and F. Meyer. A Head; after Le Brun; engraved for Lavater's "NYork. BUMEL, Michael, (or Bimel,) was a German engraver of little celebrity. He engraved several plates, representing Saints, and other devotional subjects, which are executed with the graver, with sufficient neatness, but in a stiff, tasteless style. BDMOT, , was a French historical painter, who was called ' The Apelles of Nevers.' He was anative of Nevers, and worked at Bourges in 1576, for the fetes held upon the occasion of the entry of the Duke of Alen9on. BDNBURY, Henry William, a designer of humorous subjects and caricatures, was the son of Sir William Bunbury of Mildenhall, Suffolk. He was born in 1750, and was an occasional exhibitor at the Royal Academy, and contributed to Boy- dell's ' Shakespeare.' His ' Florizel and Autolycus changing garments ' is in the South Kensington Museum. His ' Hints to Bad Horsemen ' obtained for him great popularity, and the praise of Sir Joshua Reynolds. He died at Keswick in 1811. BUNDSEN, Jess, architectural and landscape painter and etcher, was born at Assens in 1766. He attended the Academy of Copenhagen in 1786, and studied also in Dresden, after which he became a teacher of drawing and a painter in Hamburg and Altona. He died at the latter town in 1829. He chiefly painted views in the vicinity of these places, as well as interiors of churches. He etched several plates in outline, and also practised litho- graphy to some extent. BDNEL, FRANgois, a French historical pamter, flourished at Blois in 1550. He was a distinguished artist, who painted many religious subjects for churches. BDNEL, Jacques, son and pupil of Francois Bunel, was bom at Blois in 1558. He studied at Rome under Federigo Zuccaro, and on returning to France was made painter to the king, and worked with Pourbus and Toussaint du Breuil in the small gallery of the Louvre, burnt in 1661. He was an artist of great merit, and held in much esteem by Henri IV., who employed him at Fontainebleau and other royal residences. He painted 'The Descent of the Holy Ghost ' for the chapel of that order in the church of the Grands Augustins at p Paris, and for the church of the Feuillants an ' Assumption of the Virgin,' now in the Museum at Bordeaux, both of which pictures have been highly praised. Philip II. of Spain, by whom likewise he was esteemed, commissioned him to paint for the cloister of the Escorial forty pictures, all of which have now disappeared. He died in Paris in 1614. BDNNEY, John Wharlton, painter, born in 1808, was an English artist practising at Venice. In 1873, 1879, and 1881 he exhibited views of Venice at the Royal Academy. For the last four years of his life he was engaged in an elaborate and minutely-finished transcript from the west front of St. Mark's, on a commission from Mr. Ruskin. He died at Venice, Sept. 23, 1882. BUNNICK, Jacob van, was the brother of Jan van Bunnick, and painted battle-pieces with some reputation, but was greatly inferior to his brother. He died in 1725. BUNNICK. Jan van, a Dutch landscape painter, was born at Utrecht in 1654. He was a scholar of Hermann Saftleven, under whom he studied tliree years ; he afterwards visited Italy. He passed some time at Genoa, where he formed an acquaint- ance with Tempesta, by whom he was assisted in his studies. On his arrival at Rome he found several of the artists of his country, particularly Abraham Genoels and Ferdinand Voet, who re- ceived him with kindness. On leaving Rome he went to Modena, and the duke appointed him his principal painter, and he passed eight years in his service. On his return to Holland he was employed by King William III., then Prince of Orange, to ornament his palace at Loo. He died in 1727. BUONACCORSI,.PiETRo, (called Bering del Vaga, after one of his instructors in art,) was born at a village near Florence in 1500 of very indigent parents, whom he lost while he was still young. He was taken under the protection of an artisan named Andrea de' Ceri, whose house was frequented by several young artists of Florence. At an early age Perino showed a decided inclination for art, and when he was eleven years old was placed under the tuition of RidoLfo Ghirlandaio, by whose instruction he became an expert and correct de- signer. He had made considerable progress, when his talents were noticed by Vaga, who conducted him in 1515 to Rome, where he had an opportunity of studying after the antique, and the works of Michelangelo. His merit became known to Giulio Romano and Penni, by whom he was recommended to Raphael, who employed him in the execution of his designs in the Loggie of the Vatican. Such was the force and variety of his powers, that he was equally successful in assisting Giovanni da Udine in the stucco and grotesque ornaments, Polidoro da Caravaggio in his antique subjects in chiaroscuro, and in executing the Biblical subjects from the designs of Raphael. He is ranked by Vasari as the greatest designer of the Florentine school after Michelangelo ; and the partiality of that biographer does not hesitate to pronounce him the most distinguished of the disciples of Raphael. After the death of that master he was employed by Leo X. and Clement VII., in conjunction with Giulio Rnmano and Penni, to finish the great works in the Vatican. One of his earliest productions was a picture painted for the church of San Mar- cello, representing the ' Creation of Eve,' in which he shows with what success he had studied the works of Michelangelo. 209 A BIOGRAPHICAL DICTIONARY OF On the sacking- of Rome in 1527, compelled to flee from the capital, and plundered of all he pos- sesaed, Perino took refuge in Genoa, where he was gpraciously received by Prince Doria, who employed him to decorate his palace, near the gate of St. Thomas. It was upon this occasion that Perino displayed the extent of his powers and the fecun- dity of his invention ; and it has been made a matter of dispute whether the decorations of the Palazzo del Te at Mantua, by Giulio Romano, or those of the Doria Palace at Genoa, by Del Vaga, do more honour to the great school in which they were educated. In one of the apartments Perino represented Jupiter destroying the Giants ; and in others, several subjects from Roman history and the Metamorphoses of Ovid. He also designed a series of cartoons of the History of .Silneas. These frescoes, which were in a great measure executed from his designs by his assistants, have nearly perished owing to time and whitewash. After a stay of some years at Genoa, Perino returned to Rome, where he was employed by Pope Paul III. Towards the close of his life, his pictures were in such request that he merely made the designs, leav- ing the execution of them to his pupils, among whom may be mentioned Pantaleo Calvi and Laz- zaro, painters of no great merit. Perino died at Rome in 1547— it is said that he hastened his end by intemperance — and was buried by the side of Raphael and other great masters in the old Pan- theon. His pictures are occasionally seen in the Galleries of Europe, but they are not very import- ant. The Duke of Devonshire has drawings by him, and a portrait of Cardinal Pole is at Althorp. BUONAMICI, Agostino, called A. Tassi (or Tasst), was born at Perugia in 1565, and studied at Rome under Paul Bril, although he was desirous of being considered a disciple of the Carracci. He painted landscapes in the style of bis instructor, and of Donducci, and was considered one of the ablest artists of his time. Lanzi informs us that for some crime, which is not mentioned, he was sent to the galleys at Leghorn. During the term of his confinement he occupied himself in design- ing the maritime objects with which he was sur- rounded, and after his liberation they became the favourite subjects of his pictures. He painted with great success sea-ports and calms, with ship- ping and fishing-boats. His tempests and storms at sea were not less happily represented, and were touched with unusual spirit and energy. He also excelled in architectural and perspective views, in which he distinguished himself by some admirable productions in the pontifical palace of Monte Ca- vallo, and in the Palazzo Lancellotri. He was one of the first to copy arabesques from the anrique, and employ them as borders. Agostino Tassi has the credit of having been the instructor of Claude Lorrain. He died at Rome in 1644. We have a few slight but spirited etchings by this artist, repre- senting storms at sea and shipwrecks. BUONAMICO, Cbistofani, (called Buffal- MAOCO,) who was born in 1262, was a pupil of Andrea Tafi. Rumohr and Kugler and many other writers have doubted his existence, but his name has been discovered in the register of the Florentine Company of Painters, with the date 1351 ('Crowe and Cavalcaselle,' vol. i. p. 387, note). Boccaccio nicknames him Buffalmacco, and some suppose that the Buonamico, used by Qhiberti, is a nickname also. Vasari mentions many works by BufEalmacco, few of which still 210 remain, and of these the majority are said to be by other artists. He adds that Buffalmacco, when he chose, could paint as well as any of his contempor- aries. Moat absurd stories have been related of this artist by Vasari, and by Boccaccio in his ' Decameron.' He seems to have been a man with a keen sense of humour. Vasari states that be died in 1340, but Baldinucci says that he was still living in 1351, as indeed the entry in the register of the Florentine Painters proves. BUONARROTI, Michelangelo. Michelangelo, the supreme master of Italian art. was bom at Castel Caprese, a small fortified town ijear Florence, on March 6, 1475. The family of Buonarroti was an old one in Italy, but Condivi's statement as to Michelangelo's descent from the Counts of Canossa is not found to be supported by genealogical evidence, though Michelangelo and Count AUes- sandro da Carnossa pleased themselves with believing it. His father Lodovico, son of Leonardo Buonarroti Simoni, was acting at the time of his son's birth as Podesta, or chief magistrate of Caprese, but he was soon after recalled to Florence, where, after a babyhood spent at Settignano under the care of a stone-mason's wife, the little Michel- angelo was brought up, receiving education at a grammar school kept by a certain Francesco da Urbino. His passion for art was early evinced. He had imbibed it, he was wont to declare, "with his nurse's milk" ; at all events it could not be over- come even by blows, which it is said were some- times tried, and by the time he was thirteen his father, giving up all hope of inducing him to follow the more profitable woollen trade, wisely acceded to his desire for art, and no doubt did the best he could for him by apprenticing him for three j-ears from the 1st of April, 1488, to the painters Domenico and David Ghirlandaio, whose school was at that time the best in Florence.. It appears by the terms of his apprenticeship that the young Michelangelo must even then have known sufficient to be useful to his masters, for they undertook to pay him a small sum during the first year of his apprenticeship, which was not usual. Very soon his progress was so great that, according to Vasari, it excited his master's envy, who exclaimed once on seeing a drawing made by Michelangelo of some scaffolding in Santa Maria Novella, " This boy knows more than I do ; " " standing Ln amaze," adds -Vasari, " at the origin- ality of manner which Heaven had bestowed on such a mere child." His first painting is said to have been an excellent copy of Martin Schongauer'a celebrate 1 print of ' The Temptation of St. Anthony,' in which the details of the devil- forms were coloured from marine creatures studied in the fish-market, and he probably copied other forms with equal skiU. But although educated in a school of painting, it is probable that he early showed some impulse towards sculpture, or Domenico Ghirlandaio would scarcely have presented him, as he did before hia apprenticeship was out, to Lorenzo de' Medici, who at that time had just founded a school of sculpture, of which Bertoldo, the foreman of Donatello, was keeper, in the garden of his villa. Michelangelo' was admitted to this Medicean school or Academy of Art in 1489, and achieved as one of his first works in marble the remarkable ' Mask of a Faun,' a copy from the antique, concerning which Vasari relates the story of Lorenzo pointing out to the young sculptor that old people seldom retain all PAINTERS AND ENGRAVERS. their teeth, and Michelangelo'promptly acting upon the suggestion. Whatever may be the truth of this story, it is certain that Michelangelo early attracted the notice of the magnificent Lorenzo, who saw in hira so much promise that he proposed to his father that he should become an inmate of the Medici Palace, ofEering to charge himself with his education and to make him an allowance of five ducats a month. The offer was too good to be refused, and Michelangelo passed four happy years in the service, or rather we may say in the society, of Lorenzo, perfecting himself in his art and gaining a valuable education by his associa- tion with some of the great men whom Lorenzo gathered around him. Agnolo Poliziano was one of these, who took especial notice of the young artist, and it was by his advice and instruction, according to Vasari, that Michelangelo executed his relief in marble of ' Hercules and the Centaurs,' an early work still preserved in the Casa Buonar- roti. It was at this time also that he had his nose broken by his fellow-student Pietro Torregiani, an injury which marked him for life. In 1492 this pleasant period of instruction under the Medici was brought to an end by the death of his munificent patron Lorenzo, and Michelangelo, then seventeen, returned to his father's house and set up a studio for himself, his first work being a statue of ' Hercules,' bought by one of the Strozzi family, and afterwards sent into France, but since lost to knowledge. Piero de' Medici, who succeeded his father Lorenzo, was, as history records, a man of totally different powers. He extended his friendship to Michelangelo, it is true, but he employed him only on unworthy commissions, on one occasion even directing him, it is said, to make a statue of snow. Piero, however, by his vices and misgovernment soon disgusted Florence, and Michelangelo, per- ceiving his downfall was at hand, wisely left his protection and took his way to Bologna, there to work on the shrine of San Domenico and wait till the Florentine storm which he, or perhaps his father, noted as coming, was over. ' When peace was restored Michelangelo returned to Florence, where he executed a figure of a ' Sleeping Cupid,' to which he gave an appearance of antiquity, so that it was sold by a dealer in Rome to the Cardinal San Giorgio as a genuine antique. This deceit, innocently undertaken on the part of Michelangelo, being afterwards discovered by the Cardinal, led to his inviting the young artist to Rome and assuring him of his protection. Michelangelo entered Rome on the 25th of June, 1496. Here he carved the ' Bacchus,' now in the National Museum in the Bargello, and soon after the noble ' Pieti ' of St. Peter's, executed between the years 1499 and 1500. These works raised him to the position of the greatest sculptor in Italy, and when in 1501 he returned to Florence, he received a commission for a great national work, namely, the colossal statue of David. In this grand statue, typical of the deliverance of Florence from her enemies, Michelangelo, now arrived at his full strength, put forth all his powers. The moment chosen for representation is that in which the youthful deliverer replies to the taunts of the Philistine in the words, " I come to thee in the name of the Lord of Hosts," and the whole bearing of David is expressive of unshrinking resolution and patriotic desire. Well may Florentines be (i of such a possession. It stood grandly before their Palazzo Vecchio, where it was first erected, for more than three centuries and a half, until in 1873 it was deemed necessary to remove it under cover for protection from weather and decay. It now stands in the Academy of Fine Arts in Florence. Other works of about this time are the beautiful round relief in marble in the possession of the Royal Academy, an unfinished relief of the same subject. Soon after the triumphant erection of the 'David ' in 1504, Michelangelo received the commission for another national work — the painting of one wall of the Palazzo Vecchio. Leonardo da Vinci was employed for the other wall and had already begun his cartoon. The subject chosen by Michel- angelo was an incident in the Pisan war, and represented Florentine soldiers surprised by the enemy while bathing, but he never completely finished even the cartoon for this great work, for before he could do so he was summoned back to Rome in great haste by Julius II., who, learning that Michelangelo was the greatest sculptor living, forthwith conceived a desire to secure his services, and especially to employ him on a great tomb which he contemplated having built for himself. The commands of the Pope obliged Michelangelo to abandon the commission given him by his friend Soderini, then Gonfaloniere of Florence, for the painting in the great Hall of Council in the Palazzo Vecchio of his beloved Florence. Early in 1505, throwing up all his work in Florence, he returned to Rome and began his work for "his Medusa," as he called hira, Julius II. That imperious poten- tate decided to employ him first on his monument, and the design for it being completed to his satis- faction, he sent the sculptor to Carrara to arrange for the necessary blocks of marble. Here he was occupied for eight months, and for some time after- wards in Rome, whither he brought huge masses of marble for the work. Before anything could be achieved, however, the ardour of Julius for this undertaking had greatly abated, and it was with difficulty that Michelangelo obtained the money from him to pay the marble-cutters. In terrible anger at this, and also at not being able to obtain access to his Holiness, who had previously been most gracious and friendly, Michel- ' angelo suddenly took flight from Rome, being alarmed, it is said, by threats from his enemies of personal danger. The Pope sent five couriers after him commanding him to return, but he rode on without stopping until he was safe on Florentine territory. " If you require me in future," wrote the haughty artist to the haughty Pope, "you may seek me elsewhere than in Rome." Julius II. was not a man to submit to be thus braved by a refractory artist, and at last, finding his requests and commands unavailing, he wrote to the Signory of Florence requesting that he should be sent back to Rome, promising at the same time that he should go " free and untouched," for " we entertain no anger against him, knowing the habit and humour of men of this sort." Even then Michel- angelo, who seems to have had some fear of assassination, refused to trust the Pope's fair pro- mises, and it was not until the Gonfaloniere Sode- rini told him plainly that the State would not risk going to war on his account that he at last returned to his allegiance to the Pope. It was at Bologna, which town Julius II. had entered in triumph in November 1506, that the interesting interview between the Pope and the 211 A BIOGRAPHICAL DICTIONARY OF artist took place, in which the latter graciously submitted to be pardoned, telling the Pope, how- ever, at the same time, that he " felt he had not merited the treatment he had received." Julius II., who, as we have seen, " knew the habit and humour of men of this sort," and who felt, no doubt, that though he had twenty-four cardinals in his train he had but one Michelangelo, took no notice of his sulky discontent, but imme- diately employed him on a great bronze statue of himself to be set up over the church door at Bologna. This laborious work, which occupied Michelangelo two years, and oost him much trouble and vexation, was soon after thrown down by the enemies of Julius, and a huge cannon made of its metal. After this work was accomplished Michelangelo went back to Florence in March 1508, hoping probably to be allowed to settle there, but Julius II. again summoned him to Rome, though not to work on the monument he had before undertaken, but instead to begin no less a work than the paint- ing in fresco of the vault of the Sixtine Chapel in the Vatican. Everj' one knows how Michel- angelo accomplished this stupendous task, but it was not without cont-iderable remonstrance that he began it, telling the Pope that " painting was not his Art," and advising him to give the com- mission to Raphael. But Julius II., who was probably aware of Michelangelo's achievement of the cartoon for the painting in the Palazzo Vecchio, would hear of no excuses or delay, and the artist was made, as we may say, to begin forthwith. Vasari's accounts of the painting of these frescoes of the Sixtine is verj* graphic and circumstantial, and is no doubt true in many of its details, though in others it is transparently inaccurate. It has, however, been followed submissively b}- aU writers on the subject until modem research began to throw doubt upon its exactness. Heath Wilson in particular, who submitted the frescoes of the vault of the Sixtine to the most careful examin- ation, having been allowed to raise a scaffolding five stages high for the purpose, and who also made their history the subject of profound study, proves by a conclusive chain of reasoning that Michelangelo could not possibly have painted these works in the short space of time — twenty months — that Vasari assigns. This, if the amount of labour is once fairly considered, is indeed self- evident, but Heath WUson shows from docu- mentary testimony that Michelangelo began this work in the summer of 1508, and did not finish it until late in the autumn of 1512, thus giving a period of four years and some months, Uttle enough even so for the accomplishment of such a vast amount of work. The story of his working entirely without assistants, " without even a man to grind his colours," must also be given up, though it would seem that the amount of assist- ance he received was small. He worked, however, with marvellous celerity, " painting a nude figure considerably above life-size in two working days, the workmanship being perfect in every part. The colossal nude figures of young men on the cornice of the vault at most occupied four days each.'' Jnlius II. as usual was extremely anxious to see the work he had commissioned finished, and got 60 impatient that on the 1st of November, 1509, the scaffolding had to be removed and the portion of the work that was then finished exhibited to the 212 public. His enemies, and Bramante in partictilar, who had hoped to behold a failure, were completely overpowered by the universal admiration, and Michelangelo received the commission to continue the work he had begun. No description of this marvellous work, in which Michelangelo set forth in one great poem the history of the world in its early prime as told in the Book of Genesis, can be given here. The reader will find an ample account by Sir Charles Eastlake in his ' Contributions to the Literature of the Fine Arts,' and g:raphic descrip- tions by Vasari and numerous other writers. The Sixtine frescoes have also been admirably photo- graphed of late years. The neglect of these frescoes was lamentable. "Cobwebs hung from every part, nails had been driven through them without remorse, and they were bo darkened by the constant smoke from tapers that seen from the floor their real colours were imperceptible. Alto- gether," adds Heath Wilson, who was pathetic on the subject, "they are the greatest existing ex- amples of barbarous maltreatment and neglect." With Leo X., who succeeded Julius II. in 1513, Raphael was the favoured artist. Michelangelo wished for nothing better than to be allowed to go on with the monument to Julius, for which he had already executed the great figure of Moses, and the two well-known statues of ' The Captive,' now in the Louvre, and reckoned among his finest work. But although he received a fresh commission for this work from the executors of Julius, difficulties were always thrown in his way, and finally he was sent by Leo X. to Florence and employed upon the front of San Lorenzo, which the Pope had deter- mined to build in a magnificent style. This was certainly an important work, and Michelangelo determined to make it " whether in respect of architecture or sculpture the masterpiece of all Italy," as he says in one of his letters ; but he was kept so long superintending in the new quarries of Seravezza, even making roads to them, and so many liindrances seem to have been purposely put in his way, that in the end nothing was accomplished. Indeed the ten years of Leo's pontificate were almost wasted years in the life of Michelangelo. Nor was much accomplished during the short reign of Adrian, though Michelangelo for a time went on working at the monument to Julius, often at his own cost. But when Clement VII. became Pope in 1523 a change took place, and Michel- angelo was once more in request, chiefly, however, for the superintendence of various architectural works, which Michelangelo, who always regarded himself as a sculptor, had little wish to undertake. In 1527 the terrible sack of Rome under the Constable de Bourbon took place. Michelangelo was away in Florence at this time, where the popular party had again risen and driven out the Medici. This being the case, Michelangelo's com- missions for the Medicean Pope remained for a time in abeyance, while he with patriotic energy undertook the charge of fortifying the city against his patron, the Signory having appointed him director and provider over the works of defence. The new knowledge supplied by the recent publi- cation of the Buonarroti letters clears up much that formerly seemed inexplicable in his conduct at this time. It is evident that he was greatly trusted by the Signory, acting for them not only as military engineer, but likewise being entrusted with private missions. One of these missions, it M. A. BUONAROTI MICHELANGELO Anderson plwto\ THE THREE FATES \Pitti Palace. Flore PAINTERS AND ENGRAVERS. appears, took him to Venice before what must be called his flight thither in 1529. V^hen in 1530 Clement VII., with the aid of the imperial cannon, gave the last blow to the liberties of Florence, or rather when the city, which fire and famine had been unable to subdue, was treacherously yielded to the Medici, Michelangelo, who had returned from Venice, was in great danger, and was obliged to lie concealed for a time in the house of a friend. The Pope, however, who, like his predecessor Julius II., seems to have known the value of a man of genius, gave him his pardon, and ordered him to resume his work on the tombs in the Medici Chapel in San Lorenzo, upon which he had been employed before the siege. He accordingly came forthfromhis hiding-place, and worked, as he says, with "morbid haste," but with saddened heart, on the four great recumbent figures of Night, Morning, Dawn, and Twilight, and the statues of Lorenzo and Giuliano de' Medici. These are generally considered to be his greatest works in sculpture. In 1534 Michelangelo lost his father, to whom and to his brothers most of his letters are written. He is seen by these letters to have been always a most dutiful and affectionate son, ever considerate, patient, and generous towards his family. Both his father and his brothers constantly depended upon him for help, which was given even at a time when he had to deny himself to send it. Indeed the sardonic old Titan who was so inac- cessible to the rest of the world, and who braved even the anger of popes, stands forth in his letters as a singularly obedient and tender son, who bore with exemplary patience the very irritating conduct of father and brothers, who were perpetually worry- ing him about trivial family disputes and debts. On the death of Clement VII. in 1634, Michel- angelo's work in San Lorenzo, though unfinished, came to an end. He now again thought that he might be permitted to work on the tomb of Julius II. for which he had contracted, and which had caused him endless worry and regret. But the new Pope, Paul III., was possessed of another idea, and was determined, now he was Pope, to realize it ; and Michelangelo, in furtherance of this idea, was again obliged to lay aside sculpture for painting. The world-famous ' Last Judgment,' which Michelangelo now undertook as the completion of the Sixtine frescoes, may be regarded as the final expression of his art. In this work all traditionary types were cast aside. Christ is represented as the Avenger, and the lost souls fall before His wrath into the abyss ; the joys of the blessed being far less apparent than the convulsive struggles of the damned. The subject indeed, which had been treated with grotesque asceticism by the early religious painters, oifered a marvellous opportunity for the display of naked human form, and as such Michelangelo seized upon it, and turned the old idea of the Dies ircz into a great tragedy of humanity. The 'Last Judgment' has suffered even more fatally from neglect than the other frescoes in the Sixtine Chapel, and moreover it has been injured by repainting, from which the others have been preserved by their inaccessible position. It con- tains 314 figures, and occupied Michelangelo from 1535 to 1541. But Michelangelo was now an old man, and worked, as he himself says, " unwillingly, working for one day, and resting for four." This was almost the last great work in painting that he was called to undertake : though he after- wards consented to paint two frescoes in the Pauline Chapel of the Vatican representing the ' Conversion of St. Paul ' and the ' Martyrdom of St. Peter.' In 1546, at the age of seventy-one, he was appointed by Paul III. chief architect of St. Peter's, an office which he continued to hold under four other popes. The great dome of St. Peter's was raised from his plan. All his poems, for he was a poet as well as a sculptor, painter, architect, and engineer, express a longing for the release of death, but it was not until he had reached his ninetieth year that this release came to him. He died at Rome on the 18th of February, 1564, and was buried by his own desire at Florence. Michelangelo was a man of melancholy tempera- ment, and subject to violent outbursts of righteous anger which made him more feared than loved by those who did not know him well. Dwelling alone with his own great thoughts, he became impatient of interruption and contradiction, and ofttimes ex- pressed himself with a bitterness which made him many enemies. No woman's name is in any way associated with his, with the exception of that of the noble Princess Vittoria Colonna, whose sym- pathetic friendship cheered the later years of his life. His life was a stormy one, no less from miserable personal disputes than from the stirring times in which he lived and took part. He felt deeply the ruin of the liberties of Florence, as evinced by his reply to some verses affixed to his statue of ' Night,' in which he makes the statue say, " Sleep is dear to me, and still more that I am of stone, BO long as dishonour and shame last among us. The happiest fate is to see nothing and feel nothing. Therefore awake me not. Speak low." Of the art of Michelangelo all may judge. It needs long study before its masterly power is per- fectly comprehended. All that the progressive artists of Florence had been .striving after since the time of Masaccio was attained by him. He was influenced but not dominated by classic art. Like the great Greek artists before him, he seized on the nude human body as the best means of displaying the highest perfection of artistic beauty. While Titian and Correggio were seeking this per- fection in sensuous loveliness, Michelangelo sought it in physical force, and by a daring and a know- ledge such as no artist hail ever before displayed, achieved his aim to the admiration of all succeed- ing ages. Power and intellect are the two qualities that mark his style, a profound knowledge of nature, and careful study of the hving model, yet no servile copying even of nature, for he often violated rules of proportion, placed his figures in constrained and unusual positions, and in other ways rejected the teachings of science, if this was necessary for the expression of his idea. For Michelangelo was perhaps the greatest of idealists. His figures live by virtue of the life lie has infused into them, and remain as the grandest creations of Italian art. It does not come within the scope of this work to enumerate all his great works in sculpture and in architecture ; many of them have, however, been mentioned in this article. Of those he executed in painting, the principal are ; Copy of Martin Schongauer's St. Anthony. His first reputed picture; now lo.^t. Circular Madonna and Child, painted for Angelo Doni 213 A BIOGRAPHICAL DICTIONARY OF in 1S04; now in the U^;i at Florence. The best known perhaps of all his pictures, having been con- stantly reproduced. The Madonna and Saints; in the National Gallery. Early work. Unfinished, and of doubtful authenticity. The Entombment; in the National Gallery. Unfinished, and of doubtful authenticity. Cartoon of Pisa ; an incident in the battle of Cascina. 1504. This noble work, which was never completely finished, was destroyed by some means at an early date, and the fragments scattered in various collec- tions ; but the story Vasari tells of its having been torn to pieces by Baccio Bandinelli is unworthy of credit. Portions of it were early engraved by Marc- Antonio and Agostino da Venezia, and in later years the central piirt of the composition has been engraved by Sehiavonetti, from an excellent copy in grisaille, which still exists in the possession of the Earl of Leicester at Holkham. It is from this that the numerous reproductions of this subject are taken. Fresco paintings in the Vault of the Siitine Chapel, representing the various acts of creation ; the Tempt- ation and Fall of our first parents ; the Deluge, and the Sacrifice and Drunkenness of Noah ; also the Genealogy of the Virgin in the spandrels above the windows, and four historical subjects from the history of the Jews, in the comer soffits of the ceiling. The twenty figures, called athletes, and other figures in the framework. The seven figures of the Prophets, and the five Sibyls who sit enthroned in niches round the vault, are generally regarded as the highest conceptions of Michelangelo's art. The Leda, painted about 1530 for the Duke of Ferrara, but not sent to him. The history of this picture is very confused. Vasari states that Michelangelo pre- sented it to his pupil Antonio Mini because " he had two sisters to marry." It seems to have been sold by agents to Francis I., and to have remained at FontainehleaH until the reign of Louis XII. , when it is said to have been destroyed by order of the Confessor of Desnoyers. Its destruction, however, is by no means certain, and it is probable that it passed in a mutilated condition into England. A painting of this subject is now in the National Gal- lery, and is considered by M. Eeiset, the learned director of French museums, to be the one actually painted by Michelangelo, but greatly restored. A Cartoon of the Leda, a copy, but a very fine work, is in the possession of the Koyal Academy. The Last Judgment: fresco in the Sixtine Chapel of the Vatican. Two frescoes in the Pauline Chapel in the Vatican — The Conversion of St. Paul and the Crucifixion of St. Peter. 1549—1550. Other works iu painting were doubtless executed by Micbelangelo, but no others are known to be certainly by him, the pictures that pass with his name in galleries being generally executed by pupils and followers from his designs, which be was very liberal in bestowing upon good painters. Numerous drawings by Michelangelo are to be found in various collections, especially in England. There are fifteen in the British Museum, thirty at Windsor, and seventy at Oxford. The following books should be consulted : Vasari. Vita del gran Michelangelo Buonarroti. 1568. Milanesi edition of the Lives, in 1880. Condivi. Vita di Michelangelo. 1553. Both these were contemporary biographies by pupils. Vignali. Vita di M. A. Buonarroti. 1753. Hauchtcorne, Vie de Michelange, etc. 1783. Duppa. Life of Michael Angelo. 1S06. Linnell. Frescoes in the Sistine Chapel. 1834. J. E. Taylor. Michelangelo considered as a philo- sophic poet. 1840. Hermann Grimm. Leben Michel Angelos. 1860. Trans- lated into English in 1865. Aurelio Gotti. Vita di Michelangelo Buonarroti, nar- rata con I'aiuto di nuovi document!. 1875. 214 Gaetano Milanesi, Le Lettere di Michelangelo Buon- arroti. 1875. Ch. Heath Wilson. Life and Letters of Michelangelo Buonarroti. These last three works, by the publication of the docu- ments and letters in the Casa Buonarroti, have added materially to our knowledge of Michelangelo's history. C. C. BlacTc. Michael Angelo Buonarotti, Sculptor, Painter, Architect. 1875. J. A . Symonds. The Life of Michelangelo Buonarroti. 1893. Holroyd, C. Michel Angelo. 1903. Sutherland-Gower, Lord Ronald. Michel Angelo. 1903. M. M. H. & C. H. (rreimon). BUONASONE. See Bonasone. BUONA VENTURA. See Segna. BUONCONSIGLIO, Giovanni, called II Mabes- CALCO, a native of Vicenza, painted in tempera, in the first part of his career, in the style of Mon- tagna ; but afterwards he turned his attention towards oil-colours, and became a disciple of Anto- nello da Messina, whom, it is said, he assisted in several of his works. He subsequently became almost Titianesque in warmth of colour. Buon- consiglio laboured chiefly at Vicenza, Venice, and the neighbourhood. He was living as late as 1530 at Venice, for the churches of which city he painted numerous altar-pieces, many of which have unfortunately perished. The following are his principal works now extant : London. Holford Gall. Lady "with man in armour. ,, Butler Coll. The Mistress of Giorgione {so called). Ward Coll. Ecce Homo. Montagnana. Cathedr. Viigin&nd Child (signed and dated 1511). ,, „ St. Catharine (signed and dated 1513). ,, Comune. Madonna with six Saints (signed). Paris. Louvre. Ecce Homo. Venice. Academy. Fragments of a work painted in oil for SS. Cosmo e Damiano alia Giudecca, representing SS. Benedict, Tecla, and Cosmo (signed and dated 1497). „ Gesuati. Christ between SS. Jerome and Secondo (signed *Joanes bo- n'ichosiuj dito habeschal- CHO. p.'). „ S. Giac. delV Orio. St. Sebastian (signed). Vicenza. Gallery. Virgin and Saints mourning over the dead body of Christ. Signed, Tempera (painted for San £ar- tolommeo, i'icenza). „ S. Rocco. Virgin and Child, with Saints (i'Uf:*ed and dated 1502). BUONFIGLIO. See Bomfigli. BUONFRATELLI, Apollonio, a miniature painter of Florence in the 15th century. BDONI, B. and S. de'. See De' Buoni. BUONI, Flobiano, (or Bonis,) an engraver, wag a native of Bologna, and flourished about the year 1670. Among other prints he produced a plate representing a ' Dead Christ, with the Virgin Mary and St. John,' after Guercino. It is executed with the graver in a dark, heavy style. His name is also affixed to a portrait of Guido Reni. BUONINSEGNA, Dnccio di, was born at Siena about 1260. He was the first of his school to throw aside the Byzantine style and to strive to imitate nature. In 1285 he entered into a contract to paint, for 150 florins, an altar-piece for the chapel of the Virgin in Santa Maria Novella at Florence, but no record of the picture exists ; and in the autumn of that year he was in Siena. HiB master-piece, which still exists, is the high altar- M. A. BUONAROTI CALLED MICHELANGELO Hanfiliingl photo\ THE MADONNA AND INFANT CHRIST, ST. JOHN AND ANGELS \National Gallery, London PAINTERS AND ENGRAVERS. piece in the Cathedral of Siena. It occupied him from the 9th of October, 1308, till the 9th of June, 1310, when it was carried with great pomp — like the Madonna of Cimabue — to the cathedral. For tliis great work Duccio received only sixteen soldi (or pence) a day, but the materials, which were very costly, owing to the amount of gold and ultramarine used, amounting to upwards of 3000 gold florins, were supplied for him. As the high altar was open all round, Duccio painted pictures on both sides. The front represented the ' Virgin and Child,' with numerous saints and angels, and four bishops kneeling in front. On the back were twenty-six scenes from the life of our Lord, from the ' Entry into Jerusalem ' to the ' Meeting at Emmaus.' It was removed from the altar, in the early part of the sixteenth century, to make room for a tabernacle, and then, after having been divided, the halves were placed at either end of the transept, where they still remain. A ' Madonna and Child, with saints and angels,' by him is in the National Gallery ; and two pictures of similar subjects by him are in the Academy at Siena. We have no record of Duccio later than 1320. BUONTALENTI, Bernardo, called Delle Gi- randole, was a painter, sculptor, and architect who was born at Florence in 1536. When he was eleven years of age his parents were ruined by a sudden inundation of the Arno, and he was taken under the protection of Cosmo I., Grand Duke of Tuscany, who caused him to be educated in the best manner. He is said to have been instructed in painting by Salviati and Bronzino, in sculpture by Buonarroti, in architecture by Giorgio Vasari, and to have learned miniature painting under Giulio Clovio. With such advantages it is not surprising that he became eminent. He executed a number of miniatures for Francesco, the son of Cosmo I. He was more celebrated as an architect than a painter, and was much employed in fortification. He was also a great mechanic, and an excellent mathematician. His own portrait, by himself, is in the Uffizi at Florence. He died in 1608. BURANI, Francesco, was an Italian designer and engraver, born at Reggio, by whom we have an etching of ' Bacchus sitting near a Tun, with three Satyrs,' executed in the style of Spagnoletto. BURATTI, GlROLAMO, a painter of Ascoli, lived about 1580. He painted the beautiful picture of the 'Presipio,' at the Cariti, in Ascoli, and some subjects in fresco, which have been highly com- mended. BURCH, Aelbert van den. See Van den BURCH. BURCH, J. H. van der. See Van der Bdrch. BURCHARD DOERBECK, Franz, who was born at Fellin in 1799, had a great talent for comic pieces, and commenced by drawing for the 'Ber- liner Witze,' ('Berlin Wit'), — depicting scenes from the life of the lower classes at Berlin. There are some valuable plates by him. He died at Berlin in 1835. BURCHETT, Richard, was born at Brighton in 1817. He entered the School of Design at Somerset House about 1841, and was one of the students who headed the movement which led to the establishment of the Department of Prac- tical Art. He was appointed an assistant master in the school in 1845, and head master in 1851. As such, he saw the migration of the school to Marlborough House, and superintended its estab- lishment at South Kensington. Amongst his pictures, which are of a scriptural and historical nature, may be cited, ' Edward IV. withheld by Ecclesiastics from pursuing Lancastrian fugitives into a Church,' scene from ' Measure for Mea- sure,' and ' Expulsion of Peasants by William the Conqueror in laying out the New Forest.' Mention should also be made of the portraits of the Tudor family, executed by himself and his pupils, which decorate the Houses of Parliament, and of his text-books of ' Geometry ' and ' Per- spective.' He died at Dublin in 1875. Amongst his pupils at South Kensington may be named Miss Elizabeth Thompson (Mrs. Butler), S. L. Fildes, A.R.A., and W. W. Ouless, R.A. BURCKER, Gaetano, of Bologna, laboured in Milan in the first quarter of the nineteenth century. He died in 1828. A Landscape by him is in the Milan Gallery. BURCKMAIR, Hans. See Burgkmair. BURFORD, Robert, a painter of panoramas, was born in 1792. The subjects treated of by him, or imder his direction, many of which were from sketches taken on the spot by himself, included almost every part of the habitable globe, and were often heightened in interest by the representation of battles or other important events. He had the management of the Royal Panorama in Leicester Square from 1827 till his death in 1861. BURFORD, Thomas, an English mezzotint en- graver, was born about theyear 1710. He executed a few plates of landscapes and huntings, but was best known as an engraver of portraits. He died in London about 1770. We have by him : Dr. Warburton ; after Philips. The Rev. Roger Pickering, F.R.S. 1747. Mr. Charles Churchill; J. H. Hchaack pin. 1765. Vice-Admiral John Norris. BURG, Adriaan van der. See Van deb Buro. BURG, Dirk van den. See Van den Burg. BURGAU, P., who flourished at Vienna about 1750, was a painter of birds and flowers. Two pictures of birds by him are in the Belvedere, Vienna. His brother, J. M. BuRGAU, who resided at Linz about 1743, painted hunting scenes and birds. BURGESS, John Bagnold, son of W. H. Burgess, landscape painter to William IV., was born at Chelsea in 1829, and in 1851 entered the Schools of the Royal Academy. Of his pictures, which represent scenes from Spanish life, the most important are :—' Bravo Toro,' 18C5 ; 'Stolen by Gipsies,' 1868 ; ' The Barber Prodigy,' 1875 ; 'Licensing the Beggars: Spain, 1877; 'The Letter-writer,' 1882 ; and ' An Artist's Alms- giving,' 1886. Burgess was elected an associate of the Royal Academy in 1877, and an academician in 1889. He died in London in 1897. BURGESS, John Cart, a painter in water- colours, exhibited at various intervals flower-pieces and landscapes at the Academy and the Suffolk Street Gallery, and published, in 1811, 'A Practical Treatise on the Art of Flower Painting.' He died at Leamington in 18G3. BURGESS, Thomas, who learned his art in the St. Martin's Lane Academy, sent pictures to the exhibitions of the Incorporated Society, of which he was a member, and to the Royal Academy. His works date from 1766 till 1786 ; they are conversa- tion pieces, historic works, portraits, and landscapes. He kept for some years an Art School in Maiden Lane. 215 A BIOGRAPHICAL DICTIONARY OF BURGESS, Thomas, a landscape painter, exhib- ited at the Royal Academy from 1802 till 1806. He died, in the following year, in London, at the early age of twenty-three. BURGESS, William, a son of Thomas Burgess (of the Maiden Lane Academy), and also a teacher of art, exhibited portraits and conversation pieces at the Free Society of Artists and the Royal Acad- emy from 1769 till 1799. He died in London in 1812, aged 63. His son, H. W. Burgess, was landscape painter to William IV. BURGESS, William, an engraver, practised his art about the end of the eighteenth centurj'. He executed a set of plates of Lincolnshire churches, and of the cathedrals of Lincoln and Ely. He died in 1813, aged 58, at Fleet, Lincolnshire. BURGESS, William Oakley, an engraver, became early in life a pupil of Lupton, the well- known mezzotint engraver, under whose instruc- tion he remained until twenty years of age. Some of his best productions are plates after the works of Sir Thomas Lawrence, published in the ' Law- rence Gallery.' He also engraved a large plate after Lawrence's portrait of the Duke of Welling- ton, remarkable for its admirably graduated tones, and the last works on which he was employed were three other portraits after Lawrence — Sir John Moore, tlie Duchess of Northumberland, and the Archbishop of Canterbury. The extraordinarj' delicacy which characterizes the work of this artist must have acquired for him the highest reputation in his art, had his life been spared. His death, which took place in 1844, whilst in the prime of life, was occasioned by an abscess in the head, sup- posed to have arisen from a blow of a skittle-ball some years before. BURGH, H., was an English engraver, who lived in London about the year 1750. He worked prin- cipally for the booksellers, and was chiefly em- ployed in engraving portraits, among which is that of ' Thomas Bradbury, Minister of the Gospel,' from his own design : it is inscribed H. Burg, del. et sculp. BURGHERS, Michael, was a Dutch engraver, who settled in England on the taking of Utrecht by Louis XIV. He resided chiefly at Oxford ; and on several of his plates be added to bis name Academiae Oxon. calcographus. From the great number of his prints, it is probable he was em- ployed by the booksellers, as well as for the University. He worked almost wholly with the graver, in a stiil, tasteless style. He has the merit, however, of having preserved to us many remains of antiquity which would otherwise have been lost. He engraved the plates for the Almanacks of the University, the first of which, by him, was in the year 1676. His most esteemed prints are his anti- quities, ruins of abbeys, and other curiosities. He engraved also several portraits and plates 6" William, Earl of Pembroke, Archbishop Laud, Sir Kenelm Digby, and John Selden. Timothy Hatton, provost of Queen's College. Dr. WaUis. 1699. Sir Thomas Wyat. .Tohn Baliol. Devorguilla, his spouse. Dr. EatcUff. The Visage of Christ ; engraved in the manner of Mel- lan, with one stroke. BURGKMAIR, Hans, a German painter and en- graver, was born at Augsburg in 1473. He was the son of Thomas Burgkmair, a painter, to whom he owed his education as an artist, and was followed in the same profession by his son Hans. Hans the elder was, however, the great artist oi the family, the friend and fellow-labourer of Albrecht Diirer in the service of the Emperor Maximilian I. In his native city are preserved several of his pictures, which possess considerable merit. His prints are principally, if not entirely, on wood, and are de- signed with extraordinary spirit and fire. Indeed the endless imagination, and richness of sugges- tion, as well as truth to the life of his time, and dramatic value to be found in many works, place him in the highest rank of the illustrative artists of the world. His cut in chiaroscuro of the Em- peror Maximihan I. on horseback is dated in 1518 ; and it has been very probably supposed by Pro- fessor Christ that the fine wood-cuts marked /. £., dated 1510, in the old edition of the works of Geyler de Keyserberg, are designed by this artist. His prints are very numerous. He sometimes marked them with the initials H. B., in capitals ; sometimes thus : The following is a general list of bis prints: The Emperor Maximilian on Horseback ; with his name. The same print in chiaroscuro ; dated 1518 ; scarce. Hans Baimigartner, Coimsellor of the Emperor. A chiaroscuro of rare excellence. St. George on Horseback; in chiaroscuro, with the name of Negker. His greatest work is ' The Triumph of Kaiser Max,' in 135 successive prints, showing all the various countries and princes subject to the emperor, with their heraldry ; all the difierent corps of cavalry and foot in his service, the guilds with their office- bearers, &c., &c., a most interesting series of his- torical designs. His work next in importance to the 'Triumph' is ' Der Weiss Kunig. Ein Erzahling von den Thaten Kaiser Max des ersten.' This con- sists of 237 pieces, nearly all of them admirably invented and drawn. Third, 'The Genealogy of the Emperor,' a set of separate figures of the ancestral princes and others. The saints, male and female, related to the imperial family may be considered fourth in importance, in number 119 prints. Besides these, he did 68 of the illustrations (71 in number) to the ' Chronicle of the Family of the Counts Truchsess de Waldburg ; ' 33 of those for the ' SchimpfE und Ernst,' a book containing 40 engravings ; 104 admirable designs for a German translation of the 'Offices' of Cicero published in Augsburg by Heinrich Stayner, 1531 ; six for the ' Lives of SS. Ulrich, Symprecht, and Afra,' Augs- burg, Silvanus Ottmar, 1516. Above all these in varied interest are his designs, 260 in number, for the German translation of Petrarch's prose treatise on Fortune, ' Glucksbuch, beydes dess Giiten und Bozen,' published first ir Augsburg and a few years later in Frankfort. His single prints are HANS BURGKlMAIR I THE EMPEROR MAXIMILIAN 1518 PAINTERS AND ENGRAVERS. also numerous, so that he must be considered one of the most prolific as well as able of the early German school. Bartsoh mentions only one etching by him, ' Venus and Mercury,' a small print on iron. For lists and comments on his works see Nagler's 'Kiinstler Lexicon ' ; Bartsch, Le ' Peintre-Graveur,' vol. vii. ; Passavant, vol. iii. W. B. S. BURGKMAIR, Thoman, or Thomas, the father of Hans Burgkmair, and the father-in-law of Hans Holbein the elder, is mentioned in the records of the Painters' Guild at Augsburg in 1460, and in public documents there in 1479. He painted in 1480 a ' Christ with St. Ulric ' and a ' Virgin with St. Elizabeth of Thuringia,' both in the cathedral at Augsburg ; the gallery of that city also possesses a picture by him of the ' Martyrdom of St. Stephen, St. Lawrence, and scenes from the Passion.' Burgk- mair died at Augsburg in 1623. BURGOS T MANTILLA, Francisco, the son of a lawyer, studied painting under Pedro de las Cuevas, and afterwards with Velazquez. Dis- tinguished for his portraits, he painted many persons of rank at Madrid about 1658. Isidoko DE BuKGOs Y Mantilla, probably a relative of Francisco, painted in 1671 a series of portraits of the Kings of Spain, from Henry IL to Charles II. inclusive, for the guest-chamber of the Chartreuse of Paular, according to Cean Bermudez, of grace- ful design and agreeable colour. He was also a poet, and printed a romance in honour of the statue of San Miguel in the Escorial by Luisa Roldau. BURGT. See Van der Borgt. BURINO, Antonio, who was born at Bologna in 1656, was a scholar of Domenico Canuti, and also devoted much time to the study of Paolo Veronese. He proved a very reputable historical painter. Many of his works were in the churches and palaces at Bologna, the following among them : ' The Crucifixion ' in San Tommaso dal Mercato ; ' David with the Head of Goliath ' in the sacristy of San Salvatore ; and ' The Martyrdom of St. Catharine ' in Santa Caterina de Saragozza. He also painted a saloon for the Palazzo Legnani, and this has been very highly spoken of. He died in 1737. His Portrait by himself is in the Ufifizi, Florence. BURKE, Thomas, an engraver, who was born in Dublin in 1749, adopted the style of Bartolozzi, in the chalk manner, and occasionally that of Earlom. He was a pupil of Dixon, and engraved chiefly after the works of contemporary artists, particularly Cipriani and Angelica KaufEmann. He died in London in 1815. His engravings are gen- erally printed in red or brown colours, and are dated from 1772 tol791. The following are the principal : Telemachus at the Court of Sparta ; after Ang. Kmff- mann. 1778. Andromache at Hector's Grave ; after the same. The Battle of Agincourt ; after Mortimer. King John signing the Magna Oharta ; after the same. The Nightmare ; after Fuse!:. Portrait of Mrs. Siddons ; after Dance. Portrait of Lord North ; after the same. BURKHARDT, Jacques, studied at Munich and in Rome. He accompanied Agassiz in his cele- brated researches on the glaciers of the Aar, and illustrated many of the works of that professor. He died at Montreal in 1867. BURNE-JONES, Sir Edward, Baronet. Ed- iWARD CoLEY BuRNE, as he was christened, the only son of Edward Richard Jones and his wife Elizabeth Coley, was born at Birmingham, August 28, 1833. He was sent in 1844 to King Edward's School in the same city, where he studied to so good purpose, that in 1852 he won an ex- hibition which enabled him to enter Exeter College, Oxford, to which he went the same year, his father's wish and his own intention being that he should eventually be ordained as a minister of the Church of England. The pictorial work of Dante Gabriel Rossetti, however, with which he became acquainted first through an illustration to William Allingham's ' Elfin Mere,' and later at the house of Mr. Combe, the director of the Clarendon Press, so aroused his enthusiasm that he resolved finally to abandon his proposed career and devote himself to art. In 1855 he went to London and made the acquaintance of Rossetti, on whose recommendation he left the University without taking his degree, and, after a brief period of study in that artist's studio, began in 1856 the serious work of his life without further instruction, though for a long time under the frequent super- intendence and with the constant advice of his only master. He settled to begin with at 17, Red Lion Square, where his earliest works, mostly in pen-and-ink and water-colours, were carried out. In the autumn of 1858 he returned to Oxford, no longer as a member of the University, but as a collaborator with Rossetti. and other artists under his influence, in an extensive scheme of decoration for the reading-room of the Oxford Union, to which he contributed a painting of Merlin and Nimue, a work which, together with its companions, time has rendered utterly unrecognizable. In September 1859 he paid a vfsit to Italy and studied the works of the Italian masters at Florence, Siena, Pisa and elsewhere. On returning to London he re- moved to Russell Place, Fitzroy Square, and on June 9, 1860, was married to Miss Georgians Macdonald in Manchester Cathedral. In 1861 he moved to Great Russell Street, and again, in 1866, to Kensington Square. In the meantime so re- solved had been liis application and so steady his progress that in 1863 he was elected an associate of the Royal Society of Painters in Water-Colours, to whose Gallery he was a frequent contributor during the following years. In 1867 he changed his residence once more and for the last time, removing to the Grange, North End Road, Fulham, a picturesque old house, at one time occupied by Samuel Richardson, which he continued to inhabit till his death. He retired from the Water-Colour Society in 1870, in consequence of a misunder- standing, and thenceforward, with the exception of a solitary reappearance with two pictures at the Dudley Gallery in 1873, was unknown as an exhibitor, and, to a l.irge section of the public, even as an artist, until the opening of the Grosvenor Gallery in 1877, which, containing an important representation of his completed work, brought him once for all into popular notice, if not at once into popular estimation, in his native land at least, for the French critics to whose attention his work was introduced for the first time at the Exposition of 1878 received it at once with unqualified approval. Yet, though his first general reception was indisputably a mixed one, the public and expert appreciation of his art continued to grow rapidly and uninterruptedly. He was presented with a fellowship by his old college in Oxford, and at the Encaenia of that University in 1881 217 A BIOGRAPHICAL DICTIONARY OF the honorary degree of D.C.L. was given to him, while in 1882 he and Lord Leigh ton alone among British artists were invited by the French Govern- ment to represent their country at the International Exhibition of Contemporary Art. In June 1885 much interest was aroused by the prices paid for his works at the dispersal of Mr. Ellis' collection by auction, and in the same month the Royal Academy elected him an associate, from which position, however, he retired in 1893. A second sale, in 1886, that of Mr. William Graham's pictures, more than confirmed his advance in the opinion of connoisseurs and helped greatly to secure it in that of the outside public. He ceased to exhibit at the Grosvenor Gallery in 1888, reserving his contributions for the New Gallery in the future, and in the same year he was unanimously re- elected a member of the Royal Society of Painters in Water-Colours. As a result of the Exhibition at Paris in 1889, he received a Knighthood of the Legion of Honour, and in 1890 his position among the foremost artists of the day was assured by the exhibition at Messrs. Agnew's Galleries of the great ' Briar Rose ' series. That the final judg- ment of the critical was fully endorsed by the less learned, was shown by the crowds that thronged to see the pictures, as they did even more markedly to the New Gallery during the winter of 1893-4, when the display was confined entirely to his works, a distinction not often granted to a living artist. In 1897 a first-class medal was awarded to hira at the Antwerp Exhibition, and in the same year Her Majesty the Queen conferred upon him the honour of Baronetcy. His work had been more than once interrupted by illness during these later years, and in the early months of 1898 he suffered severely from influenza, but there was no suspicion of any imminent danger, and his sudden death in the early morning of June 17 at his house in London came as a general shock. He was buried on June 21 at Rottingdean near Brighton, where he had for some years resided for part of each year. Among his more important pictures are ' Laus Veneris' (1861-1878), 'The Merciful Knight' (186.3), 'The Wine of Circe' (1863-1869), ' St. George and the Dragon,' a set of seven pictures (1865-6, but largely repainted in 1895), 'Le chant d'amour' (1868-1877), 'Spring' and 'Autumn' (1869), 'Pygmalion and the Image,' a series of four pictures (1869-1879) ; 'Night' (1870), 'Summer,' 'Winter,' and 'Day' (1871), 'Temperantia' (1872-3), 'The Angels of Creation ' (1872-1876), ' The Beguiling of Merlin ' (1872-1877), 'The Feast of Peleus ' (1872-1881), 'The Mirror of Venus' (1873-1877), 'The Annun- ciation' (1876-1879), 'The Golden Stairs' (1876- 1880), ' The Wheel of Fortune' (1877-1883), ' Dies Domini' (1880), ' King Cophetua and the Beggar Maid' (1880-1884); 'Perseus and the Graiie' (1883-1893), 'The Baleful Head' (1884-1887), 'The Rock of Doom' and 'The Doom's Fulfilment' (1884- 1888), all four belonging to an uncompleted series illustrating the story of Perseus; 'The Briar Wood' (1884-1890), 'The Rose Bower' (1885- 1890), 'The Garden Court' (1887-1890) and 'The Council Room' (1888-1890), forming 'The Briar Rose' series; 'The Depths of the Sea' (1886), the only picture the artist ever exhibited at Burlington House; 'The Star of Bethlehem' (1888-1891), 'Sponsa di Libano' (1891); 'Love auiung the Ruins' (1893), a replica of an earlier work which was destroyed by accident : ' Aurora ' 218 (1896); 'The Prioress' Tale' (1869-1898), his last finished work, and ' Arthur in Avalon,' left un- finished at his death. In addition to these, and many other purely pictorial works, he produced, for the most part in co-operation with the late William Morris, a vast amount of decorative work, taking to a great extent the form of cartoons for stained glass windows, of which examples may be found in churches in Sloane Street, Vera Street and elsewhere in London, in the cathedrals of Oxford and Salisbury, in Peterhouse and other colleges at Cambridge, at Liverpool, Birmingham, Edinburgh, Dundee, Dublin, and many other cities both in England and abroad. He also made numerous designs for tapestry, a specimen of which, ' The Star of Bethlehem,' forms part of the decoration of the chapel in Exeter College, Oxford. His most important decorative achieve- ment, however, is in the American Protestant Church in the Via Nazionale at Rome, and con- sists of a series of mosaics, 'The New Jerusalem' adorning the apse, ' The Fall of the Rebel Angels,' ' The Tree of Life,' etc., the walls. The most conspicuous characteristic of his work is its in- dividuality, for though in his earUer years he was undoubtedly influenced by Rossetti, and in his later found not a few imitators, few artists have ever struck so strongly personal a note. The sources of his inspiration were sevenfold — mediaeval ballads and legends, classical myths, 'The Earthly Paradise' by William Morris, the poems of Chaucer and Spenser, the Bible, allegory, and pure imagina- tion ; but from whatever source his subject was derived it was invariably infused with and trans- figured by a powerful and somewhat melancholy poetical charm which was all his own, expressed with a refined and delicate feeling for beauty of form and colour, and illustrated with a prodigal wealth of charming and significant detail. His method of work was as original as were the results produced. He rarely completed a picture at one stretch. Rather he loved to linger over it, to work upon it when he was in a fitting mood, to put it away and turn to something else, returning to it again and yet again, until at last it reached completion. Thus, as may be seen by the dates given above in the list of his principal works, a picture might be for years upon the easel, as, for example, 'The Prioress' Tale,' which though begun in 1869 was not completed until the end was near at hand, in 1898. He first, as a rule, carefully drew in chalk or pencil the design, altering it more or less from time to time and making, simultaneously, whenever an interval between other labours allowed, most careful and elaborate studies of the various details he proposed to intro- duce into it later. When at length the arrangement was to his liking he made a small colour-sketch in chalks or water-colours, from which, if the idea seemed of sufficient importance to be carried out on a large scale, he painted in water-colours a cartoon of the same size as the canvas he intended to use. Finally, when every incident was decided on and numberless studies had been made, he began upon the picture itself, and so thoroughly was he by then acquainted with every detail he proposed to embody in it, that although, as has been said, months or even years might elapse between two periods of work upon it, he was enabled to resume it, when he wished to do so, as if he had laid it aside only the night before. When the finishing touches had been bestowed >«/,■ hul/,r yii/iii i'lyi//,///,/ i'' t/i, ^Ja/(fMr. /l.in/ PAINTERS AND ENGRAVERS. npon it the completed work was left for several years, that it might dry thoroughly before it was varnished by his own hand with the utmost care. There was never a more notable illustration of the disputed dictum that genius is, to some extent, at any rate, the power of taking pains. Starting on his career comparatively late in life, with nothing but his vivid imagination as capital, hampered by his lack of directed education in the painters' craft, by sheer patient and unfaltering perseverance he developed from the helpless beginner of 1856, struggling to express ideas too great for his unpractised hand to grapple with, into the most poetical and imaginative painter that has, perhaps, ever lived. "To sum up briefly, ' What is the secret of the charm that this artist's works exercise upon an ever-increasing multitude of admirers?' It lies firstly in the vividly poetical imaginativeness of his conceptions, and secondly in the wealth of beautiful accessories in which he embodied and enshrined them. He was not a great painter in the true sense of the word. He never attained to that absolute mastery of the materials of his craft, that positively riotous ease of workmanship that belonged to such painters as Rembrandt and Velasquez, but among great artists he takes his place undisputed in the very front rank. His earlier work suffered technically from the delayed commencement and peculiar nature of his art education, and even in his matured years, though he attained a marvellous accuracy and exquisiteness of touch in drawing, he never reached real breadth or strength of style ; but from the first he possessed an infallible sense of beauty of form and colour, a powerful and over- whelming originality, and an unequalled grace and dehcacy of fancy." M. B. See ' Sir Edward Bume-Jones,' by Malcolm Bell. 1903. BURNET, James M., a younger brother of John Burnet, was born at Musselburg in 1788. At an early age he showed a predilection for painting, and frequented the evening academy of Graham to obtain a knowledge of the elements of art. He went to London in 1810, and renewed his studies. He found in Cuyp and Paul Potter much after his own heart, but in nature more. " The fields were his study, nature was his book." In his sketch-book he noted down beautiful bits of landscape, cattle, and rustic figures pursuing their avocations. These he afterwards embodied in his works, and produced ' Cattle going out in the Morning,' ' Cattle returning Home in a Shower,' ' Crossing the Brook,' ' Breaking the Ice,' ' Milking Time,' 'The Ploughman's Return,' and other pic- tures, full of high promise. Unfortunately for art, his life was but short ; he died at Lee in 1816 in the twenty-eighth year of his age, to the regret of all who could appreciate his excellence. He was buried in the churchyard of Lewishara in Kent, a spot in which he delighted during his life. ' Taking Cattle to Shelter during a Storm ' by him is in the Edinburgh Gallery. BURNET, John, was bom near Edinburgh, in 1784. His parents placed him with Robert Scott, the engraver, at Edinburgh, and from him he learned the practical part of etching and en- graving. Concurrently with this he attended daily at the Trustees' Academy, where he was a fellow-pupil with William Allen and David Wilkie. Burnet himself says of this period of his career, " I have often thought that my following the profession of an engraver and painter at the same time cramped the greater extension of either, as both are of sufficient difficulty to require the un- divided attention to arrive at a high degree of excellence." In 1806 he paid his first visit to London. " Wilkie having preceded me," Burnet says, " by twelve months, the fame created by his picture of the ' Village Politicians ' produced such a sensation in Scotland that I hastily fimished my engraving, and set sail for London in a Leith smack. On my arrival on Miller's Wharf, I seemed to feel what most Scotchmen feel, ' ample room and verge enough,' and though with only a few shillings in my pocket, and a single impression from one of my plates for Cooke's 'Novelists,' I felt myself in the proper element, having all that proper confidence peculiar, I believe, to my country- men. I went instinctively toward Somers Town, where many of my brother artists resided, and next morning to No. 10, Sol's Row, Hampstead Road, to call on Wilkie. He was debghted to see me, and exclaimed, ' I am glad you are come, for London is the proper place for artists.' On his easel was the picture of the ' Blind Fiddler,' which struck me as a wonderful work for one who had seen so little of such paintings in his youth. My first engravings after settling in London were for Cooke's ' Novelists,' Britton and Bayley's ' England and Wales,' Mrs. Inchbald's ' British Theatre,' &c., but I longed for some larger work upon which to employ my graver, and bespoke the engraving of 'The Jew's Harp,' of the same size as the paint- ing." This was the first picture by Wilkie that was engraved, and formed the commencement of the long series of prints after his admirable works now so well knewn to the public. The engraving of ' The Jew's Harp ' brought Burnet into acquaint- ance with William Sharp, the celebrated historical engraver, and " the great founder of the English school in this department," and its success led to the publication of others, and the picture of ' The Blind fiddler ' was fixed upon to be engraved, of a large size, more like 'The Battle of La Hogue,' by Woollett. As ' The Jew's Harp ' was executed more in the style of Le Bas, Burnet tells us he executed ' The Blind Fiddler ' in the manner of Cornells Vischer; it exhibits more graving than etching, and, as far as the approbation of the public went, was highly popular from the begin- ning. It also received the approbation of his brother engravers. Wilkie, on the other hand, did not greatly approve it ; the consequence was that Burnet retouched the plate, and it was agreed that the whole of the original proofs were to be de- stroyed, and fresh ones with the alterations printed. This gave rise to two sets of proofs now being in existence. The first proofs have, amongst other peculiarities, the hat of the boy with the bellows in single line. The success which attended the production of 'The Blind Fiddler' led to the pro- duction of a companion print, and ' The Village Politicians ' was the one fixed upon ; but Burnet eventually threw up the engraving (which was undertaken by Raimbach), in consequence of dis- agreeing with the terras proposed, which were, that " the engraving was to be executed entirely at his (Burnet's) own expenses, and the proceeds of the prints divided equally between the painter and engraver." After the plate of ' The Blind Fiddler ' other prints from Sir David Wilkie were ' The Reading of the Will,' 'The Chelsea Pensioners reading the Gazette of the Battle of Waterloo,' 219 A BIOGRAPHICAL DICTIONARY OF ' The Babbit on the Wall,' ' The Letter of Intro- duction,' ' The Death of Tippoo Saib,' ' The Village School.' After the peace of 1813, Burnet took the opportunity to visit Paris ; and for five months was a constant visitor to the Louvre, copj'ing and studying from the magnificent collection that had been brought from all parts of Europe to that gallery. Shortly afterwards he engraved several plates for Foster's ' British Gallery ; ' of these ' The Letter Writer,' after Metsu, and ' The Salutation of the Virgin,' after Rembrandt, are considered the best. He then joined the Associated Engravers, and produced the well-known plates of ' The Jew,' ' The Nativity,' and ' The Crucifixion,' after Rem- brandt Burnet occasionally practised painting, and with a success which would have warranted him in devoting himself entirely to this branch of art, had his destiny not been already set in another path. His principal work was ' Greenwich Hos- pital and Naval Heroes,' painted for the Duke of Wellington, and intended as a companion picture to Wilkie's ' Chelsea Pensioners ' and which he had engraved. The Sheepshanks Collection contains two of his works, ' Cows Drinking,' painted on panel in 1817, and the ' Fish Market in Hastings.' His other best known paintings were ' The Draught Players' in 1808, 'The Humorous Ballad' in 1818, 'The Valentine' in 1820. Burnet will long be remembered as a writer on art. His first work, 'A Practical Treatise on Painting,' published in 1827, brought him much fame, and was followed by 'An Essay on the Education of the Eye.' 1837 ; 'Prac- tical Hints on Light and Shade,' 1838 ; ' On Colour in Painting ' in 1843 ; ' Rembrandt and his Works ' in 1849 ; ' Turner and his Works ' in 1852 ; as well as other essaj's of minor importance. In 1860 he received a pension from the Civil List, and retired to Stoke Ne\ving^on, where he passed in narrow means the few remaining years of his life. He died in April, 1868, aged 84. BURNEY, Edward Francis, a relation of the celebrated musician Dr. Burney, was bom at Wor- cester in 1760. He entered the Academy school at an early age, and gained the friendship of Sir Joshua Reynolds. He exhibited in 1780 three drawings illustrating ' Evelina,' and afterwards a few portraits. He is best known by his book illustrations (of which an example is in the South Kensington Museum), and by a portrait of Fanny Burney (afterwards Madame d'Arblay), which was engraved as a frontispiece to her works. He died in London in 1848. BDENFORD, — , an obscure English engraver, was employed in engraving portraits, frontis- pieces, and other book plates for the publishers. Among his portraits is that of William Salmon, M.D., prefixed to his 'Synopsis Medicine.' BURNITZ, Carl Peteb, landscape painter, was bom at Frankfort-on-the-Main in 1824. He was brought up to the profession of an advocate, and in 1847 took his doctor's degree at Heidelberg, but he meantime diligently studied art without a teacher. After travels in Spain and Algiers, he lived for ten years in Paris, where he devoted him- self entirely to painting, and received valuable help from Dupr^, Corot, and Theodore Rousseau. He first exhibited at the Salon in 1855, a landscape which was bought by the Emperor. He died in 1866. BURON, ViRGiLE, a French historical painter, worked at Fontainebleau under the direction of 220 Primaticcio and Maitre Boux in 1528. He was distinguished also as a painter of ornaments. BURTON, Sir Frederick William, Knight, though well and favourably known as a painter, for the most part in water-colours, to connoisseurs and critics of art, will be more widely and generally remembered for his services to the British nation in the post of Director of the National Gallery, a position to which he was appointed in 1874, as successor to Mr. Boxall, RA., and continued to occupy for twenty years, at the end of which he retired, having considerably exceeded the age limit prescribed by the Civil Service regulations. His intimate knowledge of the works of the old masters and his unerring judgment of their methods and manners were the outcome of long and careful study of their works in the various Galleries of Europe, a study begun in 1851, when he paid a first ■srisit to Germany and Bavaria, and carried on during many later journeys in the following years. The third son of Samuel Burton, Esq., of Mungret in the County of Limerick, Ireland, he was born in that country in 1816. He was sent to school in Dubhn, and there also, his artistic bent having revealed it- self at any early age, he was put under the tuition of Mr. Brocas, a capable and sympathetic teacher who prophesied a distinguished future for his pupil. This was so far fulfilled that he was elected an Associate of the Royail Hibernian Academy when he was only twenty-one, and an Academician two years later. His first work was exhibited at the Royal Academy of London in 1842 ; in 1855 he was elected an Associate, and in 1856 a full member of the Royal Societj' of Painters in Water-Colours, but he resigned in 1870 in protest against the ill-treatment, as he considered, of his young fellow- painter Burne-Jones ; in 1888, however, he was re-elected as an honorary member, together with the artist whose cause he had championed. He received the honour of knighthood in 1884, and the honorary degree of LL.D. from the University of Dublin in 1889, and died at Kensington on March 16, 1900. His paintings, though never attaining greatness, were always sincere in purpose and executed with a minute precision, due, to some extent, to the influence of the Enghsh Pre- Raphaelite school. M.B, BURTON, W. P., son of Capt. Wm. Paton Burton, an officer in the Indian army, and nephew of Dr. John Hill Burton, was born at Madras in 1828. He was educated in Edinburgh, and entered the office of David Bryce of that city, intending to become an architect, but eventually devoted him- self to landscape painting in water-colours. He travelled much on the Continent and in Egypt, and produced many drawings of French river scenerj', and of old buildings in Holland and Egypt, besides numerous studies of Surrey and Sussex landscape. He died at Aberdeen on the 3l8t of December, 1883. BUS, CoBXELis VAN. See Bosch. BUSATI, Andrea, an unimportant follower of the Bellini, is the author of a signed ' St. Mark enthroned between SS. Francis and Andrew,' painted about 1510, and now in the Venice Academy. A figure of a Saint in the Vtcenza Gallery is also ascribed to him. BUSC, — , an amateur engraver, is reported by Basan to have etched several plates, among which were twenty-eight after Rembrandt, and twenty of heads, &c. BUSCA, Antonio, was bom at Milan in 1625, PAINTERS AND ENGRAVERS. and was a scholar of Erode Procaccini. In the church of San Marco he painted, in competition with his master, a picture of 'The Crucifixion, with the Virgin, Mary Magdalen, and St. John,' which picture is quite worthy of comparison with the works of Procaccini. This performance, how- ever, he never afterwards equalled. Being much af&icted with the gout, he appears to have been unable to undertake anything with vigour ; he sank into a mannerist, and contented himself with frequently repeating the same subiects. He died in 1686. BUSCATI, Ldca Antonio, (or Busscat,) was a Bolognese painter of the 15th century. A ' Descent from the Cross ' by him is in the Ercolani Gallery at Bologna, an outline of which is given by Rosini. Zani considers him among the eminent artists of the period, and the print justifies the opinion. BDSCH, Friedrich, a genre painter in Diissel- dorf, was born in 1808. He died in 1875. He painted many charming pieces, amongst them, 'The Spinner,' 'The Huntsman and his Sweet- heart,' and 'The Weeping Girl at the Well.' BUSI CARIANI, Giovanni, was born at Fuipiano on the Brembo in the latter part of the 15th century. His first recorded painting with the date of 1514, and his last with the date of 1541, are both now lost. He must have possessed considerable skill in imitating the styles of the great Venetian masters, for many galleries pos- sess paintings attributed to Bellini, Giorgione, Palma Vecchio, and Pordenone which are really by Busi Cariani. Crowe and Cavalcaselle ascribe to him the two well-known Heads in the Louvre, formerly thought to be portraits of the Bellini, and still assigned to the hand of Gentile Bellini. He painted at both Venice and Bergamo, and in the latter city executed frescoes on the front of the Palace of the Podesta, a Madonna with Saints above the side portal of the church of Santa Maria Maggiore, and some subjects in the Piazza Nuova, of which fragments only now remain. Only two paintings by him with dates aflSxed are known to exist: Seven Portraits in a landscape, dated 1519, in the Roncalli collection, and a Madonna and Child with patron, dated 1520, in the Casa Baglioni, both at Bergamo. The Lochis-Carrara gallery at Bergamo contains seven fine paintings by Busi Cariani ; besides which there are examples at Brescia and Berlin, and the following: Dresden. Gallery. Rachel and Jacob. Uilan. Brera. Virgin and Child, with Angels and seven Saints. BUSINCK, LuDWiG, a German wood-engraver, was born at Minden about the year 1590, and was working in Paris in 1640. He was the first artist in France who executed woodcuts in chiaroscuro, and his productions were distinguished by a spirited and masterly style. Many of his plates are after L'Alleraand, others from his own designs, as under : PROM HIS OWN DESIGNS. Fidelity, an allegorical piece. 1630. A half-length figure playing on the Flute. 1630. A Cavalier ; full-length. 1630. Two of Peasants. IN CHIAROSCURO; AFTER G. L'ALLEMAND. St. Peter holding the Keys ; half-length. St. John and St. Matthew. Judith, with the Head of Holofemes. Moses, with the Tables of the Law. A Family of Beggars. A young Man playing on the Flute. .£neas saving Anchises from the Burning of Troy. A Holy Family, on three blocks of wood ; one for the outline, the other for the deep shadows, and another for the demi-tints. BUSO, Adrelio, was a native of Crema, and flourished about the year 1520. He studied under Polidoro da Caravaggio and II Maturino, and assisted them in several of their works at Rome. He ornamented the palace of the noble family of Benzoni, at Venice, with some friezes and other works in the style of Polidoro, and also produced many historic pictures in his native city, in the manner of his master. BUSS, Robert William, was born in the parish of St. Luke, London, in 1804. His father, who was an engraver and enameller, took him as an apprentice, and he remained in the business six years. From the strong love which he evinced for drawing, he was next placed in the studio of George CUnt, A.R.A., who taught him portrait and subject painting, especially for the production of theatrical scenes. A large collection of works of this class which he executed for Cumberland, mostly as illustrations for his ' British Drama,' were in after years exhibited at the Coliseum in Regent's Park. Buss also painted a great number of pictures of a more original character, which met with much success. Amongst these were many humorous subjects, but he also produced several that evinced a study of antiquities and old customs, especially a large painting of ' Christmas in the time of Queen EHzabeth,' which was ex- hibited at the Society of British Artists, and the merit of which procured for the artist his engage- ment with Charles Knight for the illustration of his ' Shakespeare,' ' London,' ' Old England,' 'Chaucer,' and' ' The Penny Magazine,' for all of which he prepared numerous original designs on wood. These were followed by a number of etchings upon steel, also original, in illustration of the works of Marryat, Mrs. Trollope, Harrison Ainsworth, and others. His largest works, painted for the Earl of Hardwicke, are now in the Music Saloon at Wimpole, in Cambridgeshire. They are twenty feet wide by nine high, and are entitled respectively ' The Origin of Music ' and ' The Triumph of Music' For Mr. James Haywood, M.P., he executed an interesting series of draw- ings, illustrative of ' College Life at the Universi- ties.' Buss also prepared a series of four lectures on ' Satire, Art, and Caricature,' illustrated by 300 examples, and these lectures he delivered with success at most of the literary institutions of the kingdom. He died in London in 1875. A com- plete list of his works was published in ' Notes and Queries' for 1875, Series V., vol. iii. Among his pictures the following may be mentioned, which have been engraved, and several of which have achieved considerable popularity : The Bitter Morning. The Stingy Traveller. The Wooden Walls of Old England. Soliciting a Vote. The Musical Bore. The Frosty Reception. Master's Out. Time and Tide wait for no Man. The Old Commodore. Watt's first experiment with Steam. The First of September. The Introduction of To- bacco. The Biter Bit. The Romance. Satisfaction ! BUSSCAT. See Buscati. BUSSB, Georq, a landscape painter and en- graver, was born in 1810 at Bennenmiihlen, near Hanover. He studied drawing under Giesewell, 221 A BIOGRAPHICAL DICTIONARY OF and then proceeded, with royal assistance, to Dres- den, where he learnt engraving under Stolzel, and obtained the first prize for that art in 1834. For the next ten years he was studying from nature in Italy under Poussin, Claude, and Koch, visiting Greece, however, in 1843. On his return he was appointed engraver to the Hanoverian court and library, but pursued painting also from 1847. In 1858 he went on a tour of study through Paris to Algiers and Tunis, in the course of which he painted a large number of flowers. He died in Hanover in 1868. In addition to sixty plates of etchings, the following views are by him : Euins of the Imperial Palace. 1850. Monte Aventino. 1852. Lago d'Agaano. 1857. The Ear of Dionysius. 1862. Lake Trasimene. 1863. BDSSE, JoHANN, a German engraver, flourished about the year 1528. He may be ranked in the class of the Little Masters, and was probably a disciple of Heinrich Aldegrever, as he copied some of the prints of that master. He engraved a set of small plates of ' The Seven Planets,' which are marked with the initials of his name, J. B., with the date 1528. Strutt also attributed to him a small plate, lengthways, representing a man and a woman dancing, with two men playing on musical instruments, on which the name is signed at length. Johann Busse BUSSEMACHER, Johann, was an engraver at Cologne, as well as a printer and a dealer in works of art, from about 1580 to 1613. Besides several pictures of saints and numerous other copper-plate works, he produced the striking plate of ' Frau Richmuth rising up from a Trance,' taken from a wall painting in the Church of the Apostles, pulled down in 1785. His plates are signed, Jans. Busse, J. Bussm., Jo Buss, Johan Busseinec, I. Busem.. &c. BUSSLER, Ekkst Friedrich, was bom at Berlin in 1773. He studied several years at the Academy, and at length painted some miniatures and worked with the etching needle and the burin. Later on he published a work ' On the Ornaments of Antiquity,' comprising 126 engravings. Another work on • "The Costumes of the Middle Ages ' was interrupted by the events of 1806 ; most of his paintings are historical. BDSTAMANTE, Francisco, who was bom at Oviedo about 1680, studied painting with Miguel Jacinto Menendez at Madrid. On the ceiling of the sacristy of Oviedo Cathedral he painted a fresco representing ' The Asumption of the Blessed Virgin,' from a sketch sent from Rome ; also a series for the cloister of the Franciscans. He excelled in portraiture ; his likenesses, executed with fidelity and skill, are to be met with in the best houses of the Asturias. He died in Oviedo in 1737. BDSTINO. See Ceespi. BUTAVAND, LnciEN, a French engraver, was bom at Vienne in 1808. He studied under Orsel, Richomme, and Ingres, and died in Paris in 1853. His best works are : I>a Vierge au coussin vert ; after A. Solaria. The Dismissal of Hagar ; after Dumas. Jesus Christ before Caiaphas ; after Overbeck. The Ascen.sion ; after the same. The two last form part of a set of twelve plates after Overbeck, engraved by Butavand, Keller, and Steifensand. 222 BUTER'WECK. See Bouterweck. BUTI, LoDovico, a Florentine painter, flourished about the year 1600. He was a scholar of Santo di Titi, under whom he showed early marks of ability. On leaving that master, he applied him- self to imitate works of Andrea del Sarto, whose manner he adopted with success. Baldinucci men- tions several of the productions of this master in the churches and palaces at Florence ; and particu- larly commends his picture of ' The Ascension ' in the Ognissanti. But perhaps his most creditable performance is his picture of ' The Miracle of the Loaves,' in the Gallery at Florence. BDTIN, Ultsse, painter, was bora at Saint Quentin in 1838. He early showed a talent for art, but his parents were poor, and could not afford to educate him fully. He accordingly began his career as a designer of patterns for muslins in a factory of his native town. While thus en- gaged he won a prize of three hundred francs, and with the money travelled to Paris, where he com- bined work at his trade with study under Picot at the Ecole des Beaux Arts. In 1871 he made his delnit at the Salon with a picture called 'Le BoufPon.' He subsequently exhibited many pic- tures, chiefly scenes of fisher life. Among the best of these were ' Waiting for the Boats, Villerville ' (1875), and ' A Sailor's Funeral, Villerville ' (1878). ■The latter is in the Luxembourg. For twelve years he held h post of professor of drawing to the ficoles de la Villa de Paris. He died in Paris, December 9, 18B3. BDTTERl, Giovanni Maria, was, according to Baldinucci, a native of Florence, and a scholar of Agnolo Bronzino. Although he painted history with some success, his drawing is much less correct than that of his master, and his colouring rather harsh and crade. There are several of his works in the churches and convents at Florence, where he died in 1606. BDTTINONE (or Butinone). See Jacobi, Bernardino. BUTTS, John, who was bom and educated at Cork, spent most of his life at Dublin. He painted landscapes somewhat in the style of Claude Lor- rain : he also practised as a scene-painter. He died in 1764. BDTTDRA, Eugene Ferdinand, a French his- torical landscape painter, son of the poet, was bora in Paris in 1812. He commenced his studies in the atelier of Berlin, from which he went to that of Delaroche. He carried o£E the great prize of Rome for landscape, in 1837, with his picture of ' Apollo inventing the seven-stringed Lyre. ' On his return from Rome in 1842, he exhibited 'The Ravine,' and in 1848, ' Daphne and Chloe at the Fountain of the Nymphs,' for each of which he was rewarded with a gold medal. Amongst his other more important works are 'Nausicaa and Ulysses,' ' Saint Jerome in the Desert,' and ' A View of Tivoli.' He also produced some small pictures, in the style of the realistic school, such as 'Campo Vicino ' (1845), which was lithographed by Anastasi; 'The Temple of Antoninus and Faustina' (1846), a 'View of the Cascades of Tivoli,' and a ' Park Interior,' which by their neatness and sharpness of efEect and minuteness of detail rival the pro-luctions of photography. He died in Paris in 1852. BUYS, Jacobus, a Dutch painter and engraver, was born at Amsterdam in 1724. He studied un- der C. Pronk, Jacob de Wit, and C. Troost, and PAINTERS AND ENGRAVERS. ultimately became director of the Drawing Acad- emy of his native city, where he died in 1801. He painted portraits, bas-reliefs, and tapestry, designed book-illuetrations, and made copies of the works of the best masters of the seventeenth century. BUYSEN. See Buisen. BUYTENWEG. See De Boytenweo. BYE. See Db Bye. BYER, Nicholas, born at Drontheim in Norway, painted historical subjects and portraits. He was employed by Sir William Temple for three or four years, at his house at Sheen, near Richmond. He died at Sheen in 1681. BYFIELD, John, a wood engraver of repute, obtained much credit for his copies of Holbein's ' Icones Veteris Testamenti,' published by Picker- ing in 1830, and the ' Dance of Death,' published in 1833. His sister Mary, who survived him, was likewise an excellent engraver, and executed most of the book ornaments designed by Charlotte Whittingham for the Chiswick press. BYLAERT. See Bijlaert. BYNG, Edward. See Bing. BYRNE, Anne Frances, who was born in 1775, was a daughter of William Byrne, and was elected in 1806amember of the Water-Colour Society: she became celebrated as a painter of flowers and fruit. She died in 1837. Her sister Letitia Byrne like- wise turned her attention to art, and practised etching and engraving for book illustrations with much success. She died in 1849. BYRNE, John, the only son of William Byrne, was born in 1786, and for some time followed his father's profession ; but subsequently directed his attention toward landscape painting in water- colours. He sent pictures to the exhibitions of the Water-Colour Society and the Royal Academy ; and spent some years (about 1832-37) in Italy. He died in 1847. In the South Kensington Museum are: The Ferry at Twickenham {exhibited in 1830). ItaUau Landscape, with Monastery. BYRNE, William, an engraver, was born in London in 1743. After studying some time under his uncle, an artist little known, he went to Paris, where he became a pupil of Aliamet, and after- wards of Wille. He died in London in 1805, and was buried in Old St. Pancras churchyard. Byrne may be justly ranked among our eminent en- gravers of landscape. His works are considerable ; the following are the most deserving of notice : Villa Madama: after S. Wilson (Society of Arts medal, 1765). V y ./ Antiquities of Britain ; from drawings by Thos. Hearne. Views of the Lakes of Cumberland and Westmoreland ; after Farrington. Scenery of Italy; after the fine designs of Francis Smith. Apollo watching the Flocks of King Admetns ; after Filippo Lauri ; the companion to WooUett's print of Diana and Act^Bon. The FUght into Egypt ; a landscape ; after Domenichino. Evening ; a landscape ; after Claude Lorrain. Abraham and Lot quitting Egypt ; after Zuccarelli; the figures by Bartolozzi. A Sea-piece ; after Vernet. Evening; after Both; the landscape by Byrne, the figures by Bartolozzi. Two Views of Leuben, in Saxony ; after Dietrich. The Death of Captain Cook ; the figures by Bartolozzi. The Falls of Niagara ; after S. Wilson. BYSS, JoHANN Rudolph, a Swiss painter, was born at Soleure in 1660. He painted easel pic- tures of historical subjects in landscapes, and was especially successful in representing animals and birds. He is also stated by his countryman and biograpner Fiissli to have painted flower pieces, in which he equalled Jan van Huysum. In the castle at Pomraersfelden are several frescoes by him, and in the Picture Gallery of that town an alle- gorical ' Panegyric upon the Erection of the Castle,' and two pictures of ' Paradise,' with many beasts and birds. Other frescoes and paintings by him are in the castle at Wiirzburg, where he died, while holding the post of court painter, in 1738. An ' Interior of a Dining Room ' by him is in the Pinakothek at Munich. c CABANEL, Alexandre, painter, was born at Montpellier in 1823. He came to Paris at an early age, entered Picot's atelier, and crowned a successful course at the ficole des Beaux Arts by gaining the prix de Rome in 1845. While in Rome he painted a 'Death of Moses,' which attracted considerable attention at the Salon of 1852, and for which he was awarded a medal of the second class. Another meritorious early work was his ' Glorification of Saint Louis,' exhibited at the Salon of 1855, and now in the Luxembourg. But the picture by which he is best known is his ' Birth of Venus ' of 1863, also in the Luxembourg, which was engraved by Jules Franjois, and in which the painter may be said to have reached the highest expression of his graceful, delicate, and insipid art. Under the Second Empire, Cabanel became the fashionable portraitist of his day, and painted most of the elegantes of the third Napoleon's Court. " His satiny complexions and mincing hands," says a French critic, " were a continual source of delight to ladies and irritation to artists." His portrait of the Emperor, painted for the Empress, gained the mddadle cThonneur of 1865. Under the Republic Cabanel was no less popular, and up to the very time of his death was overwhelmed with com- missions. As a teacher he was very successful. His studio at the ficole des Beaux Arts was one of the most frequented, and he turned out artists of such widely diverse gifts as Benjamin Constant, Bastien-Lepage, Albert Besnard, Aim6 Morot, Fernand Corraon, and Henri Gervex, besides many others. Though himself faithful to the traditions of Cogniet, Ingres, and Abel de Pujol, Cabanel showed great liberality in his relations with his pupils, never seeking to impose his own style upon them, but endeavouring to develop the individual bent of each. In 1863 Cabanel succeeded Horace Vernet as a member of the Institute. He was also a member of a long list of foreign academies, and won a large share of ofBcial honours. He died in Paris, January 22, 1889, and was buried at his native Montpellier. CABAT, Nicholas Louis, French landscape artist and member of the Institute. He was born in Paris on the 24th of December in the year 1812, and studied painting under Caniille Flers. In early life he went through some of the most picturesque parts of France, exploring, by preference, the banks of the Indre, those of the Meurthe and Calvados. He first exhibited in the Salon of 1833, landscapes which were accused of realism, but persevered until 1837 in the style he had adopted, and formed a school. Until 1848 he only fiijured twice in the yearly exhibitions (those of 1840 and 1841), and made two trips to Italy, but since that date he exhibited almost without a break. ' Souvenirs du 223 A BIOGRAPHICAL DICTIONARY OF Lac de Nemi.' exhibited with ' Une Source dans Jes Bois' in 1864, was acquired by the Emperor Napoleon III., aud re-eshibited at the Universal Exhibition of 1867, where it was awarded a third- class medal. He had gained a second-class medal at the Salon of 1831. He also etched a few plates from which a limited number of proofs were struck off. Elected a member of the Academy of Beaux Arts, he replaced M. Brascassat in November 1867. Exactly eleven years later he was named Director of the French School of Rome, wliich post he occupied until 1884. Chevalier of the Legion of Honour since 1843, he was promoted officer on the 14th of November, 1855. His pictures of ' Le Jeune Tobie presents par I'Ange k Raguel,' ' Le Lac de Nemi,' and ' Genzano, prfes de Rome,' were acquired by the Due d'Orleans. Most of his best-known pictures have been reproduced in ' L' Art'ste ' and other periodicals. He died on the 13th of March, 1893. CABEL, Adbiaen van der. See Van der Cabel. CABEZA DE VACA, Francisco Vera, was bom about 1637 of a distinguished family at Calatajnid, and began life as page to Don Juan of Austria at Saragossa. With the example of this master, and some instruction from Josef Martinez, he became a skilful amateur painter, especially of portraits. Cabeza de Vaca did not accompany his master, Don Juan, to the seat of government, but settled at his native Calatayud, where he spent a life of piety and almsgiving, preparing himself for work by confession and the Eucharist, and thus gaining high repute for holiness. He is the last Spanish painter of whom it is said that the Blessed Virgin herself stood by his easel and unveiled her celes- tial charms, that he might portray them in the picture of ' 'The Holy Family,' which was jealously preserved and fervently adored in the convent of the Holy Sepulchre. The favoured artist died at Calatayud in 1700. CABEZALERO, JnAN Martin, a Spanish painter, was born at Almaden, near Cordova, in 1633. He was a disciple of Juan Carreno de Miranda, and gained considerable reputation by his historical paintings. His principal works are at Madrid, two of the most esteemed, representing ' The Assump- tion of the Virgin ' and ' St. lldef onso,' being in the church of San Nicolas. He also painted for the church of the Franciscans an ' Ecce Homo ' and ' The Crucifixion.' His ' Judgment of a Soul ' is in the Museo Nacional at Madrid. He died at Madrid in 1673. CABRERA, Geronimo, a Spanish painter of con- siderable merit, was a pupil of Gasparo Becerra. He painted a large number of religious subjects for churches and convents, but excelled especially in fresco, in which he executed some decorations for the royal snooting-box of El Pardo, near Madrid, about 1570, but these perished by fire in 1604. His name is now almost unknown, doubtless by reason of his works passing as those of his master. There is no record of his birth or death. CACAULT, Pierre Rene, a French historical painter, was born at Nantes in 1744. He was a pupil of Vien, but he never rose above mediocrity. He died at Clisson in 1810. The Museum of Nantes has by him 'A Man seated on a Tiger's Skin.' He was the brother of Francois Cacault, ambas- sador of France at Rome, whose fine collection of works of art was acquired by the city of Nantes in 1810. ^ ^ ^ CACCIA, Gdglielmo, called Moncalvo, was a 224 Piedmontese, born at Montabone, in Monferrato, in 1568. He was named Moncalvo from his long residence at that place. Although he is believed to have been a pupil of Soleri, it has not been definitely ascertained under whom he studied. He first settled at Milan, where he painted some pictures for the churches, but afterwards resided for some time at Pavia, where he was made a citizen. He also visited Novara, Vercelli, Alessan- dria, and Turin, and Genoa is not without some of his paintings. His style has something of the energy of the Carracci ; but it has been observed by Lanzi, that if he had been educated in the school of the Carracci, it is probable that he would have left some of his works at Bologna, and that in his landscapes he would have shown more of the taste of Annibale than of Paulua Bril. His manner partakes altogether more of the Roman than of the Bulognese school. There is a ' Madonna ' by him in the Gallery at Turin, which, were the colour a trifle brighter, might well pass for a work of Andrea del Sarto. As a fresco painter his ability was considerable. In the church of Sant' Antonio Abbate, at Milan, he painted in fresco the titular Saint, ^vith St. Paul, the first hermit, a work which is able to sustain its posi- tion in proximity to some of the best productions of the Carloni. Another distinguished perform- ance in fresco by Caccia is the cupola of San Paolo at Novara. Of his oil paintings, the most efiEective are ' St. Peter,' in the Chiesa della Croce, ' St. Theresa,' in the church of the Trinity, both in Turin, and the 'Taking down from the Cross,' in the church of San Gaudenzio at Novara, which is considered by many to be his ckef-cToeuvre. At Moncalvo, the church of the Conventual! may be considered as a gallery of his works. At Chieri also are two fine pictures by this master, the ' Raising of Lazarus ' and the ' Miracle of the Loaves,' admirably composed, and of the finest expression. He died about 1625. CACCIA, Orsola Maddalena, was a daughter of Guglielmo Caccia, who, in common with her sister Feancesca, assisted in producing the paint- ings in the monastery at Moncalvo. Other paint- ings by the sisters are to be found in the vicinity. They partake of the character of the works of their father, but lack their animation. Orsola died in 1678, and Francesca at the age of 57. CACCIANEMICI, Francesco, was a Bolognese painter, educated in the school of Primaticcio, who was considered by that master so promising a scholar that he made choice of him as one of the young artists who should accompany him to France, when he was invited to the Court of Francis I. He assisted Primaticcio in his great work at Fontainebleau, and was employed, in con- junction witn II Rosso, in several other important works. He died in 1542. For another Feancksco Caccianemici see Capelli. Francesco. CACCIANEMICI, Vincenzo, was a Bolognese gentleman, who was instructed in the art of paint- ing by Parmigiano. Vasari mentions a picture by this amateur artist in the chapel of the family of Elefantuzzi, in San Petronio at Bologna, represent- ing ' The Decollation of St. John ; ' and another picture of the same subject, differently treated, in the Cappella Macchiavelli in San Stefano. He flourished about the year 1530. There are a few etchings, marked V. C- F. (and in one case with V- 0. reversed), which are attributed to this painter, and which are executed with much spirit in a style PAINTERS AND ENGRAVERS. resembling that of jEneas Vico. Amongst them are: Diana returning from the Chase. A Landscape, witn a Nymph and Dogs. The Adoration of the Shepherd.s ; j^obably after a design by Parmigiano. The Death of Abel. St. Jerome in a Grotto. CACCIANIGA, Francesco, was a painter and engraver, born at Milan in 1700, who studied at Bologna in the school of Marc Antonio Frances- chini. He afterwards visited Rome, where he established himself, xmder the patronage of Prince Borghese, for whom he executed some consider- able works in the Palazzo and the Villa Bor- ghese. His principal works are at Ancona, where he painted several altar-pieces and pictures for its churches and public buildings, of which the most esteemed are 'The Marriage of the Virgin' and ■The Last Supper.' Some few engravings by him are known, one being ' The Death of Lucretia,' from a painting by himself. His death occurred in 1781. CACCIOLI, Giovanni Battista, was bom in the castle of Budrio, near Bologna, in 1636. He was the pupil of Domenico Maria Canuti, and became a good imitator of Cignani. He painted several pictures for the churches of Bologna, and was greatly patronized by the Dukes of Parma and Modena. According to Padre Orlandi he died in 1675. CACCIOLI, Giuseppe Antonio, a painter and engraver, was the son of Giovanni Battista Caccioli. He was born at Bologna in 1672, and was a pupil of the brothers Rolli. His works, which are mainly architectural and painted in fresco and in oil, are to be found chiefly in Florence and Bologna, and are superior to what might have been expected from the character of his instruction. He appears to have visited Baden during his career. 'Three etchings by him are known, remarkable for a light and easy touch. He died in 1740. CADEAD, Ren6, a French portrait painter, was born at Angers in 1782. He studied under Baron Guerin, and died in Paris in 1858. CADES, Giuseppe, a sculptor as well as painter and engraver, was born at Rome in 1750. He studied under Mancini and Corvi, gaining a prize in 1765 with his picture of 'Tobias recovering his Sight.' He visited Florence in 1766, where he occu- pied himself in copying ; and two years later exe- cuted an altar-piece for San Benedetto in Turin, and in 1771 another f or the Santi Apostoli. He also decorated the Palazzo Chigi with frescoes, land- scapes, and scenes from Tasso. He possessed a wonderful facility in counterfeiting the works of Raphael, Michelangelo, Domenichino, and Leonardo da Vinci. He has left two etchings, viz., ' Christ blessing Little Children,' and 'The Death of Leonardo da Vinci.' He died at Rome in 1799. CADORE, Tiziano da. See Vecelli. CADORIN, Mattia, otherwise known as Bol- ZETTA, was an engraver and publisher who flourished at Padua about 1648. He engraved after Titian and others. His plates are generally marked merely with the name Cadorin. GADORINO, who was a painter of the 17th cen- tury, was a friend of Nicolas Poussin. The paint- ings of amoretti, executed in so life-like a style, and characterised by so much grace, that are now in the Fol Collection at Geneva are probably his work. CAFFI, Cavaliere Ippolito, was a painter of architectural subjects and sea-pieces, born at Bel- luno in 1814. His first work was produced at the Venice Academy. He subsequently removed to Rome, where he worked laboriously as a teacher of drawing, and made some little reputation by his treatise on Perspective, as well as by his investiga- tions on the subject of Roman Monuments. In 1843 he visited Greece and the East. The first work of his that created a sensation was ' The Car- nival at Venice.' This was exhibited at Paris in 1846, and in consequence of its brilliant effects of light created such a furore that he had to repro- duce it some forty times. Other works deserving of notice are his ' Panorama of Rome from Monte Mario,' ' Isthmus of Suez,' and ' Close of the Carnival at Rome.' Taking part in the revo- lutionary movement at Venice in 1848, he had to retire into Piedmont. His intention of producing a painting commemorative of the first Italian naval engagement was frustrated by the destruction of the ' Re d'ltalia,' the vessel on board of which he was, when lie perished at Lissa along with his comrades in 1866. CAFFI, Maegherita, an Italian painter of flowers and fruit, flourished during the 18th cen- tury. She is said to have been a native of Florence, Cremona, or Vicenza, but no details of her life are known. CAGLIARL See Caliari. CAGNACCI, II. See Canlassi. CAGNONI, D., was an Italian engraver of little celebrity, who appears to have been principally employed by booksellers. His name is affixed to a portrait of Victor Amadeus, third King of Sardinia. CAHISSA, Nicc«l6, was a painter born in 1730, who produced some excellent specimens of flower subjects, vegetable pieces, birds, &c. He worked both at Rome and at Naples. CAILLEAU, Hubert, a French historical and miniature painter, who flourished at Valenciennes in 1530. There are in the National Library at Paris some clever designs made by him for a mystery of the Passion which was acted at Valenciennes in 1547. CAILLOUX, Alexandre Achille Alphonse (called De Cailleux), a French artist, was born at Rouen in 1788. After having exhibited some pic- tures at the Salon of 1822, he undertook, in con- junction with Baron Taylor and Charles Nodier, the production of the ' Voyages pittoresques et roman- tiques de I'ancienne France,' and to him are due both the text and the drawings of the section of ' Haute Normandie.' He held successively the offices of secretary-general of Museums, assistant director, and. from 1841 to 1845, director-general of fine arts. He died in 1876. CAIMI, Antonio, was born at Sondrio in 1814, and was chiefly engaged as a portrait painter, but also executed pictures of 'The Beheading of St. John the Baptist,' ' The Return from Babylon,' &c. He wrote a work on ' The Arts of Design, and the Lombardian Artists from 1777 to 1862' (Milan, 1862). He was secretary of the Academy at Milan from 1800 until his death in 1878. CAIRO, Ferdinando, was born at Casalmon- ferrato in 1666, and learned the first rudiments of design from his father, an unknown artist. He was afterwards placed under the tuition of Marc Antonio Francesohini at Bologna. He painted history, and, in conjunction with Giacinto Garofa- lino, was employed to paint the ceiling of the church 225 A BIOGRAPHICAL DICTIONARY OF of Sant' Antonio at Brescia, which is favourably spoken of by Averoldi. He died at Genoa, accord- ing to Zani, in 1748. He had an elder brother, GllTSEppE, or Gdglielmo, who was bom in 1656, and died in 1682. CAIRO, Cavaliere Fbancesco, (called ' II Cava- liere del Cairo,') was born in the territory of Varese, in the Milanese, in 1598. He was a disciple of Pier Francesco Mazzuchelli, and if he did not equal his instructor in force and vigour, he surpassed him in the elegance of his design and the effective charac- ter of his colouring. After quitting Mazzuchelli he had the advantage of studying the works of the great masters at Rome and Venice, to which fact he owed the superiority above alluded to. The charm of the colouring of the Venetian school induced him to study more especially the works of Titian and Paolo Veronese, and he adopted an admirable style, which appears to have been formed on a mixture of both. He was invited to the Court of Victor Amadeus, Duke of Savoy, where he painted some historical works, and many portraits, which, according to Lanzi, were entirely Titianesque. He received at Turin the order of SS. Lazarus and Maurice in recognition of his merit. There are several of his works in the churches of Milan and Turin ; one of his best pictures is ' St. Theresa,' in San Carlo at Venice. He died at Milan in 1674. His portrait by himself is in the Uffizi, Florence ; in the Dresden Gallery is a ' Venus and Apollo,' by him, and in the Belvedere, Vienna, a portrait. CAISNE, Henri de. See De Caisne. CAISSER, Henri de, was a French engraver, who, according to Florent Le Comte, engraved several plates representing funeral processions, monuments, &c. CALABRESE, II. See Preti. CALABRESE, Marco. See Cardisco. CALABRIA, Pedro de, a Neapolitan painter, was a scholar of Luca Giordano, and an imitator of that master, whom he accompanied to Spain and assisted in his works at Madrid. He painted battle- pieces with spirit, and was in the full exercise of his talent from 1712 to 1725. 'UTien or where he was born or died is not recorded. CALAMATTA, LuiGl, an Italian engraver, was born at Civita Vecchia in 1802. He studied draw- ing at Rome vmder Giangiacomo, took his early lessons in engraving from Marchetri, and executed his first plate under the eye of Ricciani. He went to Paris in 1822, and became a follower of Ingres, whose style he copied in his engraving of ' The Vow of Louis XIII.' He made his first appearance at the Salon of 1827, with an engraving of ' Bajazet and the Shepherd,' after Dedreux-Dorcy. He next produced the ' Mask of Napoleon,' from the cast taken by Dr. Antommarchi at St. Helena in 18.14, grouping around it a symbolic gathering, embracing portraits, chiefly from Ingres' drawings, of Mrae. Dudevant, Paganini, Martin, and Duclos. He visited Florence in 1836, and the following year saw him installed as professor at Brussels, a post which he eventually exchanged for a similar one at Milan, where he died in 1869. His wife was also an artist, and produced an excellent portrait of her father, the archseologist Raoul Rochette, as well as 'The Virgin' (1842), ' Eudora and Cymadaceus' (1844), 'St. Cecilia' (1846), 'Eve' (1848), 'St. Vero- nica' (1851), and several other works remarkable for distinctness and firmness of design combined with delicacy and softness of treatment. The following is a list of Calamatta's principal works : 226 Mona lisa ; after Leonardo da VtTtei. 1837. Madonna di Foligno ; after Raphael The Vision of Ezekiel ; after the same. 1855. Madonna della Sedia ; after the same. Peace ; after the same. 1855. 0\a Lord walking on the Sea ; after Cigoli Franceses da Bimini ; after Scheffer, The Duke of Orleans ; after Ingres Count Mole ; after the same. 1855 Mdlle. Boimard ; after the same. The Vow of Louis "XIII.; after the same. Guizot ; after Delaroche. Portrait oif an Actor ; after Deveria. Portrait of Miss Leverd ; after the same. Portrait of Lamennais ; after Ary Scheffer. Beatrice Cenci, partly etched ; after Guido Rem. 1857. Recollections of Home, partly etched ; after Stecem Portrait of the King of Spain ; after 31. Madrazo. Portraits of Rubens, Georges Sand, and Ingres. CALAME, Alexandre, was a landscape painter, bom at Vevay, Switzerland, in 1810. His father was a poor stone-cutter, and after his death, Calame went to Geneva, and was apprenticed to a tradesman of that city ; but in 1830 he entered the studio of Diday, where he made rapid pro- gress, and eventually succeeded him in the head- mastership of the school. He exhibited a ' Forest Scene near Avranches ' in the Exhibition at Ham- burg in 1837, which made a great sensation ; and his ' Waterfall at Handeck ' was considered by some to be the masterpiece of the Paris Salon of 1839. He visited Germany and Holland in 1839, England in 1840, and Italy in 1845. His best works painted between the years 1838 and 1844 are views of ' Mont Blanc,' ' The Jungfrau,' ' The Lake of Brienz,' ' The Bernese Oberland,' and 'Monte Rosa.' Amongst his most characteristic productions are 'The Four Seasons' and 'The Four Hours of the Day,' which are landscapes full of vigorous treatment and splendid colour. In 1855 he exhibited at the Universal Exhibition his ' Lake of the Four Cantons.' Calame was also a lithographer and engraver, and his numerous plates show much skill and correct taste. The best known are the eighteen ' Views of Lauter- brunnen and Meyringen,' and ' Twenty- Four Alpine Landscapes.' In 1863 he went to Mentone for his health, and died there in the spring of 1864. There are paintings by him at the Palace of Rosenstein, belonging to the King of Wiirtemberg, Basle. Berlin. Museum. Gallery. Berne. Gallery. Frai.kfort StMel. Geneva. Leipsic. London. Museum. Museum. S. Kensiny' ton. NeuchateL Museum. The 'Wetterhom and Schreckhom. The Lake of Lucerne. 1853. A Mountain Ravine. 1855. Cascade at Meyringen. View near Handeck. Swiss View. Swiss View. Forest at Handeck. Storm in the Forest. )The Lake of the Four Cantons I (Lucerne). Chain of Mont Blanc (water-colour). Monte Rosa CALANDRA, Giovanni Battista, was one of the earliest of the mosaicists who wrought in the Vatican, and was bom at Vercelli in 1568. In the pontificate of Urban VIII., it was found that the dampness of St. Peter's had materially affected the paintings, and it wag determined to remove the principal pictures, and to replace them with copies in mosaic, of which the first was executed by Calandra, after the ' St. Michael ' of Cesari d'Arpino. With this were ' The Four Doctors of the Church,' PAINTERS AND ENGRAVERS. ' St. Peter,' ' St. Paul,' and others in the cupolas, after the cartoons of D'Arpino, Romanelli, Lan- franco, Sacchi, and Pellegrini. The mosaic art was afterwards carried to a much higher degree of per- fection by the Cristofori. He also executed a ' Madonna ' after Raphael for the Queen of Sweden. He died in 1644 or 1648. CALANDRUCCI, Giacinto, was born at Pa- lermo in 1646. He went early in life to Rome, where he became the favourite pupil of Carlo Maratti. After giving the most promising essay of his abilities in that city, in his two pictures of ' St. John the Baptist,' in Sant' Antonio de' Portoghesi, and ' St. Ann,' in San Paolino della Regola, he re- turned to Palermo, where he painted his most con- siderable work for the church of San Salvatore, representing ' The Virgin, with St. Basil and other Saints,' which, according to Lanzi, was not sur- passed by many pictures of the time. He died at Palermo in 1707. His brother Domenico and his nephew Giambattista were likewise painters, but neither achieved any great reputation. CALAD, Benjamin, was a painter born at Friedrichstadt in 1724, whose work consisted chiefly of heads or portraits. He painted usually in dark tones, using as his mediiun Carthaginian wax {dre eleodorique), which the ancients made use of instead of oil for painting. This inven- tion of Calau's was in fact an attempt at repro- ducing the process described by Pliny. Further information on this subject may be found in a work entitled 'Traite sur la Peinture des Anciens,' by A. Riem, published at Berlin in 1787. Calau held for many years the post of Court painter at Leipsic. The Brunswick Gallery possesses two portraits by him, and the Berlin Art Gallery some of his work in wax. He went to Berlin in 1771, and died there in 1783. CALCIA, Giuseppe, called II Genove.sino, was a Piedraontese artist, who from his appellation has been often confounded with Marco Genovesini, a Milanese. Giuseppe painted altar-pieces for the churches of Turin and Alessandria. In the church of the Dominicans at Turin, are pictures of ' St. Doniinick ' and ' St. Thomas Aquinas ' by this artist. He is much distinguished by his cabinet historical and sacred subjects, which are gracefully designed and well coloured; one, representing 'Christ in the Garden of Gfthsemane,' now in the collection of the Marchese AmbroKio Ghiliin, is particularly noticed by Lmzi. He flourished about thtj year 1725. CALCKER, Jan Joost van, who was born at Calcker nbout 1460, studied firt^t in his native town, and tlien at Haarlem. In 1505-8 he painted scenes from the Life of Christ on the wings of the high altar in the church of the Virgin at Calcker; and in 1515 he executed a figure of St. Willebrod for St. Baron at Haarlem. Works ascribed to him are at Wesel and Rees. He died m 1519. CALCKER, Jan Stephanus van, was bom at Calcker, in Cleve, about 1499, and worked first at Dordrecht, and afterwards, 1636-37, at Venice. In the latter city he entered the school of Titian, and acquired the faculty of imitating that master to a high degree of exactness, especially in his por- traits. Subsequently he became an equally sur- prising imitator of Raphael. He drew the illus- trations for Vesalius's work on anatomy, and is said to have drawn the portraits of the artists in Vasari's Lives. He died at Naples in 1546. The following paintings are ascribed to him : Q 2 Berlin. Gallery, Paris. Louvre. Prague. Gallery. Vienna. Gallery. Portrait of a Man. 1535 Portrait of a Young Man. The Nativity i,once the property of Rxibens). Portrait of a Man. CALDARA, PoLiDOBO, called Polidoro da Cara- VAQGIO, a painter who may be considered as be- longing to the Roman school, was born at Cara- vaggio in the Milanese in 1492 (?). His parents lived in the greatest indigence and obscurity, and after passing his youth in misery and want, he was obliged to leave home in search of employment, and on his arrival at Rome was engaged by the artists employed in the Vatican by Leo X., to carry the mortar for the plaster of their fresco paintings. Whilst he was occupied in this humble station he observed with great attention with what facility Maturino and Giovanni da Udine executed the designs of Raphael ; and, inspired by his natural disposition for art, he made some attempts, which attracted the notice of Raphael, of whom he after- wards became one of the most illustrious disciples. His assiduous application in studying the ancient statues and bas-reliefs was such, that in a little time he appeared to have imbibed the true spirit of the Grecian sculptors. Finally he was selected by Raphael to paint the friezes which accompanied his works in the apartments of the Vatican ; and they were in no way unworthy of being placed with the sublime productions of that great master. It was the custom at Rome, in the time of Polidoro, to ornament the exterior of the principal houses and palaces with the works of eminent artists, executed in a style called by the Italians sgrafitto, expressed by hatchings on the plaster, in the manner of engraving. In works of that nature Polidoro and his friend Maturino were much employed ; and it is greatly to be regretted that exposure to the weather and the ravages of time have deprived the world of these valuable productions, of whose beauty we may form some judgment from the prints which have been en- graved from some of them by Cherubino Alberti, Heinrich Goltzius, and Giovanni Battista Gales- truzzi. Polidoro was at the height of his success and popularity when Rome was taken by storm, and sacked by the Spaniards, in 1527. He took refuge at Naples, where he was most kindly received by Andrea da Salerno, whose acquaintance he had made at Rome, and who was the means of pro- curing him immediate employment. He soon opened a school there, and more particularly de- voted himself to the fresco decorations of walls and ceilings. After passing some time at Naples, he went over to Sicily, where his first employment was painting the triumDhal arches which were erected at Messina on the occasion of Charles V.'s return from his expedition to Tunis. His next work was his celebrated picture of ' Christ bearing the Cross,' a grand composition of many figures, painted in oil with a beauty and harmony of colouring which proved that he was also capable of distinguishing himself in that branch of art. The story runs that, Rome being restored to tran- quillity, he was desirous of returning thither, and that, preparatory to his departure from Sicily, he drew from the bank his money, tempted by which his Sicilian servant, Tonno, murdered him at Messina in 1543. The principal works of Polidoro da Caravaggio are — his friezes and other ornaments in the Vatican ; in the garden of the Palazzo del Biifalo at Rome, the ' Fountain of Parnassus ; ' and 227 A BIOGRAPHICAL DICTIONARY OF in the court of the same palace his ' History of ICiobe,' (a sketch for which is in the Palazzo Corsini,) and some grand compositions of naval combats ; in San Silvestro a Monte Cavallo, two subjects from the life of St. Mary Magdalene, with a very beautiful landscape ; at Naples ' St. Peter ' and ' St. Paul,' in the church of Santa Maria della Grazie, and several pictures in Sant' Angelo, in Pascheria. The following of his productions may still be seen as under : Milan. Brera. Passage of the Eed Sea. Naples. Museum, Christ bearing the Cross. 153-1. Paris. Louvre. Psyche received into Olympus. Kome. Capitol. Mus. Meleager. Vienna. Gallery. Cephalus and Procris. CALDECOTT, Randolph, was the son of an accountant at Chester, and was born in that city, March 22, 1846. He was educated at the King's School, Chester, and in his boyish days seems to have shown the bent of his genius in drawings, sketches, and models of animals cut in wood. At the age of fifteen he became a clerk in the Whitchurch Bank, Shropshire, living in an old farm-house near the town, and in this country atmosphere gathered up a store of impressions at such scenes as meets, fairs, and markets, that later yielded rich fruit. He remained at Whitchurch for six years, and was then transferred to the Manchester and Salford Bank at Manchester, where he worked steadily at his duties for five years, meanwhile devoting all his spare time to evening studies in the Manchester Art School, and in summer weather to open-air sketching. In 1868 his first published drawings appeared in a local paper called 'Will o' the Wisp,' to be followed the next year by some contributions to another paper, 'The Sphinx.' At the same time he was painting a little for friends, chiefly hunting subjects, and in 1869 he exhibited a picture at the Manchester Royal Institution. His artistic gifts now appeared so unquestionable, that in 1870, acting on the advice of some friends, he went to London with a letter of introduction to Mr. Thomas Armstrong of the South Kensington Museum, who throughout his career consistently befriended him. Some drawings of Caldecott's were submitted to Shirley Brooks, and to Mark Lemon, then editor of ' Punch,' also to Mr. Henry Blackburn, who was on the staff of ' London Society,' with the result that the young man became one of the regular contributors to that journal. His water-colours and small oil-pictures alsobegan to have a widersale, and thus encouraged, he determined to give up his situation in the bank, and to devote himself to art. He came to London early in 1872, and worked for a time in the life dasB of the Slade School, under Mr. Poynter. In June of the same year his first drawing for ' Punch ' was published. It was the beginning of a long series of work for London illustrated papers such as the ' Graphic,' the ' Pictorial World,' and the American ' Daily Graphic' In the illustration of books, Caldecott made his first essay in August 1872, when he accompanied Mr. Blackburn to the Harz district, and executed a number of whimsical drawings for a book of summer travels by the latter, 'The Harz Mountains, a Tour in the Toy Country.' In 1873 he went to the Vienna Exhibition, to make drawings for the ' Daily Graphic' Later in the year he worked in M. Jules Dalou's studio at Chelsea, the sculptor having made a compact with Caldecott, who was to teach him English, while he helped the novice with the clay. In 1876 228 Caldecott exhibited an oil picture at the Royal Academy, 'There were Tree Ravens sat on a Tree,' and a metal bas-relief, ' Horse Fair in Brittany ' ; but towards the close of the year he began to show symptoms of failing health, and was obliged to winter in the South, whence he brought home innumerable sketches, and there he made the drawings illustrating Mrs. Comyns Carr's 'North Italian Folk.' In 1878 he agreed with Mr. Edmund Evans to illustrate some books for children, to be printed in colour. Of these the following is a complete list, with dates of publication : ' The House that Jack Built ' and 'John Gilpin' (1878), 'Elegy on a Mad Dog' and 'Babes in the Wood' (1879), 'Three Jovial Huntsmen ' and ' Sing a Song of Sixpence ' (1880), 'Queen of Hearts' and 'Farmer's Boy' (1881), 'The Milkmaid' and ' Hey-diddle-diddle ' (1882), ' The Fox jumps over the Parson's Gate ' and 'A Frog he would a-wooing go' (1883), 'Come, Lasses and Lads ' and ' Ride a Cock Horse to Banbury Cross' (1884), 'Mrs. Mary Blaize ' and 'The Great Panjandrum' (1885). Of books illustrated in black and white we may mention Washington Irving's ' Old Christmas ' (1875), and ' Bracebridge Hair (1876), '-ffisop's Fables with Modern In- stances' (1883); also illustrations for several of Mrs. Swing's books, notably 'Jackanapes' and ' Lob-lie-by-the-Fire.' Various tours in Brittany in company with Mr. Henry Blackburn were com- memorated by drawings and terra-cotta studies of Breton life. For many years Caldecott suffered from heart complaint, the result of rheumatic fever, and in the winterof 1885-6 he was advised to winter in Florida. He accordingly sailed with his wife for the United States. The season, unhappily, proved abnormally severe. He reached St. Augus- tine's, Florida, but only to die, February 12, 1886. His last work was part of a series of ' American Facts and Fancies ' drawn for the ' Daily Graphic' CALDERARI, Giovanni Maria. See Zaffoni. CALDERON DE LA BARCA, Vicente, a Spanish painter, who was born at Guadalaxara in 1762, was a scholnr of Francisco Goya, and distin- guished himself as a painter of history and por- traits, particularly the latter, in which he excelled. His best historical picture is the ' Birth of St Norbert,' in one of the colleges at Avila. He died in 1794. CALDERON, Philip Hermogenes, was bom in 1833. His father was Juan Calderon, Professor of Spanish Literature at King's College, and his mother was a French lady. He was educated at Leigh's School ; there his intimate friends were Stacey Marks and Walter Thornbury ; and after that he went to Paris with Marks and studied a while under M. Picot. His first exhibited picture was hung at the Royal Academy in 1853, and illustrated the words, ' By the waters of Baljylon there we sat down.' His next was not shown till 1855 and was also of a religious character, illus- trating the words, ' Thy will be done.' Dp to that time he had remained uncertain whether art was his true vocation or not, and whether he was ever likely to make a mark in the world, but his third painting, ' Broken Vows,' was not only well received hut well hung, sold and engraved, and it also won him a wife, so that his decision on that score was settled. He married in 1859, was elected A.RA. in 1864 at the same time as Leighton, and became R.A. in 1867, and Keeper of the Academy in 1887. He died in April 189^ Other notable works 2 O w Q < u < Z K PAINTERS AND ENGBAVERS. which he painted were, ♦ After the Battle,' ' Kath- erine of Aragon and her Women at Work,' ' John Hampden,' ' Her Most High, Noble, and Puissant Grace,' 'Home after Victory,' 'Whither,' 'The Olive,' and 'The Vine,' and other decorative works executed for Mr. Aird. None of his pictures, how- ever, attracted so much attention as the one now called ' Renunciation,' and which, painted in 1891, was bought by the Chantrey Trustees and is now at the Tate Gallery. At first it bore the name of J St. Elizabeth of Hungary,' and was intended to illustrate an episode in her career, and the in- accuracy of the historical knowledge displayed by the artist, who had taken his idea from a poem by Kingsley, aroused a vis^orous discussion in the 'Times.' The writer of this article approached Mr. Calderon many years afterwards when the picture was to be hung in the Tate Gallery, and he met the question of an aggrieved religious sentiment which was concerned with the title in the frankest manner, and gladly altered, with the consent of the owners of the picture, the title to the one which it now bears, and which does not reflect upon the character of the saint, and makes the picture depict merely an imaginary scene. G. C. W. CALDWALL, James, an English designer and engraver, was born in London in 1739. He was instructed by Sherwin, and became an excellent draughtsman. His work is characterized by a brilliant technique, a feature especially remarkable in his portraits. By the dates on his prints he is known to have lived till 1789. Amongst his best productions are the following : POBTRAITS. Sir Henry Oxenden, Bart. Catharine, Countess of Suffolk. Sir John Glynne, Chief Justice of the King's Bench. Sir Roger Curtis ; after W. Hamilton. Admiral Keppel. John Gillies, LL.D., historian. David Hume, historian. Mrs. Siddons and her Son, in the charactcT of Isabella, after W. Hamilton. 1783. VARIOUS SUBJECTS. The Immortality of Garrick ; after Carter, the figures engraved by Caldwall, and the landscape by S. Hviitk 1783. The Fete OhampStre given by the Earl of Derby at the Oaks; after E. Adams, engraved by Catdwall and Grignion. The Camp at Coxheath ; after W. Hamilton. 1778. His brother, John Caldwall, who died in 1819, painted miniatures in Scotland. CALENSE, Cesarb, according to Dominici, was a native of the province of Leece, in the kingdom of Naples, and flourished about 1690. It is not said by whom he was instructed, but he achieved some reputation by a graceful manner, united with correct drawing and a knowledge of chiaroscuro. Ill the church of St. John the Baptist at Naples is a fine picture by this master of the ' Descent from the Cross,' with the Marys, St. John, and other figures, full of feeling and expression, and signed with his name. CALETTI, Giuseppe, called II Ceemonese, was a painter born at Ferrara about the year 1600. He first applied himself to study the works of Dosso Dossi, but he afterwards became an imi- tator of Titian, particularly in his Bacchanalian subjects. In these specimens of Caletti's art the figures are generally smaller than life. He ap- proached so near to the glowing tones of that masi-er, that Baruffaldi reports that he had seen many of his pictures in the galleries of the nobility at Bologna which were believed to be the works of Titian, and he is said to have been able to counter- feit a certain patina which time gives to painting, and which improves its harmony. His deceptions were, however, frequently discovered by his inat- tention to costume, and the introduction of the most absurd improbabilities. In the midst of his Bacchanalian subjects it was not unusual for him to introduce a modern gambol, or a hunting inci- dent ; and, as it is sarcastically observed by Lanzi, " he placed wild boars in the sea, and dolphins in the forests." He has, however, proved himself to have been capable of nobler ideas by his picture of the ' Four Doctors of the Church,' and his still more admired production of the ' Miracle of St. Mark,' both in the church of San Benedetto at Ferrara. This last-mentioned work is described as designed with correctness and grandeur, and full of fine ex- pression. His death occurred about 1660. He is known also as the engraver of some twenty-four plates now scarce. They are characterized by a peculiar manner of treatment, consisting of the employment of bold parallel strokes without any cross-hatching. Some of them are marked with the letters J. G. F. Amongst the more important of them may be mentioned : David, whole-length, with the head of Goliath. David, half-length, with the same, Samson and Delilah ; very fine. The Beheading of St. John. St. Roch kneeling. Portraits of the Dukes of Ferrara. CALIARI, Benedetto, was the brother of Paolo Veronese, and assistant to him in painting. After Paolo's death, he, in conjunction with his two nephews, Gabriele and Carletto, carried on a sort of firm for the sale of pictures from Veronese's designs, or in his style. Many works attributed to him were doubtless executed by them. They signed collectively as 'Paolo's heirs.' Benedetto died in 1598. CALIARI, Carletto, the youngest son of Paolo Veronese, was born in 1570, and died in 1596. He was educated by his fatlier as a painter, and showed great ability ; but dying at the early age of 26, his powers had not full time for development. His name is attached to several large pictures of banquets in Veronese's style. CALIARI, Gabriele, the eldest son of Paolo Veronese, was bom in 1568, and died of the plague in 1631. He painted a few pictures, but had not the same talent as his younger brother, and devoted himself chiefly to commerce. CALIARI, Paolo, (or Cagliari,) commonly called Paolo Veronese, was born (as his cognomen indicates) at Verona in 1528. He was the son of|a sculptor named Gabriele Caliari, and was at first educated by his father in his own branch of art. Paolo's taste, however, led him more towards painting, and his father, seeing this, sent him to study in the workshop of Antonio Badile, a Veronese painter of some reputation, by whom several authentic works still remain. The school of Verona had, even in the 15th cen- tury, risen into notice, and at the beginning of the 16th it included many masters of note. In Caliari the school may be said tj have culminated and ended. Among Paolo's earliest works may be men- tioned a ' Madonna and Child with Saints and donor,' now in the Gallery at Verona; a 'St. Anthony' 229 A BIOGRAPHICAL DICTIONARY OF in the Cathedral at Mantua, since disappeared ; and some wall-paintings in the Casa Contarini. After executing these and several other works in his native tovm, he went to Castelfranco, where he re- ceived a commission to decorate the Villa Soranzo with large frescoes. He took with him as assistant to Castelfranco Giovan Battista Zelotti, who was at that time a youth of nineteen, and who worked for some time with Paolo, decorating not only Soranzo, but another splendid Villa — Fanzolo — and executing several works in the church of San Liberale. Many of these works still remain, and testify to the early, or, as it may be called, the Veronese, manner of Paolo, formed chiefly on that of his master Badile and that of Paolo Morando. Many of Paolo's peculiar characteristics had, however, manifested themselves, and he was al- ready a painter of note and achievement before he was called to Venice in 1555. His first works in Venice were for the church of San Sebastiano. Here after painting the ceiling of the Sacristy, he was commissioned to undertake the ceiling of the church itself, which he decorated with gorgeous scenes from the history of Esther. These were so much admired that the prior further employed him to paint a beautiful altarpiece of the Madonna in Glory and several smaller works. The stimulus given to Paolo's art by thus being brought in rivalry with the great masters of Venice was just what was needed for the development of his style. His colour became warmer and more harmonious, and his forms more full of life and motion. In some historical paintings executed in the castle of Tiene near Vicenza, his richness of colour and grandeur of composition are fully evi- dent. He does not appear at first, however, to have attracted much remark at Venice, and it was not until the patriarch Titian in 1561 selected him, ^vith several of the younger painters of the time, as suitable to be entrusted with the decoration of the great hall of the library lately built by Sansovino, that his po\\-ers were properly recognised. Here Paolo painted three allegorical medallions, repre- senting ' Music,' ' Mathematics,' and ' Fame,' and carried ofE, as Vasari relates, the prize of a gold chain that had been promised for the best painting done in the library. After this he worked in com- pany with his earlj' assistant, Zelotti, who had also come to Venice, in several of the halls of the Ducal Palace, covering the ceilings and walls vrith mag- nificent allegories. In 1562 he received the commission to paint for the refectory of the convent of S. Giorgio Maggiore the celebrated picture of the ' Marriage at Cana,'now in the Louvre. Every one knows this magnificent banqueting scene, and has formed some idea from it of Paolo's gorgeous style and mode of concep- tion. Above all things he delighted in the pomp and splendour of earthly pageantry, the vainglorj' of mortal man, the material riches and beauty of existence ; and this with no hint that such things are vanity, no belief in any higher life than that afforded by the depraved but lovely Venice in which he dwelt. It seemed to him, tlieref ore, no anomaly to introduce Jesus of Nazareth into the midst of a lavish, tumultuous banquet, whereat the bride, Eleanor of Austria, and the bridegroom, Don Alfonso d'Avalos, are supported by such noted historical characters as Francis I. of France, the Emperor Charles V., Queen Mary of England, and the Sultan Soliman I. The musicians also are all portraits of painters of the time. 230 This was the first of several great banqueting scenes painted by Paolo, among which may be mentioned ' The Feast of the Levite,' in the Aca- demy at Venice, and the ' Supper at the House of Simon,' in the Louvre. Other representations of the same scene are to be found at the Brera at Milan, the Durazzo Palace at Genoa, and the Dres- den Gallery. The ' Supper at Emmaus ' was like- wise a favourite subject with this master. In the well-known Louvre example the painter has intro- duced himself and his family as present in the solemn scene. Two of his little girls play with a large dog in the foreground, while his wife holds a baby in her arms, and her sons play near her. About 1563 Paolo was again employed in paint- ing in the church of San Sebastiano. Here he now represented, in two magnificent wall-paintings, the martyrdom of the Saint to whom the church was dedicated, and ' SS. Marcellus and Marcellinus on the way to Martyrdom.' These are two of Paolo's finest works, full of movement, beauty of colour, and dramatic effect. Indeed, the whole church of San Sebastiano glows with his work, and remains a splendid monument of his masterly power and skill. Another celebrated monument is the Villa Masiera, a palace built by Palladio for the Venetian patri- cians, Marcantonio and Daniele Barbaro. Paolo was employed to decorate this magnificent villa, and achieved his task in the most gorgeous man- ner, his fancy running riot amidst gods and god- desses, loves and nymphs, and other creations of heathen mythology and imaginative sjTnbolism. Charles Blanc has given a detailed description of the Villa Masiera in the Gazette des Beaux Arts, and many other writers have testified to the charm of these wonderful works. They were probably executed about 1566, for Vasari speaks of them in the second edition of his Lives, published in 1568. About the same time, probably, Paolo painted on canvas the historical picture of the ' Family of Darius,' now in the National Gallery. It is possible that at some period of his life Paolo went to Rome, and saw the works of Michelangelo in the Sistina, or drawings from them, for in some of his fresco decorations his st\le, strange to say, resembles that of the great Florentine master. But Veronese never rose to the lofty heights of the ideal that Michelangelo trod so fearlessly. He aimed at magnificence more than sublimity, and surrounded his saints and holy persons with every material good, as if to com- pensate them for the woes they had endured while on earth. His fondness for banquets is amusingly illustrated by a memorandum, quoted by Ridolfi, from the back of one of his drawings. In this he declares his intention of representing, when he has time, ' a sumptuous repast in a superb gallery, at which the Virgin, the Saviour, and St. Joseph shall be present, served by the richest cortege of angels that it is possible to imagine, who shall offer them, on plates of silver and gold, the most exquisite viands and fruits. Others shall be occupied in pre- senting to them, in transparent crystal and gold cups, precious liqueurs, to show the zeal with which happy spirits serve the Lord.' Of Paolo Caliari's domestic life little is known. He married a daughter of his master, Antonio Badile, and had several children, whom he has depicted in some of his pictures. His eldest son, Gabriele, was born in 1568, and Carletto in 1570. Both brothers adopted their father's profession. I but Carletto had by far the most talent. After his PAINTERS AND ENGRAVERS. father's death he executed a number of pictures from Paolo's designs, and in his manner. Paolo's style was also closely copied by his brother Bene- detto Caliari, by his early companion Zelotti, and several other painters, so that many works are set down to him which are merely the productions of his school. Paolo does not appear to have left Venice for any long period after he had once settled there. He journeyed to Vicenza and a few other places in northern Italy occasionally for the execution of commissions ; but, for the most part, all his great works were executed in Venice and for Venice. It is said he was invited to Spain by Philip II. to assist in the decoration of the Escorial, but he de- clined the invitation, and devoted himself wholly to the service of Venice. Paolo Veronese is well represented in the National Gallery, where there are no fewer than six pictures, including the large and important, butuninteresting, ' Family of Darius,' painted for the Pisani family. The 'Vision of St. Helena' (No. 1041), added to the collection in 1878, is a charming example of his school. There is a noble grace and poetry about this work that leads one to regret that festive banquets and gorgeous altar-pieces had so large a share of his time. Paolo Caliari died at Venice, April 19, 1588, and was buried in the church of San Sebastiano, which he had adorned with so many splendid works. PAINTINGS ATTRIBOTED TO CALIARI. Verona. Finacoteca. Taking down from the Cross. „ ,, Portrait of P. Guarianti. „ Ch . ofS. Giorgio. Martyrdom of St. George. „ Ch. of S. Paolo. Madonna with two Saints. Venice. Acad. of FineArts.Veast of the Levite. ,, ,, ,, Crucifixion. „ „ „ SS. Matthew and Mark. „ „ „ SS. Luke and John. ), I, » Ezekiel. „ „ „ Isaiah. „ „ „ Battle of Lepanto, „ „ „ Annunciation. „ „ „ Assumption. „ „ „ Glorified Madonna with St. Dominick. „ „ „ Madonna with Saints. ,, „ „ Coronation of the Virgin. „ iJucal Falace. Kape of Europa. „ „ „ Allegories: Music, Mathemat- ics, and Fame. „ „ ,, Adoration of the Magi. „ „ „ Venice Enthroned. „ „ „ Battle of Lepanto. „ „ „ Venice Enthroned, with eight allegories around. „ „ „ Apotheosis of Venice. „ Manfrini Pa^ace.Jupiter and Hebe {ceiling). „ Ch.of S.Sehaitiano.GoTonz.\Aoxi of Virgin. „ „ „ The four Evangelists. ,, „ „ Three scenes from life of Esther. „ „ ,, Madonna in glory. „ „ „ St. Sebastian beaten with rods. „ „ ,, St. Sebastian before Diocletian. ,, „ „ Miracles at Porch of Bethesda. ,, „ ,, Purification of the Virgin. „ „ „ SS. Marcellus and Marcellinus. ,, „ „ Martyrdom of St. Sebastian. „ „ „ Crucifixion. „ ,, „ Madonna and Child. „ CA.o/iS.Catart'juz. Marriage of St. Catharine. ,, Ci.o/.S'.i^raTicesco Holy Family. ,, „ „ Resurrection. ,, Ck.of St. Andrea. St. Jerome. (^aatlfnco.Cn.ofSXibeTaU Justice. „ „ „ Temperance. „ „ „ Time and Fame. Murano. Ch. offit.Pietro. Florence. Uffizi. Fitti Palace. Milan. Brera Gallery. Rome. Vatican. ,, Falazzo Doria. Falazzo Borghese ,, Colonna. ,, Falazzo Corsini. Bergamo. Gallery. Brescia. Ch. of S. Afra. Turin. Finacoteca. ») »i Genoa. Falazzo Brignole. ») »» »i Vicenza. Monte Berico. Padua. Santa Giustina Paris. Louvre. ^ Rennes. 3fuseum, Rouen. Museum. London. NationalGallery. Cambridge. Fiizwilliam. Oxford. Christ Church. Dresden. Gallery. Munich. Pinakothek. Vienna. Belvedere. Madrid. Gallery. St. Jerome in the Desert. Man's Portrait. Holy Family and St. Catharine. Annunciation. Martyrdom of St. Justina. Esther before Ahasuerua. Portrait of a Man. Holy Family. Head of St. Paul. Portrait of Painter's wife. Portrait of Daniels Barbaro. St. Benedict. Presentation in Temple. Baptism of Christ. Feast in House of Simon. Adoration of the Magi. SS. Gregory and Jerome. SS. Ambrose aud Augustine. Baptism of Christ. SS. Anthony, Cornelius and Cyprian. Last Supper. Passion of Christ. Dream of St. Helena. Angel with Tambourine. Christ bearing the Cross. Portrait of a Woman. St. John preaching in Desert. St. Anthony preaching to the fishes. SS. Cosmo and Damian. Portrait of a Man in Green. Marriage of St. Catharine. St. Christina. Martyrdom of St. Afra. Feast at the House of Simon. Visit of Queen of Sheba. ■ Judith. Several Portraits. Supper of St. Gregory the Great. Martyrdom of St. Justina. Marriage of Cana. Feast in House of Simon. Susannah and the Elders. Supper at Emmaus. Perseus and Andromeda. St. Barnabas healing the sick. Alexander and Farnily of Da- rius. Adoration of the Magi. Consecration of St. Nicholas. Vision of St. Helena. Four Allegorical Groups. Mercin*y aud Aglauros. Marriage of St. Catharine. Adoration of the Magi. Marriage at Cana. Christ bearing the Cross. Madonna of Cuccina Family. Crucifixion. Resurrection. Death of St. Catharine. Venus and Adonis. Portrait of Daniele Barbaro. Leda and Swan. Susannah and Elders. Good Samaritan. Centurion of Capernaum. Justice, with sword and balance. Love. Mother with three chil- dren. Faith,«?a"^A a chalice in her hand. Strength. A powerful female form. Portrait of a Woman in brown dress. Holy Family. Death of Cleopatra. Repose in Egypt. Christ healing St. Peter's Mother-in-law. St. Paul. Venus and Adonis. 231 A BIOGRAPHICAL DICTIONARY OF Madrid. Gallery. Moses saved from the Waters, ji „ Christ at the House of the Centurion. ^ ^ Susannah and the Elders. ^ „ The Martyrdom of San Gin&. J, „ Assumption. „ „ The Magdalene. „ „ The Marriage at Cana. „ » Calvary. „ „ The Woman taken in Adultery, (also assigned to Zelotti and Paolo Farinati). „ „ A Youth between Vice and Virtue. „ „ The Sacrifice of Abraham. „ „ Cain wandering with his Fa- mily. ^ „ Several Female Portraits. FRESCOES. Villa Fanzolo. Fault and Punishment of Calioto. „ Death of Virginia. „ Ceres. „ Scipio restoring Captive lo. „ Allegories. Villa Tiene. Scaevola before Porsenna. „ Cleopatra. jy Sophonisba and Massiniosa. „ Xerxes receiving Tribute. Villa Masiera. Muses. „ Allegories of Music, &c. „ Venus with Graces. „ Gods of Olympus. „ Group of lady and boys in a Balcony. „ Allegories. Vil. Magnadole. Anthony and Cleopatra. „ Family of Darius. „ Hannibal^s Oath. „ Founding of Carthage. „ Triumph of Caurillus. „ Triumph of Coriolanus. „ Cincinnatus at the Plough, „ Cincinnatus in Battle. CALICI, AcHlLLE, a Bolognese painter, was bom about the year 1565. He was a scholar of Pros- pero Fontana, but, preferring the finer style of Lodovico Carracci, he became his disciple, and, according to Malvasia, painted the two laterals of the high altar in the church of San Michele Arc- angelo at Bologna, representing St. Michael, and the angel Raphael and Tobias. CALIGARINO. See Capellini. CALIMBERG, Joseph, was a native of Ger- many, who was born about the year 1505, and passed the greater part of his life at Venice. Of his works in that city there remains, according to Lanzi, at the Servi, the ' Battle of Constantine.' His style is not without merit, though rather heavy in execution, and sometimes dark and disfigured by mannerism. He died at Venice in 1570. CALISTO DA LODI (or Calistds Laudensis). See Piazza. CALL, Jan van, was an artist bom, according to Descamps, at Nimeguen in 1655. He is said to have attained considerable proficiency in painting without the help of an instructor. His first attempts were made in copying the landscapes of Jan Brueghel, Paulus Bril, and Willem van Nieu- lant, and he studied attentively the principles of perspective and architecture. He afterwards tra- velled through Switzerland to Italy, and, during a residence of some years at Rome, formed an ample collection of designs from the most pictur- esque views in the environs of that capital. He returned through Germany to his native country, and established himself at the Hague, where he died in 1703. His drawings are more esteemed 232 than his pictures ; they are purchased at consider- able prices in Holland, where they are found in the choicest collections. It is believed that he occa- sionally worked in conjunction with Bakhuisen. A series of views from his drawings, chiefly repre- senting scenes on the Rhine, have been published by Schenk. He was also clever as an engraver, his plates being principally landscapes from his own designs. CALL, Jan van, 'the yomiger,' was a clever designer and painter, the son and pupil of Jan van Call. He was employed in 1748 by the King of Prussia to make water-colour sketches of the battles and sieges in the Flemish wars under Louis XV. CALL, Pieter van, was a son and pupil of Jan van Call the elder, and was bom in 1698. He designed good landscapes, some of which he also engraved. His best drawings, however, are his architectural subjects. He died in 1737. CALLCOTT, Sir August DS Wall, an English landscape and marine painter, was bom at Ken- sington in 1779. He was brother of the distin- guished musical composer, Dr. Callcott, and in early hfe was a chorister at Westminster Abbey. He, however, preferred painting to music, and for some time pursued both studies, until the success of a ' Portrait of Miss Roberts,' which he painted under the tuition of Hoppner, in 1799, and which he exhibited, led him to the final choice of paint- ing as his profession. Very little experience, bow- ever, showed him that portrait work was not suited to his taste, and from 1803 he devoted himself exclusively to landscape painting. His first efforts were chiefly limited to English coast and river scenery, or to views on the Dutch coast ; but after a visit to Italy in 1827 he devoted himself more to Italian landscape ; his works, which have a general tendency in the direction of Claude Lor- rain, being marked by much taste in their composition. But it must not be inferred that he is to be compared with that master ; it would be more correct to say that both looked at nature, and that each succeeded in his own way. His marine pictures please by their tranquilUty ; all are beautiful in the selection of objects, but they are sometimes cold and monotonous in colour. He was for many years a contributor to the exhi- bitions of the Royal Academy, of which he was elected an Associate in 1806, and an Academician in 1810. His most successful production in figure painting was his picture of ' Raphael and the Foma- rina,' exhibited in 1837. In February, 1827, Callcott married, and shortly afterwards started on a tour through Italy. On his return he took a house in the Mall, and became a fashionable artist. His wife, who was an accomplished woman, assisted him by her literary labours on art subjects. On the accession of Her Majesty, Callcott, who was then one of the favourite artists of the day, received the honour of knighthood. Sir Augustus Callcott died in 1844, regretted by those who knew him, for he was a liberal patron of young artists, and kind and courteous to all. His works are mostly views of EngUsh scenery, though he sometimes varied them by producing figure subjects in conjunction with landscape. Some of his best known paintings London. Nat. Gall. Dutch Peasants returning from Market (B.^. ,1834). Coast Scene — Waiting for the Boats. PAINTERS AND ENGRAVERS. London. Nat. Gall. Landscape with Cattle. » » The Wooden Bridge. » ,1 The Old Pier at Littlehampton («. A., 1812). » » Entrance to Pisa from Leghorn (fl. ^.,1833). » , Dutch Ferry — Peasants waiting the Return of the Passage Boat {R. A., 1834). 1. , .. View on the Coast of Holland. „ ^. Kensington. Italian Landscape. » ,, A Brisk Gale (E.A., 1830). n ., Anne Page and Slender. „ „ Dort (i?.^., 1842). » „ A Sunny Morning (if. ^., 1813). „ Earl of Durham. Calm on the Medway. CALLEJA, Andres db la. See De la Calleja. CALLET, Alphonse Apollodore, a French historical painter, was born in Paris in 1799. He was the brother of Felix Callet, the architect, and studied under David and Regnaud. He died in Paris in 1831. The Museum of Rouen has by him " The Embarcation of the Pargiotes." CALLET, Antoine Francois, a French historical painter, was born in Paris in 1741. He gained the ' Prix de Rome ' in 1764 witli his ' Cleobis and Biton conducting the Chariot of , their Mother to the Temple of Juno,' now in the Ecole des Beaux- Arts, and was made an Academician in 1780, on which occasion he painted a part of tlie ceiling, representing ' Spring,' in the Gallery of Apollo in the Louvre. He exhibited for a period of nearly forty years, his pictures embracing historical events of his time, and various mythological and allegorical subjects. There are four examples of his work, a series representing ' The Seasons,' on the walls of the Louvre, as well as a ' Triumph of Flora,' which is pleasing and harmonious in tone, in the La Caze Collection at the same place. He also painted the ceiling of the Spinola Palace at Genoa, on which is represented the ' Apotheosis of Ambrogio Spi- nola.' There are by him at Versailles allegories of the battle of Marengo, the surrender of Ulm, and the battle of Austerlitz, as well as the well- known full-length portrait of Louis XVL in his coronation robes, of which there is a replica in the Madrid Gallery. This portrait has been engraved by Bervic. Callet belonged to that school of French art of which Vien was the most distin- guished representative, and which, by rescuing it from the degeneracy of Boucher, prepared the way for the epoch of David. He died in Paris in 1823. CALLIAT, Pierre Victor, an architect and etcher, was bom in Paris in 1801. He studied under Vaudoyer and Chatillon, and was appointed in 1845 Inspector of Works for the H6tel-de-Ville, and later for the city of Paris. He died in 1881. He published, amongst other works, The Hotel de Ville, Paris, with 48 etched plates ; 1844-56. The Houses of Paris, built from 1830—1864, with 246 etched plates ; 1850-64. The Church of St. Eustache, with 11 etched plates ; 1850. CALLISTO DA LODI. See Piazza. CALLOT, Jacques, a French engraver and draughtsman, was bom at Nancy in 1592. He was the son of Jean Callot, who was of a noble family and Herald at Arms for Lorraine. The story of Jacques Callot's early life, as usually given, runs to the effect that his father had in- tended him for government service, but that his desire for studying the arts was so strong that he ran away to Italy at the age of twelve, and on his being accidentally discovered there by some Nancy merchants, was brought home, only to escape again shortly afterwards with no better success, one of his brothers encountering him in the streets of Turin, and conveying the runaway again forthwith to the parental roof. To the patient and laborious inves- tigations of M. Edouard Meaume we owe the know- ledge of one or two facts which bring parts of the above story within the range of probability. That author has discovered that no fewer than four of Callot's brothers became members of religious orders, and he suggests, nut %vithout reason, that the impetuous character of the future artist was the cause of his rebelling against the character of the preliminary training which was intended to produce a like result in his case. He has further pointed out that there is ample proof of the ex- istence of an intimate friendship, in spite of some little disparity of years, between Henriet Israel, the son of the court painter to the Duke of Lor- raine at that day, and Jacques Callot, as well as of the fact that the lad was getting aid from the counsels of the court painter himself, and some early lessons in the graver's art from the royal engraver, Dumange Crocq. The death of the painter royal in 1603, and the appointment of Bellange, then recently arrived from Italy, to the vacant post, led to the departure of Henriet Israel for Rome. And Rome became naturally enough the point on which the j'outhf ul Callot's eyes were fixed when it became a que.stion with him whether he should any further submit to the home treat- ment which was so irksome to him, or take refuge in flight. At Rome were the treasures of art of which he had heard so much ; at Rome was a friend with whom he was sure of a welcome, at whose side he longed once more to place himself. The fact that he reiade his way as far as Florence in the company of a party of gipsies, the men of the party being, as seems to have been gipsy custom in those good days, armed to the teeth, is well established ; and it is equally clear that at that city he worked for some time in the graver's atelier of Canta-Gallina. That artist did him good service in compelling him for a time to moderate his natural tendency for the grotesque by copying from the best masters. But Rome, the goal of his wishes, had not yet been reached, and so, after some months of life in Florence, the boy was away on the march again, and this time reached the Eternal Qty. It would seem not improbable that his friend Henriet Israel, after giving him a most cordial welcome there, may have sent word to his family of the boy's whereabouts, in order to relieve their anxiety, and thus it may have been arranged for him to travel home under the convoy of the local merchants. It is not quite so easy to suggest the real account of the difficulties that terminated his second attempt to reach Rome. His father's Court influence may have probably enough put the authorities of some of the prin- cipal towns on the qui vive for the young fugitive, and so a second time have led to liis being taken back to Nancy. Eventually his father, finding it the best course to yield to his son's inclination, con- sented to his going to Italy, and obtained him per- mission to travel in the suite of the envoy whom the new Duke Henry II. was just sending to the Papal Court As there exists an early engraving of Callot's of a portrait of Duke Cliarles painted in 1607, it is probable that the boy's skill was known at Court, and that, in making the above con- cession, his father yielded to the representation of 233 A BIOGRAPHICAL DICTIONARY OF persons of note. The embassy quitted Nancy late in the year 1608, Callot being then but sixteen years old. Arrived at Rome, he studied probably for a time under Tempesta, tlie master of Henriet Israel and of Claude Deruet, and then under Q-iulio Parigi ; but as his preference for etching and engraving became more decided, he placed himself under the tuition of Phihppe Thomassin. He went again to Flo- rence in 1611, in the time of the Grand-Duke Cosmo II., renewed his intimacy with Canta- Gallina, engraved several subjects after Andrea del Sarto, Perino del Vaga, and others, and more especially brought himself into the notice of his future patron, the duke there, by a series of small etchings from his own designs. On the death of the duke he found a protector in Prince Charles of Lorraine, who persuaded him to return to Nancy, having assured him of a position in the service of Henry, the then reigning Duke of Lor- raine. He quitted Italy in 1621 or 1622, and settling again in his native town, he developed extraordinary aotivit}', and gradually gained for himself an almost world-wide reputation. It was owing to the great esteem in which his talents were held that he was summoned by the Infanta Clara Eugenia to Brussels to design and engrave the ' Siege of Breda,' and was engaged subsequently by the French monarch, Loviis XIII., to execute in the same manner 'The Siege of La Rochelle,' and of ' The Siege of the Isle of Rd.' His views of the Louvre and of the Pont Neuf were taken while he was at Paris engaged upon these works in the year 1629, and there also he had the satisfaction of re- newing his old intimacy with Henriet Israel. He returned to Nancy after no long residence in the capital, and was witness to the siege and capitulation of his native town in 1633. The French monarch called on him to use his skill in drawing and engraving a plate commemorative of the occurrence, as he had done in the case of the other French victories ; but Callot desired to be per- mitted to decline what he considered as celebrat- ing the humiliation of his country. Some of the courtiers, anxious for the possession of such a souvenir, are said to have observed to the artist that there were means of making him comply, to which he replied \\'ith much spirit that he would sooner cut off his right hand than employ it in such a work ; a speech which, being reported to the king, led him to say that the Dukes of Lorraine were fortunate in the possession of such subjects. It is said that Callot had determined, in conse- quence of the annexation of Nancy to France, to retire to Florence, but that he died before carrying his plan into execution. His death occurred at Nancy on the 2-lth of March, 1635, at the com- paratively early age of 43. There exists a good portrait of Callot, taken by Van D}-ck on the occasion of his \asiting Brussels, and of this there is a fine engraving by Vorster- man. Several collections possess paintings which have been supposed to have been produced by Callot's hand, but more recent investigation leads to the conclusion that they are in all probability wrongly attributed, and that he did not execute any finished work of that nature. There are sixty- two drawings by him in the Louvre. His engravings exhibit great fertility of inven- tion and extraordinary variety of style. It is a remarkable fact that many artists who followed hiffij and who f ai surpassed him in the technical use 234 of the graver, are comparatively little known, their reputation being completely dimmed by the lustre of that of Callot, in consequence of the absence in their case of his extraordinary powers of imagin- ation. Those of his engravings in which he has confined himself to figures of a small size are the most highly esteemed, as when he attempted to produce figures on a larger scale they were apt to be somewhat heavy, so that the result was less characteristic of his charming power of combining J a touch of humour with a photographic grasp of % the details of a scene. His etchings are greatly admired. It is true they are seldom brilliant in respect of the arrangement of the lights, but the pose of his figures is highly pleasing, and the work shows a certainty of stroke and a lightness of touch characteristic of a master hand. They are principally done with hard varnish (vemis de luthiers), a method of his own invention. In proof of his diligence we are told by M. de Wate- let that there existed four different drawings for his celebrated plate of 'The Temptation of St. Anthony.' The number of his plates is prodigious, being over 1400. A full account of them is to be four d in M. Meaume's ' Recherches sur la vie et lea J ouvragesde Jacques Callot,' published 1860. There ^ is a portrait of Callot in the UiEzi at Florence. Thefollowingarehisprincipalplates; some — of which are marked with the letters A. J. C, tt others with the accompanying monogram : A Cosmo m., Grand Duke of Tuscany ; oval. Francis, Grand Duke of Tuscany ; oval ; scarce. Charles III., Duke of Lorraine ; scarce. The Marquis de Marignau, General of Charles V. ; scarce. Donato dell' Antella, a Florentine Senator ; scaice. Claude Deruet, painter, and his Son. 1632. Giovanni Domenico Peri, known as * Le Jardinier.* The Murder of the Innocents, engraved at Florence; scarce. The same subject, engraved at Nancy, with variations. The Annunciation, with the words £cce Ancilla Domini coming from the mouth of the Virgin ; after Mattto EosselU ; very scarce. Christ bearing His Cross; small oval; engraved on silver. The Crucifixion, with the Virgin, St. John, and Magda- lene ; scarce. The Entombment of Clunst ; after Ventura Salimbeni. The Vu-gin and Infant, with St. Ehsabeth and St. John ; after Andrea del Sarto. The Holy Family, with St. Joseph giving drink to the Infant Jesus. The Little Assumption, called the Assumption with Cherubim. Another Assumption ; oval. The Triumph of the Virgin ; dedicated to the Duke of Lorraine. St. John in the Isle of Patmos. The Temptation of St. Anthony ; dated 1635. Another Temptation of St. Anthony, with a River in the middle, and on the right some Devils drinking ; very scarce. The Martyrdom of St. Sebastian ; a grand composition. St. Mansnetus restoring to life the Son of King Leucorus. St. Nicholas preaching in a 'W^ood. Jupiter hurling thunderbolts at the Giants ; scarce. Pandora, with the Assembly of the Gods. The Card-players. The Punishments. The best impressions of this fine print have a small square tower above the houses on the left, and a little image of the Virgin in an angle of the wall in the middle of the print. A Vi''oman seated with a Child in her Aims, and another eating Fruit under a Tree ; very scarce. A View of the Louvre, with the Tour de Nesle. A View of the Pont Neuf at Paris ; the companion. PAINTERS AND ENGEAVEES. The Parterre of Nancy, with figures walking. The Garden of Nancy ; very scarce. The Great Fair of Florence, engraved at Florence, 1620; fine impressions of this print are very scarce ; in two sheets. The same subject, engraved at Nancy, called the Fair of Nancy; inscribed Fe Fiorentim et exc. Nancei. The Little Fair, called the Players at Bowls, with figures dancing ; the best impressions are before the name of Callot ; scarce. The Siege of the Isle of Re ; in sixteen sheets. The Siege of EocheUe ; similar. The Siege of Breda ; in eight sheets. The Tilting, or the New Street at Nan<^. The Life of the Virgin ; in fourteen plates, with the title. The Life of the Virgin ; in twenty-seven plates. Nine plates of devout subjects ; GloriosissimiB Virginis, &G. Eleven of the New Testament, with a title by A. Basse ; twelve plates. Eleven of the Prodigal Son. 1635. Seven, the Great Passion of Jesus Christ. Twelve, the Little Passion: the first impressions are very scarce. The Acts of the Apostles ; in twenty-nine plates, exe- cuted with the graver in his early time. Six of the Penitents, including the title by A. Bosse. Sixteen of Christ, the Virgin, the Apostles, &c. 1631. Sixteen of the Martyrdom of the Apostles, &c. Four, called the Little Banquets. Forty-one of the Miracles; entitled Scelta d' alcuni iniracoli, &c. Seven of the Seven Mortal Sins. Eighteen of the Miseries of War ; dated 1633. Seven of the Little Miseries of War; the title by A. Bosse ; eight plates. 1636. Fourteen of Military Exercises. Fourteen of Fantasies ; dated 1635. The Caprices, engraved at Florence. Varie figure dl lacopo Callot ; in seventeen plates. Balli di Sfessania ; in twenty-four plates. Twenty-five of Beggars; entitled Capitano de Baroni; fine. Twelve of Ladies and Gentlemen in the Dresses of the Mode. CALLOW, John, an English water-colour land- Bcape painter, was born in 1822. He was an asso- ciate of the Water-Colour Society, and died at Le wish am in 1878. CALOMATO, Bartolommeo, was a painter of the Venetian school who flourished in the 17th century. He was remarkable for his small pictures repre- senting scenes from town and country life, enlivened with figures well composed and graceful in ex- pression. CALTHEOP, Claude, was a brother of the celebrated actor, John Clayton, and a pupil of John Sparkes, and of the Eoyal Academy where he gained the Gold Medal for historical work. He completed his art education in Paris, and always painted pictures of a dramatic or anecdotal tend- ency, which interested the pubHc. He died sud- denly at the beginning of the year 1893, aged 48. CALVAEET, Dionysius, also called Dionisio FlAMMlNGO, who may be considered to have been a Bolognese rather than a Fleming, was an eminent painter who was born at Antwerp about 1540. His name was originally written Caluwaert, and is so entered in the Antwerp 'Liggeren' for 1556-57. He had made some proficiency in the art in his own country under Ohristiaen van Queecborne, when he visited Italy, and came to Bologna possessed of some talent as a landscape painter. To perfect himself in the study of figure draw- ing, he first frequented the school of Prospero Fontana in 1570, and afterwards became a disciple of Lorenzo Sabbatini, to whom he was of no in- considerable utility in his works in the Vatican. On leaving Sabbatini he occupied some time in studying the works of Raphael at Eome, and returned to Bologna about 1674, and there estab- lished that celebrated school where Albani, Domeni- chino, and Guido received their first instruction in art, and from which they subsequently passed into that of the Carracci. An excellent colourist, intelligent in perspective, and a correct and grace- ful designer, he was regarded at Bologna as the restorer of their school, which had at that period fallen into some degree of decadence. There is something of mannerism in his style, and a certain air in the movement of his figures that is strained and awkward. He was an excellent instructor of the youth of his time, and attended to the studies of his pupils with the greatest diligence. He also produced a considerable number of small paintings of sacred subjects on copper for the use of monks and nuns in their cells. Many of his most important works have been engraved. He died at Bologna in 1619, and was buried in the church of the Servites in that city. Most of the churches of Bologna possess paintings by this artist ; there are also : Bologna, Gallery, Madonna and Child, with St. Anthony ; Christ appearing to the Magdalen ; The Flagellation. Florence, PMi Palace, St. Jerome; Uffizi, Assumption of the Virgin. CALVERT, Charles, a landscape painter, was born in 1785 at Glossop Hall, in Derbyshire, of which estate his father was at that time agent for the Duke of Norfolk. He began life as a cotton- merchant, but soon relinquished that occupation for the fine arts. His time was much taken up in teaching ; but he 'passed his leisure hours among the lakes, painting both in oil and water-colour. He was instrumental in founding the Eoyal Man- chester Institution, and obtained there the Hey- wood gold medal for the best oil picture painted by an artist residing within forty miles of Manchester, and also the silver medal for water-colour draw- ings. He died at Bowness in Westmoreland, in 1852. CALVERT, Edward, painter and draughtsman, was born in Cornwall about 1803. His father was a naval officer, and he himself served for a time as a midsliipman. He studied painting under a west- country artist named Johns, married at an early age, and, coming to London, entered the Eoyal Academy schools. He' began work in the capital as an illustrated draughtsman upon wood. His diffidence led him to constantly destroy his blocks and plates, so that impressions from them are very scarce. His admiration for Greek art led him to visit Greece, whence he brought back many studies. A worshipper of Blake, whose acquaintance he had made in his youth, he became the intimate friend of John Linnell, and of his son-in-law, Samuel Palmer. He died on the 14th of July, 1883. Among his prints the most remarkable are perhaps the ' Christian ploughing the Last Furrow of Life,' and the ' Cider Press,' botli strongly reminiscent of Blake. CALVEET, Frederick, is known as a contributor to the 'ArcliKolosical Journal,' in which he illus- trated the tumuli in the Troad, and other antiqui- ties. In 1830 he published ' Picturesque Views in Staifordshire and Shropshire,' witli thirty-nine llates. Three water-colour drawings by him are in the South Kensington Museum. 235 A BIOGRAPHICAL DICTIONARY OF CALVET, Esprit Claude FRANgois, a French physician, antiquary, and amateur painter, was born at Avignon in 1728. He founded the Museum Calvet at Avignon, and died in that city in 1810. CALVI, GlULio, called II Coronato, was born at Cremona about the year 1570. He was a scholar of Giovanni Battista Trotti, and according to Zaist, in his 'Notizie istoriche de' Pittori Cremonesi,' painted so much in the manner of his master, that his pictures might have been confounded with the inferior works of Trotti, had he not signed them with his name. Paintings by him can be seen at Cremona and at Soncino. He died young in 1596. CALVI, Lazzako and Paktaleone. These two painters were the sons of Agostino Calvi, a Genoese painter of no great note, but who was one of the first to abandon the old habit of painting on a gold ground, and work on a basis of oil colours. Laz- zaro was bom in 1502, and together with his brother Pantaleone, after receiving some instruction from their father, entered the school of Perino del Vaga. Although Pantaleone was the elder brother, he con- tented himself with unobtrusively contributing to the celebrity of Lazzaro, by an exercise of his powers in the ornamental accessories, which formed no inconsiderable part of the attraction of the works which they executed at Genoa and the different cities of the republic, as well as at Monaco and Naples. Lanzi considers as their principal work the facade of the Palazzo Doria (now Palazzo Spinola), where are represented prisoners, and other figures, in various attitudes, designed in so grand a style, and executed with such fine taste, that it is in itself a school for the study of drawing. This work of the Calvi is mentioned by Lomazzo in terms of the highest praise in his ' Trattato della Pit- tura.' Their picture of ' The Continence of Scipio,' in the Palazzo Pallavicini, exhibits an acquaintance with the nude which Mengs considered worthy of their master Perino del Vaga, bj' whom Lanzi sus- pects they may have been assisted in some of their best works, as he is known to have very liberally accommodated them with his drawings and cartoons. The jealousy or ambition of Laz- zaro, irritated by the success of some of his con- temporaries, prompted him to the commission of the most horrid crimes. He occasioned the death of Giacomo Bargone, a most promising artist, by poison ; and he hired persons to vilify the works of the ablest painters of the time, and to extol his own. It was in the midst of these cabals and atrocities that he was engaged, together with Andrea Semini and Luca Cambiaso, to paint, in the chapel of the Nobili Centurioni, ' The Birth and Life of St. John the Baptist ; ' and although, in this com- petition, he exerted his utmost powers, and pro- duced one of his finest works, the preference was given to the performance of Cambiaso, whom Prince Doria accordingly commissioned to execute the frescoes in the church of San Matteo. Lazzaro was so mortified at this that he determined to abandon the art, and he actually became a mariner, and withdrew himself from painting for twenty years. He returned, however, to his profession, which he continued till he was in his 85th year. His last works were for the church of Santa Catta- rina, and it is not surprising that, at so advanced a period of life, they were weak, languid, and senile. He died in 1587 : his brother Pantaleone died in 1595. CALZA, Antonio, was a painter of battle-scenes who was born at Verona in 1653. He studied at 236 Bologna under Carlo Cignani, but his genius lead- ing him to paint horses and other animals, and having met with some of the works of Borgognone, he resolved to visit Rome for the purpose of studying under that master, by whose instruction he was greatly assisted. He returned to Bologna, where he painted battle-pieces and landscapes with great success, and had a number of scholars and imitators, his pictures being much in vogue. He died at Bologna in 1714, or, according to Zani, in 1725. CALZETTA, Pietro, an Italian painter, was the son-in-law of Montagnana, and a disciple of Squarcione. He was engaged at the Santo of Padua in 1466 to paint the chapel of Corpus Christi. In 1470 he restored some works of Ste- fano of Ferrara in the Santo, and in the same year he contracted to work with Montagnana and Matteo del Pozzo at the decorations of the Cappella Gattamelata in Padua. Up to 1500 he was still employed at the Santo. There is an ' Ecce Homo ' by him in one of the chapels of that chiirch. No dates can be given as to his birth or death. CALZOLARETTO, Ih. See Capellini. CAM, F. VAN DER. See Van der Cam. CAMACHO, Pedro, was a Spanish painter who, towards the end of the 17th century, executed with one Munoz some well-coloured pictures from the life of San Pedro Nolasco for the cloister of the convent of Mercy at Lorca. To him, likewise, were attributed some pictures of our Lord's Pas- sion in that convent, and of the Four Great Doctors of the Church in the collegiate church of that city. CAMARON T BONONAT, Jose, who was born at Segorbe, in 1730, becjime director of the Academy of St. Charles at Valencia, in which city he died in 1803. A ' Mater Dolorosa,' by him, is in the Madrid Gallery. CAMASSEI, Andrea, was a painter and etcher, who was bom at Bevagna in 1601. He first studied under Domenichino at Rome, but afterwards fol- lowed the school of Andrea Sacchi. He painted both in oil and fresco, and his powers as an his- torical painter can be seen in many of the public edifices of Rome. His productions are distinguished by a very careful study of nature, and by tender and graceful colouring. Several of his pictures have been engraved by Bloemart. His etchings are now very rare, not more than one or two being known, and are marked A. G- scolp. He died at Rome in 1648. Of his works may be mentioned : Madrid. Gallery. Kome. Palazzo Bondamni. Obsequies of a Koman Emperor. Battle of Constantine with Maxentius. Baptistery of the Lateran. Triumph of Constantine. La Rotunda. Assumption of the Vir- gin. Capuchin OiuTch. APieta. CAMBIASO, Giovanni, was an artist bom near Genoa in 1495, who formed his style from the study of the works of Perino del Vaga and Pordenone in the Palazzo Doria at Genoa. He devoted much time to the study of anatomj-, and is said to have been the author of the method adopted in designing whereby the human body is divided into small squares in order to give the cor- rect proportions in foreshortening. He is thought to have lived to an advanced age, but the date of his death is unceitain. CAMBIASO, LucA, known as Luchetto da Genova and as Luchino, the son of Giovanni Cam- biaso, was bom at Moneglia near Genoa in 1527, PAINTERS AND ENGRAVERS. He received hie first instructions in art from his father. Born with the genius of a painter, he soon outstripped his instructor ; and when he was fifteen, produced works that had the appearance of matur- ity, and sufficiently indicated that he would prove one of the most distinguished painters of his country. It was to his friend Costelli, in conjunc- tion with whom he painted many large works, that he was indebted for the correction of his early faults of style, and for most valuable instruction in colouring and perspective. It was the advice also of the same good friend that led him to a closer study of nature, and that greatly improved his taste. He visited Florence and Rome, where he increased his natural conception of grandeur by contemplating the works of Michelangelo and Raphael. In his first performances he appears to have been led away by the ardour and vivacity of his genius, and his early works have something of the extravagant and gigantesque. It was usual for him to paint, both in oil and in fresco, without having prepared either drawing or cartoon ; he is also said to have painted with great rapidity, and often with both hands at once. In his better time he checked this impetuosity, and it was in the middle of his life that he produced his most esteemed works, which for transparency of colour- ing and for gracefulness of pose have been con- sidered far superior to those of his contemporaries. His picture of ' The Martyrdom of St. George,' in the church dedicated to that saint, is considered by some as his best performance, from the admirable expression in the head of the martyr, the breadth of the composition, and the judicious management of the chiaroscuro ; but others prefer his ' St. Benedict,' and ' St. John the Baptist,' at Roc- chettini. Another of his finest efforts is the ' Rape of the Sabines,' at the Palazzo Imperiale, at Terralba, near Genoa. Everything pleases in this work: the sumptuous architecture, the beauty and spirit of the horses, the modest reluctance of the women, the impassioned ardour of the men, and the appropriateness of the minor accessories. Maz- zolari says this extraordinary work was executed in fifteen months, and thinks that it was impos- sible for the painter to have produced it in that time without assistance. It is said that Mengs, on seeing this picture, declared he had seen nothing out of Rome that approached so near to the beauty of the Loggie of the Vatican. Having the misfortune to lose his wife, and being imable to obtain the papal permission to marry her sister, Cambiaso allowed the disappointment to prey on his mind till he became melancholic. It is believed that it was with the hope of in- ducing the Spanish monarch to bring about his wish that he readily accepted in 1583 a proposal to go to Spain to complete some paintings left unfinished by his friend Castelli, who had recently died. There he was employed by Philip II. in the Escorial, where he painted a variety of works, and especially the ceiling of the choir, representing ' The Assemblage of the Blessed,' an immense com- position, which is highly applauded by Lomzzo. Cambiaso died, as commonly believed, from con- tinued disappointments, at the Escorial in 1585. Besides the works previously alluded to, speci- mens of this artist's paintings may be seen at Naples, and at the convent of the Augustines at Pontre Moli : Berlin. Bologna. Gallery. Charity. Pinacoteca. Birth of Christ Dulwich. Gallery, Venus and Cupid. Florence. Vffizi. Madonna and Child. His own Portrait. Hague. Gallery. Holy Family. Birth of the Virgin. Madrid. Gallery. Holy Family. )) " Sleeping Cupid. Lucre tia. Milan. Br era. Adoration of the Shepherds. Munich. PiTiakotheJc Portrait of an Old Man. His drawings hold high rank in the portfolios of collectors. There are also some wood en- gravings, marked with the accompany- ing monogram, which are ordinarily attri- buted to him ; but it is scarcely possible that he did more than furnish the design. CAMBIASO, Obazio, was the son and scholar of Luca Cambiaso, whom he accompanied to Spain. After the death of his father, Philip II. continued to employ him, and settled on him a liberal pension. CAMBON, Charles Antoine, a French scene- painter, was born in Paris in 1802. He was a pupil of Ciceri, and acquired much celebrity by his theatrical decorations, many of which were real masterpieces. He died in Paris in 1876. CAMDEN, Sampson, was a portrait painter who flourished about 1540. He was the father of William Camden, the antiquary. CAMERATA, Giuseppe, an Italian miniature painter and engraver, was born at Frascati or at Venice in 1718. He was the son of 6. Camerata, a painter of some reputation, and studied under Gregorio Lazzarini. He learnt the use of the graver from Giovanni Cattini, and after visiting Vienna in 1742, was in 1751 invited to Dresden, to assist in engraving the plates for the Dresden Gallery, and was there made principal engraver to the Court. He visited Italy again in later life, and subsequently came to Munich, where he settled for a time in 1763. He afterwards became professor in the Academy at Dresden, where he died in 1803. He was an engraver of some talent, but his work is not considered to be of a very high class. We have by him several plates from his own designs, as well as among other works the following : PORTRAITS. Marco Foscarini, Doge of Venice. Simone Contarini, Procurator of St. Mark. Sebastiano Bombelli, the painter. SUBJECTS FROM THE DRESDEN GALLERY. The Parable of the Talents ; after Domenico Feti. The Parable of the Lost Piece of Silver ; after the sanie. The Parable of the Prodigal Son ; after the same. David, with the Head of Goliath ; after the same. The Infant Bacchus ; after the same. The Holy Family ; after Giulio Cesare Procaccini. St. Eoch succouring the Plague-stricken ; after Camilla Procaccini. St. Eoch distributing Alms ; after Annibale Carracci. The Assumption of the Virgin ; after the same. The Adulteress before Christ ; after B. Biscaino. The Chastity of Joseph ; after S. Cantarini. The Old and New Testament ; after A . Vaccari. The Magdalene ; after Pompeo Batoni. A half-length figure, with a beard ; after Dietrich. Another half-length, the companion ; after the same. The Magdalene ; after Van der Werf. CAMERINO, GiROLAMO (di Giovanni) di, is generally supposed to be the son of Giovanni Boc- cati, and is the known painter of an altar-piece at Santa Maria del Pozzo in Monte San Martino, near Fermo, that is signed and dated 1473, and repre- sents the ' Madonna and Child, and four Angels, between SS. Thomas and Cyprian.' 237 A BIOGRAPHICAL DICTIONARY OP CAMERINO, Jacopo da, a Franciscan monk, who assisted Turrita with the mosaics in the church of San Giovanni in Laterano, is known to have worked from 1288 to 1321. His compositions are in a style similar to that of Cimabue. CAMILO, Feancisco, was, according to Palo- mino, the son of Domenico Camilo, a Florentine who had settled in Spain. He was born at Madrid in 1610, and was a scholar of Pedro de Las Cuevas, whom his widowed mother had married. He proved a reputable painter of history, particularly in his colouring-, which is sweet and tender. His best work is ' The Communion of St. Mary of Egypt,' painted for the high altar of the church of the Capuchin convent at Alcala de Henares, but now in the Museo Nacional at Madrid, where there are hkewise twelve other pictures by him. Nearly equal in merit are his ' St. Charles Borromeo,' in the church of the Minorites at Salamanca, and his ' Descent from the Cross,' in San Justo at Segovia. But his most celebrated picture is the ' Nuestra Senora de Belem,' in the church of San Juan de Dios, at Madrid, which Palomino emphatically says is "without limit in perfection." He died at Ma- drid in 1671. In the palace of Buen Retiro at Madrid, are his portraits of the Spanish kings, and fourteen frescoes representing subjects taken from Ovid's ' Metamorphoses.' The Hermitage at St. Petersburg has an ' Assumption of the Virgin ' by him. Francisco Ignacio was the best of his many pupils. CAMINADE, Alexandre FuAKgois, a painter of historical subjects and portraits, as well as a litho- grapher, was born in Paris in 1783. He studied in the schools of David and Mirimee, and visited Rome. His works did not show any great power, but their pleasing colouring and correctness of drawing caused them to meet with a ready recep- tion. There are many examples of his work at Bordeaux, and at Versailles, where he died in 1862. CAMLIGDE, — , a French engraver, unnoticed by Basan, flourished towards the close of the 18th century. He engraved the plate of ' Le Pari gagn6 ' in R^tif de la Bretonne's ' Monument du Costume,' published in 1789, as well as some of the plates in the smaller edition of the same work. CAMMAS, Lambert FRANgois Th^rese, a French painter, architect, and engineer, was born at Toulouse in 1743. He was instructed in the rudiments of art bj' his father, Guillaume Gammas, an architect of repute, who designed the facade of the H6tel-de-Ville at Toulouse. He afterwards went to Rome, where in 1770 he became professor at the Academy of St. Luke. On his return to France he protested against the bad taste which had disfigured the majestic outlines of the noblest churches with mean and ridiculous ornaments, and made numerous designs for the restoration of al- most all the religious edifices of the city of Tou- louse. Gammas died in that city in 1804. His picture representing ' Louis XVI. recalling the Parliaments exiled during the reign of Louis XV.' is in the Museum of his native city. GAMPAGNOLA, Domenico, was bom at Padua about 1482, and worked there in the earlier half of of the 16th century. Brought up in the school of Titian, Domenico soon attained a proficiency that even roused the jealousy of his master. At Padua his fresco paintings in the Scuola del Santo lose little of their merit by a comparison -with the works of his admirable instructor, and in his oil pictures in the Scuola del Carmine he sustains the 238 contest with him even more equally. In the com- partments of the ceiling, in which he has repre- sented the Evangelists and other Saints, he appears (says Lanzi) to have aspired to a grandeur above Titian, and to have drawn the nude figure with a more daring and unrestrained outline. An 'Adam and Eve ' by him is in the Pitti Palace, Florence. Ridolfi speaks highly of his merit as a painter of landscapes, which he says are in the fine style of Titian, and little inferior to tliose of that master. A large number of them have been engraved by Comeille. Domenico Campagnola holds an eminent rank as an engraver, and his etchings are executed in a style that shows the hand of a master. The follow- ing is a Ust of prints by him, but it is curious that by far the larger part of them bear the same date, viz., 1517; on some is seen his name in full, on others it is abbreviated thus : 'DO. DO. •CAP. °^ -CAMP. Christ healing the Sick Man at the Pool of Bethesda. The Eesurrection of Christ. The Descent of the Holy Spirit on the day of Pentecost. The Assumption of the Virgin. The Madonna seated with the Infant in her arms nnder a Tree, with St. Catharine kneeling on her left, and a graceful Female holding a Banner on her right. The Decollation of a Female Saint. A Youth in a standing posture, with a Reed Pipe, lean- ing against a Tree, and on the left an old Man, in the habit of a Warrior, with a Dog at his feet. A Combat of naked Men on Foot and on Horseback, in a Wood. St. Jerome seated naked at the entrance of a hnt, with the Lion at his feet. Twelve Children dancing. The design of this piece is attributed by Passavant to Titian. There also exist a few woodcuts which bear the name of Domenico Campagnola. GAMPAGNOLA, Gicxio, a painter and engraver, was born at Padua in 1481. He exceDed in minia- ture, and also painted pictures in oil tliat ap- proached the modern style. We have by this artist a fine plate after Giovanni Bellini, repre- senting ' St. John the Baprist holding a Cup.' It is deserving of remark that this print is engraved in a peculiar manner for the time. The back- ground is expressed by dots, apparently executed with a punch, and the outline of the figure is put in with a deeply-engraved stroke, and finished within with dots. The execution of this plate affords a reasonable presumption that this style of engraving, known as op^is mallei, which has been generally considered of modem date, is of some anriquity. Among other plates may be mentioned ' Ganymede,' engraved in the manner of Marc- Antonio, and two others executed with extra- ordinary minuteness and care, viz., ' An aged Shep- herd, reclining, holding a flute,' and ' The Astrolo- ger ' (1509). Another specimen, executed ■with the dry point, represents a nude female reclining on a bank beneath some foliage, and recalls the style of Giorgione. Bartsch and Passavant together enumerate sixteen engravings by Giulio Campag- nola, most of which are from the designs of the great masters of the Venetian school, especially Giovanni Belhni and Giorgione. This artist has been the subject of much discussion, and some acrimonious controversy. See Zani's 'Enciclopedia,' part I. vol. V. , Ottley"s ' Inquiry into the Origin and Early History of Engraving,' Passavant's ' Peintre-Graveur,' v. 162— 167, and Galichon's Life of him published in 1862. CAMPAGNOLA, J. J., is thought by Passavant PAINTERS AND ENGRAVERS. to be the name of the master by whom we have two engravings marked /. I. CA. They represent ' The Nativity ' and ' St. Ottilia,' the latter, which is somewhat in the style of Benedetto Montagna, having the monogram reversed. He flourished early in the 16th century, and was possibly of the same family as Domenico and Giulio Campagnola ; but while they belonged to the Venetian school, his style is that of the school of Padua as formed by Mantegna. CAMPALASTRO, Lodovico, was a painter of Ferrara, in which city there are several of his works : in the church of San Crispino, ' The Na- tivity,' ' The Repose in Egypt,' and ' The Adoration of the Magi ; ' and in San Lorenzo, ' St. Francis of Assisi.' CAMPAS'A, Pedro. See De Kempeneeb, Pieter. CAMPANA, PlETBO, an Italian engraver, was born at Soria in 1727. He learned the use of the graver from Rocco Pozzi, and lived the greater part of his life at Rome and Venice. He died in 1765. We have the following prints by him : St. Francis of Paola ; after Seb. Conca. St. Peter delivered from Prison ; after Mat. Freti. Portrait of Pietro da Oortona ; from a picture in the Florence Gallery. Portrait of Bernardino Barbatelli, caUed Poccetti. CAMPANA, ToMMASO, was a Bolognese painter who flourished between 1620 and 1640. He was originally a pupil of the Carracci, but afterwards followed the style of Guido Reni. In the church of San Michele in Bosco, at Bologna, are two paintings by him representing scenes from the life of St. GecOia. CAMPANELLA, Agostino, was a native of Florence, who flourished about the year 1770. He engraved several plates representing historical and Biblical subjects. They are executed with the graver in a neat style, but the drawing is not very correct. CAMPANELLA, Angelo, born at Rome about the year 1748, was a painter and engraver, and studied art under Volpato. He engraved the statues of the twelve apostles which are in the church of St. John Lateran ; and some of the plates for Gavin Hamilton's ' Sohola Italica,' one of which is ' The Presentation in the Temple,' after Fra Bartolommeo. He died about the year 1815. Others of liis engravings are : Christ with the Disciples at Emmaus ; after Raphael, The Massacre of the Innocents ; after the saine. Psyche and Cupid ; after the same. CAMPBELL, Charles William, an English engraver in mezzotint, was born at Tottenham, July 13, 1855. In 1870 he entered the office of his father, an architect and surveyor, and stayed there until 1878. In the meanwhile be studied Ruskin and practised drawing so far as his means and leisure would allow him. Finally he was intrusted by Mr. Burne-Jones with his picture of the ' Birth of Galatea,' to be scraped in mezzotint. The plate was published early in 1886, and was followed by an ' Ophelia,' from his own design, and ' Pan and Psyche,' again after Burne-Jones. All three were pure mezzotint, without adulteration by any other process. Campbell also scraped a mezzotint of Miss Ellen Terry from life, and at his premature death, which occurred on May 31, 1887, left several plates in various stages of completion. CAMPBELL, J., was probably a native of Scot- land. He flourished about the year 1754, and en- graved a few plates after Rembrandt, in which he imitated the style of that master with considerable success. CAMPER, Petrus, born at Leyden in 1722, was a celebrated professor of anatomy and surgery, and an amateur painter. He succeeded in copying the works of Carlo Lotti and other Italian masters, as also those of Honthorst. He took lessons from Karel de Moor, and produced some cabinet pictures in the manner of that master ; but most of his productions have the marks of imitation rather than originality. He published a work very useful to young students in painting. He produced also a few etchings, and displayed a good deal of talent in the application of his knowledge of drawing to the purposes of his profession. He died at the Hague in 1789. CAMPHUYSEN, Dirk Raphaelsz. who was born at Gorcum in 1586, is recorded as a painter of land- scapes with wild animals, ruins, and cottage in- teriors. Yet some authorities say that he never practised the art of painting, and that works cata- logued as his are by his son Govaert Camphuysen. Two moon-light subjects, in the style of Van der Neer, in the Dresden Gallery, signed R. Camp- HtrrsEN, are given in the catalogue to Dirk Raphaelsz : but it is more probable that they are by the hand of Raphael CAMPHnrsEN, a brother of Dirk, who was bom in 1598. Dirk Camphuysen died at Dokkum in 1627. CAMPHUYSEN, Govaert, who was born at Gorcum in 1624, made a citizen of Amsterdam in 1650, and died in that city in 1674, was an animal painter, whose style was influenced by Paulus Potter. A painting in the Dulwich Gallery of ' Peasants with cows before a cottage,' with a forged signature oi Paulds Potter, is attributed to Camphuysen ; in the Rotterdam Museum is a picture of ' Peasants before an Inn,' signed G. Camphuijsen ; the Brussels Gallery has an ' In- terior of a Farm,' signed with his name and dated 1650; and a painting of 'Peasants and Cattle before an Inn ' in the Cassel Gallery is also attri- buted to him. In the Hermitage, St. Petersburg, are two Interiors of Cow-sheds, both bearing his signature. Govaert Camphuysen's works are scarce ; probably some of them are known as paintings by Paulus Potter; and others are attri- buted to his father. Dirk Raphaelsz. CAMPI, Cavaliere Antonio, the son of Gale- azzo Campi, was born prior to 1536. He was an architect, sculptor, painter, and engraver. He received his first instructions from his father, and then entered his brother Giulio's workshop. He followed the style of Correggio, and painted several frescoes and pictures for the churches of Milan and Cremona, some of which have been engraved by Piccioni and Agostino Carracci. He and his brother Vincenzo Campi went to Spain in 1583, and painted for Philip II. at the Escorial. He also wrote a ' History of Cremona,' for which he en- graved the topographical plan. He died about 1591. A 'St. Jerome' painted by him for Philip II. is in the Madrid Gallery, and in the Brera at Milan is a ' Madonna and Child,' which was formerly in Santa Barbara in that city. CAMPI, Bernardino, was born at Cremona in 1522, and was probably a member of the Campi family, whose works are often met with in the churches of Lombardy. He was intended for the profession of a goldsmith, but on seeing the copies of two of the tapestries designed by Raphael, which 239 A BIOGRAPHICAL DICTIONARY OF had been copied by Giulio Campi, he determined to change his pursuit, and to study painting under his relative. He remained with Giulio some time, but afterwards went to Mantua, where he frequented the school of Ippolito Costa. Before he had reached his twentieth year he had already exhibited considerable pre-eminence in art. He studied the works of Giulio Romano, Titian, Correggio, and Raphael, and aimed at combining the individual ex- cellences of those masters in a stj'le of his own. His great work in the cupola of San Sigismondo bears evident trace of his having greatly profited by his acquaintance with the works of Correggio. He has here represented the assemblage of the saints and blessed of the Old and New Testament, each with their appropriate symbols. This work is of stupendous dimensions, and though the figures are seven braccia in height, such is his judicious management of the point of view that they only appear to be the size of nature. He completed this great work in the surprisingly short period of seven months. Other examples of his work are to be seen at Milan, Pavia, and Piacenza. In 1584 he published a work on painting. He had several pupils, among whom was Sofonisba Anguisciola. He died at Reggio about 1592, and was^buried in the church of San Prospero, where he left some unfinished frescoes. The following of his paintings are preserved : Cremona. S. Sigismondo. St. Cecilia ; St. Catharine ; the Prophets ; Children — frescoes {cupola of choir). „ S. Domenico. The Nativity. Milan. Brera. Descent from the Cross. Paris. louvre. Mater Dolorosa. CAMPI, Gat.kazzo, was born at Cremona about 1475, and died there in 1536. He appears to have been a pupil of Boccaccino. Paintings by him are to be found in the churches of San Sigismondo, San Sebastian 0, and Sant' Agata, in Cremona. A curi- ous painting dated by him 1515, and representing ' The Resurrection of Lazarus,' with Christ and the apostles Peter and Paul on one side of the grave, whilst Lazarus the beggar \vith two dogs stands on the other side, and formerly in the church of San Lazzaro, Cremona, is now in the possession of Canon Bignami, at Castel Maggiore. His are also : Cremona. Palazzo. Christ in Benediction. „ Municipio. Virgin and Child, with three Saints. Florence. Gallery. TTis own Portrait. CAMPI, Giulio, the eldest son of Galeazzo Campi, was bom at Cremona in 1500. In 1522 he was studying under Giulio Romano at Mantua as an architect and modeller, but he afterwards studied painting from the various old masters. His earliest work in Cremona was four large pictures repre- senting ' The Martyrdom of St. Agatha,' which are in the church of Sant' Agata. He next painted for the high altar of the church of San Sigismondo, outside Cremona, a votive altar-piece, representing 'The Virgin and Child, with Saints,' and the figures of Count Francesco Sforza and Bianca Maria Visconti. This picture has been en- graved by Ghisi. In 1527 he painted the altar- piece of ' The Virgin and Child, with SS. Celsus and Nazarus,' for the church of Sant' Abbondio. This is his finest work, and is characterized by a faithful rendering of the colouring of the Venetian school. He decorated the council-chamber of Brescia with eight large frescoes representing ' The Labours of 240 Hercules,' which have likewise been engraved by Ghisi. His constant aim seems to have been to secure a free handling in his drawing, a principle he learnt from Giulio Romano, and to combine with it the feeling of Correggio and the colouring of Titian and Pordenone. Milan, Cremona, and Mantua, all possess paintings by him. He died in 1572. Noticeable among his works are : Cremona. S. Margherita. Several altar-pieces and frescoes. „ S. Sigismondo. Descent from the Cross. Mantua. S. Girolamo. The frescoes in the Cupola. CAMPI, ViNCENZO, the third son of Galeazzo Campi, was born at Cremona before 1532, and received instruction from his brother Giulio. He worked constantly in conjunction with his brothers, and his colouring very much resembles that of those artists, but his design was much poorer. One of his best performances is considered to be ' The Descent from the Cross,' in the cathedral at Cremona, but his chief merit was in painting portraits and still-life. In 1583 he joined his brother Antonio in a visit to Spain, where they both worked for Philip II. at the Escorial. His death occurred in 1591. Two pictures by him — one a Woman with fish, the other a Woman with fruit — are in the Brera at Milan. CAMPIDOGLIO, II. See Pace, Michelangelo. CAMPIGLIA, Giovanni Domenico, an Italian painter and engraver, was born at Lucca in 1692. He studied at Florence under Tommaso Redi and Lorenzo del Moro, and at Bologna attended the school of Gioseffo dal Sole. He painted some his- torical subjects at Florence, and several portraits, among which was his own, which is 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. According to Nagler he died in 1768. He etched several plates after his own designs, and among others the following portraits of artists : Giovanni Domenico CampigUa. Giovanni I/^renzo Bernini. Giulio Romano. Salvator Kosa. Leonardo da Vinci. Giovanni Antonio Bazzi. CAMPILIDS, Bernardino, was a very inferior follower of Lo Spagna at Spoleto. His name is written beneath a ftesco of ' The Virgin adoring the Infant,' on the Piazza San Gregorio, at Spoleto, and bears the date of 1502. No further information can be given of his birth or death. CAMPIN, Robert, 1375— April 26, 1444. It is not known where he was born or where he learned his art, but he was already a free master in 1406, in which year he painted a picture for the widow of the sculptor James Braibant. He acquired the right of citizenship by purchase on December 29, 1410. His wife, Elisabeth de Stochem, was seven I years his senior. His conduct was by no means edifying. In 1428 he was fined 20J., sentenced to I make a pilgrimage to Saint Giles, and debarred] from holding any civic oflBce. In July 1432 hej was banished from the city for a year on accoantl of his dissolute life, but at the intercession or Jaoqualine of Bavaria, Countess of Hainault, this! was on October 26 commuted to a fine of 50».l Notwithstanding all this, he was constantly em-j ployed by the municipal authorities on mural and 1 decorative paintings. In 1428 he executed • 1 PAINTERS AND ENGRAVERS. painting in oil-colours and gold with the figures of Saint Piat, Saint Eleutherius, the King, Queen, and Dauphin and others. In 1438 he drew cartoons for mural paintings, representing episodes in the life of Saint Peter ; he was paid 8s. for these designs, which were executed by Henry de Beaumetiel in the chapel of Saint Peter. Campin was the master of two celebrated painters : Roger De la Pasture (van der Weyden) and James Daret. No painting can be attributed to him with certainty, but he was probably the painter of a panel representing the blossoming of Saint Joseph's rod, and the marriage of the B. Virgin in the Prado Museum, Madrid. W. H. J. W. CAMPING, Giovanni, was born at Camerino about 1590. He constitutes a remarkable, if not a solitary, instance of an Italian going out of his own country to study painting. Sandrart, however, assures us that he went to Antwerp, and placed himself under Abraham Janssens, with whom he remained some years, then returned to Italy and studied the works of Caravaggio, whose style of painting greatly resembled that of his Flemish instructor. He painted some pictures at Rome with sufficient success to procure him an invitation to the Spanish Court, where he was employed by the king. He died there in 1650. CAMPION, Chaeles Michel, a French amateur by whom we have several plates, was born at Mar- seilles in 1734, and died there in 1784. Some of his plates are executed with the graver, and some are etched ; amongst them are the following : Aignan Thomas Desfriches ; after Cochin. Francois de Regny ; after the same. Cardinal Commandon ; C. C. M. de St. Amand ; after Mile. Loir. Madame de Guillonville. The Four Seasons ; after Desfriches. Views of the Harbour and Town of Autibes. View of Meung-sur-Loire. Views on the banks of the Loire. Views on the banks of the Loiret. CAMPION, Charles Philippe, Abbe de Tersan, brother of Charles Michel Campion, was born at Marseilles in 1736. He engraved several portraits of no great merit, and formed a large collection of books, prints, medals, and antiquities, which were sold after his death, which occurred at Paris in 1819. Among his engravings may be mentioned two portraits of Montesquieu, and those of N. de Verri, Sauveur-Morand, Alexis Clairaut, the mathe- matician, and the Cardinal Prince Louis de Rohan. CAMPION, George B., a water-colour land- scape painter, was one of the earliest members of the Institute of Water-Colour Painters, having been elected in 1837, and was a frequent con- tributor to the exhibitions of that society. ' Olden Times' and 'Gathering Orach,' both exhibited at the Institute in 1869, are fair specimens of his art. He was for some time drawing-master at the Military Academy, Woolwich ; but afterwards retired to Munich, where he died in 1870, at the age of 74. He was the author of ' The Adven- tures of a Chamois Hunter,' and he also wrote some notes on German art for the ' Art JournaL' CAMPIONE, IsiDORO DA. See Bianchi. CAMPO, Juan, a Spanish painter, was born of humble parentage at Ita in 1530. After enduring great privation he journeyed to Toledo, and solicited permission to enter the studio of Francisco de Comontes, where he made good progress. One day Don Geronimo de Corella, who had been appointed B Bishop of Comayagua in Central America, visited the studio of Comontes, and in the master's absence was received by the pupil, who confidentially told the prelate that on account of his debts he should be obliged to leave the country or go to prison. The bishop thereupon offered to take the painter with him to America to decorate the churches, only upon the condition that he should, when able, pay his debts. Campo left Spain in 1557, and appears to have painted a considerable number of works, which have been highly praised by travellers, but are totally unknown in Europe. In less than twenty years he had paid all his creditors and acquired a small fortune, with which he was about to return to his native country, when he was attacked by sudden illness, from which he died. His early works, which may be seen in Spain, are imaginative in design, but weak in colour. CAMPOLARGO, Pedro de, was a Spanish painter of some repute in Seville in 1660, whose engrav- ings are held in higher estimation than are his paintings. CAMPOLO, Placido, according to Hackert, in his ' Meraorie de' Pittori Messinesi,' was born at Messina in 1693. He studied at Rome under Sebastiano Conca, where he was more indebted for his advancement to his designs from the antique marbles, and his contemplation of the works of Raphael, than to the precepts of his instructor. On his return to Sicily he distinguished himself as a historical painter, particularly in fresco. One of his principal works is the ceiling of the GaUeria del Senate, at Messina, which is admired for the ingenuity of the composition and the correctness of the design. He died of the plague in the fatal year 1743. CAMPROBIN, Pift)RO de, was a Spanish painter of animals, fruit, and flowers, who flourished at Seville about 1660. His flower-pieces are to be seen in several churches in Andalusia ; those which he considered his best are signed Pedro de Camp- robin Pasano fecit. CAMRADT, JoHAN Ludvig, who was bom at Copenhagen in 1779, and died at Hillerod in 1849, painted fl-ower-pieces. CAMUCCINI, ViNCENZO, a historical painter, was bom at Rome in 1773. He received his first instruction from his brother Pietro, who was a re- storer of pictures, and also from Borubelli, an engraver of moderate ability ; but he afterwards became a pupil of Corvi, and for some years devoted himself to the study of Andrea del Sarto, Raphael, Domenichino, and other great masters. _ When twenty-four years of age he produced his great picture of ' The Death of Cassar,' which was much admired. Soon afterwards, the arrival at Rome of the great French artist David excited Camuc- cini's emulation, and he undertook to produce a series of pictures on subjects taken from the history of ancient Rome, and painted in the classic manner. Among these were : Horatius Codes. The Departure of Kegulus for Carthage. The Continence of Scipio {in the Palazzo Reale, Naples), The Death of Virginia. ( „ „ „ „ ). The Death of Caesar. ( „ „ „ „ ). He also painted : The Incredulity of St. Thomas {in mosaic, in St. Peter's, at Rome). The Presentation in the Temple {in San Giovanni, at Piacenza; esteemed one of his finest works). The Death of the Magdalen. The Entombment {painted for Charles IV. cf Spain). 241 A BIOGRAPHICAL DICTIONARY OF The Apparition of Christ in limbo (painted in 1829 for the Association of the patriotic Friends of Art of Prague). Mission of the Benedictine Monks to England. 1833. The Conversion of St. Paul (a colossal picture exeeutea in 1834 /or the Basilica of San Paolo fuori le Mura at Some). These serious subjects he diversified with a 'Betrothal of Psyche,' and, jointly with Landi, he painted, in fresco, the ceiling of the Torlonia Palace. As regards composition and design, Camuccini in these works is considered by his fellow-countrymen to have been entitled to stand in comparison with the great masters of painting of the later period of the Revival ; but in colouring he is admitted to have been very deficient. As a portrait painter he attained considerable eminence ; amongst the best he produced are those of Pope Pins Til. (now in the Gallery at Vienna). The Duke de Blacas, Ambassador from France at Rome. The King of Naples, and the Queen of Naples. The Countess Schouvaloff, and the Countess von Die- trichstein. 1829. Several of his works have been engraved by Bettelini, and some have been lithographed by Scudellari, and published under the title of 'I Fasti principali della Vita di Gesii Cristo,' with text in Italian and French, at Rome, in 1829. Camuccini •was appointed inspector-general of the Musevmis of the Pope, and of the Factory of Mosaics, and director of the Neapolitan Academy of Rome. He was a member of the Institute of France, and during some years president of the Academy of St. Luke. Pope Pius VII. conferred upon him the title of Baron, with hereditary succession, and the Emperor Francis I. the order of the Iron Crown. He died at Rome in 1844. But it was not merelj' as an artist that Camuccini was distin- guished. Recognized as a man of superior taste, and having amassed a considerable property, he expended no small portion of his wealth in the purchase of a fine collection of pictures and other objects of art. On this collection coming to be sold, in 1856, the greater portion of the pictures, upwards of seventy in number, were purchased by the Duke of Northumberland, who removed them to Alnwick Castle. They consist principally of the works of the Italian masters living in the 16th and 17th centuries, with some specimens of an earlier date, and a few others of the Dutch and Flemish painters of the 17th century. One by Raphael, known as 'The Madonna with the Pink,' is the most noted of them. CAMULIO, Bartolomjieo di, flourished at Genoa in the middle of the 14th century. A Madonna painted by him, in the year 1340, i8 in the Palermo Gallery. CAMUS. See Duval le Caiius. CANAL, Antonio, commonly called Canaletto, was bom at Venice in 1697. He was the pupil of his father, Bernardo Canal, who was a decorator and scene painter. Antonio first confined his atten- tion to theatrical decorations, but in 1719 went to Rome, where he spent some time in drawing and copying the antiquities of that city and its vicinity. Returning to his birthplace, he exclus- ively occupied himself in producing views of Venice, which for their great truth to nature, and for their extraordinary effect, perspective, and colour, met with an immense success, and are still most highly esteemed. The figures in his views are almost all painted by Giovanni Battista Tie- polo. In 1746 Canaletto visited London, and re- 242 mained two years, during which time he painted many of its most striking views. It is com- monly thought that he was the first artist who used the camera lucida for his pictures. The prin- cipal public and private galleries of Europe possess examples by this master ; but his works must not be confounded with those of his nephew, Bernardo Bellotto, who is also called Canaletto. His finest works are at Berlin, Dresden, London, Munich, Paris, and Vienna. Many of Antonio's paintings have been engraved by Vicentino, and he himself has etched thirty-one plates of ' Views in Venice.' His death occurred in that city in 1768. The following are his principal works : Bergamo. Ae. Carrara. A View of Venice. Berlin. Gallery, View of Santa Maria della Salute, Venice. „ „ View of the Doge's Palace, Venice. „ „ View of the Dogana, Venice. Darmstadt. Gallery. Venetian Scene. Dresden. Gallery. Views in Venice {six). Florence. Uffizi. The Ducal Palace, Venice. „ „ The Rial to, Venice. Frankfort. Stdkel Coll. Venetian Scenes. Hampton Ct. Palace. The Colosseum at Rome. Isleworth. Syon House. View of Northumberland House. London. X^ai. Gall. View in Venice. ,^ „ The Grand Canal, Venice. ,1 „ The Scuola di San Rocco (with figures by Tiepolo). „ „ Regatta on the Grand Canal. „ „ The Piazzetta of St. Mark, Venice, from the Quay. London. X'at. Gall. Ducal Palace and Column of St Mark, Venice. „ „ Eton College. 1746. „ „ On the Canal Reggio, Venice. „ „ San Pietro di Castellu, Venice. „ Soane Mm. View on the Grand Canal, Venice. „ Montagu Ho. View of "WTiitehall. „ Dudley Ho. View in Venice. „ Devonshire Ho. View in Venice. „ Wallace Gall. Twenty pictures by him and his nephew, the Grand Canal being a fine and notable work by Canale. Munich. Pinalcoikeh. Views of Venice. Naples. Museum. Twelve Views of Venice. Paris. Louvre. View of Santa Maria della Salute, Venice. Petersburg, flermifcije. Reception of Count Gergi at Venice. „ „ The Marriage of the Doge with the Adriatic. Rome. Ae. di S. Luca. A Scene. Turin. Pinacoteca. View ia Venice. Venice. Accademia. Portico of a Palace. „ Museo Correr. The Grand Canal, Venice. Vienna. Gallery. Views of the Schottenkirche. f'>'l^Tl Views in Venice. stein Coll. J Windsor. Castle. Two Views on the Thames. „ ,, Views in Rome. CANALE, Giuseppe, an Italian designer and engraver, was bom at Rome in 1725. He was in- structed in engraving by Jacob Frey, and also frequented the school of the Cavaliere Benefiale. In 1751 he was invited to Dresden to assist in making the drawings and engraving the plates of a part of the pictures in the Gallery, and waa appointed engraver to the Court. He died in 1802. We have by him the following prints : Maria Mattia Periui ; after M. Benefale. Maria Antonia. Electress Dowager of Saxony; after « draicing by the Princess herself. _ Archbishop Bonaventura Barberini. Maria Josephina, Queen of Poland. <1 a u z w > < < Q < Pi o w K H Z o < < z o H z O H H W < < U PAINTERS AND ENGRAVERS. Prince Xavier of Saxony. I The sepulchral Monument of Cardinal Spinola. The Philosopher ; after Spagnoletto. The Glory ; after Lomenichino, A Sibyl ; after Angelica Kauffmann. Paris and tenone ; after Van Loo. Adam and Eve driven from Paradise ; after Albam. Christ and St. John ; after Van der Werf. Christ appearing to St. Thomas ; after Mat. Freti ; this plate was finished by Beaiwarlet. A Turkish Woman ; after Dietrich. Spring ; after the same. CANALBTTO. See Bellotto, and Canal. CANDERRON, Bernardino, was a Spaniard who, assisted by Fray Felipe and Alonso Vazquez, painted a missal enriched with miniatures in six volumes for the cathedral of Toledo. This work he executed between 1514 and 1618 by order of Cardinal Ximenes. It is considered the most beau- tiful work of the kind ever executed in Spain. CANDIDO, Martino di. See under Tolmezzo. CANDIDO, PiETRO, (or Pieter Candid). See De Witte. CANE, Carlo, was born at Gallarate, a small town in the Milanese, in 1618, and was instructed by Melchiore Gilardini. He copied the works of Morazzone with success, and became a historical painter of some note, particularly in fresco. His best works are ' St. Ambrose ' and ' St. Hugo,' painted in fresco in the Certosa at Padua. He also painted landscapes and animals, which he touched with great spirit. He died at Milan in 1688. There was also a Carlo Cane, of Trino, who is mentioned by Irico, in his ' History of Trino,' as having painted in 1600 two altar-pieces for the Benedictine abbey of Locedia. CANELLA, GinsEPPE, who was born at Verona in 1788, was a painter of architectural scenes and sea-pieces ; he worked at Milan, and died at Flor- ence in 1847. Amongst his best productions are : Views of Paris and the Boulevards. The Cathedral at Milan. The Harbour at Honfleur. The Church of Santa Croce in Florence. New Street in Venice. View of a Village — mooplight (in the Brera, Milan). . CANERIO, Anselmo, was a Veronese painter who flourished between 1560 and 1575, and pro- duced a number of works in oil and in fresco at So- ranzo, Castelfranco, Vicenza, and Verona. He was a follower of Paolo Veronese. There is a frieze of his to be seen in the palace of Count Murani, and a ' Pharaoh's Daughter ' in Signer Ridolfi's mansion — both at Verona. CANETI, Francesco Antonio, an Italian minia- ture painter, bom at Cremona in 1652, was a pupil of G. B. Natali. He afterwards became a Capuchin monk, and died in 1721. CANINI, Giovanni Angelo, or Giannangiolo, a historical painter, was born at Rome in 1617. He was first the pupil of Domenichino, and after- wards of Barbalonga. He was received into the Academy of Rome in 1650, and was eventually appointed Court painter to Queen Christina of Sweden, for whom he executed some considerable works. Though possessed of much talent as an artist, he devoted more of his time to archseology, and published two works on that subject. There is an engraving by this artist of Cardinal Mazarin, touched with a light hand, and showing much feeling and spirit. Two paintings by him repre- senting the martyrdoms of SS. Steohen and Bar- tholomew are in the church of San Martino ai Monti, Rome. He died in Paris in 1666. CANINI, J. B. L. MAES. See Maes Canini. CANLASSI, GuiDO, commonly known as II Cagnacci, a surname given to him on account of his deformity, was a painter of the Bolognese school, born at Castel San Arcangelo, near Rimini, in 1601. He was a pupil of Guido Reni, whose style he imitated in a somewhat too methodical manner ; still his work was careful, and has something of his master's delicacy. He worked at Rimini and Bologna, but did not execute many paintings in Italy, as he went in early life to the Court of the Emperor Leopold, where he laboured with consider- able industry. Beauvarlet, Cunego, Magalli, and Prenner have engraved after his works. He died at Vierma in 1681. The following are among his extant paintings : Cassel. Gallery. Lucretia. Dresden. Gallery. The Penitent Magdalen. Florence. Uffizi. Jupiter and Ganymede. Fttti Pal. The Assumption of the Magdalen Munich. Pinakothek. The Magdalen. ,* ), Mater Dolorosa. Paris. Louvre. St. John the Baptist. Petrsbrg. Hermitage. The Assumption of the Magdalen Rome. S. Luca Accad. Tarquin and Lucretia. „ Borghese Pal. A Sibyl. Vienna. Gallery. Death of Cleopatra. ,> *> Madonna and Child. „ Liechtenstein Coll. Jacob and Labaa. CANO, Alonso, a Spanish painter, architect, and sculptor, was born at Granada in 1601. He ac- ?uired the knowledge of architecture from his ather, Miguel Cano, and then went to Seville, where he learned sculpture from Juan Martinez Montanez, and studied painting under Pacheco and Juan del Castillo. In 1630 he completed the altar- piece which his father had commenced at Lebrija, where his statue of the Virgin and Child is con- sidered a masterpiece. In consequence of a quarrel he left in 1637, and made his way to Madrid, where he was employed by Count Olivarez in the decorations of his palace ; he also painted the monument for the Easter Week in the church of St. Giles, and the triumphal arch erected at the solemn entry of Maria of Austria into Madrid. In 1643 he unsuccessfully applied for the post of architect to the cathedral of Toledo, but was called upon in 1650 to direct the works there. In that same year he painted for the church of Porta Coeli in Valencia a ' Nativity,' ' Christ scourged at the Pillar,' and a ' St. John the Baptist.' Although since 1647 steward of the Brotherhood of Our Lady of Seven Dolours at Madrid, he joined a religious order in Granada in 1652, in order to devote him- self more entirely to his art. Although he had never visited Italy, yet his style had a noble, clas- sical simplicity, which he had acquired from his careful study of the antiques in the collection of Count Alcala at Seville. His sculptures manifested a strong resemblance by their energy and vigorous treatment to those of Michelangelo, and in addi- tion a most extraordinary grace and delicacy. M a painter he combined clear and brilliant colouring with decision in drawing and great power of ima- gination. He died at Granada in 1667. Nearly all the churches of Granada are enriched by his paintings, and examples may be found in tnany other churches of Spain. We may especially mention : Berlin. Gallery. St. Agues. 243 A BIOGRAPHICAL DICTIONARY OP Malaga. Munich. Petrsbrg. S. Fernando \ Acadany, ] S. Gines. Cathedral. Finakothek. Sennitage. Dresden. Gallery. St. Panl. Granada. Cathedral. The Virgin in Solitude. Madrid. Gallery Madonna in Adoration. „ The Scourging of Christ. " „ The Dead Christ. „ St. Benedict in Meditation. " „ St. John the Evangelist. St. Jerome. A Crucifixion. Christ seated and stripped. The Virgin of the Eosary. St. Anthony of Padua. Virgin and Child. „ Infant Christ and St. John. ^ Apparition of Saints to a Domin- ican. „ Portrait of Alonso Cano. Seville. Cathedral. The Madonna and Child. „ Museum. Souls in Purgatory. CANO, JoAQDiN Josef, a Spanish painter, -w-as bom at Seville, and became a pupil of Domenico Martinez. He excelled in copying the works of other masters, and so skilfully imitated the ' Vir- gins ' of Murillo that his copies may be mistaken for the originals. He was secretary of the School of Design at Seville, and died in that city in 1784. CANO DE AREVALO, Juan, a Spanish painter of fans, was born at Valdemoro in 1656, and became a scholar of Francisco Camilo. After wasting much of his time in idle company, and much of his energy in fencing, by secluding himself for a whole winter, and bringing out his accuinulated labours in the spring, he succeeded in making his beautifully-painted fans the fashion, as newly- imported French ones. The discovery of the trick did not destroy their well-earned popularity, and Cano was appointed ahaniquero (fan-maker) to the queen. Although his chief excellence lay in miniature painting, he executed some larger works : several in distemper for the chapel of the Rosary in the church of his native town, and a singular allegorical piece, painted on the death of Queen Maria Louisa, representing that queen as a winged spirit surrounded by a halo of rays, each contain- ing a text allusive to her virtues. It was Imng like a canopy over the coffin within the grotesque catafalque of Churriguera. It was engraved by Gregorio Fosman for the work of Vera Tassis, the plate bearing Cano's curious monogram. He also assisted a brother artist in some altar-pieces for the Jesuits, and for the church of Santa Maria at Alcala. He was treacherously assassinated in a duel at Madrid in 1696. CANON, Hans, (or Johann von Straschiripka,) a German painter, of Polish descent, was born in 1829. In 1853 he dropped his unpronounceable Polish name for that by which he was afterwards known. He began life in the army, but in 1853 studied under Rahl, and subsequently worked in Paris under Delaroche and Horace Vemet. He first attracted attention as a satirieo-political draughtsman, then as a painter of portraits and military subjects. He eventually took to historical painting on an enormous scale, and in a preposter- ously exaggerated style. He lived successively at Carlsruhe, and at Vienna, where he died in 1885. CANON, Pierre Laurent, a French miniature and landscape painter, was bom at Caen in 1787. He exhibited his works at Lille and Douai, but in Paris at the Salon of 1831 only. He died in Paris in 1852. CANOT, Pierre Charles, a French engraver, was bom about the year 1710, and came in 1740 244 to England. He was elected an Associate-En- graver of the Royal Academy in 1770, and died at Kentish Town in 1777. He engraved a great number of landscapes and sea-pieces, many of which have great merit Some of his best prints were executed after the works of Richard Paton. The following are his most esteemed plates : A Slight Breeze ; after Bakhuisen. A Fresh Breeze ; A Calm ; and A Storm ; after W. van de Velde. Eeturning from Market ; after P. de I^aer. The Amorous Toper ; and The Dutch Smokers ; after D. Teniers. The Dutch Cottage: Autumn; Winter; after Pillement. A Dutch Merry-making; after Ostade. Pyramus and Thisbe ; after L. Bramer. The Tempest ; after S. de Vliegher. An Italian Landscape ; after Gaspard Foussin. A Landscape ; and Sunrise, a marine ; after Claude Lorrain. Two Pastoral Subjects ; after Rosa da Tivoli. Two Views of Westminster Bridge and London Bridge ; after Scott. Seven Fox-hunting Subjects ; after Wootton. CANOVA, Antonio, the celebrated sculptor, who was also a painter, was bom at Possagno, near Bassano, in 1757. His paintings show a careful study of the Venetian masters, and are slightly finished as to their general colouring. In 1798 he produced 'The Dead Christ, with St. Mary, St Joseph, and Nicodemus,' for his native town. The Museum of Nantes has a picture of ' Godefroid de Bouillon, ' presented by the artist to M. Cacault in 1803. Canova died at Venice in 1822. CANOZZI, Cristoforo, the brother of Lorenzo Canozzi, was born at Lendinara about 1426. His works up to 1477 are mentioned in the notice of his brother. After Lorenzo's death he carried on business partly at Parma and partly at Modena. He was the author of a panel of a ' Virgin and Child ' in the Gallery of Modena, signed and dated 1482 : in the same Gallery is a ' Cracifixion, with SS. Jerome and Francis,' that may be attributed to him. The date of his death is uncertain. CANOZZI, Lorenzo, called Lorenzo da Len- dinara, was bom at that town in 1425. Both he and his j-ounger brother Cristoforo were painters, mosaicists, modellers in terra-cotta, and printers of books. They flourished at Modena and Padua. Paciolo declares Lorenzo to have been a complete master of perspective. Between the years 1460 and 1470 these brothers finished the carving and inlaj-ing of ninety stalls in the choir of the Santo, Padua ; and in 1465 they executed the stalls in the choir of the cathedral of Modena. The first mentioned, with four exceptions, all perished by fire in 1749. At Modena four of the panels representing the Doctors of the Church, stiU remain. Between 1472 and 1476 the two brothers executed the mosaics of the presses in the sacristy of the Santo, Padua, from designs by Squarcione, of whom Lorenzo at least was a pupil ; these have been much damaged by restorations. Lorenzo is also thought to be the author of the frescoes of SS. Jerome, Ambrose, Gregory, and Augustine in the Eremitani Chapel at Padua. His death occurred in 1477, and after that the business was carried on by Cristoforo. A ' Madonna and Child ' in the Modena Gallery bears his name, and the date 1482. CANTA-GALLINA, Remigio, was an Italian designer and engraver, born at Florence in 1582. He frequented for some time the school of the Carracci, though he does not appear to have distinguished himself as a painter. He was in- stracted in engraving by Giulio Parigi. His pen drawings possess great merit, and are highly esteemed. We have a number of plates by him PAINTEES AND ENGRAVERS. of landscapes, theatrical decorations, and triumphal entries. This artist has the credit of having been the instructor of Callot and Stefano della Bella. He died at Florence about 1630. His mark is J» and the following are his principal prints. "Try Two landscapes; one with a bridge, the other with buildings ; both dated 1603. The Immaculate Conception ; after Callot. A set of four landscapes ; dated 1809. A set of six landscapes. A set of twelve landscapes ; octagon ; marked with his cipher. A set of six landscapes ; with his cipher ; dated 1624. A set of plates of the Scenes of on Opera ; after the designs of Gitilio Parigi. A set of plates, called the Palazzo della Fame ; dated 1608. CANTARINI, SiMONE, called Simone da Pesaro, or II Pesaresb, painter and engraver, was born at Oropezza, near Pesaro, in 1612. He was instructed in design by Giovanni Giacomo Pandolfi, and after- wards studied under Claudio Ridolfi. But the works of Guido Reni were at that time so much the objects of admiration, that, although he had gained already no little celebrity by liis picture of ' St. Peter,' painted for a chapel at Fano, near that in which was placed Guide's picture of ' Christ giving the Keys to St. Peter,' he resolved to become a student in the school of Guido, where he remained until his inso- lence and malevolence, not only to his instructor, but to Domenichino and Albani, obliged him to quit Bologna, and seek shelter in Rome, where he employed some time in studying the works of Raphael. On his return to Bologna, not finding a residence there agreeable to him, he went to Mantua, where he was taken into the service of the duke, and was employed to paint his portrait. But whether he had not been accustomed to that branch of art, or from some other cause, he was entirely unsuccessful. This disappointment, prey- ing on a disposition naturally morose and irritable, is supposed to have occasioned his death at Verona in 1648. Baldinucci considers Cantarini as another Guido ; but although his merit is undoubted, and though he is allowed to have approached nearer to him than any other of his imitators, he has little claim to originality ; and for all that we admire in his best works, many of which possess great beauty, he is evidently indebted to his great model. The following are his principal paintings still extant : Bologna. Dresden. Fano. Genoa. Madrid. Milan. Pinacoteca. Gallery. S. Pietro. S. Ignazio. Durazzo Pal. Gallery. Btera. Modena. Museum. Munich. Pinakotkek. Paris. Louvre. Petrsbrg. Hermitage. Kome. Corsini Pal. „ Colonna Pal. Vienna. Gallery. The Assumption. The Chastity of Joseph. Miracle of St. Peter. St. Thomas of Villanuova. The Flight into Egypt. Holy Family. Holy Family. The Transfiguration. Christ at Emmaus. Christ appearing to theMagdalen. The Incredulity of .St. Thomas. St. Cecilia. Repose of the Holy Family (St. Joseph seated). Eepose of the Holy Family (St. Joseph sleeping). Holy Family. Repose in Egypt. His own Portrait. St. Sebastian and the Holy Women. Tarquin and Lucretia. Madonna and Child. As an engraver the etchings of Cantarini are in very high estimation. They are very masterly and spirited ; but in them his imitation of the etchings of Guido is even more apparent than in his paint- ings, and it would not be easy to distinguish them if the plates by Guido did not show a superior marking of the figure, particularly in the extremi- ties. There are about thirty-seven etchings by him known, of which the following are the principal : Adam and Eve eating the forbidden Fruit. The Repose in Egypt; falsely marked G. Renus in. ^ fee. Aiiother Repose in Egypt, the Head of thu Virgin in profile, with St. Joseph sitting near her. Another Repose in Egypt, the Head of the Virgin in front, with St. Joseph in the distance ; very fine. The Holy Family, with St. John. Another Holy Family, with St. John ; marked S. C. da Pesare fe. The Virgin Mary, with a Glory, and the Infant Jesus ; marked .S'. C da Pesare fe. The Virgin, with the Infant Jesus holding a Bird by a String. The Virgin sitting in the Clouds, with the Infant Jesus The Virgin, with a Glory, crowned by two Angels. Christ bearing His Cross, with Joseph of Arimathea. St. John the Baptist in the Wilderness, holding his Cross, and a Cup. St. John in the Wilderness, sitting on a Stone. St. Sebastian, with an Angel presenting the Palm of Martyrdom. The great St. Anthony of Padua kneeling before the Infant Jesus. The httle St. Anthony of Padua. St. Benedict curing a Demoniac ; after Lod. Carracci. The Guardian Angel leading a Child. Jupiter, Neptune, and Pluto doing homage to Cardinal Borghese; fine; for some time thought to be by Guido. The Rape of Europa ; fine and scarce ; marked G. Reims in. et fee. * Mercury and Argus ; fine and scarce. Mars, Venus, and Cupid ; after Paolo Veronese. Venus and Adonis. Fortime, represented by a Female with her foot on a globe; after Guido Reni; marked G. Renus in. etfec. CANTI, Giovanni, was a native of Parma, and was born about the year 1660. According to Lanzi, he resided chiefly at Mantua, where his battle-pieces and landscapes were much sought after. He also attempted historical subjects, but never rose above mediocrity, and seemed to imagine himself able to make up for every other requisite by his promptness and facility of execution. He died in 1716. CANTINI, Giovacchino, an engraver of note in Florence, and one of Raphael Morghen's most suc- cessful pupils, was born about 1780, and died about 1844. The following are his best works: The Virgin and Child, with St. Sebastian and St. Anthony ; after Fra Mnrtolomtneo : his chef-d'oBUvre. The Virgin with her hands folded ; after P. Batoni. The Holy Family; aftiT Leonardo da Vinci, for the Muste Napolton. Judith with the Head of Holofemes: after AHori; 1802. St. Peter walking on the Sea ; after L. Cigoli, Michelangelo Buonarroti ; after Vasari, CANTOFOLI, GiNEVRA, a lady artist, was a native of Bologna, and Zani says that she was born in 1618, and died in 1672. According to Malvasia, she received her instructions in art from Elisabetta Sirani, and achieved some reputation as a historical painter. She executed several works for the churches of her native city: amongst others the following : 245 A BIOGRAPHICAL DICTIONARY OF Bologna. S. Procolo. The Last Sapper. iS. Giacomo Maggiore. St. Thomas of Villa- nuova. La Morte. St. Apollonia. CANTON, Franz Thomas, an Austrian landscape painter of repute, was a native of Udine. He was born in 1677, and died at Vienna in 1733. CANTON, JoHANN Gabriel, who was born at Vienna in 1710, studied under his father, Franz Thomas Canton, and became known as a painter of battles, landscapes, and animals. In the Belve- dere, Vienna, is a ' Landscape with peasants dancing ' by him. He painted the animals in the landscapes of Orient and the battles in some large pictures of Martin von Meytens, and died at Vienna in 1753. CANU, Jean Dominique Etienne, a French engraver, born in Paris in 1768, was a pupil of Delaunay. He engraved the series of ' Costumes des troupes franjaises de 1792 a 1816,' many theatrical and other portraits, and a large number of plates of animals and plants for the ' Description de I'Bgypte,' Cuvier's ' Iconologie du Eegne animal,' the 'Museum d'Histoire naturelle,' Du- perrey's ' Voyage autour du Monde,' the ' Flore des Antilles,' and other works. The date of his death is unknown. CANUTI, DoMENico Maria, a painter and etcher, was born at Bologna in 1620. He studied art under Guido Reni, and subsequently founded a school of liis own in his native city. He went to Rome, and remained there for some years, and also visited Mantua and Padua. He is the painter of the frescoes in the library of San Michele in Bosco. His best frescoes are those in the Palazzo Pepoli at Bologna, in the ducal palace at Mantua, and in the Colonna Palace at Rome. His paintings exhibit much imagination and skiU in foreshortening, and are finished in the style of Guido Reni, after whose works he has left several etchings and engravings. The church of the Olivelan Fathers at Bologna possesses a very fine painting by him, representing 'The Descent from the Cross,' with a moonlight effect ; and in the church of San Bernardino in the same city are two Madonnas with Saints and Angels by him, of one of which he has left an etching. In the Bologna Gallery is a 'Death of St. Bene- dict' painted for Santa Margherita in that city. He died at Bologna in 1684. The following en- gravings are by him : Portrait of Lodovico Cairacci. „ Agostino Carracci. „ Annibale Carracci. The Virgin in the Clouds, with Christ ^ J^^J^ .^ j;, St'^oS?" '"'""'" I -'"'->• St. Francis praying ; after Guido. CANT, Jean Baptiste de, a French historical painter, is known only by a 'mai,' representing ' The Conversion of St. Denis at Athens,' which he painted in 1671 for the cathedral of Notre-Dame at Paris. CAPANNA, Puccio, was a Florentine painter of the 14th century, who was admitted a member of the Florentine Guild in 1350. He was a pupil of Giotto, and enriched with frescoes of Scriptural subjects, in the manner of his master, the cities of Florence, Rimini, Pistoja, Bologna, and Assisi. There are some pictures of the Passion on the vaulting of the Lower Church at Assisi, which are attributed to him. The paintings in the chapter- house of S. Francesco at Pistoja, representing scenes from the life of St. Francis, and from that of our 246 Lord, are still in a good state of preservation : some are from the hand of Capanna, who died at Assisi. CAPDEBOS, Pierre Fran90is, a French his- torical painter, born at Perpignan in 1795, was a pupil of Berthon. He was the founder of the Museum of Perpignan, inaugurated in 1833, and was also professor of drawing in the free echool of that town. He died in Paris in 1836. CAPELLA, II. See Dagih, Francesco. CAPELLANI, Antonio, was an engraver, and born at Venice about 1730. He was a pupil of Wagner, and engraved several plates both at Rome and Venice. The greater part of the portraits in the edition of Vasari, published by Bottarini at Rome in 1760, were engraved by Capellani. He also engraved several of the plates for the ' Schola ItalicEB Picturae,' under the direction of Gavin Hamilton. The following are his principal prints : Portrait of Michelangelo Buonarroti. The Drawing School ; after Dom. Maiotto. Diana and Endymion ; after the same, Apollo Eind Daphne ; after the same. The Creation of Eve ; after Michel^ingelo. Adam and Eve driven from Paradise ; after the satM. Marriage of St. Catharine ; after Correggio. The Repose in Egypt ; after Earocci. 1772. View of the Portico of the VUla Albani ; after Fanini. CAPELLE, Jan van der. See Van der Cappelle. CAPELLI, Francesco, was a native of Sassuolo in the province of Modena, and was educated in the school of Correggio. He flourished about 1568. In the church of San Sebastian at Sassuolo is an altar- piece of the ' Madonna and Child in Glory, with attendant Saints,' which is executed by him in the style of his master, and bears a strong resemblance to a picture in the Dresden Gallery, which is also by him. He was also called Caccianemici, but must not be confounded with another Francesco Caccianemici, who was a pupil of Primaticcio, and lived about the same period. CAPELLI, Giovanni Antonio, was bom at Brescia in 1664. He was first instructed by Pom- peo Ghiti ; he afterwards visited Bologna, where he studied some time under Lorenzo Pasinelli, and finally went to Rome, where he frequented tl.e school of Battista Gaulli, called Baciccio. He painted historical subjects, and his works in fresco were held in considerable estimation ; they are chiefly in the public edifices at Brescia. Zani is of opinion that he was born in 1669 and died in 1741. CAPELLINI, Gabrielb, called II Caligarino, or II Calzolaretto (the little shoemaker), from his having first pursued that trade, was a native of Ferrara, who flourished about 1620, and is said to have been induced to attempt painting, and to have become a scholar of Dosso Dossi, from having been complimented by that artist on the elegant shape of his shoes. His pictures imitate those of his master so skilfully that they are often taken for those of Dossi. In the church of San Francesco at Ferrara is a picture by him of ' St. Peter and St. James,' and in San Giovannino the principal altar-piece, representing ' The Virgin and Infant, with several Saints,' is by him. CAPELLINO, Giovanni Domenico, was bom at Genoa in 1580, and studied painting under Giovanni Battista Paggi, of whose manner he was a success- ful imitator. His style is less noble than that of his master, but he possessed other qualities of the art that render his works interesting, as is evident in his ' Death of St. Francis ' in San Niccolo at PAINTERS AND ENGBAVEBS. Genoa, and his 'St. Francesoa Eomana' in San Stefano. He Hied in 1651. CAPET, Marie Gabeielle, a French painter of portraits in oil, water-colours, and miniature, was born of humble parentage at Lyons in 1761, and became a pupil of Madame Vincent. She ex- hibited first in 1781, and from that time onwards produced a large number of portraits, of which the best known are those of Mesdames Adelaide and Victoire, Madame Vincent surrounded by her pupils. Mile. Mare, and Houdon the sculptor. Mile. Capet died in Paris in 1818. CAPITELLI, Bernardino, was a painter and etcher who was born at Siena in 1589. He became a pupil of A. Casolani, and then of E. Manetti, and between the years 1622 and 1637 was actively engaged in his profession, both at Rome and at Siena. His etchings, though somewhat hard and deficient in harmony of tone, are distin- guished by careful drawing. He died in 1639. Amongst his etchings may be mentioned : Portrait of Alessandro Casolani ; B. Capitelli fecit, St. Anthony of Padua ; B. Cayitelli fee. 1637. Marriage of St. Catharine ; after Cmreggio. The Eepose in Egypt, a night scene ; after Sutilio Ma- netti. I/)t and his Daughters ; after the same. Ceres drinking in the Cottage of the old Woman. The same subject which Count Goudt engraved after Els- heimer. A set of twelve plates of the Life of St. Bernard of Siena. A set of friezes and bassi-rilievi, among which is the AJdobrandini Marriage from an antique painting. CAPLIN, Jean FBANgois Isidore, a French topo- graphical engraver, was bom in Paris in 1779. He was a pupil of Blondeau, and exhibited at the Sa- lon of 1827 a drawing of 'St. John's, Newfound- land.' He also engraved a number of maps for the DiSpot de la Marine. The date of his death is not known. CAPODOBO. See Paganini. CAPOLONGO, Antonio, was a Neapolitan painter who flourished about the year 1580. He was a pupil of Giovanni Bernardo della Lama, and, according to Dominici, painted the principal altar- piece for the church of San Diego, Naples, repre- senting 'The Immaculate Conception, with SS. Fran- cis of Assisi and Anthony of Padua.' The church of San Niccol6, in the same city, possesses a ' Madonna and Child in a Glory of Angels, with attendant Saints,' by this artist. CAPON, William, the son of an artist, was born at Norwich in 1757, and in early life practised as a portrait painter. He went to London, and was employed on the decorations of Ranelagh Gardens and the Italian Opera-house. He was afterwards employed by John Kemble as scene painter foi Drury Lane Theatre, which was rebuilt in 1794. In after years he became celebrated as an archi- tectural draughtsman ; and occasionally exhibited at the Royal Academy. He died at Westminster in 1827. CAPONIBUS, Eaffaellino de. See Capponi. CAPOEALI, Bartolommeo, was an inferior painter of Perugia, who flourished there towards the close of the fifteenth century ; be painted from 1472 to 1499. A ' Madonna and Saints ' done by him in 1487, for the church of Santa Maria Maddalena at Castiglione del Lago, is still preserved in that town, and is thought by Messrs. Crowe and Caval- caselle to be the only specimen of his skill that has any claims to authenticity. CAPORALI, Giovanni Battista, called also BiTTi, a diminutive of his Christian name, by Vasari, who names him erroneously Benedetto, was the son of Bartolommeo Caporali, and was born at Perugia about 1476, and died about 1560. He was the scholar and imitator of Perugino, and also an architect, and built a palace near Cortona for Cardinal Silvio Passerini, which he likewise decorated with frescoes, in the execution of which he was aided by Tommaso Barnabei, better known as Maso Papaoello. His paintings exhibit a bold- ness and freedom of style, and occasionally are finished after the manner of Signorelli, and are deservedly esteemed. Many of the churches in Perugia and its neighbourhood possess works by Caporali. Other examples may be found as under : Cortona. Villa Passe- ) gj^ (.j^^^; g^^^^^_ mm. y Rome. S. Croce in ) The Eternal Father in Glory Gerusalemvie. / surrounded by Saints. „ „ The Crucifixion. Panicale. Cathedral. The Nativity. „ S. Halvatore. Christ between SS. John the Baptist and Peter. CAPPELLA, SciPiONE, an Italian historical painter, was a pupil of Solimena. He lived in the 18th century, and copied his master's paintings with such success that when retouched by the latter they passed for originals. CAPPELLE, Jan van der. See Van der Cappelle. CAPPELLI, CAPPELLINI, CAPPELLINO. See Capelh, &c. CAPPELN, Hermann AnoosT, was a painter born at Skien in Norway in 1827. He went to Diisseldorf, where he studied under Gude. There is a capital mountain landscape by him, in the Christiania Gallery, the scene of which he took from the neighbourhood of Thelemark. His paint- ings were characterized by breadth and originality, combined with much poetical feeling. He died at Diisseldorf in 1852. CAPPONI, Raffaellino (di Bartolommeo), called, from the melancholy sweetness by which his pictures were distinguished, Raffaellino del Garbo (and also variously known as ' Raffaellino de Caponibus,' ' B. de Florentia,' ' B. de Carolis,' and ' E. Karii '), was a Florentine painter who is stated to have been born in 1476. He was a dis- ciple of Filippino Lippi, whom he soon surpassed, and for some time he gave promise of extraordin- ary ability. He accompanied Filippino to Eome, where he was employed in the Cappella della Mi- nerva, and painted in the vault some beautiful angels, which were more admired than the prin- cipal work by his master. On his return to Flor- ence, he painted for the church of Monte Oliveto a picture of ' The Eesurrection,' in which the grace- ful heads, the characteristic expression of the numerous figures, and the beauty of the colouring exceeded any production of the time. Another tine picture, painted in the early part of his life, is in the monastery of San Salvi, and is highly com- mended by Moreni in his ' Notizie istoriche dei Contorni di Firenze.' He is the author of a ' Virgin and Child ' between SS. Francis and Zenobius and two kneeling patrons, which is signed and dated 1500, and is now in the Hospital of Santa Maria Nuova, in Florence. Messrs. Crowe and Caval- caselle have also assigned to this artist an altar- piece in the church of San Spirito, Florence, repre- senting 'The Virgin and Child, with four S.iiiits, 247 A BIOGRAPHICAL DICTIONARY OF and Satan bound ; ' also altar-pieces in Santa Maria degli Angeli of Siena, and an altar-piece to be seen in the Academy of Pisa. Rosini has given a print of 'The Resurrection of Christ,' from the picture in the Academy at Florence (plate 104), and it justifies the praise bestowed upon the painter, but contains only seven figures. The cares of a large family eventually proved fatal to the growing reputation of Capponi, causing bim to sink into a state of list- lessness and apathy, so that his later producrions were extremely feeble. He is said to have died at Florence in great poverty in 1524, but the dates of both his birth and death are perhaps open to question. The following is a list of his best extant paintings : Berlin. Gallery. Virgin between two draped Angels. Florence. ^^JJ^f^"^ \ The Miracle of the Loaves-Frwco. „ „ The Annunciation. „ „ St. Koch. „ „ St Ignatias. „ S. Spiriio. The Trinity adored by SS. Cath- arine and Mary Magdalene. „ „ Virgin surrounded by Saints. 1505. „ S. Loren:o. The Nativity. „ Academy. The Resurrection. Paris. Louvre. Coronation of the Virgin. CAPPUCINO. See Galantis'i, and Steozzi. CAPRIOLI, Aliprando, was a Florentine en- graver who worked at Rome somewhere about 1580, producing portraits and historical subjects in the style of Agostino Carracci. CAPRIOLI, DoMENico, was a painter bom at Treviso in 1495. He produced portraits in the style of Giorgione, which were well conceived, and rendered in a skilful manner. There is a fine por- trait by him in the Pinakothek at Munich. His monogram was a deer. CAPURRO, Francesco, was bom at Genoa, and was a scholar of Domenico Fia^eUa. On leaving that master he went to Naples and Rome, where he attached himself to the works of Spagnoletto, whose strong and vigorous style was then admired. He was employed some rime at the Court of Mo- dena, and, according to Soprani, died at Genoa, in the prime of life, of a malignant fever. He flour- ished about 1690. CAQUET, Jean Gabriel, a French engraver, was bom in Paris in 1749. He engraved ' L'Innocence en Danger,' after Lavreince, ' La Soiree du Palais- Royal,' and illustrations to the ' Contes ' of La Fon- taine, after designs by Fragonard. He died in Paris in 1802. CARABAHEL (or Carabajal). See Cakbahal. CARACCI. See Cabbacci. CARACCIOLO, GiovANXi Battista, commonly known as Battistello, a Neapolitan painter, was bom in 1580. He studied under F. Imparato and Caravaggio, devoting himself later to the style of the frescoes by Annibale Carracci in the Far- nese Palace, Rome : he generally painted in the manner of Annibale Carracci, but his pictures were at the same time tinged with much of the influence of the naturalistic tendency of his con- temporary Spagnoletto. He died at Naples in 1641. Among the works which he painted for the churches of Naples were the following : Naples. S. Martina. „ S.MariadtUa 248 Solitaria. S. ^ticeoto. Mary Magdalene anointing the Feet of Christ. I St. Cecilia. St. Anthony of Padua. „ /S. Anna de' ) The Assumption. Lombardi. j Death of the Virgin. „ S. Agnello. St. Charles. CARAFFE, Armand Charles, a French his- torical painter, who also etched, was bom in Paris in 1762. He was a pupil of Lagren^e and of David. He visited Rome, and subsequently travelled in Turkey ; but at the outbreak of the Revolurion he returned to France, and became so active a member of the club of the Jacobins that he was imprisoned from 1794 to 1797. He ex- hibited in 1799 a picture of ' Hope supporting Misfortune to the Grave,' which was much praised, and in the following year one of ' Love, abandoned by Youth and the Graces, consoling himself on the bosom of Friendship,' which was purchased by the wife of the First Consul. In 1802 he quitted France for an appointment at the Court of St. Petersburg, where he remained until 1812, and painted for Prince Yusupov ' The Oath of the Horatii.' He eventually returned to Paris, and died in that city in 1822. CARAGLIO, GiovAfWi Jacopo, (or CARALros, or as below,) an Italian designer and engraver, was bom at Parma in 1498 or 1500, and was a pupil of Marc Antonio Raimondi. His drawing is very correct ; he gave a fine expression to his heads, and his extremities are marked in a mas- terly manner. Caraglio holds an eminent rank among the engravers of his country. He was much employed in the engraving of gems, and executed several medals, by which he gained great reputation at the court of Sigismund, King of Poland. He flourished as an engraver on copper ■ from 1526 to 1.551. In the latter part of his life I he returned to Italy, and, after working for a time * at Verona, settled on his own estate near Parma, where he died about 1570. He is also calltd Jacobus Parmensis, and Jacobus Veronensis, which names he sometimes inscribed on his plates. The following are the best of the sixty-nine plates he is known to have left : A Battle, with the Shield and Lance ; after Maphatl, Alexander and Koxaoa ; after the same. Diogenes; after Farmiffiano. J Martyrdom of SS. Peter and Paul ; after the same. I Portrait of Pietro Aretino ; after the same. Marriage of the Virgin ; after the same. The Virgin and Infant, under an Orange Tree ; Jacobus Veronensis. The Virgin kneeling, with the Infant and St. Ann The Holy Family ; after Raphael ; the same subject as the fine print by Edelinck. Another Holy Family, with St. Elizabeth; after Raphael. The Annunciation ; after Titian. The Punishment of Tantalus ; after the same. The Pape of Ganymede ; after Michelangelo. An Anatomical Figure, holding a Skull ; after Sosso. Hercules piercing with his Arrows the Centaur Nessus ; after the same. Hercules slaying Cacus ; after the same. Nymphs and Young Men in a Garden ; after the same. Twenty, of Divinities with their Attributes, in niches ; after the same. Twenty, of the Metamorphoses of the Gods ; after Sosso and Perino del Vaga. The Triumph of the Muses orer the Pierides; after Perino del Vaga. 1S53. The Death of Meleager ; after the same. The Creation ; after the same ; semi-circular. The Kape of the Sabines ; after Rosso ; iinfiniiiti ail. The School of an Ancient Philosopher, CARAVAGGIO, Michel Angiolo da. Se» Amebigi. PAINTEKS AND ENGKAVERS, CARAVAGGIO, Polidoro da. See Caldara. CARAVAQUB, Louis, a French portrait painter, was a native of Gascony. He went to Russia, and in 1716 painted at Astrakhan the portrait of Peter the Great, which has been engraved by Massard and by Langlois. He again painted the Czar in 1723, and subsequently the Empresses Anne and EHzabeth. He died in Russia in 1752. CARAVOGLIA, Bartolommeo, was a native of Piedmont, and flourished about 1673. He is said to have been a scholar of Guercino, but Lanzi doubts this, observing that his lights are less lucid and his shadows less deep than those of the genuine followers of that master. Notwithstand- ing this fault, his pictures please by their quiet colour and their originality in design. His best painting is the ' Last Supper,' in the church of Corpus Domini, Turin. CARBAHAL, Luis de, (Carabahel, or Caea- BAJAL,) a Spanish painter, was born at Toledo in 1534, and died at Madrid in 1613. He was a pupil of Juan de Villoldo, and was appointed court painter to Philip IL in 1556. He executed numerous paintings in the Escorial which show firm drawing, good colouring, and great power of religious expression. His best performance is the high altar-piece in tlie church of the Minimi at Toledo, painted in 1591. A ' Circumcision of Christ' by him is in the Hermitage, St. Peters- burg, and in the Madrid Gallery are a ' Penitent Magdalen' and i 'St. Nicholas of Tolentino.' CARBONB, LuiGi, a Neapohtan landscape painter, who flourished about 1660, was a native of Marcianisi. He went to Rome, and after study- ing under Paulus Bril, visited Venice, and finally settled at Naples. His landscapes usually portray scenes of storm and flood, and the figures in them are particularly charming. CARBONI, Francesco, was a Bolognese, and the pupil of Alessandro Tiarini. He afterwards showed himself an admirer of Guido, and imitated the graceful and elegant style of that master. He died in 1635. Among his works are noted : Bologna. S. Martina \ Crucifixion, with St. Theresa and Maggiore. j other Saints. S. Faolo. The Entombment of Christ. Servile Fathers.ihe Decollation of St. John the Baptist. CARBONI, Giovanni Bernardo, a native of Albaro, near Genoa, was born in 1614. He be- came a scholar of Giovanni Andrea de' Ferrari, and obtained a great reputation in his day, both as an historical and portrait painter. In the latter branch it is said that he painted much in the manner of Van Dyck. He died at Genoa in 1683. CARDENAS. BARTOLOMifi de, was, according to Palomino, a native of Portugal, born in 1547, who when very young went to Madrid, where he be- came the pupil of Alonso Sanchez Coello, and achieved a deservedly high reputation. He painted the greater portion of the cloisters of the convent of Nuestra Senora de Atooha, at Madrid. In the latter period of his life he went to Valla- dolid, where he painted many altar-pieces, and decorated the cloisters of the convent of San Pablo. He died at Valladohd in 1606. CARDENAS, Fray Ignacio db, was a Spanish engraver, who executed, about 1662, the arms of the families of Cordoba and Figueroa, and some prints of sacred images revered in Cordova. ' CARDENAS, Juan de, was the son and pupil of Bartolom^ de Cardenas. He flourished at Valla- dolid about 1630, and distinguished himself m painting landscapes as well as fruit and flowers. CARDI, Lodovico, called Cigoli, an eminent painter of the Florentine school, was bom at Cigoli, in Tuscany, in 1559. He was first a scholar of Alessandro Allori, but was afterwards instructed by Santo di Titi, whose academy was then the most attended at Florence. He was, however, more indebted to his study of the works of Michelangelo, Andrea del Sarto, and Pontormo than to either of his masters. After tra- velling through Lombardy, he returned to Florence, and was received into the Academy ; his picture of reception was 'Cain slaying Abel.' He was em- ployed by the Grand-Duke in some works for the Pitti Palace, where he painted ' Venus and a Satyr,' and ' The Sacrifice of Isaac' His protector sent him to Rome, where he was engaged to paint a picture for St. Peter's, the subject being ' St. Peter healing the Lame Man at the Beautiful Gate of the Temple.' This admirable picture has been considered by many as one of the finest works in the Vatican, after Raphael's ' Transfiguration,' and Domenichino's 'Communion of St. Jerome.' Lodovico Cardi died at Rome in 1613. He painted many easel pictures of saints (more espe- cially St. Francis of Assisi), hermits, and Magda- lens at devotion, which are remarkable for their expression of fervour, contrition, and asceticism, and are generally wrought up to a high degree of finish. The following gaUeries and churches possess paintings by Cigoli : Empoli. ColUgiata. The Last Supper. „ S. Croce. Elevation of the Cross. Florence. Accademia. ' Martyrdom of St. Stephen. „ „ St. Peter walking on the Sea.^ ,, „ St. Francis receiving the Stig- mata. „ & Maria Mag- \ gj_ ^^ert.' giore, ) „ S. Croce. The Trinity. „ , , The Entry into Jerusalem. „ Uffizi. Martyrdom of St. Lawrence, „ „ Martyrdom of St. Stephen. ,, ,, His own Portrait. „ Fitti Pal. Deposition of the Cross. „ „ Ecce Homo. „ „ Virgin and Child. „ „ Portrait of a Man, „ „ St. Francis. „ „ The Magdalen. JIadrid. Gallery. The Magdalene. Munich. Finakuthek. St. Francis. Paris. Louvre. The FHght into Egypt, „ „ St. Francis of Assisi. Petsbrg. Hermitage. David. ^^ „ Tobias and the Angel. Rome. Borghese Fal. St. Francis. „ Corsini Fal. A Concert. „ S. Peter's. St. Peter healing the Lame Man. „ ^.G/oWrfe'Jgt j„o^e. Fiorentim. j S. Paolo fuori > Conversion of St. Paul. le mura. y Vienna. Gallery. The Dead Christ. „ „ The Trinity. Cigoli's pictures are occasionaUy signed with the following monogram : L CARDISCO, Marco, better known as Marco Calabrese, was born in Calabria about 1486. He is said to have been a pupil of Polidoro da 249 A BIOGRAPHICAL DICTIONARY OF Caravaggfio, but, judging from his paintings, would seem to have formed his style upon that of Andrea da Salerno. He passed the greater portion of his life in Naples, in which city and its neighbourhood many examples of his painting can be found. Dominioi has given a particular account of his productions. He died about 1542. Some of his paintings are : Naples. Museum. St. Augustine disputmg with the Heretics. S.PietroadAram. Descent from the Cross. „ „ „ A Pieti, with SS. Peter and Paul. CARDON, Antoine, an engraver, was bom at Brussels in 1772. He was the son of Antoine Alexandre Joseph Cardon, and was instructed in art by his father. During the troubles in the Low Countries in 1792, he took refuge in Eng- land, and brought with him an introduction to Mr. Colnaghi, who discerned the rising talent of the young artist, and gave him immediate employ- ment. He had risen to a deservedly high rank in public estimation when he fell a victim to a too assiduous appHcation to his profession. His death took place in London in 1813. Amongst his numerous plates, chiefly executed in stipple, may be mentioned : The Presentation of Catharine of France to Henry T. of England ; after Stothard. Salvator Mundi ; after Carlo Bold. The Woman taken in Adultery ; after Euhens. Plates of the Indian Campaign against Tippoo Sahib. The Battle of Alexandria ; after Loutherhmrg. The Battle of Madda ; after the same. The Storming of Seringapatam ; after Singleton. Portrait of Madame E^camier ; after Cosxcay. CARDON, Antoine Alesandbe Joseph, a painter and engraver, was born at Brussels in 1739. He acquired his knowledge of painting at Vienna, under the tuition of H. de La Pegna, and was afterwards enabled to visit Rome, where he worked for three years. After that he went to Naples, where he laid aside the brush for the graver, and was employed on the plates for Hamilton's ' Etruscan Antiquities.' He died at Brussels in 1822. Amongst his prints may be noticed: Portrait of George, Prince of Wales. 1766. Portrait of the Chevalier Verhulst. Le Bain Rustique ; after A . Watteau. Xa Signature du Contrat de la Noce de Village ; after the same. His principal work, CARDONNEL, Anthony de, who flourished about the year 1790, etched several plates, repre- senting ancient buildings in Scotland. CAKDDCCI, Bartolommeo, (or, as he was called in Spain, Cardhcho,) was born at Florence in 1560, and was brought up in the school of Federigo Zuccaro. He assisted that master in the great cupola at Florence ; and whilst he was yet very young, painted for the church of the Jesuits two pictures, representing the Immaculate Conception and the Nativity. When Zuccaro was invited by Philip II. to the court of Madrid, he prevailed on Carducci to accompany him, and he assisted in the great works that master executed in the Escorial. In conjunction with Pellegrino Tibaldi, Carducci painted the famous hbrary ; the former did the ceihng, the latter the walls, with allegories of the Sciences. A great portion of the fresco paintings in the cloister of the Escorial are by this master, and were so much admired by the "king, that he rewarded him with two hundred ducats, independ- ent of his salary. His principal work, and that 250 which above all others established his reputation in Spain, was the ' Descent from the Cross,' in the Church of San Felipe el Real, at Madrid. After the death of Phihp II., Carducci continued some years in the service of his successor, Philip III. , by whom he was engaged to paint a gallery in the palace of the Pardo. The subject was to have been the principal events in the life of Charles V. It was begun by Carducci, but he died before he had made any great progress in the work, in 1608. He was also an architect and sculptor. CARDUCCI, ViNCENZo, (or CABDncHO,) the younger brother of Bartolommeo Carducci, was born at Florence in 1568. He was taken by his brother to Madrid in 1585, " at so tender an age that he grew up with very faint recoUecdons of Italy, and learned to speak and write Castilian like his own mother tongue." He was instructed in painting by his brother Bartolommeo, whom Vincenzo succeeded in 1609, as painter to the king, and Philip III. engaged him to finish the gallery in the palace of the Pardo, which had been begun by his brother. Instead of the life of Charles V. he adopted the history of Achilles, and finished the work to the entire satisfaction of his patron. He was also made court painter to Philip IV., his successor, by whom he was em- ployed in many considerable works. His pictures are to be seen in all the cities of Castile, in Sala- manca, Toledo, Segovia, and Valladolid. In 1626, lie entered into an agreement to paint, for the Car- thusian Monaster)' at Paular, fifty-four large pic- tures in four years, but some of them bear date 1632. These works are now in the National Museum at Madrid ; they represent scenes from the Life of St. Bruno, and the history of his order. His works in the churches of Madrid are, the Great Chapel in the Con- vent of La Encarnaoion ; in the Convent Del Rosario, the ' Angel instructing Joseph in his dream to fly into Egypt,' and ' St. Anthony of Padua' ; in the Refectory of the Franciscans, ' St. John preaching.' His last picture was a ' St. Jerome,' in the Church of Alcala de Henares, which he did not live to finish, as appears by the inscription : Vincencius Carducho hie viiam non opusjinit 1638. His death occurred at Madrid in that year. He was the author of ' Dialogos de las excelencias de la Pintura,' printed at Madrid in 1633, which Cean Bermudez pro- nounces to be the best work on the subject in the Castilian language. Cean Bermudez possessed two etchings by Carducci — the ' Death of Abel,' and a 'Penitent Saint,' Vincenzo Carducci strenuously opposed the then prevalent tax on paintings, and obtained in 1633 a royal decree for its remission when artists sold their own works, and four years later succeeded in causing its total abolition. The following pictures by him are in the Madrid Gallery : Battle of Floras. -\p ^^ p^;^ - ?:^f;:fTh:St.| ^-'^^'-- Scenes from the Life of the Virgin. St. Bruno. CARDUCHO. See Cabddcci. CARESME, Philippe, a French historical painter, was born in Paris in 1734. He was doubtless a pupil of Charles Antoine Coypel, and was admitted into the Academy whilst still young, but expelled eight years later in consequence of misconduct in some pecuniary transaction. In 1781, when a royalist, he composed an allegorical design in commemoration of the birth of the Dauphin, and in 1794, after he had become an ardent republican. PAINTERS AND ENGRAVERS. he presented to the Commune of Paris a drawing representing Joseph Chalier, the tyrant of Lyons, going to execution : both of these have been en- gfraved. He also painted a large picture of the ' Nativity of the Virgin ' for the Cathedral of Bayonne. Caresme died in Paris in 1796. There are in the Nantes Museum a ' Holy Family,' and in the Bordeaux Museum a sketch of ' Bathers,' dated 1780. He engraved after his own designs, 'The Execution of the Marquis de Favras, February 19th, 1790,' and ' The Market- Women going to Versailles to compel the King to return to Paris, Oct. 5th, 1789.' CARIANI, Giovanni Busi. See Bnsi Cabiani. CARL XV., King of Sweden and Norway. See Charles. CARL, Adolf, was a landscape painter of Altona, born in 1813. He began to learn painting as a student at Munich, but afterwards joined the school at Diisseldorf. His landscapes are distin- guished by poetical conception, graceful form, and pleasant and harmonious colouring. Most of them are from scenes in the Tyrol or Northern Italy, the natural beauties of which he rendered in a very effective manner. His chefs-d'oeuvre are the 'Lake of Nemi' and a 'View on the Chiemsee.' He died at Rome in 1845. CARLEVARIIS, LucA, (called Casanobeio and LocA Di Ca Zenobrio, from having been patronized by the Zenobri family,) a painter and engraver, was born at Udine in 1665. He painted land- scapes, sea-pieces, and perspective views ; his pic- tures are little known, except in Venice. A Coast- scene by him is in the Berlin Gallery ; a View of the Doge's Palace, Venice, is in the Dresden Gallery ; and another Venetian scene is in the Gallery at Copenhagen. We have by him a set of a hundred neat and spirited etchings of views in Venice, which give an exact representation of the principal places in that city. He died at Venice about 1731. CARLIER, Jan Willem, a Flemish painter, was born at Liege about 1638, and died there in 1675. He was a pupil of Bertholet Flemalle, and spent much of his life in France : but most of his works are at Diisseldorf and St. Petersburg. His chef- d'oeuvre is ' The Martyrdom of St. Denis,' now pre- served in the church of St. Denis, at Li6ge, the sketch for which is in the Museum at Brussels. CARLIER, MoDESTE, a Belgian portrait and subject painter, was bom at Quaregnon near Mons in 1820. He was a pupil of Picot, and died in 1878. In the Brussels Museum there is a picture by him of ' Locusta experimenting with poison on a slave.' CARLIERI, Alberto, was bom at Rome, ac- cording to Orlandi, in 1672. He was first a scholar of Giuseppe Marchi, but afterwards was in- structed by Padre Andrea Pozzo. He excelled in painting architectural views, which he embelhshed with very beautiful historical figures. He died after 1720. CARLINI, Agostino, a painter and sculptor, was a native of Genoa, and went to London in early life. His work as a sculptor was much esteemed. He was one of the original members of the Royal Academy, of which he became keeper in 1783. He exhibited a portrait in oil in 1776. He died in London in 1790. CARLISLE, Anne, was an English painter who lived in the time of Charles I., and is said by Walpole in his ' Anecdotes ' to have been admired for her copies of the works of the Italian masters. She died about the year 1680. CARLISLE, Isabella Howard, Countess of, the daughter of William, fourth Lord Byron, was born in 1721. She married, in 1743, Henry, fourth Eari of Cariisle, who died in 1758. In 1759, she married Sir William Musgrave, Bart., and died in 1795. She made several good etchings; amongst others, copies of Rembrandt's etchings. CARLO delle MADONNE. See Marat'ii. CARLONE, Andrea, the son of Giovanni Bat- tista Carlone, was born at Genoa in 1639. After receiving the instruction of his father for some time, he visited Venice, where he studied for a few years, and then returned to Genoa. His first productions were some pictures at Perugia, and the Life of St. Felician, in the church of that saint at Foligno. These, inferior in grace and colour to the works of his father, less happy in composition, and less elegant in design, were painted in a free, resolute, and vigorous style, with a mixture of the Venetian colouring. He went afterwards to Rome, where he changed his manner for one more noble and elevated, and so superior to his first, that Lanzi mentions it as an instance of the fallacy of forming a judgment of the merit of an artist by a partial view of his per- formances. "To judge of Andrea Carlone," says that author, " by his works in the church of the Gesii at Perugia, we could with difficulty be per- suaded that he was capable of producing those admirable pictures at Genoa, which Ratti numbers among the Genoese works of art most worthy of remembrance." He died in 1697. A picture of the Magdalen by him is in the UfiSzi, Florence. CARLONE, Cajilo, a painter and engraver, was probably of the family of the Carloni of Genoa. Fiissli, in his ' Lives of the Swiss Painters,' ob- serves that the family of Carloni, so fruitful in able artists, although generally ranged among the Genoese painters, may be legitimately claimed as originally of Switzerland. Carlo Carlone was born at Scaria, near Como, in the Milanese, in 1686. He was the son of a sculptor, who destined him for the same pursuit, but he preferred painting, and was placed under the care of Giulio Quaglio. He afterwards studied at Venice and at Rome, until he was twenty-three years of age, when he visited Ger- many, where he has left works in oil and in fresco at Ludwigsburg, PasSdU, Linz, Breslau, Prague, and Vienna. In the last-named city some of his allegorical representations may be seen in the Belvedere, as also a religious subject, dated 1721, on the dome of the chapel in the castle. He died at Como in 1776. Of his works as a painter little is known further than that he is said to have possessed an inventive genius and great facility. As as engraver he has left us the following plates, mostly from his own compositions : The Conception of the Virgin. The Holy Family, with St. John kissing the Foot of Jesus. St. Charles Borromeo communicatiug the Plague. stricken. The Death of a Saint. An allegorical subject of Opulence, for a ceiling. Another subject for a ceiling, a Figure with a Crown. A Group of Children, with a Basket of Flowers. CARLONE, Giovanni, a native of Genoa, was bom in 1590. He was the son of Taddeo Carlone, a sculptor and historical painter, who placed him under the tuition of Pietro Sorri, and he after- 251 A BIOGRAPHICAL DICTIONARY OF wards frequented the school of Domenico Pas- Bignano, at Florence. In that academy he became an able painter in fresco, and on his return to Genoa was much employed, and acquired a dis- tinguished reputation, not only in that city, but also at Rome and at Florence, where he after- wards travelled. He assisted his younger brother, Giovanni Battista Carlone, in the immense fresco work in the cathedral of the Guastato at Genoa, and was invited to Milan to paint the ceiling of the church of the Theatines, which he did not live to finish ; it was completed by his brother. He composed his subjects with facility, was a correct designer, and a master of foreshortening. The airs of his heads, though somewhat mannered, are not without grace ; and he united the intelh- gence of the chiaroscuro with a vigorous colour, perhaps more glowing than chaste. He died at Milan in 1630. CARLONE, Giovanni Battista, an eminent painter, and the younger brother of Giovanni Carlone, was bom at Genoa in 1594. He was also educated under Passignano at Florence, and after- wards joined his brother in the great works on which he was employed at Genoa. The chief result of their united exertions is to be seen in the cathedral of the Guastato at Genoa, where the three naves are painted in fresco by Giovanni Battista, assisted by his brother. In the middle and principal nave he has represented the ' Ador- ation of the Magi,' the ' Entrance of Christ into Jerusalem,' the ' Resurrection,' the ' Ascension,' the ' Descent of the Holy Ghost,' and the ' Assuinption of the Virgin ' — a magnificent work, in which he has introduced all that could be conceived by a rich and fertile imagination. Novel and copious in his compositions, his figures are of the most graceful contour, his heads expressive of every variety of animation and beauty, with a vague- ness, lucidity, and brilliancy of colouring that astonishes and charms. In the same church he painted ' The Presentation in the Temple,' and 'Christ preaching to the Pharisees.' Giovanni Bat- tista lived to the advanced age of 86, and died in 1680. CARLOTTO. See Loth, Johann Carl. CARLUCCIO DELLE MADONNE. See Maratti. CARMICHAEL, James Wilson, a marine painter, was born at Newcastle-on-Tyne about 1800. From constantly seeing so much shipping, he obtained at an early age great accuracy of drawing in this line of art, and among his earliest paintings produced a very fine picture, ' The Heroic Exploit of Admiral Collingwood at the Battle of Trafalgar,' which was placed in the Trinity House, Newcastle. His name first appears as an exhibitor in 1838, when he contributed an oil picture, ' Shipping in the Bay of Naples,' to the Society of British Artists. He exhibited at the Royal Academy both in oil and water-colours, contributing among others, in 1841, "The Con- queror towing the Africa ofE the Shoals of Trafal- gar ; ' and, in 1843, ' The Arrival of the Royal Squadron.' He was the author of the series of ' Eng- lish Coast Views from the Mouth of the Thames to the Frith of Forth.' He resided in his native town up to about 1845, when he removed to Lon- don, where he was already known as a skilful marine painter. At the commencement of the Russian war he proceeded on board one of her Majesty's ships to the Baltic ; and on his return several of the sketches made by him during his 252 absence were published as engravings in the ' Illustrated London News.' He afterwards re- moved to Scarborough, where he died in 1868. He published ' The Art of Marine Painting in Water-Colours' in 1859, and 'The Art of Marine Painting in Oil-Colours' in 1864. CARMIENCKE, Johann Hermann, a landscape painter and etcher, was bom at Hamburg in 1810. He went to Dresden in 1831 as a journey- man painter, and while there studied in Dahl's school. Thence he went to Copenhagen in 1834, where he studied Ln the Academy, and presently repairing to Leipsic, received instruction there from Schonberg. Returning to Copenhagen in 1838, he proceeded to travel as an artist in Sweden, Bavaria, and the Tyrol, visiting Italy from 1845 to 1846. He was then appointed court painter to Christian VIII., for whom he executed many works. In consequence of the war, he went in 1851 to New York, where he was well received, and admitted into the Academy of Brooklyn. His works were mainly groups of mountain ranges, which were very effectively rendered, and pos- sessed an excellent tone — the execution being sim- ple and true to nature. The ' Mountain Tarn ' and the ' View on the ZiUerthal ' may be particularly noticed. There are thirty-five careful etchings of landscapes by him, some of which were published bv the Art Association of Copenhagen in 1850 and 1851. He died at New York in 1867. CARMONA, Ana, was the daughter of the painter Raphael Mengs, and was bom at Dresden in 1751. She married the Spanish engraver Manuel Salvador Carmona, and died at Madrid in 1790. She produced some excellent portraits in pastel and miniature : that of her husband is in the Academy of San Fernando. CARMONA, Manuel. See Salvador Carmona. CARMONTELLE, Loais, originally Carrogis, was a French amateur draughtsman and engraver, and the author of the ' Proverbes dramatiques,' who was born in Paris in 1717. He was the son of one Philippe Carrogis, a shoemaker, and took the name of Carmontelle, possibly to conceal his humble birth. He produced a considerable number of portraits of eminent persons of his day, which were mostly in profile, and highly characteristic. He died in Paris in 1806. Carmontelle has left us an engraving of ' The Flower-Girl,' after Boucher, and the five following portraits engraved after his own drawings : The Abb6 Allaire. The Baron de Bezenval. The Duke of Orleans and his Son. Rameau, the Musician. Francois Marie Arouet de Voltaire. CARNEIRO. See Salva Carneiro. CARNICERO, Antonio, a painter, engraver, and etcher, was bom at Salamanca in 1748. He was a son of the sculptor Alexandre Carnicero. He studied at Rome, and was eventually appointed painter in ordinary to the king. He issued in 1780 at Madrid an illustrated edition of ' Don Quixote,' with engrav- ings from his own designs, and in 1791 another work with portraits of celebrated Spaniards. There is by him in the Madrid Gallery 'A Scene on the Lake of Albufera,' and we have also by hini an engraving of a bull-fight in Madrid, dated 1791. He died at Madrid in 1814. His brother Isiddeo was director of the Academy in 1800. CARNIO, Antonio, a native of Portogruaro, a district of Friuli, was the eon of an artist little PAINTERS AND ENGRAVERS. known, by whom he was instructed in the elements of art. He afterwards studied at Venice the worlis of Tintoretto and Paolo Veronese. Accord- ing to Lanzi, Friuli has not produced a greater genius than Carnio since the time of Pordenone. The composition of his historical subjects is in- genious and novel, and his design lofty and bold. His colouring, especially in his carnations, is tender and harmonious. Some of his best works at Udine have been much injured by retouching. The best preserved is his ' St. Thomas of Villa- nuova ' in Santa Lucia. He painted many easel pictures and portraits for the private collections at Udine. He was living in 1680. CARNOVALE, Era. See Corradini. CARNOVALE, Domenico, was, according to Vidriani, a native of Modena, where he flourished about the year 1564. He excelled in painting architectural views, with figures, which he intro- duced with great propriety. He was also a reput- able architect. A specimen of his style may be seen in Rosini, plate xciii. Wonderful things are related of his skill in architectural painting, and of the illusion produced ; the parallels are to be found in like stories recorded of Zeuxis and Par- rhasius. CARNULI, Fra Simone da, was a Franciscan monk of Genoa. He flourished about the year 1519, and painted several pictures for his convent, two of which, representing ' The Last Supper,' and ' The Preaching of St. Anthony,' possessed great merit; they are dated in 1519. His manner, with respect to his figures, is not quite divested of the dryness that prevailed at his time ; but he painted architectural designs and bird's-eye views with small figures which are estimable for their aerial perspective. CARO, Francisco, was the son of Francisco Lopez Caro, and bom at Seville in 1627. He received his first instructions from his father, but afterwards went to Madrid and entered the school of Alonso Cano. According to Palomino his principal works are the pictures of ' The Life of the Virgin,' in the chapel of San Isidore in the church of St. Andrew, and the celebrated ' Porciun- cula,' in the church of San Francisco at Segovia, both of which show considerable talent, and sustain the reputation of the school of Cano. He died at Madrid in 1667. CARO, Francisco Lopez. See Lopez Card. CARO DE TAVIRA, Juan, a Spanish painter, who flourished in the 17th century, was a native of Carmona and disciple of Zurbaran. He died young, but his early promise procured him the cross of Santiago from Philip IV. None of his works remain. CAROLI, Baldassare, was probably a pupil of Palmezzano, and a disciple of Rondinello. He lived in the 16th century, and was the author of a ' Coronation of the Virgin, with Saints ' (amongst whom is St. Mercuriale), signed and dated 1612, and now in the Communal Gallery of Forli. Other paintings by him can be seen in the churches of Forli and Ravenna. No dates are known as to his birth or death. CAROLIS, Raffaellino de. See Capponi. CAROLSFELD, Schnorr von. See Schnorr von Karolsfeld. CAROLUS, LuDOVicns Antonius, a Belgian painter of historical and genre subjects, was born at Antwerp in 1814. He studied under Eeckhout and F. de Braekeleer, and from 1831 to 1834 worked in the studio of E. Le Poitevin at Paris, whence he returned to Antwerp in 1836. He died in his native city in 1865. His pictures of the everyday life of the 15th and 16th centuries are esteemed for their accuracy of costume and excel- lent colouring. CARON, Adolphe Alexandre Joseph, was a French engraver, bom at Lille in 1797. He studied his art under Lair and Bervic, and won the first-class medal at the Salon of 1846. There is an engraving by him of Ary SchefEer's picture of ' Faust and Margaret,' but his best production is 'The Virgin, with St. Catharine and St. Rosa,' after Perugino. He also engraved portraits of the Duchess de Berry and her children, after Gerard, and of Madame de Sevign^, after Dev^ria. He died at Clamart in 1867. CARON, Antoine, a French historical and por- trait painter, was born at Beauvais about 1515. In 1540 and in 1559 he was working at Fontaine- bleau under the orders of Primaticcio, and in 1573 he executed the decorative paintings on the occa- sion of the entry into Paris of Henry, Duke of Anjou, the elected King of Poland, who in the next year became King of France. His pictures have all perished, but there still exists in the National Library at Paris a series of drawings by him known as the ' History of Artemisia,' which represent scenes in the life of Catharine de' Medici. He was one of the masters and the father-in-law of Thomas de Leu, the engraver, and died in Paris about 1593, aged 78. CARON, Jean Lodis TonssAiNT, a French en- graver, was born in Paris in 1790. He studied under Coiny, Regnault, and Lignon. His best pro- ductions were ' Le Famille Inaigente,' after Prud'- hon, and 'The Lsvite of Mount Ephraim,' after Couder. He died in Paris in 18.32. CARON, Nicolas, was an engraver bom at Amiens in 1700. According to Heinecken he studied under Papillon, who liad a high opinion of his powers. An accident led to his imprisonment, and he died in the Conciergerie in 1768. A por- trait of his master is to be found as a frontispiece to a work entitled 'Traits de la Gravure en Bois.' CARONNI, Paolo, was an engraver born at Monza about 1779. He was one of Longhi's best pupils, and produced many engravings of merit. He died at Milan in 1842. Amongst his plates may be noticed : The Vision of Ezekiel ; after Raphael. 1825. Alexander and Darius ; after Le Brun. 1818. Venus suckling the Infant Cupid ; after Parmigiano. Venus stealing Cupid's Bow ; after Procaccini, The Virgin and Child ; after Sassoferrato. The Triumph of David ; after Domenichino. A Portrait of Raphael Morghen. CAROSELLI, Angiolo, was born at Rome in 1585. He studied under Michel Angiolo da Cara- vaggio, of whose works, as well as of those of other masters, he became a successful imitator. He possessed a talent of copying with astonishing precision, and in painting pusticci in imitation of various styles. His large works in the churches are ' The Martyrdom of St. Placidus,' and ' St. Gre- f;ory celebrating Mass before a Concourse of People,' in Santa Francesca Roniana ; and ' St. Wen- ceslaus ' in the Pontifical Palace of the Quirinal. His lesser works were chiefly portraits or paint- ings in which the figures were small, two speci- mens of which ma be seen in the Belvedere at Vienna. He died in 1653. 253 A BIOGKAPHICAL DICTIONARY OF CAKOT, — . According to Strutt this artist re- sided at Rome about 1685, and is the engraver of a small upright plate representing ' St. Francis hold- ing a Cross.' This is etched in a bold, spirited style, and appears to have been the production of a painter. CAROTTO, Giovanni, (or Caroto,) was the brother of Giovanni Francesco Carotto, and his assistant. In San Paolo, Verona, is a ' Virgin and Child,' signed and dated 1513, and the Museum of the same city possesses a ' Madonna and Child, with SS. Lawrence and Jerome.' The churches of San Giovanni in Fonte, and San Stefano, both in Verona, have also Madonnas, with Saints, by this artist. He lived to the age of about sixty, but no dates can be given of either iiis birth or death. CAROTTO, Giovanni Fkancesco, (or Caroto,) was bom at Verona in 1470 ; he was first apprenticed to Liberale, but afterwards went to Mantua, where he entered Mantegna's workshop, and closely imi- tated the style of that master. The Gallery of Modena possesses a ' Virgin and Child, with an in- fant John the Baptist,' of that period, and similar subjects painted by him in these early years of his life are also to be found in the Museums of Frankfort and Berlin. Shortly before 1608 he returned to Verona, where he painted the fres- coes of the church of San Tommaso Cantuariense. The frescoes in the Spolverini Chapel, in Sant" Eufemia, at Verona, representing scenes from the history of Tobit, are amongst his best produc- tions. He paid visits to both Milan and Casale, where, according to Vasari, he worked for the Visconti and Montferrat families. Many of the galleries and churches of Verona and Mantua pos- sess paintings by him ; in San Giorgio, Verona, besides other paintings and frescoes, is a ' Glory of the Virgin,' signed and dated 1645. He died at Verona in 1546. CARPACCIO, Benedetto, who is considered by Lanzi to have been a relation of Vittore Carpaccio, lived in the 16th century. Of his birth and death no dates are known, but there are paintings by him existing executed from 1523 to 1541. The Cathe- dral of Capo d'Istria has a ' Massacre of the Innocents,' dated 1523, and ' The Name of Christ adored by Saints,' dated 1541 ; and in the Galleria Comunale of the same place is a ' Coronation of the Virgin,' dated 1637. CARPACCIO, Vittore, (or Cakpatiits,) is said to have been born about 1450 in Istria, but the documentary proofs are wanting. He has been called in contemporary records ' Scarpaza,' and by Vasari ' Scarpaccia.' He was a follower of Gentile Bellini, and was employed at the school of San Girolarao, Venice, at the same period with Luigi Vivarini and Giovanni Bellini, but all pictures of this religious corporation have entirely disappeared. After 1490 he finished, in the school of St. Ursula, nine pictures taken from the life of that saint, aU of which are now in the Academy of Venice. At the close of the 15th century he painted his ' Patriarch of Grado casting out a Devil by the aid of the Relic,' for the school of San Giovanni Evangelista. This picture gives an admirable view of old Venice, as it stood at the close of the 15th century ; the date of its execution has been said to be 1494, but the written proofs are missing ; it is now in the Academy of Venice. In San Giorgio de' Schiavoni (a Hospital for Seamen) are ten decorative canvases, with designs taken from the lives of SS. Jerome, Tryphon, and George, ' Christ 254 on the Mount,' and ' Christ invited to the Pharisee's Feast,' and an altar-piece, representing the Madonna. These pictures were painted by Carpaccio for the Hospital, re-erected in 1500, the designs being completed in the years 1502 — 1508. In the last- named year he was chosen with Lazzaro Sebastian! and Vittore di Matteo, by Giovanni Bellini, to value the frescoes of Giorgione at the Fondaco de' Tedeschi ; and he soon afterwards executed his chef-d'oeuvre of ' The Presentation in the Temple,' for San Giobbe, now in the Venice Academy. In the years 1511 — 1515 he finished for the school of San Stefano ' The Calling of St. Stephen,' of 1511 (now in the Berlin Gallery) ; ' St. Stephen preach- ing' (at the Louvre) ; ' St. Stephen disputing with the Doctors,' of 1514 (at the Brera, Milan) ; and ' The Martyrdom of St. Stephen,' of 1515 (now in the Gallery of Stuttgart). He painted in 1515 a design representing ' The Indulgence of St. Mark,' for the Great Council Hall that was burnt in 1577. He executed in 1514 a large altar-piece for San Vitale, Venice, which represents ' St. Vitale on Horseback, attended by his wife Valeria, and Saints' ; and in 1515 he finished for the Prior of Sant' Antonio of Castello the altar-piece of ' Cruci- fied Saints,' now in the Venice Academy. In 1519 were painted the two altar-pieces of Madonnas and Saints in the Cathedral at Capo d'Istria, and the church of Pozzale, near Cadore. After this date no further works of his are known, and it is pro- bable that his death occurred soon after 1522. Many paintings by this artist still exist ; amongst those not mentioned above are : Berlin. Galleri/. Madonna and Child with Saints. Cheshire. Brockhbank ) ^,^^^ ^^^ j ^^ Disciples (signed). Death of the Virgin. 1508. Fragment, Finding of the True Cross. Frankfort a M. Madonna. London. Ifat. Gall. Virgin and Child, with Saints, adored by the Doge Giovanni Mocenigo. Milan. Brera. St. Stephen preaching. ,, „ Presentation and Marriage of the Virgin. ,, Poldi Pezzoli. Samson (':'). Paris. Louvre. St. Stephen preaching. Stuttgart. Museum. Glorification of St. Thomas Aqui- nas. 1507. „ „ Martyrdom of St. Stephen. Venice. St. Vitale. St. Vitalis on Horseback, adoring the Vh-gin. 1514. „ Academy. Meeting of St. Anne and St. Joachim. 1515, „ „ Cure of a lunatic, the Rialto in the background. „ Museo Ccrrer. Visitation. „ „ Two Courtesans. „ Palazzo Ducale. The Lion of St. Mark in a Land- scape. 1516. Vienna. Gallery. The Annunciation. 1504. „ „ Christ adored by Angels. 1496. CARPENTER, Margaret Sarah, who was the daughter of Captain Geddes, was born at Salis- bury in 1793. She first studied art from Lord Radnor's collection at Longford Castle, and com- peted successfully, for two or three years, for the prizes at the Society of Arts, obtaining on one occasion the gold medal. She went to London in 1814, established herself as a portrait painter, and secured great reputation. In that year she first exhibited at the Royal Academy a portrait of Lord Folkestone, and at the British Institution the ' For- tune-Teller' and 'Peasant Boy.' In 1817 she Ferrara. Museum. Florence. Vffizi. VITTORE CARPACCIO A nderso'i photo] THE DREAM OF ST. URSULA \_AccadeJinij, I'aiio VITTORE CARPACCIO A/iiicrsofi phofo\ ST. URSULA AND THE POPE [^Accademia, I 'aiice PAINTERS AND ENGRAVERS. married Mr. W. H. Carpenter, Keeper of the Prints and Drawings in the British Museum, upon whose death, in 1866, Her Majesty conferred upon her a pension of £100 per annum. She died in London in 1872. Mrs. Carpenter is chiefly known as a painter of portraits, amongst which may be men- tioned those of Lord Kilccursie and Lady Sarah de Crespigny, 1812. Lord Folkestone, 1814. Mr. Baring, 1815. Sir Henry Bunbury, 1822. " Lady Eastnor, 1825. Lord de Tabley, 1829. Mr. Justice Coleridge, 1830. Lady Denbigh, 1831. Mrs. Herries, 1832. Lady King, daughter of Lord Byron, 1835. Archbishop Sumner, 1852. Lord John Manners. Dr. Whewell. Her portraits of Richard Parkes Bonington, the painter, John Gibson, R.A., the sculptor, and Patrick Eraser Tytler, the historian, are in the National Portrait Gallery. She also produced a few fancy subjects, of which there are two ex- amples in the South Kensington Museum — ' Devo- tion ' (a portrait of Anthony Stewart, the miniature painter), exhibited at the British Institution in 1822 ; and ' The Sisters,' portraits of the artist's two daughters, exhibited in 1840. _ CARPENTERO, Johannes Carolhs, a Flemish historical painter, born at Antwerp in 1784, studied under Van den Bosch and Mattheus van Bree. Besides historical pictures, he painted landscapes with cows and sheep, taking Omraeganck for his model. He died at Antwerp in 1823. CARPENTIERS, Adrien, (or Charpenti6ee,) was a native of Switzerland who settled in England as a portrait painter about 1760, and from that year until 1774 was a frequent exhibitor at the Society of Artists in Spring Gardens. One of his best works is the portrait of Roubilliac, the sculptor, now in the National Portrait Gallery, of which there is a good mezzotint by David Martin. He died in London about 1778, at an advanced age. CARPI, GiROLAMO DA, Was born at Perrara in 1501, and was educated under Benvenuto Garofolo. On leaving the school of that master, he passed some time at Bologna, where he was much em- ployed in portrait painting. He afterwards visited Parma and Modena, where he was so fascinated with the works of Correggio and Parmigiano, tliat he applied himself to study and copy them with great assiduity. He is not, however, to be con- sidered only as a copyist. He painted many pictures, of his own composition, for the churches at Ferrara and Bologna. At Ferrara, in the Cathe- dral, are three pictures by him of the Madonna, St. George, and St. Maurice. At the Carmelites is his picture of ' St. Jerome ; ' and in Santa Maria del Vado one of his finest works, representing a 'Miracle wrought by St. Anthony of Padua.' For the church of San Francesco, at Rovigo, he painted a picture of the ' Pentecost ; ' and at Bologna his two most celebrated productions, the ' Adoration of the Magi,' for San Martino Maggiore, and the ' Madonna and Child, with St. Catharine and other Saints,' for San Salvatore. In the two last he displays a mixture of the Roman and the Lombard styles. He also painted for some time in Rome. He died at Ferrara in 1556. The Dresden Gallery possesses a ' Venus and Cupid,' by him. CARPI, Marco da. See Meloni. CARPI, Ugo da, a painter and engraver, de- scended from the ancient family of the Counts of Panico, was the tenth child of Count Astolfo da Panico. The year of his birth is uncertain. In the petition to the senate of Venice, in 1516, to grant him protection from piratical imitators of his prints, he is said to be in advanced age, venuto all' eth senile, which induces Passavant to put the date of his birth, which has been usually stated to have taken place in 1480, hack to 1450. He died probably in Rome in 1520. Vasari styles him a mediocre painter, hut great in drawing ; and although there exists an agreement between Carpi and Saccacini to execute an exten- sive work between them, no authentic paintings remain from his hand, his celebrity resting entirely on his wood-engravings, which were executed by successive printings from various blocks of different shades, by which were produced completer effects than those of ordinary woodcuts. This was called chiaroscuro, a name still given to it, and was in fact a simple form of our modern chromo-printing. Carpi claimed in his petition to the Doge and Senate to have been the inventor of the method, but as no example by him exists with a date to compete with the chiaroscuro issued at Augsburg by Jost de Necker in 1510, and his claim was only made in 1516, he seems to have no certain claim to the inven- tion. _ The more the subject is investigated, the more certain it seems that all forms of engraving, as of printing, originated in Germany. His works are numerous, and are confused with those of Boldrini. Bis known works are after Raphael and Parmigiano ; sometimes they are of a large size. As, however, they are not signed, and are identified with difB- culty, it is not necessary to enumerate many. Descent from the Cross ; after Raphael. St. John in the Wilderness ; after the same. The Miraculous Draught of Fishes ; after the same. Death of Ananias ; after the f^anw. Elyraas struck witk Blindness ; after the same. A Sibyl reading, with a Child holding a torch to light her ; after the same. A rare print, copied by Coriolano as one of a set. Diogenes; after Parmigiano. SS. Paul and Peter ; very small ; after the same. See 'Di Ugo da Carpi e dei Conti da Panico,' Bologna, 1854, by Gualandi ; Passavant, vol. vi. ; Bartsch, vol, xii. Tfi jj, g. CARPINONI, DoMENico, a Bergamese painter, was bom at Clusone, in the Valle Seriana, in 1566. He was sent to Venice when young, and became a scholar of the younger Palma. In the early part of his life he was occupied in copying the works of Palma and Bassano ; he afterwards painted some pictures of his own composition, wliich, according to Tassi, are vigorously coloured, and tolerably correct in design. In the principal church of Clusone is a picture by him of the ' Birth of St. John the Baptist,' and a ' Descent from the Cross ; ' in the Chiesa di Monesterolo, in the Valle Caval- lina, is a picture of ' The Transfiguration ; ' and at Lovere, in the church of the Padri Osservanti, 'The Adoration of the Magi.' He died in 1658. CARPINONI, Mamiale, the grandson of Do- menico Carpinoni, was born at Clusone about 1644. According to Tassi, he was taught the first prin- ciples of art by his father, an artist of little note, but afterwards had the advantage of the instruc- tion of his grandfather. He was afterwards sent to Rome for improvement, where he frequented the school of Giro Ferri. He painted historical sub- jects with no small success, and was employed for the churches of his native town and the vicinity. In the principal church at Clusone is the ' Virgin and Child, with Saints,' by this painter, and ' The 255 A BIOGRAPHICAL DICTIONARY OF Baptism of Christ by St. John ; ' and in the cathe- dral at Bergamo, SS. Domno, Domneone, and Eusebia. He also painted several pictures for the churches in Brescia. He died at Ferrara in 1722. CARPIONI, Carlo, the son of Giulio Carpioni, was bom about the middle of the 17th century. He was educated by his father, after whose style he painted a few pictures, but he is better known by his portraits. In the Council-chamber at Vi- cenza and in the convent of the Servites at Monte Berico there are some groups of portraits of magis- trates, which show a truthful resemblance, and an ingenious and elevated imagination. CARPIONI, Giulio, was bom at Venice in 1611. He was a scholar of Alessandro Varotari, called Paduanino, but followed more the style of Can- tarini. He was superior to his fellow-student Mafiei in vigour, expression, and invention. He painted history and bacchanals, and also sacred subjects of a small size, many of which are to be seen in the churches in the Venetian states. His fabulous subjects are placed with distinction in the private collections of his country, and are touched with a spirit, and coloured with a beauty of tint- ing, which his master would not have disavowed. Paintings by him may be seen in the Galleries of Augsburg, Dresden, Vienna, Modena, and Florence. He was also an etcher ; his best plates being ' St. Anthony of Padua,' ' Christ on the Mount of Olives,' 'The Virgin reading,' and 'The Virgin with the Rosary.' He died at Verona in 1674. CARR, Johnson, a pupil of Wilson, was bom in 1743. fie gave promise of being a good landscape painter, when be died in 1765. His chalk drawings possess considerable merit. CARR, R, practised as an etcher, in imitation of Hollar, in England, towards the close of the seven- teenth century. CARR, Rev. William Holwell, who was born in 1750, and died in 1830, practised landscape painting as an amateur ; he exhibited occasion- ally at the Royal Academy from 1797 till 1820. He bequeathed thirty-three paintings to the National Gallery, including his own portrait by Jackson, and a fine picture by Luini. CARRACCI FAMILY. Antonio (tailor).- L -LodoTico (166S-1619). Paolo. I I A^ostino (1567—1602). Annibale (1560—1609). Qiovaimi Antonio. Antonio Marziale (15S3— 161S). Francesco (1595—1622). CARRACCI, Agostino, painter, engraver, poet ; the nephew of Lodovico, and the elder brother of Annibale Carracci, was born at Bologna in 1557. He was intended by his father for the business of a goldsmith, a profession then nearly coimected with the art of engraving, and at the age of fourteen he had engraved some plates in the style of Comelis Cort, when Lodovico persuaded him to study paint- ing. He became a scholar of Prospero Fontana, and he afterwards studied under Bartolommeo Passerotti. On leaving the school of Passerotti, Agostino, together with his brother Annibale, passed some time at Parma, where they studied ■with attention the works of Correggio and Parmi- giano. He afterwards went to Venice, where he had an opportunity of perfecting himself in en- graving under Cornells Cort, by whose instruction he became one of the most distinguished engravers of his country. Excellent as a designer, he fre- quently corrected the defects in the drawing of the 256 pictures he engraved, for which he sometimes re- ceived the thanks, but more usually the reproaches, of the painter. On his return to Bologna, in 1589, stimulated by the reputation Annibale had already acquired, he devoted himself to painting with inde- fatigable assiduity, and, assisted by the instruction of Lodovico, his advancement was such that he was engaged in all the considerable works in which thej' were then employed in the Magnani and Zampieri palaces. He instructed the scholars in the Academy in the theoretical branches of painting, and also wrote for their edification a sonnet, wherein he tells them what characteristic quality to choose from each of the great masters. It was at this time that he painted for the Certosa at Bologna his famous picture of the ' Communion of St. Jerome,' now in the gallery of that city. It is one of the very few paintings which bear his signature. Annibale being soon after engaged to visit Rome, to paint the Farnese Gallery, he was accompanied by Agostino, whose resources and poetical genius were of the most essential service in the composition of those fabulous subjects to which the unlettered mind of Annibale would have been inadequate. These aids were not sufficiently appreciated by Annibale, whose vivacious and turbulent disposition produced continual dissensions, and Agostino, after he had executed the ' Triumph of Galatea,' and the ' Cephalus and Aurora,' was obliged to abandon him, and to leave Rome. He went to Parma, where he was employed by Duke Ranuccio to paint the great saloon of the Casino, the finishing of which he did not long survive. He died at Parma, in 1602. The following are the principal works of Agostino Carracci: Bologna. Pinacoteca. The Last Commuiiion of St. Jerome {his master-piece). „ „ The Assumption. Cassel. Galleri/. Hagar and Ishmael. London. Kat. Gal. Cephalus and Aurora. „ „ Triumph of Galatea. Both original cartoons for the frescoes in the Fartiete Palace, Rome. Munich. Pinakothek. St. Francis receiving the Stigmata. Vienna. (Jutlery. St . Francis receiving the Stigmata. „ ,, St. Dominic. „ ,, Female Portrait. Signed and dated. 1593. As an engraver, Agostino Carracci is to be ranked among the most celebrated artists of Italy. The correctness of his design is only equalled by the beauty of his execution, and his plates would have nearly reached perfection, if he had paid more attention to the efEect of chiaroscuro. They appear to have been executed entirely with the graver, in a bold, free style, nearly resembling that of his instructor, Comelis Cort. The expres- sion of his heads is admirable, and his extremities are marked with the greatest care. His plates are very numerous ; they are generally marked with the initials A. G. or AUG. F. or Agos. G., and some- times with his name abbreviated. They are not difficult of recognition. The following are his principal prints : POETEAITS AND SDEJECTS FEOM HIS OWN DESiaNS. Antonio Carracci, his father ; very scarce. Bust of Cosmo I. with ornamental figures. The Head of a 'Woman ; fine. Portrait of a Lady with a collar of pearls. Giovanni Tommaso Costanzo. Princess Christina of Lorraine. ANNIBALE CARRACCI 1 1 ^B^^^^^^^H ^^1 t ^^- ^^^H ^P m ^H H 'iK.^I w ^H ^^^^^ffv^^^H ^' V ^>^.T. . ^^^^^^^^^^1 li m 1 h i^SHk^^^iv^^^^^^^^^^^^^^^l Brogi photo\ [L'ffizi GalUry, Florence THE ARTIST, BY HIMSELF ANNIBALE CARACCI [ I'alicau, Rome CHRIST IN GLORY IN THE CLOUDS PAINTERS AND ENGRAVERS. Ulisse Aldrovandj. Tiziano Vecelli. 1587. Eve giving the Apple to Adam. 1581. The Virgin and Infant Jesus. The Repose in Egypt. The Virgin in the Clouds, giving the Scapulary to a Saint. The Virgin seated on a step, with St. Joseph, the Infant Jesus, St. John, and an Angel ; scarce. The Good Samaritan ; proofs before the letter are very rare. The impressions with the name of Bertelli are retouched. The Crucifixion, with two Females, one representing Christianity, the other Judaism, The Resurrection. The Confraternity of the Sacred Name of God. (The Pope and the Senate of Venice kneeling before the Virgin.) 1582. St. Francis of Assisi receiving the Stigmata ; Affos. Car. 1586. The Cord of St. Francis. (St. Francis distributing cords to a number of persons of different orders ) 1586. St. Jerome kneeling at the eutrance of a cave. There are impressions of this plate, which are very scarce, in which it is only three parts finished, the rest being slightly sketched with a single stroke. The plate was afterwards finished by his pupil Villamena. Seventeen plates of free subjects, called in Italy ' Le Las- civie del Carracci.' Two other amorous subjects. A Landscape with naked figures. A Landscape with the same, and in the distance a Dance. Cupid conquering Pan ; Omnia vincit amor. 1599. Perseus combating the Monster. Frontispiece for the work called Cremona Jidelissima This book, which is very scarce, containfl thirty-five portraits, engraved by Aaostino Carracci. SUBJECTS AFTER VARIOUS MASTERS. A Child blowing Bubbles ; after Goltzius ; very scarce. Jacob watering the Flocks of Rachel ; after 1). Calvaert. 1581. Judith ; half-length ; after Lorenzo Sabbatini. The young Tobit conducted by the Angel ; improperly marked Raffaelle d'Urbino; it is after Maffaette da Reqgio. The Presentation in the Temple ; after Orazio Sammac- chini. The Virgin and Infant Christ giving the Keys to St. Peter ; after the same. The Adoration of the Magi ; after B. Peruzzi. 1579. The Virgin and Infant, with the Magdalen, St. Jerome, and an Angel ; after Correggio. 1586. The Ecce Homo, with the Virgin and other figures ; after the same. 1587. The Adoration of the Magi ; after Marco del Mora. The great Crucifixion ; after Tintoretto ; in three sheets. The mocking of Christ ; after V. Strada. The dead Christ, supported by an Angel ; half-length ; after the same. The Pieta ; after the sculpture of 3Iichelangelo Buon- arroti. The Nativity of the Virgin ; after Andrea del Sarto. The Virgin Mary crowned by the Trinity; after A. Mostaert. The Holy Family ; after Barocci. The Holy Family, with St. John ; after Eaphael. The Holy Family, with St. Michael ; after L. Sabbatini. The Virgin with the Crescent, and the Infant Jesus giving the Benediction ; after the same. The Holy Family, with St. Anthony and St. Catharine; after Paolo Veronese. The Virgin taking under her protection two Monks ; after the same. The Marriage of St. Catharine ; after the same. The Martyrdom of St. Justina ; after the same ; in two sheets. The Trinity ; after Titian. The Virgin and Infant Jesus, with several Saints ; after Giulio Campi. St. Paul resuscitating Eutychus ; after Antonio Campi. The Holy Family reposing in a Landscape ; after B. Passeri. St. Sebastian ; after Francesco Raibolini. The Virgin suckling the Infant Jesus ; after J. Zigozzi, St. Jerome ; half-length; after Vanni. St. Jerome, with the Lion, regarding the Virgin in the GXouis; after Tintoretto. 1598. The Temptation of St. Anthony. 1582. As this print is without a name, it has been sometimes attributed to Cornells Cort. Mercury and the Graces ; after Tintoretto. Wisdom, accompanied by Peace, driving away the God of War ; after the same. jEneas carrying his Father Anchises ; after Barocci. CARRACCI, Annibale, was born at Bologna in 1560. Hi.s father, who was a tailor, at first brought him up to his own trade, but the boy's natural abili- ties and the advice of Lodovico induced Antonio Carracci to let his son study in the atelier of his uncle. Thus Lodovico was Annibale's first and only instructor in art. In 1580, Annibale left Bologna and went to Parma, where he studied the works of Correggio and Parmigiano. He was joined at Parma by his brother Agostino, who after a short time left Annibale to go to Venice, where they again met and lived together for some time. After an ab- sence of about seven years he returned to Bologna, where in 1589 the Carracci opened their academy. He assisted Lodovico in his paintings in the Magnani, Fari, and Zampieri palaces. About 1600, Annibale was invited to Rome by Cardinal Odoardo Farnese to decorate the Farnese Palace. He was assisted by his brother Agostino, by Domeniohino, and by Lanfranco. The Farnese Palace occupied about four years of the prime of Annibale's life. Foi this immense work (in whirh Ponssin declares that he surpassed not only himself, but every painter who preceded him, and which is generally admitted to be his most important work) he received but five hundred crowns. These frescoes display the greatest technical excellence in drawing, both of drapery and the nude, in modelling and in colour. But it is to be regretted that Annibale, who was averse to literary studies, and consequently ignorant of history and fable, was obliged to have recourse to the acquirements of others, and the natural result was that he could not feel the poetry of his subject so sensibly, or correctly, as if it had emanated from his own mind. Annibale was in complete possession of his art, when the subject did not go beyond the limit of his comprehension. After a visit to Naples, Annibale Carracci died at Rome in 1609, and was buried near Raphael in the Pantheon. The most celebrated easel picture by Annibale was formerly in the Orleans Gallery, at the sale of which it fetched 4000 guineas, the highest price reached by any picture in that famous collec- tion. It is now at Castle Howard. It represents the Saviour taken down from the Cross, extended in the lap of the Virgin, who is fainting, Mary Magdalene deploring the death of her Divine Master, whilst Mary (the wife of Cleophas), and another of the holy women, are succouring the mother of Christ. Of the beauties of this ad- mirable production, any description that could here be attempted would be quite inadequate ; it must be seen to be felt. The awful manner in which this solemn subject is represented, fills the mind of the beholder with the most affecting emotions. It has been very finely engraved by KouUet. Annibale's excellence as a painter of landscape ought not to be left unnoticed ; he did not confine himself to the backgrounds of his historical sub- jects, but painted several pictures in which the 257 A BIOGRAPHICAL DICTIONARY OF figures are only accessory, and to which we have nothing superior in grandeur of scenery, in the choice of forms, in aerial tints, and m spirited execution. He also painted genre pictures, as 'The Greedy Eater,' in the Colonna Palace at Rome. The following are his principal paintings : BerUn. Gallery. Holy Family. ,j Landscape. And many others, Bologna. Pinacoteca. Madonna adored by six Saints. ° 1593. Madonna enthroned, with Saints. AuuuuL'iation. Assumption. 1592. Cas's'el. Gallery. Tobias. „ Hercules. Castle Howard. The Three Maries. Portrait of Himself. Darmstadt. Gallery. Portrait of Domenichino. Dresden. GMery. The Genius of Glory. Assumption of the Virgin {dated MDLXXXVIl), Madunna euthroned with Saints " " (siyned HANNIBiO. careactits BON F MDLXXXVIIl). „ S. Koch distributing Alms. " __ Virgin and Child with the Swal- low. And others. Florence. l'ffi:i. A Bacchante. „ Portrait of Himself. ", Pitti Pal. Christ adored by Saints. London. Xut. Gal. Christ appearing to Simon Peter after his Resurrection. St. John in the Wilderness. " ", Landscape, with figures. " „ Landscape, with figures. " ,, Erminia taking refuge with the Shepherds. „ Silenus gathering Grapes. " _j Pan teaching ApoUo to play on the Pipes. „ The Temptation of St. Anthony in the Desert. „ Bridgewater Gal. St. George in Prayer. Milan. ^rer"- Christand theWomanof Samana. Modena. Museum. Venus. Munich. Pinakothek. Susannah and the Elders. „ A Pieta. Naples. Museum. A Pieta. „ Satyr and Bacchante. I,' „ Holy Family. And others. Paris. Louvre. Birth of the Virgin. ,, ' La Vierge aux Cerises. " __ Xhe Sleep of the Infant Christ. " " (' Le Silence du Carrache.') The Virgin appearing to St. Luke " " and St. Catharine {siy7ied anni- BAL CAEACTIVS F. MDXCll). , Preachiug of St. John the Baptist. " .'■ A Pieta. „ Christ at the Tomb. „ The Resurrection (sijiifdANNiBAL CaKRATIVS PlNGEBAT MDXClIl). „ The Magdalen. ,, „ Martyrdom of St. Stephen. And many others. Petersburg. Hermitage. Anointiug the dead Christ. „ ,, Holy Family. Pieta. „ The Women at the Sepulchre. " '„ Christ and the Three Maries. ,j „ His own Portrait. „ ,, A Sleeping Maiden. ^, ,, Landscape. Kome. Borghese Pal. Deposition of the Cross. ,, „ St. Francis. „ Colonna Pal. The Greedy Eater. Famese Pal. CeiUug— Triumph of Bacchus and Ariadne. 1600—1604. Madonna del ) Assumption. Pojiolo. J 258 Vienna. Gallery, The Descent from the Cross. „ „ Christ and the Woman of Samaria. „ „ Entombment. „ „ St. Francis in Ecstasy. By the hand of Annibale Carracci we have about twenty plates, partly etched, and finished with the graver, in which the great master is strongly marked. They are : The Virgin suckling the Infant Jesus ; oval. The Virgin supporting the head of the Infant Jesus sleepiug. The Virgm and Child, with St. John presenting a Bird. The Adoration of the Shepherds. The Virgin of the Porringer, giving drink to St. John. 1606. The Holy Family; Anni. Car. in. fe. 1590. The Crucifixion ; Anj.JnFe. 1581. The Dead Christ in the lap of the Virgin, called the Caprarola Christ. 1597. Christ crowned with Thorns ; Annib. Carracius in. et fecit. 16U6. St. Jerome with spectacles ; halt-length. St. Francis with a Crucifix and a Skull. ApoUo playing on the Lyre, with Pan. Jupiter and Antiope; A. C. 1592. Silenus, a Faun, and a Satyr, called the Salver of Annibale. Acis and Galatea, with a Satyr. Susanna and the Elders ; very scarce. The Triumph of Bacchus (doubtful). CARRACCI, Antonio Marziale, a natural son of Agostino Carracci, was born at Venice in 1583. He was educated by his father and by his uncle, Annibale Carracci, whom he accom- panied to Rome when he went to paint the Far- nese Gallery. Aided by Annibale's instructions, and endowed with much natural genius, he soon became a skilful designer, and was taken into the service of Cardinal Tonti, who employed him in the decorations of his chapel in the church of San Bartolommeo nell' Isola, where he painted several frescoes taken from the 'Life of the Virgin,' and the 'Passion of Christ.' The chapel of St. Charles Borromeo was ornamented by him with a picture representing that saint communicating the plague- stricken. He also painted a fneze in one of the rooms of the Pope's palace at Monte Cavallo. His works are rarely met with. The Marquis of Lans- downe possesses a ' Virgin and Child ' by him. In the Louvre is a picture of 'The Flood'; in the Modena Gallery, ' Christ healing a Blind Man ' ; and in the Belvedere, Vienna, a ' Lute-Player.' He was greatly attached to Annibale, attended on him in his last moments, and gave liim a splendid funeral in the church of the Rotunda, near the tomb of Raphael. Antonio died at Rome in 1618. CARRACCI, Francesco, called Fbanceschino, the son of Giovanni Antonio, and a nephew of Agostino and Annibale Carracci, was born at Bologna in 1595. He was brought up by Lodovico, and soon displayed great talent for art. He painted a ' Virgin adored by Saints ' for Santa Maria Maggiore, Bologna, and a scene from the life of St. Koch in the Oratory of San Kocco. He sub- sequently set up an opposition school to that of Lodovico, and called it the "True School of the Carracci " ; but not meeting with the patronage he exj ected, he left Bologna, and went to Rome, whither he transplanted the " True School of the Carracci." He died, however, in poverty, at Rome in 1622. There are a few plates engraved by this artist from the designs of Lodovico and Annibale, which are marked F. C, or F. C. S. LODOVICO CARACCI Alinari photo] [Bologna Gallery THE MADONNA AND CHILD, ANGELS AND SAINTS PAINTERS AND ENGEAVBES. Tlie Virgiu and Child, inscribed Deiparte imago a divo Luca pict.^ ^'C. St. Charles Borromeo, kneeling. A winged Angel pointing to a Skull. Four Busts of Semiramis, Lucretia, Artemisia, and Portia. CAREACCI, LoDOVico, the real founder of the Eclectic school, wag born at Bologna in 1555. The two masters whom he had chosen, Fontana of Bologna and Tintoretto of Venice, counselled him to abandon the career of an artist, considering him incapable of ever succeeding in it ; and his fellow- students called him " the ox," on account of the slowness and heaviness of his mind, and also be- cause of his continual, determined, and indefatig- able application. He painted afterwards under Passignano, and also studied the works of Andrea del Sarto, at Florence ; at Parma he was impressed by the pictures of Correggio and Parmigiano, and at Venice by those of Titian. On his return to Bologna, Lodovico Carracci opened in 1589, in con- junction with his two nephews, Agostino and Anni- bale Carracci, an Academy " degli Desiderosi " ("Those who regret tlie past, despise the present, and aspire to a better futu:e"), which was kept by the three together until 1600 (when the two brothers went to Rome), from which time till 1619, the year of his death, it was maintained by Lodovico alone. Soon after its opening, this academy acquired such renown that all establishments of a like nature in Bologna were closed : and Lodovico Carracci's fame rests rather on his teaching than on the works he himself executed. The Carracci reckoned amongst their pupils, Albani, Guido Reni, Domeni- chino, Lanfranco, Spada, and Tiarini. The fres- coes which Ludovico executed with the assistance of pupils in 1602, in San Michele in Bosco in Bologna, representing the ' Life of St. Benedict,' and the ' Life of St. Cecilia,' have perished. The follow- ing are his principal existing pictures : Berlin. Gallery. Miracle of the Loaves and Fishes. Bologna. Falazzo ") History of Romulus and Remus Magnani > {fresco; painted in conjunction Ouidotti.J with AnnidaU and Agostino). „ S. Gregorio. St. George and the Dragon. I, „ The Annunciation. „ Finacoteca. The Transfiguration. „ ,, Madonna of the Bargellini Family. „ „ Birth of St. John the Baptist. „ „ And others. Florence. Xlffizi. His own Portrait. Parma. Museum. Burial of the Virgin. Milan. Brera. Christ with the Woman of Canaan. Modena. Museum. Flora. „ „ Galatea. „ „ The Assumption. Paris. Zotwre. The Annunciation. „ „ Virgin and Child. J, „ xieija. „ „ Appearance of the Virgin to St. Hyacinthe. Some. Doria Fal. Ecce Homo. London. Nat. Gal. Susannah and the Elders. By Lodovico Carracci we have a few engravings from his own designs ; they are etched in a free and masterly style, and finished with the graver. He generally marked his plates with the initials L. C. or LO. G. We hare by him the following: Samson overcoming the Lion ; L. C. F. The Virgin and Infant Jesus, with four Angels, half- length. The Virgin suckling the Infant Jesus, half-length ; lod. Carr. in. f. The Holy Family, with the Virgin washing Linen ; L. C.,f. 82 Another Holy Family ; 1604. Another Holy Family under an Arch. The Frontispiece to the Poems of Cesare Rinaldi. A Thesis, with the Arms of Bonfigliuoli, with Mercury and Hercules. CARRACCI, II Gobbo de'. See BoNzi. CARRACCINO, II. See Mulinaki, Giov. Ant. CARRACCIOLO. See Caracciolo. CARRARI, Baldassare, was a native of Ra- venna, who flourished about the year 1512. Lanzi places him amongst the pupils of Niccol6 Ron- dinello, and considers that his principal and most celebrated production is his picture of ' St. Bar- tholomew,' in the church of San Domenioo at Ravenna. When Pope Julius II. visited that city in 1511, he declared tliat the altars of Rome did not possess a finer painting than that work. A ' Ma- donna and Child with Saints ' by him, in the Brera, Milan, originally hung in San Domenioo, Ravenna. CARR^ FAMILY. FranciscuB (1C30 (7)— 1669). Hendrik (1658—1721), Michiel (1666—1728). Abraham (1684—1768-69). Hendrik (1696—1776). Johannes (1698—1772). CARRE, Abraham, was the son of Hendrik Carr6, and was born at the Hague in 1694, ana died there in 1758 or 1759. He painted small por- traits and cabinet pictures, and was an excellent copyist of the works of the more distinguished Dutch masters, in which occupation he was much employed by the dealers, who sold his copies as originals. Two of his brothers, Hendrik Carr6, who was born at the Hague in 1696 and died there in 1775, and Johannes, who was born at the Hague in 1698 and died there in 1772, were also painters, though but little is known of them. CARRE, Fkanciscds, was a painter born in Fries- land about 1630. It is not known who was his in- structor, but he grew to be sufficiently esteemed to be appointed first painter to the Stadtholder William Frederick. He excelled in painting landscapes and village festivals, but his works are little known out of his own country. He left an etching of the funeral catafalque of the Stadtholder. He died at Amsterdam in 1669. CARRE, Hendrik, was the elder son of Fran- ciscus Carr6, and was bom at Amsterdam in 1658. After studying the art under Juriaen Jacobsz and Jacob Jordaens for some time, the Princess of Orange gave him a commission in her regiment, and he served some years in the army, being present at the siege of Groningen in 1672. He afterwards resumed painting at Amsterdam with much success. Examples of his work, which is in the style of Berchem, can be seen in the Chateau of Ryswick and in the Gallery at Brunswick. He died in 1721. CARRE, Michiel, was born at Amsterdam in 1666. He received his first instructions from his elder brother Hendrik Carr6, and afterwards became the scholar of Nicolaas Berchem, but unfortunately did not profit by the example and practice of so excel- lent a master, but preferred to follow the style of a much inferior artist named Gabriel van der Leeuw. Houbraken states that Michiel Carr6 resided some time in England, and that his works were not popu- lar here, but Horace Walpole makes no mention of him in his ' Anecdotes.' He was a landscape painter of some celebrity, since at the death of Abraham Begeyn he was invited to Berlin by the King of Prussia, who appointed him one of his 259 A BIOGRAPHICAL DICTIONARY OF painters. On the death of Frederick he returned to Holland, and resided chiefly at Alkmaar, where he died in 1728. His greatest merit was the un- common facility and boldness of his pencil, which was well suited to the works upon which he was principally engaged, the decoration of halls and large apartments. One of his best productions is to be seen in a saloon at the Hague, where he has represented in a large landscape the ' History of Jacob and Esau.' Some of his easel paintings, landscapes with cattle, are very good. Examples of these can be found in the Brunswick Gallery, and the Rotterdam Museum. CARREiJO DE MIRANDA, Juan, an eminent Spanish painter, was bom at Aviles, in the Asturias, in 1614. He learned painting at Madrid under Pedro de Las Ciievas and Bartolom^ Roman, and improved himself in design and colouring by study- ing the works of Velazquez and Van Dyck. His talents recommended him to the patronage of Philip IV., who employed him in some important fresco works in his palaces. Besides his commis- sions from the king, he painted a number of pictures for the churches, and Palomino gives a long account of his works at Madrid, Toledo, Alcala de Henares, Segovia, and Pamplona. At Madrid, in conjunction with Francisco Riei, he painted the celebrated cupola of San Antonio de los Portugueses, and a fine picture of the ' Magdalen in the Desert,' in the convent of Las Recogidas. His colouring was in tenderness and suavity perhaps superior to that of any painter of bis country except Murillo. He was retained as painter to the court under Charles II., and died at Madrid in 1685. He also executed several etchings. The following are some of his best paintings : Berlin. Gallery. Paris. Louvre. Vienna. Academy. Portrait of Charles II. of Spain. 1673. St. Ambrose giving Alms. A Priest with the Consecrated Host. CARRETTI, DoMENico, was, according to Aver- oldi, a native of Bologna. It is not stated by whom he was instructed, but during a long residence at Brescia, he painted many small historical pictures for private collections. He was also emploj'ed for the churches. His most esteemed work is a picture of the ' Virgin witli the Infant Jesus and St Theresa,' in the church of San Pietro in Oliveto. CARREY, Jacques, a French painter, was bom at Troyes in 1649, and became a pupil of Le Brun. In 1673 he accompanied the Marquis de Nointel in his embassy to Constantinople, taking sketches of the most remarkable scenes and objects, from which he afterwards painted pictures. In 1674 he visited Greece and made for the Marquis de Nointel the priceless drawings of the Parthenon, now in the Bibliotheque Nationale at Paris, which have been so highly praised by M. Beul^. They were reproduced and published in 1848 by the Marquis L^on de Laborde, under the title ' Le Par- thenon, documents pour servir a une restauration.' The Louvre possesses a series of drawings by him representing the ' Supplice du Pal,' and in the Bordeaux Museum are two pictures of Turkish ceremonies. Carrey died at Troyes in 1726. CARRICK, Thomas, a native of Carhsle, removed to London and soon became popular for his mini- atures. Many eminent personages sat to him, and he exhibited at the Royal Academy occasionally from 1841 till 1860. He died in 1874. 260 CARRIER, AuGusTE Joseph, a French painter, was bom in Paris in 1800. He was a pupil of Gros, Prud'hon, and Saint, and evinced much talentj in the painting of miniatures, but in his later years he devoted himself almost entirely to landscapes. He died in 1875. CARRIERA, RosALBA, better known by her Christian name alone, was a daughter of Angelo Carriera, a native of Chioggia, who held various official posts in the latter days of the Venetian Republic. She was bom at Venice on the 7th of October, 1675, and at an early age showed her artistic talent by making designs for point-lace. This she continued to do until the fashion changed, when she was advised by Jean Steve, a Frenchman then residing at Venice, to turn her attention to the decoration of snuff-boxes, a branch of art in which he excelled. She then became a pupU of Giannan- tonio Lazzari, a distinguished amateur, and after- wards of Giuseppe Diamantini and Antonio Pales- tra, but her style was mainly inspired by the works of Pietro Liberi. She at first painted in oil, but it IS to her miniatures, and above all to her crayon, portraits, that her great reputation is due. Electe(' in 1705 a member of the Academy of St. Luke at! Rome, and in 1720 a member of the Academy of Bologna, the Grand-Duke Cosmo III. requested her to contribute her own likeness to the famous col- lection of painters' portraits executed by their own hands in the Uffizi Gallery at Florence. The Florentine Academy likewise enrolled her among its members. In 1720 she visited Paris in company with her mother, her sisters Angela and Giovanna, and the Venetian painter, Antonio Pellegrini, whom the elder of her sisters had married. Rosalba stayed in Paris nearly a J'ear, during which time she executed the portraits of Louis XV., then a boy of ten years old. the Regent, and many nobles and ladies of the French court. Crozat, Mariette, the Comte de Caylus, Watteau, Rigaud, LargilUere, Coypel, and other distinguished amateurs and artists eagerly sought her society and her works, and the Royal Academy of Painting elected her by acclamation. Her diary, kept during her stay in Paris, contains details of much interest respect- ing the brilliant society of the Regency. It was pubHshed by the Abbe Vianelli in 1793, and was both reprinted in Italian and translated into FrencH in 1865. Rosalba was then forty-five years of age, and had never been pretty, j'et she charmed every one by the grace and modestj' which set oflE her rare talent. Returning to Venice in 1721, her pencil found constant employment, for scarcely a traveller of distinction passed through that city without carrying awaj' with him his own portrait or some fancy head. In 1723 she visited the court of Modena, and in 1730 that of Vienna, and the Elector of Saxony, afterwards Augustus III., King of Poland, purchased many of her works. Tea years before her death her sight failed, and she died at Venice on the 15th of April, 1757. Her works are still admired, although no longer com- pared with those of Correggio, for the delicate tints have now faded, and the faulty drawing and affected style become but too apparent. The Dresden Gallery possesses 143 of her works, including portraits, £md sacred and other subjects, the chef-d'ceuvre being the head of Metastasio. The Louvre has five of her drawings, among which is the half-length crayon drawing of a ' Muse crowned with Laurel,' which she presented on her reception at the Academy. There are drawing*^ I ROSALBA CARRTERA CALLED ROSALBA yLouvre, Paris A LADV I'ASTEL PAINTERS AND ENGRAVBES. by her at Venice, Chioggia, and Padua, and in the Galleries of Turin, Florence, Copenhagen, and St. Petersburg. Rosalba's youngest sister, Giovanna Caeriera, painted miniatures, assisted her sister in the back- grounds and draperies of her drawings, and died in 1737. R. E. G. CARRIERE, Antoine Fdlcrand, a French litho- graphic artist and pupil of Ingres, was born at St. Afrique (Aveyron) in 1804. He executed a series of portraits of generals of the First Empire, and died at Agen in 1856. CARROGIS, Louis. See Carmontelle. CARRUCCI, Jacopo, (or Carucci,) called Jacopo _da Pontormo (or, more correctly, Pdntoemo), was 'bom at Pontormo, in the Florentine state, in 1494. His parents dying before he was thirteen years of age, he was taken to Florence by a relation, who, perceiving his inclination for art, placed him in the school of Leonardo da Vinci, under whose tuition he remained only till 1,512, but who, nevertheless, influenced his style of painting ; he afterwards became successively the scholar of Piero di Cosimo and of Mariotto Albertinelli. Whilst he was a dis- ciple of Albertinelli, he painted a picture of the 'An- nunciation,' which excited the greatest admiration, and being shown to Raphael, was considered by that great painter as an uncommon eilort of genius for a juvenile performance. When about eighteen years of age he became a pupil of Andrea del Sarto ; and some of his early productions having received the most marked commendation from Buonarroti, the illiberal disposition of his instructor con- ceived an unworthy jealousy of his powers, and he is said to have dismissed him from his academy. This ungenerous treatment only served as a stimu- lus to his exertions ; and it was not long before he met with considerable occupation. One of his first productions, on leaving Andrea del Sarto, was a picture of the ' Visitation of the Virgin to St. Elizabeth,' for the convent of the Annunziata, which disputed the preference with many of the works of Del Sarto. He was not less successful in his ' Holy Family with St. John,' painted lor the church of San Michele, at Florence ; and his pic- ture of ' St. Augustine giving the Benediction,' with a beautiful choir of angels, in the church of San Clemente. It is surprising that, with the posses- sion of such powers, he should have degraded his talents by stooping to a servile imitation of the style of Albrecht Diirer, from whose prints the compositions in the series of pictures which he painted for the cloister of the Carthusians at i'lorence are undisguisedly copied. His fresco work at Pozzio a Caiano is perhaps the most original and appropriate in Italy, and a proof of his ability to do really excellent work. His last works were the frescoes he painted in the chapel of San Lorenzo, representing the ' Deluge ' and the 'Last Judgment,' which, from his indecision and want of energy, occupied him eleven years. Great expectations had been formed of this im- portant undertaking ; but when the results were exposed to public view, they were found to be totally unworthy of his reputation ; and it is perhaps fortunate for his fame that they have since been obliterated. He did not long survive this mortify- ing failure, and died at Florence in 1557. As a portrait-painter Carrucci is worthy of much praise. The following are some of his best works : Berlin. Gallery. Portrait of Andrea del Sarto. Florence. Uffizi. Madonna and Saints. Florence. Uffizi. Venus and Cupid (from a design by Michelangelo). „ „ Adam and Eve driven from Para- dise. „ „ Martyrdom of St. Mam'ice. „ „ Birth of St. John. „ Portrait of Cosmo I. de' Medici. Academy. The Disciples at Emmaus. 1525. Madonna with Saints. „ Annunziata } , Convent, j „ S. Felicita, Descent from the Cross. Fitti Pal. Martyrdom of Forty Saints. ,, „ Portrait of Ippolito de' Medici. London. ^at. Gal. Joseph in Egypt. Panshanger. Three pictures. Paris. Louvre. Holy Family. ,, ,, Portrait of an Engraver of Gems. Pozzio a Caiano. Decorative Fresco. Pontormo. St, John and St. Michael, Vienna. Gallery. Portrait of a Youth. Volterra. Cathedral. Descent from the Cross. CARS, Jean Franqois, was a French engraver, born at Lyons in 1670. His father, Francois Cars, was an engraver of no great repute, to whom we owe a portrait of Joseph Tobias Franc, drawn in 1681. Jean Frangois worked at Lyons for some years, but eventually repaired to Paris, where he died in 1739. He had a brother, FRANgois Cars, like- wise an engraver, who died in Paris in 1763, aged eighty-three. The works of Jean Frangois Cars are not considered equal to those of his more famous son. His plates are sometimes marked J. F. Cars, but more frequently, J. F. Cars, fils. We have by him the following portraits : Nicolas, Superior of the Order of Capuchins at Lyons ; engraved at Lyons, 1694. Francois Blouet de Camilly. Cardinal de Polignac ; after Rigaud. Archbishop Neufville de Villeroi ; after Grandon of Lyons. Bishop Dominic ^t. Clair. Louis Auguste, Prince de Dombes. Louis, Vicomte d'Aubusson. Prince Henri La Tour d'Auvergne. 1699. Archbishop Charles La Berchere. 1702. Cardinal Archbishop Le Camus. 1703. Pierre de Seve. 1706. Archbishop de Gram- mont. 1706. Louis XIV. ; engraved at Lyons, sold at Paris, marked J. F. C. CARS, Laurent, was a French designer and en- graver, born at Lyons in 1699. He was the son of Jean Fran5ois Cars, who took him when qUite young to Paris, where it was not long before he dis- tinguished himself. In 1733 he was received as an Academician upon his portraits of Michel An- guier and S^bastien Bourdon. Cars, who was the master of Beauvarlet, may be considered as one of the best French engravers of the 18th century, in the kind of subjects he selected. He died in Paris in 1771. His best plates are those engraved after Lemoyne, particularly that of ' Hercules and Omphale,' and the series of illustrations after Boucher's designs to the Comedies of Moliere, and after Oudry to the Fables of La Fontaine. His work is extensive ; the following are his principal plates : PORTRAITS. Louis XV., an allegorical portrait; after Lemoyne. Louis XV., an allegorical portrait; after Boucher. Stanislaus, King of Poland ; after Van Loo. Michel Anguier, sculptor ; after Revel. Cardinal Armand Gaston de Rohan ; after Rigaud. Marie Leszczinska, Queen of France ; after Van Loo. Francois Boucher, painter ; Jean Baptiste Chardin, painter ; Madame Chardin; after Cochin, fls. Mile. Camargo, dancing ; after Lancret. Mile. Clairon, in the part of Medea. SUBJECTS AFTER VARIOUS MASTERS. The Adoration of the Shepherds; The Flight into Egypt ; after Van Loo. Bathsheba at the Bath ; Susannah and the Elders; after De Troy. Adam and Eve in Paradise ; Hercules and Omphale ; Per- 261 A BIOGRAPHICAL DICTIONARY OF sens and Andromeda : The Sacrifice of Iphigenia ; Hercules and Cacus ; Iris at the Bath ; Cephalus and Aurora ; The Rape of Europa ; Time discovering Truth ; after Lemoyne. Silence ; L'Aveugle trompe ; after Greuze. The Fortune-teller; The Venetian Festival; A Convoy of Equipages ; after JTatteau. CARSTEXS, Asjius Jacob, was an historical painter bom at Sankt Jiirgen, Sehleswig, in 1754. He displayed considerable natural inclination for drawing and painting at quite an early age, and this was increased by the impression produced on him by the picture in the cathedral at Schleswig, painted by Juriaen Ovens, a pupil of Rembrandt. Endeavours were made to place him with Tischbein at Cassel, but these were unsuccessful, and he was accordingly apprenticed to a wine-merchant at Eckernforde. After spending five years in that capacity, during which his leisure hours were always being devoted to drawing and portrait-painting, he went to Copenhagen in 1776, where the artistic trea- sures of the Royal Gallery made such an impression upon him that he resolved at all cost to become a painter. He took at once to studying the antique, not indeed by copj-ing, but by impressing the image on his mind by contemplation, which resulted in his obtaining an extraordinary facility in drawing the round when treating the human figure. He also learnt something of anatomy, but he did not go to the Academy, as his mind alreadj' evinced some repugnance to the academical course of train- ing, and he preferred to train himself by making his o\vn attempts at composition, by books, by engravings, and by the friendly assistance of other artists. His first large work was the ' Death of .lEschylus,' soon followed by another on a larger scale, 'jEolus and Ulysses,' which was exhibited, and met with a most favourable reception. Mean- time he entered the Academy with a view to ob- taining the means of visiting Italy. But this, nevertheless, seems to have been his object rather for the sake of appearances, and the obtaining it a matter of the greatest indifference to him, as he had to retire from it in consequence of having declined to receive the silver medal awarded to him, on the ground of there having been some unfair act in the way the Directorate had treated another member. In fact, he rejected with contumely proposals made to him subsequently to canvass for the great prize, which had a six years' maintenance in Italy attached to it. He then left Copenhagen to satisfy his desire of visiting Rome at the expense of his scanty savings. He started in 1783, but did not get beyond Mantua, where the paintings of Giulio Romano in the Palazzo del Te produced a profound impression upon him ; but he was com- pelled by lack of funds to return to Germany. He then settled in Liibeck, where he maintained himself by painting portraits. However, he had by this time seen Giulio Romano's works, Leonardo da Vinci's 'Last Supper,' and something of Swiss scenery, and his imaginative powers had thus re- ceived new ideas — ideas which he now began to express in allegories of his own, as well as in com- positions after Homer, .^^schylus, Ossian, and Klopstock. After nearly five years spent in Liibeck he had the good fortune to make the acquaintance of a wealthy amateur, who placed him in such a position that he was able to visit Berlin in 1787. At that place, as he was following out his determination to paint no more portraits, he was at first in very straitened circimistances, until the success of a 262 composition he exhibited, entitled ' The Fallen Angel,' a design showing extraordinary power of imagination, led to his appointment as professor at the Berlin Academy. Amongst his works at this time, next to Plato's ' Symposium,' which is one of his finest, were the ' Battle of Rossbach,' and the design for an ' Equestrian Statue of Frederick the Great.' But previouslj', the decoration of an apart- ment with mythological subjects to the order of the Minister of the day. Heinitz, had brought him to the height of his wishes. On the occasion of its being opened the artist was presented to the king, and he shortly afterwards received a stipend enabling him to visit Rome. It was in the summer of 1792 that he made the journey, halting for a month in Florence, where he produced a fine com- position in his ' Battle of the Centaurs and La- pithae,' and reached Rome in September. There he studied more especially the works of Michelangelo and Raphael. His first work from his own design at Rome was the ' Argonauts and Chiron,' a work in which the purity of stjle and the beauty of the forms manifested the advance which he was making by sojourning at Rome. In 1795 he had a public exhibition of his works, and the judgment of con- noisseurs, who were amazed at the skill he dis- played, and at the extent of the powers of his imagination, was so favourable and so flattering that he considered he should be able to maintain himself for the future at Rome. Nor were his expectations delusive. His pictures found pur- chasers as well as admirers, and a troop of brave artists flocked round him. "That exhibition, in fact, marks the second revival of modem art at the close of the past century. The following two years witnessed the produc- tion of numerous masterly compositions after Lucian, Philostratus, Homer, Ossian, Sophocles, Pindar, Dante, and Goethe, as well as a series of excellent designs from the history of the Argo- nauts, and from that of (Edipus, as given by So- phocles. The last of these represented ' The Golden Age,' one of the most powerful and grace- ful productions of the artist's fancy. About this time he was seized with an attack in the chest, which defied all remedies, and he died at Some in 1798. Notwithstanding certain imperfections in his drawing and style, and in spite of the violent opposition he met with, Carstens was the foimder of the new German school of painters, for which he opened the road — a road that was trodden by the foremost German artists with extraordinary success. Wachter, Kock, Schick, Genelli, and Thorwaldsen, and even the great Cornelius himself, were practically his followers. Of Carstens's works many are in private collections, the best assemblage being in the ducal cabinet at Weimar ; there may be seen, amongst numerous specimens, two espe- cially deserving of notice — ' Homer before the assembled Greeks ' (engraved by E. Schaffer), and ' Megapenthes ' (engraved bv Julius Thater). CARTARO. Mario. See Kaetarus. CARTEAUX, Jean Francois, a French general, was born at Aillevans (Haute-Saone) in 1751. He was in early life a pupil of Doyen, but is better known as a soldier than as an artist, Bonaparte having served under his orders at the siege of Toulon in 1793. He died in Paris in 1813. There is an equestrian portrait of Louis XVI. by him at Versailles. CARTER, Ellen, whose maiden name was PAINTEES AND ENGRAVERS. Vavaseur, made Ulustrations for the 'Gentleman's Magazine' and other periodicals. She died in 1815. CARTER, George, an artist of considerable merit, is known as the painter of ' The Death of Captain Cook,' ' The Fisherman's Return,' and other popular works, which have been engraved. He died in 1786. CARTER, George, who was born at Colchester, was an exhibitor at the Royal Academy in 1775, when he sent ' A Wounded Hussar on the Field of Battle.' He afterwards painted ' The Dying Pil- grim,' 'The Siege of Gibraltar,' and many por- traits. He died at Hendon in 1795. CARTER, James, a line-engraver, was bom in the parish of Shoreditch in 1798, and evincing a taste for art, was articled to the architectural engraver Tyrrel. While yet quite a youth, he gained the silver medal of the Society of Arts. After he had served his time to Tyrrel, he aban- doned the style of engraving he had learned in the studio of his master, and adopted landscape and figures, in which he made great progress, but without any other instruction than that he had already received, so that he might almost be called self-taught. In 1840 he essayed to publish a work on 'Windsor Castle,' but failed in his attempt from want of the necessary support. He engraved some plates after Prout and others for the ' An- nuals ' when those ephemeral productions were in vogue, as well as some for the ' Vernon Gallery ' series in the 'Art Journal,' and for other works on Architecture, &c. Amongst the engravings executed by him were E. M. Ward's great picture of 'Benjamin West's first Essay in Art,' 'Wells Cathedral,' 'Santa Pavilo,' and the 'Arc de Tri- omphe in Paris.' One of his later engravings was 'The Temple of Jupiter at Mg'ma.,' for a work by C. R. Cockerel!, R.A. He died in 1855. CARTER, John, who is chiefly known as an architectural draughtsman, was born in Ireland in 1748. He was the author of several works on archi- tecture, and executed an immense quantity of draw- ings and sketches. From 1774 to 1786 he produced the designs published in the 'Builder's Magazine,' and for upwards of twenty years was employed by the Society of Antiquaries as their draughts- man. His connection with the ' Gentleman's Magazine ' lasted from 1798 until nearly the close of his life. He occasionally exhibited at the Royal Academy, and at his death, which occurred in London, in 1817, he left no less than twenty- eight large folio volumes of sketches of architec- tural antiquities, which were sold by Sotheby in 1818. CARTER, William, was an English engraver, who was born about the year 1630. He was a pupil of Hollar, whose style he most successfully imitated, and whom he probably aided in his works. His engravings are mostly vignettes and orna- mental book-plates. The plates in Ogilby's trans- lation of 'Homer' were engraved by Carter. His plates, whicli are sometimes marked W. C, were mostly executed about the year 1660. CARTIER, Victor Emile, a French painter of animals and landscapes, was bom at Versailles in 1811, and died in Paris in 1866. The Museum of Orleans has by him a picture representing ' A Bull frightened by a Serpent' CARTWRIGHT, John, a portrait-painter, exhi- bited at the Royal Academy from 1784 to 1808. CARTWRIGHT, Joseph, exhibited marine sub- jects at the Royal Academy and the Society of British Artists from 1824 to 1829. He was ap- pointed marine painter to the Admiralty in 1828, and died in the following year. CARTWRIGHT, William, was an English en- graver of portraits and other book-plates. His name is affixed to a portrait of Thomas Cranmer, Archbishop of Canterbury, after Holbein. It is inscribed, Coelarif. Ghi. Cartvrright. CARUCCI. See Carrucci. CAKUELLE d'ALIGNY, Claude Francois Theodore, a French landscape-painter, was born at Chaumes (Nievre) in 1798. lie went to Paris in 1808, studied painting under Regnault and Watelet, and made his debut in 1822 with an his- torical landscape on the subject of ' Daphnis and Chloe ; ' and this style of art, now much neglected, he constantly followed. He obtained a medal of the first class in 1837, and the decoration of the Legion of Honour in 1842. His ' View of Genaz- zano, Environs of Rome,' and ' View of Royat, France,' were sent by the French Government to the International Exhibition of 1862. Aligny died at Lyons in 1871, while holding the post of Director of the Ecole des Beaux-Arts. Among his most important works may be cited : Amiens. Museum. Besan^on. Museum. Bordeaux. Museum. Caen. Museum. Carcassonne. Museum. Nantes. Museum. VsLiis.S.-Paul.-S.-Louii „ S. Etiey\ne-du- Mont. Eennes. Museum. The Good Samaritan. 1834. Christ at Emmaus. 1837. The Infant Bacchus educated by the Nymphs of Naxos. 1848. Death of Du Guesclin. 1838. Hercules and the Hydra. 1842. The Entrance of the Village of Corpo di Cava, between Naples and Salerno. .Landscape, with Baptism of Christ. Two Landscapes with Biblical sub- jects. Landscape, with a Monk at Prayer. 1839. He likewise etched a series of ten views of the most celebrated sites of ancient Greece. CARUS, Carl Gdstav, a German painter, who was born at Leipsic in 1789 and died at Dresden in 1869. He is represented in the Dresden Gallery by two landscapes. CARVALHO, the name of a painter of the 16th century, probably Portuguese, whose signature is on a ' St. Catharine ' in the Madrid Gallery ; it was formerly in the Convent of Los Angelos at Madrid, and is his only known work. CARVER, Richard, a native of Ireland, practised there as a landscape-painter in the middle of the 18th century. He afterwards removed to London, and became director of the Incorporated Society of Artists, to whose exhibitions he occasionally contributed. CARVER, Robert, a son of Richard Carver, and a native of Ireland, was known as an excellent scene-painter towards the close of the 18th century, and was especially celebrated for his sea-pieces. He resided chiefly in London, where he died in 1791. CARWITHAM, J., was an English engraver who flourished about 1730, and was chiefly em- ployed by the booksellers. His plates are some- times executed with the graver only, but at other times are etched and finished with the graver in a style resembling that of Bernard Picart. There exist by him a plate of the ' Laocoon,' dated 1741, after the antique marble group, and some frontis- pieces, among which is an emblematical one, from a design of B. Picart, and dated 1723. 263 A BIOGEAPHICAL DICTIONARY OF CAEY, Francis Stephen, the fifth son of the Rev. Henry Francis Gary, the trimslator of Dante, was born in 1808. He studied art in England and Italy, and about 1840 succeeded Henry Sass, the well-known master of the School of Art in Bloomsbury, London. From that time till about 1870 he imparted instruction to many young painters and sculptors who were afterwards suc- cessful in life. Gary, whose works were constantly seen at the London Exhibitions, died in 1880. CASA, Niccol6 della. See Della Casa. GASA, PiEB Antonio della. See Beenabei. CASADO DEL ALISAL, Jos^, was born in Valencia in 1832. He studied atthe Royal Academy of San Fernando, Madrid, and under Federico de Madrazo. In 1860 he won the 'prix de Rome,' and first-class medals at Madrid in 1862, 1864 and 1881. He was Director of the Spanish Academy and court painter, and died in 1895. His principal picture, ' The Bell of Huesca,' for which he received the Grand Cross of the Order of Isabel the Catholic, is now in the Museum of Modern Art at Madrid. His other pictures include 'The Death of Ferdinand IV.,' ' Seiniramis,' ' Goya's Studio,' ' Beheaded Arabs,' 'Flora' (1881), 'In the Boudoir' (1882), 'Tempta- tion ' (1884), and ' Laura ' (1885). CASALI, Andrea, called ' The Chevalier,' an Italian painter and engraver, was born at Civiti Vecchia about 1720, and is said to have been a pupil of S. Conca. He visited England about 1741, and was employed in the decoration of the houses of several of the nobility, and on altar- pieces for churches. He remained in England till 1766, after which he lived for some years at Rome. He etched some plates from his own designs and one from Raphael. CASALINA, LnciA, an eminent portrait-painter, was born at Bologna in 1677. She was the pupil of Giuseppe dal Sole, and at first attempted some historical subjects, but became much more success- ful in portraits. Her own portrait, by herself, is in the Gallery of Florence. She married Felice Torelli, and died in 1762. CASANOBRIO, Luca. See Carlevariis. CASANOVA, Carlos, born at Exiia de los Cabal- leros, in Aragon, studied painting under Geronimo Secano at Saragossa. He became painter to Ferdi- nand VI., and died at Madrid in 1762. He executed a portrait of Ferdinand VI., and one of Fray Miguel de San Josef presenting his 'Bibliografia critica' to Pope Benedict XIV. He also engraved Herera's picture of ' St. Augustine,' at Madrid, and some plates for the first edition of Ulloa's ' Relacion historica del viage a la America meridional,' Madrid 1748. CASANOVA, Francesco Giuseppe, was born in London in 1727, of Italian parents, who sent him while still young to Venice, where, after receiving some instruction from Guardi, he became a pupil of Francesco Simonini, a painter of battle-pieces, and, like him, took Borgognone for his model. Besides battle-pieces Casanova painted landscapes with figures and cattle, as well as sea-pieces and pastoral subjects. He arrived in Paris in 1751, and went to Dresden in tlie following year, where he remained until 1757. On his return to Paris he studied under Parocel, and was received into the Academy in 1763. He exhibited at tlie Salon till 1783, when he went to Vienna. He died at Briihl in 1802. He was a clever painter, often powerful, often fascinating, but inferior to Borgognone and far below Salvator Rosa, and now thought no more of 264 than his pupil Loutherbourg. The following are some of his principal paintings : Bordeaux, Museum, Cavalry Engagement. Dulwieh, Gallery^ "NYanderers near a river. Lille, Museum^ Two Landscapes. Paris, Louvre^ Battle of Fribourg, 1771 ; Battle of Lens, 1771 ; Landscape with animals ; Landscape with animals ; A Cavalier galloping ; A Cavalier and other soldiers. Petersburg, Hermitage, A Cow. Vienna, Gallery, Cavalry Engagement. ETCHINGS. The Russian Drummer on horseback. The Tliree Cuirassiers. The Standard. A Cavalry Skirmish. The Ass and the Banner. The Painter's Dinner. CASANOVA, Francisco, the son and scholar of Carlos Casanova, born at Saragossa in 1734, prac- tised painting and copper-plate engraving. Cean Bermudez mentions with commendation a print of ' St. Emidius ' executed by him at Cadiz in 1765. He was appointed engraver to the mint at Mexico, where he died in 1778. CASANOVA, Giovanni Battista, brother of Francesco Casanova, was bom at Venice in 1722. He studied painting under Silvestre and Dietrich at Dresden, and went in 1752 to Rome, where, under the tuition of Mengs, he became an accomplished artist in pencil and crayon. Amongst other works he designed the plates to Winckelmann's ' Monu- menti antichi.' He was appointed professor in the Academy at Dresden in 1764. His death occurred in 1796. CASANOVA, JoYER Y, a Spanish painter, pro- duced many pictures of historical subjects, of which the most important was, 'The Queen Regent taking the Oath before the Cortes.' He died in 1890. CASELLI, Cristoforo, who was also known as Cristofobo da Parma, or II Temporello, and called by Vasari Cristofano Castelli, was a pupil of Mazzuola, and lived in the 15th and 16th cen- turies. He earned his livelihood between 1489 and 1492 as a journeyman at Venice, where he painted, in 1495, an altar-piece now hanging in the Sacristy of Santa Maria della Salute. The Gallery of Parma contains a ' Virgin and Child, with SS. John the Baptist and Jerome,' probably painted by him before 1489. In 1496 he became a master at Parma, and painted in 1499 a ' Virgin and Child between SS. Hilarius and John the Baptist,' which is now in the Sala del Consorzio in that city. The same year he executed ' The Eternal ' on a gold ground in a ch.apel of the cathedral, and the ' Adoration of the IVIagi ' in San Giovanni Evange- lista. In 1607 he finished the monochrome of the ' Dead Christ ' in the cathedral. The dates of hi8 birth and death are alike uncertain. CASEMBROODT, Abraham, a Dutch painter, flourished about the middle of the 17th centurj'. He disting-uished himself at Messina as a landscape and marine painter. He occasionally painted historical events, and some pictures by him are in the church of San Giovacchino at Messina. He has also left a few etchings of marine subjects. GASENTINO, JACoro del. See Landini. CASEY, D.iNlEL, a French historical painter, was a pupil of Wajipers, in whose atelier at Antwerp he was a fellow-student with Mr. Ford Madox Brown. He first exhibited at the Salon of 1842, when he contributed a ' St. Louis in the Desert, near Damietta,' which was bought by the Govern- ment, and is now in the Bordeaux Museum. He exhibited constantly in Paris and Belgium, and became known as a powerful painter of ambitious PAINTERS AND ENGRAVERS. themes, excelling especially in his rendering of horses. Casey died in Paris, December 27, 1885. CASINI, Giovanni, called Varlunga, from the place of his birth in Tuscany, was born in 1689. He was a portrait painter as well as a sculptor, and died in 1748. CASOLANO, Alessandro, called also Ai.essan- DRO BELLA ToRRE, was bom at Siena in 1552, and was the pupil of Salinibeni and of Roncalli, under whose tuition he became a very reputable historical painter. His compositions are ingenious and copious, his figures well drawn and gracefully disposed. His works are principally in the churches of Siena, but are also to be found in Naples and Genoa. His own Portrait is in the UfiSzi, Flor- ence. It is no slight proof of this artist's merit, th.at Guido Reni, on seeing his picture of the ' Martyrdom of St. Bartholomew,' at the Carmel- ites, exclaimed, "Cestui e veramente pittore 1 ' He also etched one plate, a Madonna. He died in 1606. CASOLANO, Ilario, is called Cristofano Caso- lano by Baglione, but Mancini, who was his con- temporary, and Lanzi, both call him Ilario. He was born in 1588, and, like his father, Alessandro Casolano, was a pupil of Cavaliere Roncalli. He assisted his father in some of his frescoes, and after his death finished that of the ' Assumption of the Virgin,' left imperfect by him. He painted several pictures for the churches in Rome, both in oil and in fresco, but was superior in the latter. The church of Santa Maria in Via contains a "Trinity,' and that of La Madonna de' Monti some pictures from the Life of the Virgin and an ' As- cension ' by this artist. He died at Rome in 1661. CASPAR, Joseph, who was born in 1799 at Rorschach in Switzerland, studied at Rome in 1815, at Berlin under Schadow in 1820, and at Milan under Longhi and Anderloni, when he gave himself up entirely to the art of engraving. He resided the greater part of his life at Berlin. Fail- ing sight compelled him to relinquish his art in 1847, and he died in 1880. The following are some of his best plates : St. Catharine ; after Raphael. The Colonna Madonna ; after the same. The Daughter of Titian; after Titian (the Berlin Gal- lery picture). St. Barbara ; after Behraffio. Thomas of Savoy, Prince of Carignan ; after Van Dyck. CASPARI, Heinrich Wilhelm, was born at Wezel in 1770, and became a pupil of the land- scape-painter Grypinoed. He painted a great number of excellent portraits, and died in 1829. CASSANA FAMILY. Giovanni Francesco. (1611—1691.) I Nic< GioTauni Agoatino. Niccolib. Giovanui Eattlata. Maria Vittoria. U65S— 1720.) (1C69- 1714.1 ( » —1711.) CASSANA, Abbate Giovanni Agostino, was an elder son of Giovanni Francesco Cassana and a brother of Niccold; he was born at Genoa in 1658, and was instructed by his father. He painted portraits with some succes.s, but preferred painting animals and subject pictures, in the style of Bene- detto Castiglione. His pictures of that description are found in the collections at Florence, Venice, and Genoa. He died at Genoa in 1720. CASSANA. Giovanni Battista, was the young- est son of Giovanni Francesco Cassana. He excelled in painting fruit, flowers, and still-life. CASSANA, Giovanni Francesco, was born at Genoa in 1611, and was the pupil of Bernardo Strozzi. He devoted himself to history and portraits, but was more eminent in the latter, of which he painted a great number at Venice, where he chiefly resided. He passed some time at the Court of Mirandola, where he painted a ' St. Jerome ' in the church, and other creditable works. He was the father of a family of artists, who all distinguished themselves. He died in 1691. CASSANA, Maria Vittoria, was the daughter of Giovanni Francesco Cassana. She painted small pictures of religious subjects for private collec- tions, and her works are much esteemed. She died in 1711. CASSANA, Niccol6, called Nicoletto, a son of Giovanni Francesco Cassana, was bom at Venice in 1659, and was instructed by his father in the rudiments of art. He excelled principill}- in por- trait painting, in which he became very eminent, although liis historical pictures in the Gallery at Florence, of which the ' Conspiracy of Catiline ' is the most esteemed, prove that he possessed great merit in that direction. He came to England in the reign of Queen Anne, whose por- trait he painted, as' well as those of several of the nobility. He did not live long to enjoy this success, but died in London in 1714. CASSAS, LoDis Franijois, a French painter and architect, was born at Azay-le-Ferron (Indre) in 1756. After having studied under the younger Lagren6e and Leprince, as well as in Italy, he accompanied Choiseul-Gouffier to Constantinople and Lechevallier tothe Troad. He then travelled through the Holy Land. Syria, and Egypt, collect- ing everywhere numerous drawings and plans, which served for the following publications : ' Voy- age pittoresque de la Syrie, de la Phenicie, de la Palestine et de la Basse Egypte,' 1799 ; ' Voyage historique et pittoresque de I'Istrie et de la Dal- matic,' 1802; ' Grandes Vues pittoresques des principaux Sites et Monuments de la Grece, de la Sicile, et des Sept Collines de Rome,' engraved in outline by Cassas and Bance, with text by Landon, 1813. He was inspector and professor of drawing at the tapestry manufactory of the Gobelins, and was also the founder of the gallery of models of architecture of different nations placed in the Ecole des Beaux-Arts. Cassas died at Versailles in 1827. CASSEVARI, Giovanni Battista, was born at Genoa in 1789, and at an early age visited Florence, where he attended the academy of Benvenuti. .\fter having taken part in the campaigns of 1813- 14, and been present at the battle at Paris, he returned to Turin and Genoa, and in 1824 went to Florence and Rome. In these cities he painted a great number of miniature portraits, and devoted iiimself to the study of the great masters. The portraits in oil afterwards executed by him in England are painted in the style of the Italian and Dutch masters. Buckner and Crispini were his pupils. There is by him in the church at FrosiTii a ' Madonna and Child.' He died in 1876. CASSIANI, Padre Stekano, called II Certosino, was a native of Lucca, and flourished about the year 16G0. He was called 11 Certosino, or the Carthusian, because he was a monk of that order. He painted in fresco the cupola of the church of the Carthusians at Lucca as well as two of its 265 A BIOGRAPHICAL DICTIONARY OF altar-pieces, representing subjects from the ' Life of the Virgin.' Other churches of his order at Pisa, Siena, &c., also contain works by him. They are all very reputable perfonnanceB, and in the style of Pietro da Cortona. CASSIE, James, a Scotch landscape-painter, -was horn at Inverurie in 1819 : but the greater part of his life was passed in Aberdeen. He was chiefly self-taught, and at first painted portraits and ani- mals. It was, however, to marine landscapes that he finally devoted himself, and in which he ex- celled. He was noted for calm, quiet effects of moonlight or sunset, and there is hardly a picture of his in existence representing morning or after- noon sunlight. He became an associate of the Scottish Academy in 1869, and was made a full member in the February preceding his death, which took place in May 1879, in Edinburgh, where the last years of his life had been spent. Amongst his chief works are : Ben Lomond from the Tay, Holy Island Castle. Chaik CliSs, Sussex. A Highland Goatherd. The Mouth of the Mersey. The Mussel Gatherers. The Firth of Tay— E.ist Coast oi Scotland (in the Edinburgh National Gallery), CASSIONE, GiovAxxi Fba:it of the Ark ; after Raphael. Moses showing the Tables ut the Law ; after the same. The Miracle of the Loaves ; after the same. Christ appearing to St. Peter ; after the same. The Battle of Constantine with Maxentius ; after the same. The Murder of the Innocents ; after the same. Susannah and the Elders ; after Titian. 15S6. St. John preaching in the 'Wilderness: after A, del Sarto. The Descent from the Cross ; after Daniele da Volterra. The Virgin and Infant in the Clouds; after Livio Agresti. The 'Elevation of the Cross; after the same. CAVALLI, ViTALE, called Vitale da Bologna and VlTALE DELLE Madonne, was a painter of the 13th and l-4th centuries, who was a pupil of Franco Bolognese. As one of his appellations denotes, he was especially noted for the painting of Madonnas, one of which (1820) is in the Pinacoteca of Bologna, another in San Giovanni in Monte of the same city, and a third (1345) in the Vatican ; the last has been engraved by DAgincourt. An 'Annun- ciation ' and ' The Manger ' are in Santa ApoUonia at Mazzaratta. CAVALLINI, PiETRO, was a painter of the 14th century, who studied mosaic painting in Rome under the Cosmati ; but his works are executed in the Florentine stjle. He was employed upon the mosaics which Giotto executed in the Basilica of St. Peter at Rome, and is said to have also worked from that master's designs in San Paolo fuori le Mura about the year 1305, and to have restored the PAINTERS AND ENGRAVERS. lost mosaics in San Crisogono in the same city. Several paintings at Florence are attributed to him ; they are in the churches of SS. Annunziata, Santa Lucia, and San Marco. He died about 1364. CAVALLINO, Bernardo, an Italian painter, born at Naples in 1622, was instructed by Massimo Stanzioni, and studied the works of Andrea Vac- caro, Rubens, and Poussin. He died in 1658. His paintings are small and of a tender character. Two of them are preserved at Naples — an ' Im- maculate Virgin' at the church of San Lorenzo Maggiore.and a 'St. Cecilia' at that of San Gio- vanni di Porta Alba. CAVALLUCCI, Antonio, was born at Ser- moneta in 1752, and was perhaps the most admired painter of the modem Roman school after A. R. Mengs and Pompeo Batoni. The Duke of Gaetani sent him, at his own expense, to Rome, where he studied under Pozzi and Lapis ; he afterwards went to Parma, and studied the works of Cor- reggio. He painted several important works for the Duchess of Gaetani, amongst them ' Christ appearing to St. Theresa,' ' Anatolio Gaetani con- quering the Saracens,' and the portraits of the Pope and of Prince Rospigliosi. Other paintings by him may be found at Catania, Rieti, and Rovigo ; at Pisa, where is his ' St. Bona distribut- ing his Wealth to the Poor, and taking the Re- ligious Garb ; ' at the Palazzo Cesarini at Rome, his ' Venus with Ascanius ; ' and in the Basilica of Loreto, his ' St. Francis of Paola.' He died at Rome in 1795. CAVALORI. See Salincorno. CAVARAZZI, Baetolommeo, also called Cres- CENZI, was born at Viterbo about the year 1590, and was a pupil of Cavaliere Roncalli, called Pomarancio. He had made great progress under that master at Rome, when he was taken into the protection of the noble family of the Crescenzi, whence his acquired name. He painted many pictures for his patron, and was also employed at several of the public edifices of Rome, where he died in the prime of life in 1625. Of his paintings we note : Rome. S. A ndrea della \ St. Charles kneeling, with a choir „ Valle. ) of angels. „ S. Ursula. The Legend of that Saint. „ S. A nna Conv. Virgin and Child, with St. Anne. CAVAZOLA. See Morando. GAVAZZA, Giovanni Battista, was a painter and engraver, who was born at Bologna about the year 1620. He studied under Cavedone and Guido, and painted some pictures for public buildings at Bologna. The church of the Njmaiata.has frescoes of saints painted by him. He engraved the fol- lowing plates from his own designs : The Crucifixion. The Resurrection. The Death of St. Joseph. The Assumption of the Virgin. CAVAZZA, Pier Francesco, was bom at Bologna in 1675, and was a pupil of Domenico Viani. He painted historical pictures, and was engaged at several of the churches of his native city. He died in 1733. We notice of his works : Bologna. »SS Sehastiano ) The Conception, and SS. Sebas- and Rocco. j tian and Eoch. „ /S. Colombano. SS. Nicholas and John the Baptist. „ 5. Giuseppe. The Nativity. CAVAZZOLA. See Morando. CAVAZZONI. Francesco, was born at Bologna T in 1559, and is known to have been living up to 1612. He was first the pupil of Bartolommeo Passarotti, but afterwards attended the school of Lodovico Carracci. Less distinguished than Guido and Domenichino, he nevertheless held a respectable rank amongst the followers of that great school. His principal works are : Bologna. S. Maddalena di > Magdalene washing the feet of Via S. Donato. J Christ. „ S. Cecilia. The Crucifixion. * %^J^ff '" ] St. John the Baptist preaching. CAVAZZONI ZANOTTI, Giovanni Pietro, though of Bolognese origin, was born in Paris in 1674. He was sent when young to Bologna, where he became a scholar of Lorenzo Pasinelli. Under that master he acquired an agreeable tone of colouring, a mellow pencil, and an intelligent acquaintance with the principles of chiaroscuro. He painted several altar-pieces for the churches at Bologna, of which the most esteemed are the ' Incredulity of St. Thomas,' in the church of San Tommaso dal Mercato ; ' The Resurrec- tion,' in San Pietro , ' The Nativity,' in La PuritA , and a large picture representing the ' Ambassadors from Rome swearing fidelity to the Bolognese,' in the Palazzo Pubblico. He travelled extensively in France, Germany, and Italy, and resided during a great part of his life at Cortona, where he also distinguished himself by several pictures which he painted for the churches, particularly ' Christ ap- pearing to the Magdalene,' 'Christ bearing His Cross,' and 'The Murder of the Innocents.' Zanotti was a laborious and intelligent writer on art, the most considerable of his numerous publi- cations being his ' Storia dell' Accademia Clementina di Bologna,' publisjied in two volumes, quarto, in 1739. He died at Cortona in 1765. CAVE, F. MoRELLAN DE LA. See Morellan. CAVE, Henry, an architectural draughtsman, born in 1780, is best known by his ' Antiquities of York,' in forty plates, drawn and etched by him- self, and published in 1813. He died at York in 1836. CAVE, James, an architectural draughtsman, illustrated Milner's ' History of Winchester,' pub- lished in 1809. He occasionally exhibited drawings at the Royal Academy. CAVEDONE, Jacopo, an eminent but unfortun- ate painter, was born at Sassuolo in the Modenese, in 1577. Driven, when a boy, from his home by the severity of his father, he sought a subsistence by becoming a page to a nobleman, a great lover of art, who possessed a valuable collection of pic- tures. The young Cavedone had employed him- self in his moments of leisure in copying some of them with a pen, and the copies appeared to his master such extraordinary efforts of untaught genius, that he showed them to Annibale Carracci, and introduced the young artist to him, who encouraged the youth to persevere, gave him some of his drawings to copy, and soon after- wards received him into his school. The pro- gress of Cavedone under such an instructor was surprising. He also studied under Passarotti, and then went to Venice, where he applied himself to study the works of Titian, and acquired that admirable style of colouring in which he may be said to have surpassed every other painter of his school. On his return to Bologna, he commenced the display of his talents with such eclat, that some of the pictures he painted for the churches were A Tarquin and Lucretia. _ >• 11 Holy Fami]y. Dresden. Gallery. Joseph and Potiphar's Wife. Dulwich. Gallery. The Magdalen. Florence. rji=i- His own Portrait. )» 5» Madonna and Child. Hague. Gallery. Temptation of Adam and Eve Munich. Pinakothek. The Infancy of Jupiter. The Assumption of the Virgin Petersburg. Hermitayc. Charity. Vienna. Madonna and Child. The Roman Charity. His paintings may also be found at Hampton Court and in the collection of the Duke of Devon- shire at Chatsworth. He died at Forli in 1719. Cignani's powers were more profound than prompt; he conceived his subject with facility, but he found diflSculty in finishing it to his satisfaction. Though his works always seem finished, they have nothing of the appearance of labour. In his design he emulated Correggio, without arriving at the grandeur and vagueness of contour that are peculiar to his unrivalled model. In his colouring he resembles rather the suavity of Guido than the tender blending of Correggio. Like the Carracci, he possessed a faculty, by means of extraordinary- relief, of making his figures appear larger than they really are. He excelled in painting women CIMABUE Alinari photo] [Sta. Maria Novella, Florence THE MADONNA AND CHILD PAINTERS AND ENGRAVERS. and children, in which to something of the grace of Albani, he added a more elevated character. CIGNANI, Felice, the son and scholar of Carlo Cignani, was born at Bologna in 1660. Under the able instruction of his father, and endowed with a natural disposition for the art, he became a painter of considerable ability. Enriched by an ample fortune left him by his father, he appears to have exercised the art rather as his inclination prompted him, than as a regular professor. In the Church of the Carita at Bologna is a picture by him of the ' Virgin and Infant Jesus, with St. Joseph, and St. Anthony of Padua;' and at the Cappuccini, a much-admired picture of ' St. Francis receiving the Stigmata.' He died in 1724. CIGNANI, Paolo, the nephew and scholar of Carlo Cignani, was born at Bologna in 1709. Lanzi mentions in favourable terms a picture by this painter at Savignano, ' St. Francis appearing to St. Joseph of Copertino.' The subject is represented by candle-light with a fine effect ; the figures are well designed in the style of the antique. He died in 1764. CIGNAROLI, GiAMBETTiNO, was born at Salo, near Verona, in 1706. He first studied under Santo Prunato at Venice, but gained further improve- ment by travelling an the Venetian States and Lombardy, and by copying the works of Paolo Veronese and Correggio. He may be ranked among the best painters of the modern Venetian school. Although he was invited to several of the courts in Italy, he preferred a residence at Venice. At Pontremoli is an admirable picture by him of 'St. Francis receiving the Stigmata.' Lanzi extols as one of his finest pictures the ' Plight into Egypt,' in Sant' Antonio Abbate, at Parma. The grave and dignified beauty of the Virgin, and the angelic character of the cherubs that are their guides, partake of the charming ex- pression of Carlo Maratti, although unequal to that master in unity of effect and harmony of colour- ing. His backgrounds are ingeniously composed of well-chosen architecture and pleasing landscape, and his subjects, usually devout, are enlivened by groups of cherubs and angels, which he introduced with the happiest effect. He was the founder, and in 1769 the director, of the Academy at Verona. He died at Verona, in 1770. Among his principal works are: Madrid. Museum. Assumption of the Virgin. Venice. Gallery. The Death of Rachel (a replica is in the Lille Museum). Verona. Museum. The Triumph of Pomponius. „ Cathedral. The Transfiguration. Vienna, Gallery. Madonna and Child, with SS. Ottilia and Peter Martyr. CIGNAROLI, Martino, was bom at Verona in 1649, and studied in the school of Carpioni, under whom he became an able artist in landscapes of an easel size. He died at Milan in 1726. His brother, Pietro Cignaroli, who was also a painter, was born at Verona in 1665, and died at Milan in 1720. CIGNAROLI, SciPlONE, the son of Martino, re- ceived his first instruction from his father, and afterwards went to Rome, where he became a scholar of Tempesta. He was a successful imitator of the style of his master, and of the works of G. Poussin and Salvator Rosa. His pictures are chiefly at Milan and Turin. CIGOLI. See Cardi. CIMA DA CONEGLIANO. See CONEGLIANO. CIMABUE, Giovanni, who was of a noble family, was born at Florence in 1240. He is extolled by Vasari as having shed the first light on the art of painting, and the title of the ' Father of Modern Painting' has been bestowed upon him. Most writers, however, now agree in regarding him as the last of the old, rather than the first of the new, line of painters in Italy ; for although he undoubt- edly infused a certain amount of new life into the old worn-out types, he never quite rid himself of the dismal asceticism of the Byzantine School, and therefore can scarcely be placed on a level with his great contemporary Niccolo Pisano, who really gave the new impulse that art received at this time, an impulse that was carried on by Cimabue's pupil Giotto, and transmitted by him through all the great line of Italian artists. Vasari states that he was educated in the Convent of Santa Maria Novella, and was trained in art by certain Greek masters who had been invited to Florence to paint the chapel of the Gondi in Santa Maria Novella ; but as this church was not built until Cimabue was about forty years of age, this could not well have been the case. There were, however, many native painters in Italy at this time, and from some of these he probably received in- struction. Of Cimabue's works by far the most important is the famous colossal Madonna still preserved in the church for which it was painted — Santa Maria Novella. This Madonna was so admired by Cimabue's contemporaries that they carried it, according to Vasari, in festive procession through the streets. It was the largest altar-piece that had as yet been painted, and in many respects is important in the history of art. The expression of the Virgin, thaugh doleful, is different from the hard staring grief depicted by preceding artists, and the Child stretches out his two fingers in bene- diction in quite a natural manner. The little medalions of apostles and saints on the frame are especially worthy of notice. In this work indeed distinct progress is visible, but this was a late work of the artist ; a Madonna in the Florentine Academy, and others in the Louvre at Paris and in the National Gallery, scarcely attain to the same degree of improvement. Besides his Madonnas and other altar-pieces, Cimabue was doubtless the master who executed many of the wall-paintings in the church of St. Francis, at Assisi. " Of Cimabue's presence at Assisi," Messrs. Crowe and Cavalcaselle pronounce that " there is not the slightest reason to doubt," but it is very dilfioult to assign precisely his portion of the artistic work accomplished there. This church has a peculiar interest in the history of Art, for the whole progress of painting in the 13th and 14th centuries may be studied on its walls. It was built as an Upper and Lower Church during the first half of the 13th century, when the worship of St. Francis, the Patron Saint of Poverty, had grown to be second only to that of Christ. It was first decorated by the rude artists of that early day, and probably, amongst others, by Giunto Pisano ; but Cimabue appears to have had the superintendence of all the paintings executed there in his time. Vasari indeed assigns tlie whole of the paintings of the walls and the vaulted roof of the Lower Church to him and " certain Greek masters " whom he " greatly surpassed ; " but it is more probable that he merely painted the south transept. All his paintings in the Lower Church have perished, but some still remain in the Upper Church that are 295 A BIOGRAPHICAL DICTIONARY OF assigned to him with every probability of truth. According to Vasari the whole series of the History of the Virgin, and of Jesus Christ, together with the eight historical subjects from the Old Testa- ment, were all painted by Cimabue ; but modem writers find in these paintings the work of many diiferent hands. In this church, which seems to have been a sort of training ground for most of the artists of that time, we may see the progress that Italian art had just begun to make, tracing the development from Giunto Pisano to Cimabue, and from Cimabue to Giotto. Vasari speaks of Cimabue having painted a small picture of St. Francis " from nature," not meaning from St. Francis himself, who had long been dead, but from the living model, "which was a new thing in those times." This likeness still exists in the church of Santa Croce, but its authenticity is rendered doubtful by its being placed amongst other works that are attributed to Cimabue without any reason- able foundation. Cimabue probably died in 1302, in which year, according to Ciampi, he was engaged upon a mosaic in the Duomo of Pisa, which he left unfinished. He was buried in the church of Santa Maria del Fiore in Florence, and the following epitaph was afterwards composed upon him by one of the Nini : " Credidit ut Cimabos picturse castra tenere. Sic tenuit, Tivens ; nunc tenet astra poll." This probably was written in allusion to the well- known lines in Dante's ' Purgatoria,' and not as Vasari puts it. Some critics question as to whether works attri- buted to Cimabue should not rather be given to Duccio the Sienese artist, and say there has been some confusion between the histories of these two men, but there is every probability that the old Tuscan school before Giotto was very similar in the two cities. BibUography : Vasari, ' Vite de' piu eccellenti Pittori, &c.,' Crowe and Cavalcaselle ; P. Angeli, ' Storia della Basilica d'Assisi ' ; and ' Painters of Florence,' Mrs. Ady, 1900. CIMAROLI, GiAMBiTTiSTA, a Venetianlandscape painter, who was bom at Salo on the lake of Garda, flourished from 1718 to 1733. He was a pupil of Antonio Calza, and it is conjectured that Zuccarelli may have taken lessons from him, as his early pic- tures have some resemblance to those of Cimaroli, but with less warmth. The cattle and figures introduced are of the same character. His pictures are not uncommon in England, though his name and works are confounded with those of the Cignaroli. CIMATORI, Antonio, called II Visacci, an Italian historical painter, was a native of Urbino. He flourished in the 16th century, and excelled in chiaroscuro and in pen-and-ink drawings. CIMOX, an early Greek monocbromist of Cleonae, appears to have flourished in the latter part of the 9ili century B.C., but his date cannot be determined with any certainty. He seems to have been the first to attempt to place the figure in difi'erent attitudes, so as to displa}' the joints, the veins of the body, and the drapery. He may therefore be considered the first painter of perspective. CINCINNATO, Diego Romulo, and Francisco RoMULO, were the sons and pupils of Romolo Cin- cinnato. Diego was sent to Rome by Philip IV., where he paint«d for that monarch the portrait of Urban VIIL, by whom he was knighted, and pre- sented with a gold medal and chain. He was 296 principally engaged, as was his brother Francisco, in painting portraits. Diego died at Rome in 1625, and Francisco in the same city in 1635. CINCINNATOi RoMOLO, a Florentine painter, who was bom at Florence in 1502, and was a pupil of Francesco Salviati. In 1567 he was invited by Philip II. to Spain, where he passed the greater part of his life. He was employed in the Escorial, where he painted in fresco a part of the great cloister, and in the church two pictures representing ' St. Jerome reading,' and the same saint preaching to his disciples ; as well as two subjects from the life of St. Lawrence. For the church of the Jesuits at Cuen^a, he painted in 1572 — 8 his most esteemed work, the ' Circumcision,' now in the Academy of St. Ferdinand at Madrid. He also painted some mythological subjects in fresco, in the palace of the Duke of Inf antado, at Guadalajara. Other works by him are in the Academy of Madrid, viz.: — 'The Transfiguration' after Raphael, in oil; two pictures of ' St. Peter ' and ' St. Paul ' ; and a fresco painting of ' St. Lawrence.' He died at an advanced age in 1600. CINERICIUS, Philippus, is the name of an en- graver by whom the: i are two small plates repre- senting St. Dominic and St. Peter Martyr, dated 1516. He appears to have been a monk of the Dominican order, and was probably of German origin, the name Cinericius being the Latin equiva- lent of Ascher. The style of his engravings is entirely that of the Italian school of the com- mencement of the 16th century. See Passavant's ' Peintre-Graveur,' v. 228. . ClONE, Andrea di, who was bora at Florence in 1308 ('?), is commonly called Orcagna, (supposed to be a corruption of " Arcagnuolo,") the name given to him by his contemporaries. His father, a goldsmith, instructed him in the rudiments of his art ; in 1343 he was registered in the Florentine Painters' Guild, and nine years later he became master in the Guild of the Stone-Cutters. Between 1350 and 1357, in conjunction with his elder brother, Leonardo (more commonly called Nardo), he painted in the Strozzi Chapel in Santa Maria Novella, Florence. The frescoes, the ' Last Judg- ment,' ' Paradise,' and an altar-piece of the year 1367, by Andrea, and 'Hell,' by Nardo, though much damaged by damp and restoration, still remain. For the same chapel he painted, in 1354, an altar-piece of the ' Saviour enthroned with Saints and Angels.' Early in 1358 Orcagna went to Orvieto, where he worked at intervals until 1361. The death of Orcagna is now usually placed in 136S, and accordingly 1308 is given as the year of his birth, for he is said to have been sixty years old when he died. If the year 1368 be correct, it, of course, robs hhn of th'e authorship of any works executed sub- sequent to that date. Amongst the paintings fomierly ascribed to him, but now assigned to other masters, are the great frescoes in the Campo Santo at Pisa, representing the ' Triumph of Death,' the ' Last Judgment,' and ' Hell,' which are thought to be of Sienese workmanship, similar to that of the Lorenzetti. Orcagna was also a sculptor and architect On his sculptures he wrote, " Fece Andrea di Clone, Pittore " ; on his paintings, " Fece Andrea di Clone, Scultore." The 'Tabern.icie with medallions illus- trating the life of the Blessed Virgin Mary in Or San Miohele, Florence, built to enclose a miraculous G. B. CIPRIANI. CUPIDS ON A GOAT PAINTERS AND ENGRAVEES. picture, and finished in 1359, is liis most notable work. It is a white marble shrine with spiral columns and pinnacles, rising almost to the roof of the church, and is studded with jewels and enamels of marvellous beauty. The following paintings by him still remain : Tloience. S. Maria JVovella. Altar-piece (1357), Frescoes of Paradise and of The Last Judgment. London. National Gall, Coronation of the Virgin {an a/tar-piece in twelve divisions : painted for S. Fietro MayyioreyFlorcnce). CIONE, Leonardo di, architect and painter, the elder brother of Orcagna, is usually known by the name of Nabdo, whioh was supposed formerly to be the diminutive of Bernardo, but is now said to stand for Leonardo. If this be so, the works signed " Bemardus de Florentia " — «. g. a triptych in the Florentine Academy, a ' Virgin and Saints ' in the Ognissanti at Florence, &c. — usually ascribed to Orcagna's elder brother, cannot be by his hand. But the Strozzi Chapel, in Santa Maria Novella, Florence, still possesses frescoes which he is known to have executed in conjunction with Orcagna. He flourished about 1350-1360. CIOR, PiEHRE Charles, a French painter of historical subjects, portraits, and miniatures, was bom in Paris in 1769. He was a pupil of Bauzin, and became miniature painter to the king of Spain. CIPPER. See Zipper. CIPRIANI, Galgano, an Italian line-engraver, was born at Siena in 1775. He entered the school of Eaffaelle Morghen, and was professor success- ively at the Academies of Naples and Venice. His best plates are ' St. Peter and St. Paul,' after Guido Reni, and ' St. John in the Wilderness,' after Titian. CIPRIANI, Giovanni Battista, a painter ana etcher, was bom at Florence in 1727. He was of a good family of Pistoia. He attended the school of Ignatius Hugford, an Englishman settled in Florence, where he was a fellow-pupil of Bartolozzi. In 1750 he went to Rome for improvement, and after his return to Florence, he painted the organ- screen for the church of the convent of Santa Maria Maddalena de' Pazzi. In 1755 he came to England, whither his reputation had preceded him. It was at a period when the talents of Bartolozzi, the engraver, were in their prime, and the union of the abilities of these two men soon became dis- tinguished through every part of Europe. Perhaps few instances have occurred in which the exertions of the artist have been so happily supported by the taste of the engraver. Cipriani executed few large works in painting; the most considerable of tliem are at Houghton. He also restored some of Verrio's paintings at Windsor, as well as the ceiling by Rubens in the chapel at Whitehall, in 1778. He left an infinite number of drawings, wliicli may be ranked among the happiest efforts of the art. Cipriani was one of the members of the Royal Academy at its foundation in 1768, and was employed to make the design for the diploma which is given to the Academicians and Associateson theiradiiii.ssion,and which was finely engraved by Bartolozzi. For this work the Academicians presented him with a silver cup, at the same time acknowledging the assistance they had received from his great abilities in his profession. The original drawing was afterwards sold by auction for thirty-one guineas. He en- graved a few plates, some of which are after his own designs. These were done for Thomas Hollis, to be inserted in his ' Memoirs.' On them is in- scribed, ' Drawn and etched by J. B. Cipriani, a Tuscan,' &c. In 1761 Cipriani married an English lady, by whom he had two sons, the younger of whom. Captain Sir Henky Cipriani, was brought up as an artist, but afterwards became a clerk in the Treasury, and died in 1820. Cipriani died at Hammersmith in 1785, and was buried in the Chelsea burial-ground, where Barto- lozzi erected a monument to hie memory. In the year after his death 1100 drawings by him were sold by auction. His own portrait by himself is in the UfEzi, Florence, and in the Soutli Kensington Museum are three water-colour drawings by him — 'The Triumph of Cupid,' ' The Jealousy of Darn- ley,' and ' Comedy' (1783). CIRCIGNANO, Antonio, who was born at Poma- rance in 1560, was the son and pupil of Niccolo Circignano, whom he assisted in many of his works. After the death of his father, he resided some years atCittidi Castello, where he painted some of his best pictures, of which the most admired was the ' Con- ception,' in the Conventual!, which Lanzi describes as partaking of the styles of Barocci and Roncalli. He returned to Rome, according to Baglione, in the pontificate of Urban VIII., and was employed for several of the churches. In La Madonna della Consolazione, he painted some subjects of the life of the Virgin ; in Santa Maria Transpontina, the church of the Carmelites, several pictures from the life of St. Albert. He died at Rome in 1620. CIRCIGNANO, Niccol6, called Dalle Poma- RANCE, or II Pomarancio, was born at Pomarance, in Tuscany, in 1519. Baglione, without saying by whom he wal instructed, states that he visited Rome when he was young, in the pontificate of Gregory XIII., by whom he was employed in the great saloon of the Belvedere. He lived the greater part of his life at Rome, where there are many of his works in the churches. In San Stefano Rotonilo, is the Martyrdom of that Saint. In the Tempio del Gesu, there are two chapels entirely decorated by him; in one he has painted several subjects from the lives of St. Peter and St. Paul, in the other, the 'Nativity ; ' in Sant' Antonio is the 'Cruci- fixion.' The Cupola of Santa Pudenzi>ina is also by this master. Baglione says that he died in thi" pontificate of Sixtus V. (1585-1590) in the 72nd year of his age : therefore, in 1590. CITTADINI, Gaetano, was the son of Carlo Cittadini, and was instructed by his father. He excelled in painting landscapes of a cabinet size, with small figures, correctly drawn and spiritedly touched. His works were held in estimation both at Rome and at Bologna. He lived about the year 1725. His brother Giovanni Girolamo was also a distinguished painter. CITTADINI, Giovanni Battista, Carlo, and Angiolo Michele, were the sons of Pierf rancesco Cittadini, and painted animals, birds, fruit, and flowers, in tlie style of their father. They resided ch'efly at Bologna. Giovanni was burn in 1657, and died in 1693 : Carlo was born in 1669, and died in 1744. CITTADINI, Pierfrancesco, called It Milanese, was born at Milan in either 1613 or 1616, and was brought up in the school of Guido. He possessed powers for the higher work of art, as is evident from the proofs he has given in the churches at Bologna. His ' Stoning of Stephen,' ' Christ pray- 297 A BIOGRAPHICAL DICTIONARY OF ing in the Garden,' the 'Flagellation,' and the ' Ecce Homo,' whicli he painted for the church of San Stefano, and his ' St. Agatha,' for the church of that Saint, are productions not unworthy of a dis- ciple of Guido. Yet, whether hewas allured by the encouragement given to the painters of ornamental cabinet pictures, or from his own caprice, this able artist descended to the humble imitation of still- life. Many of his pictures of dead game, fruit, and flowers, are in the collections at Bologna, where he died in 1681. An 'Adoration of the Shepherds' by him is in the Hermitage, St. Petersburg ; and the Dresden Gallery contains ' Hagar and the Angel,' ' Lot and his daughters leaving Sodom,' and a picture of still-life. Three paintings by him are in the Bologna Gallery. Albani called the three sons of this painter, ' I Fruttajuoli ' and ' I Fioranti ' CIVALLI, Francesco, who was born at Perugia in 1660, was a scholar of Andrea Carlone. On leav- ing that master he went to Rome, where he studied some time under Giovanni Battista Gauli, called Baciccio. He was a reputable painter of history ; but his chief merit consisted in his portraits, which are very generally esteemed. He died in 1703. CIVERCHIO, ViNCENZo, (or Verchio,) was born at Creraa towards the close of the 15th century. He has also been styled " IL Fornaro," and was at Brescia for the first time in 1493, where he spent four years in the decoration of the old cathedral, a labour which has now entirely disappeared. The churches of Santa Barnaba and Sant' Alessandro, Brescia, contain altar-pieces by him, dated 1496 and 1504. His earliest known remaining work at Crema is the altar-piece in the duomo, representing ' St. Sebastian, between SS. Christopher and Roch,' dated 1509. In 1526 he painted the portraits of the illustrious citizens of Crema, and likewise restored a miraculous Pieta, which belonged to the duomo. The date of his death is uncertain. He was living in 1539, for that date is found on a ' Baptism of Christ ' by him in the Tadini Collection at Lovere. The following of his paintings are worthy of note : Brescia. »y. Alessandro. Pieta. 1504. „ „ Scenes of the Passion. 1504. Crema. Bishop^s Chapel. An Annunciation. „ Toicn Hall. St. Mark between Justice and Temperance. 1507 — 1509. „ „ Several portraits of personages of distinction in that city. 1526. n Cathedral. St. Sebastian between SS. Roch and Christopher. 1515 or 1519. Gessate. A Fietro. Pieta. Lovere. Tadini Coll. Baptism of Christ. 1539. „ Casa Carioni. 15 Scenes from the Story of Psyche {as a frieze). 1540. „ -S. Andrea. Trinity. ), „ SS. Nicholas, Sebastian, and Roch. Palazzuolo. Church. The Madonna and Child, with Angels and Saints. 1525. Vasari by mistake speaks also of an older painter of the same name. CIVETON, Cheistophe, a French engraver and draughtsman, was born in Paris in 1796. He studied under Bertin, and made drawings of Views in the environs of Paris. He died in 1831. CIVETTA. See Bles. CLACK, Richard Auqdstus, the son of a Devon- shire clergyman, whose chief works were portraits, exhibited at the Royal Academy from 1830 to 1857. He lived for some time at Exeter, and afterwards at Hampstead, but the dates of his birth and death are not recorded. 298 CLAES, Anthonie, (or Claessens,) the son of Pieter Claes the elder, painted historical and alle- gorical subjects, and portraits. He was a native of Bruges, and there entered the Guild of St. Luke in 1576, and became its dean in 1586, 1590, and 1601. He died in 1613. His works, several of which are in the H6tel-de-Ville and churches of Bruges, are distinguished by their fine colouring and finish. In the H6tel-de-Ville is a ' Grand Banquet,' with many portraits of magistrates of the time, dated 1574. His son, Pieter Anthonie, was dean of the Guild of St. Luke at Bruges in 1607, and died in 1608. CLAES, Florent, a Belgian painter of interiors and genre subjects, was born at Antwerp in 1818. He studied under N. de Keyser, and died in his native city in 1870. CLAES, GiLLES, (or Claessens,) an historical painter, was the son of Pieter Claes the elder. He was born at Bruges, and in 1670 was admitted into the Guild of St. Luke, of which he became dean in 1577. He became domestic painter to Alessandro Farnese, Duke of Parma, Governor of the Nether- lands, and to the Archduke Albert and Infanta Isabella. He died at Bruges in 1607. CLAES, Pieter, (or Claessens,) the elder, a Flemish painter of history and portraits, was the earliest of a large family of artists who lived at Bruges, where he was born in 1500. He was a pupil of Adriaan Bekaert, and was admitted into the Guild of St. Luke in that city in 1516, made a master in 1629, and dean in 1572. He died at Bruges in 1576. In the collection of the Prince of Orange at Brussels was a painting by him of a knight kneeling, with four sons, and in the Copen- hagen Museum is a Man's Portrait by him. The name has been often written Claeis, Claeissens, Claeyssens, and Claeyssoone. CLAES, Pieter, (or Claessens,) the younger, was the son of Pieter Claes, the elder. He was born at Bruges, and died there in 1612. He painted history, allegories, and portraits, and became a master of the Guild of St. Luke, at Bruges, in 1570, and dean in 1587, 1600, and 1606. His masterpiece is a triptych in the church of St. Walburga at Bruges, representing ' Notre-Dame de I'Arbre-Sec,' painted in 1606-1608, and long erroneously attri- buted to Pourbus. There is also a triptych, an ' Ecce Homo,' by him, in the cathedral, and the ' Pacification of Ghent' in the Academy at Bruges. His works are remarkable for their design and colouring, but are wanting in animation. This artist had a son, also named Pieter, who died in 1623. His ' Christ bearing the Cross ' is in the Hospital of St. John at Bruges. CLAESSEN, Aertgen, also called Aebtqen van Leyden, or Aertgen de Voller, was a Dutch painter, bom at Leyden in 1498. He was a scholar of Cornells Engelbrechtszoon, whose manner he at first imitated ; but on seeing the works of Schoorl and Heemskerk, he changed his mode of design- ing, which rt'as neither correct nor agreeable, and adopted the style of those masters. He painted historical subjects, and composed his subjects with surprising facility. He also made many designs for painters upon glass. Van Mander speaks in very favourable terms of two pictures by this master at Leyden, one representing the 'Cruci- fixion, with the Virgin, Mary Magdalen, and the Disciples;' the other, 'Christ bearing his Cross.' He died in 1564. There are paintings by him in VINCENZO CIVERCHIO Brogi phofoi \Biera Gallery, Milan THE BIRTH OF CHRIST PAINTERS AND ENGRAVERS. the Berlin Gallery, of ' Christ before Caiaphae,' and a 'Holy Family.' CLAESSEN, Alaert, a Dutch engraver, who flourished at Amsterdam between 1520 and 1562. He copied Lucas van Leyden, Albrecht Diirer, and H. S. Beham. There is also a plate by him after Mantegna. His engravings, which are among the best productions of his time, are executed with a light touch, but are not correctly drawn. He there- fore shows to more advantage in his smaller than in his larger works, of which he executed but very few. Bartsch and Passavant describe 142 works by this artist, amongst which are : David and Goliath. The Baptism of the Eunuch. 1524. St. Margaret. A Nativity. The Baptism of Christ. The Death of Geoeral Gattamelatta ; afttr Mantegna. 1555. A Naked 'Woman, with a Dragon. CLAESSENS, Anthonie, a painter of Antwerp, is said to have been a pupil of Quentin Massys. There are two works from his hand in the Academy at Bruges, painted in 1498 for the town hall, and which have until recently been attributed to Gheerardt David ; they represent the ' Judgment of Cambyses ' and the ' Flaying of Sisamnes.' These works are correctly drawn, of remarkable expression, and cleverly coloured, but somewhat cold in tone and with the shadows too deep. There was also a picture in the church of the Car- thusians at Miraflores in Spain, representing ' St. John the Baptist and a Bishop,' which bore the legend ' Antonio Claesins Brugensis.' In the Dublin National Gallery is a ' Nativity ' said to be by him. CLAESSENS, Lambertus Antonios, was born at Antwerp in 1764, and commenced his artistic career as a painter of landscapes ; but abandoned the palette to exercise his talents as an engraver, and became highly proficient, combining the use of the graver with that of the etching needle in a most happy manner. He studied under Bartolozzi, and engraved plates after the works of Rubens, Rembrandt, Gerard Dou, Ostade, and other eminent painters of the Netherlands. He practised in London, Amsterdam, and Paris, where he settled about 1810. He died at Rueil, near Paris, in 1834. C'laessens married the widow of the French minia- ture painter Pelletier, who was herself an artist. His best works are : The Descent from the Cross ; after Kuiens. The Dropsical ^yoman ; after G. Dou. The Night Watch ; after Seml/randt. The Laugher ; after F. Hals. CLARET, William, an English portrait painter, flourished from about 1670 to 1680. He was a scholar of Sir Peter Lely, and copied many of the pictures of that master. Of his own productions, one of the most successful was a portrait of John Egerton, Earl of Bridgewater, of which we havea mezzotint print by K. Thomson. He died in London in 1706. CLARK, John Heaviside, who was born about 1770, was sometimes known as ' Waterloo Clark,' because of the sketches he made on the field directly after the battle. He was the author of ' A prac- tical essay on the art of Colouring and Painting Landscapes,' with illustrations, published in 1807, and ' A practical Illustration of Gilpin's Day,' with thirty designs, in 1824. He died in Edinburgh in 1863. CLARK, Thomas, a native of Ireland, studied in the Dublin Academy, and about 1768 entered the studio of Sir Joshua Reynolds, with whom, how- ever, he did not remain long. He drew heads well, but was a very poor colourist. He died young. CLARK, W., a corporal in a Light Dragoon Regiment, practised successfully as an aquatint engraver. He died at Limerick in 1801. CLARKE, John, an engraver, was bom in Scot- land about 1650, and worked with success at Edin- burgh. He died about 1697. We have by him the following plates : A Medallion of William and Mary, Prince and Princess of Orange. 1690. Sir Matthew Hale George, Baron de Goertz. Andrew Marvell. Humphrey Prideaux. Seven small Heads on one plate : Charles II., and his Queen, Prince Rupert, Prince of Orange, Duke of York, Duke of Monmouth, and General Monk. The Humours of Harlequin {from his own designs), CLARKE, John, an engraver mentioned in Wal- pole's 'Anecdotes,' resided in Gray's Inn, London, and worked during the latter portion of the 17th century. He engraved a portrait of Rubens, and a print of ' Hercules and Deianira.' CLARKE, Theophilus, was born in 1776. He studied under Opie, and became a student of the Royal Academy in 1793, and an Associate in 1803. He chiefly practised portrait painting, but occa- sionally exhibited fancy subjects, such as ' The Pensive Girl,' and ' The Lovers,' from Thomson's Seasons. It li not known when he died, but his name was retained on the list of Associates till 1832. CLARKE, William, was an English engraver mentioned by Vertue. He engraved the portraits of George, Duke of Albemarle, from a picture by Barlow ; Elizabeth Percy, Duchess of Somerset ; and John Shower, from a painting by himself. The latter is a small mezzotint. His last work is dated 1680. CLARKSON, Nathaniel, who began life as a coach-panel and sign painter, afterwards became known for liis portraits. He was a member of the Incorporated Society of Artists. In 1787 he painted an altar-piece of the ' Annunciation,' which he presented to St. Mary's church at Islington, where he resided. He died there in 1795, aged 71. CLAROS, Luis, was a Valencian painter, errone- ously represented as a scholar of the Rihaltas. He joined the Augustinian Order in 1663, and painted for his convent a large picture of ' Christ ministered to by Angels in the Desert,' besides other works, in one of which he introduced his own portrait. CLARUS, Fabritids. See Chiari. CLARY, JusTiNlEN Nicolas, Viscount, a French amateur painter of animals, was born in Paris in 1816, and died in that city in 1869. CLASENS, D., a Dutch engraver, flourished about the year 1660. His name is affixed to a coarse etching, representing the 'Virgin and Infant Christ, with St. John and an Angel,' after Procac- cini. CLASERI, Marco, was a native of Venice, and flourished about the year 1580. He engraved several wood-cuts, among which are the ' Four Seasons,' and the ' Four Ages of the World.' 299 A BIOGRAPHICAL DICTIONARY OF CLASSICUS, ViCTOKirs, was, accordingto Florent Le Comte, a sculptor and an architect. He is said to have engraved some plates from the paintings of Tintoretto. There is a small portrait of Tintoretto, engraved in a style resembling that of Cornelis Cort, inscribed Alessandro Yictorio Clas- sico sculp., which is probably by the same artist. CLATER, Thomas, exhibited' portraits and sub- ject pieces at the Royal Academy from 1820 till 1859. He died in 1867. CLAUDE, a French painter upon glass, called by tlie Italians Claudio Francese, bom in the south of France about 1470, to whom is due the honour of having introduced the art into Italy. Claude took with him to Rome a colleague, named Guil- laume, and they together executed at the Vatican many windows which were destroyed in the siege of 1527. They also painted for the church of Santa Maria del Popolo two windows representing the history of the Virgin, which still exist. Claude died soon after their completion. CLAUDE LORRAIN See Gellee. CLAUDOT, Je.u»- Baptiste Chakles, a French painter of landscapes, flowers, and still-life, was born at Badonviller (Vosges) in 1733. Several of his works are in tlie Museum of Nancy, where he died in 1814. He was the friend of Girardet and Joseph Vernet. CLAXTON, Marshall, a historical painter, was born at Bolton, in Lancashire, in 1811. He became a pupil of John Jackson, R.A., and was also a student at the Royal Academy, entering the school in 1831. The first picture which he exhibited was a portrait of his father, in 1832. 'The Evening Star ' appeared in the following year. He obtained the first medal in the Painting School in 1834, and the following year he was awarded the gold medal of the Society of Arts, for a portrait of Sir Astley Cooper. He exhibited at the Royal Academy, the Society of British Artists, and the British Institu- tion. In 1837 he visited Rome, and stayed in Italy some time. At the Cartoon Exhibition at West- minster Hall in 1843, he obtained a prize of £100 for his ' Alfred the Great in the Camp of the Danes,' now in the Literary and Scientiiic Institu- tion at Greenwich. In Westminster Hall, 1845, he had a large oil picture of the ' Burial of Sir John Moore at Corunna.' About 1850 he went to Australia with the intention of raising a School of Art, taking with him a large collection of nearly two hundred pictures, which he exhibited to the public free. Being disappointed in his endeavours, he left about 1855, and went to India, where he sold all his large pictures. He returned with a portfolio full of sketches of Australian, Indian, and Egyptian scenery and figures. The Baroness (then Miss) Burdett-Coutts commissioned him, while in Australia, to paint a large picture of 'Christ blessing little Children,' which is now in the Bchool-room attached to St. Stephen's, West- minster. It measures twenty by sixteen feet. Claxton died in London in 1881. Among his principal works are the following : Spencer reading the ' Faerie Queene ' 1 to his Wife and Sir Walter Ealeigh. Painted for The Mother of Moses. [the Baroness The Free Seat. j £urdett-CouUs. The Grandmother. J General View of the Harbour and"\ City of Sydney. [in the possession Portrait of the Last Qaeen of the (of Her Majesty. Aborigines. J Christ at the Tomb of Lazarus, 300 L'Alieyn. Jews Mourning over Jerusalem. Sir Joshua Keynolds and his Friends Hagar and Ishmael. High Church : Low Church : No Church (in thret com- partments). The Death-Bed of John Wesley. The Last Interview between Dr. Johnson and Sir Joshua Reynolds. The Sepulchre. (Exhibited at the International Exhibi- tion. London. 1S62 J CLAY, Alfred Barron, who was born at Walton-le-Dale, near Preston, in 1831, first studied for the law, but abandoning it in 1852, he went to Liverpool, and in the same year came to London and entered the schools of the Royal Academy. From 1855 he was a regular contributor to its exhibitions. He began by painting portraits ; the subjects of his best works are, however, taken from Scottish and French history. In 1864 he exhibited ' Charles IX. and the French Court at the Massacre of St. Bartholomew': in 1865, 'The Huguenot'; and in 1867, his masterpiece, ' The Return of Charles IL to Whitehall in 1660.' He died in 1868, at Rainhill, near Liverpool. CLAY^S, Paul Jean, Belgian marine painter, bom at Bruges in 1819. His artistic education was completed in France, where he became a pupil of Gudin. On leaving Paris he established himself at Brussels, where he soon made a name for himself. In the choice of his subjects, and in their placid presentment he followed the methods of the old Dutch masters, though occasionally he could paint harbour-pieces full of the stir and bustle of modem life. He had a fine sense for colour, a broad and simple style, his atmospheric effects being most remarkable. Among his most important works we may mention ' L'Escaut k Anvers,' ' Un Coup de Vent sur L'Escaut a Anvers,' 'L'Entree de La Rivifere de Southampton,' ' La Tamise aux Environs de Londres,' ' Le Zuider Zee,' 'La Rade de Dordrecht,' &c. &c. Two characteristic canvases of his were shown in the Salon of 1899: 'Vue D'Anvers' and ' Calme au Waal ' (in the environs of Amsterdam). Clays was made a chevalier of the Legion of Honour in 1867, and was promoted to the grade of ofiBcer in 1881. He died at Brussels on February 10, 1900. P.P. CLAYTON. John, who originally studied surgery, painted still life and fruit in oil and water-colours about the middle of the 18th century. He has left no remembrance of his works, some of the chief of which were destroyed bv fire in 1769. He died at Enfield in 1800, aged 72". CL6, Cornelis de. See De Cl^. CLEANTHES, who flourished at Corinth about B. c. 900, was one of the earliest of the Greek artists, and is considered by some as the inventor of the 'pictura linearis', or monogram, a picture consisting of a simple outline, with the interior lines of the figures expressed, but without any light or shade or local colouring. CLEEF, Hendrik van, the brother of Marten van Cleef, the elder, and of Willem van Cleef, the younger, was a native of Antwerp. It is not known under whom he studied ; but he went to Italy when young, and returned to his native country a good painter of landscapes. His pic- tures are distinguished by an uncommon lightness of touch, and an excellent tone of colour. The backgrounds of the historical works of hie brother Marten and of Frans Floris are frequently painted PAINTERS AND ENGRAVEBS. by this artist, and are harmonized with the figures with great intelhgence. In the Belvedere at Vienna is the ' History of the Prodigal Son ' by him. He was received into the Guild of St. Luke at Ant- werp in 1551. Hendrik van Cleef distinguished himself as an engraver. We have several plates by him of landscapes and views near Rome, after his own designs or those of Melchior Lorch, which he sometimes signed Henricvs Clivensis, fecit, and sometimes marked with the cipher 'VJigJ^ They are as follow : A Bull-fight at Eome, before the Famese Palace. A Landscape, with Figure.^ in a Cave, cooking. Another Landscape, with Figures at Table in a Cave A set of six Landscapes, with Latin titles. A set of four Views in the vicinity of Rome. There is a series of thirty-eight plates by this artist, entitled Ruinarvm varii prospectus, ruri- vmgue aliquot deli7ieationes, published by Theo- dorus Galle. He died at Antwerp in 1589. His son, Hendrik van Cleef, who was born at Antwerp, settled about 1597 at Ghent, where he was much esteemed, but his works are now con- founded with those of his father. He died at Ghent in 1646. CLEEF, Jan van, a painter of the Flemish school, was born at Venloo in Guelderland in 1646. After receiving some instruction from PrinioGentil, he entered the school of Gaspar De Craeyer, at Brussels. Under that artist young Van Cleef made surprising progress, and in a few years was able to assist his master in the immense number of works on which he was engaged for the churches in the Low Countries. On the death of De Craej'er, Van Cleef was entrusted with the com- pletion of the works left unfinished by his master. He was now considered one of the ablest artists of his country, and immediately received many com- missions for the churches and convents, in which he has given satisfactory proof of the respectability of his talents. Witliout being an imitator of De Craeyer, he followed the same simple purity of colour, and was equally correct in his design, in which he displayed something of an Italian style. His great practice gave him an uncommon facility, and his compositions are distinguished by judgment and taste. His works are very numerous in Flanders and Brabant ; the most esteemed of them are at Ghent. In the church of St. Nicholas is a fine picture of ' The Magdalen at the Feet of Christ.' In St. Michael, there is the ' Immaculate Conception ' In St. James's cliurch is a fine picture of the 'Assumption,' and in the gallery the 'Crowning of St. Joseph.' His most admired work is in the chapel of the Convent of the Black Nuns, represent- ing Sisters of that Order administering succour to a group of figures afflicted with the Plague. It is an admirable picture, in drawing and colouring approaching the excellence of Van Dyck. He died at Ghent in 1716. CLEEF, JoosT van, called Zotte Cleef (Mad Cleef), was born at Antwerp about the year 1520, and was instructed in painting by his father, Willem van Cleef, the elder. Joost was an excellent colourist ; and though it does not ap- pear that he ever was in Italy, his pictures are composed and designed more in the style of the Italian than the Flemish school. He painted some altar-pieces for the churches in Flanders, which were so much praised that he became mtoxicated with conceit. Van Cleef came to Engl and in 1654, I with the confident hope of brilliant success, and was introduced to King Philip by his countryman. Sir Antonio Moro. But, unfortunately for his expectations, some of the fine pictures of Titian had arrived before him, and Philip was too much charmed with the beauties of the Venetian to do justice to the undoubted merit of the Fleming. Finding his prospects thus blasted, be became furious, and vented his rage on Moro as the cause of his disgrace. In the catalogue of the pictures of James II. appear two by Van Cleef, ' The Nativity ' and ' The Judgment of Paris.' His death occurred probably about 1556, for he is said to have died at the age of 36. There is much confusion in the records of the artists of this name. Hendrik, Marten, and Willem were brothers, and were contemporaries of Joost, but there is no absolute proof that they were related to him. Altliorp. Earl Spencer. His own Portrait. Antwerp. Cathedral. St. Cosmo and St. Damian. Berlin. Gallery. Portrait of a young man. Windsor. Castle. The Artist and his Wife. CLEEF, Marten van, was a brother of Hen- drik van Cleef, and a disciple of Frans Floris. He painted historical subjects, and was employed for some of the churches, but was more esteemed for historical pictures of an easel size, in which the landscapes and backgrounds were painted by his brother Hendrik. He is called the ' Master of the Ape,' because he sometimes introduced the figure of an ape (in allusion to his name) as his mark. In the Belvedere at Vienna is a painting by him of ' Men, Women and Children, seated at table in a farm-house.' He became a member of the Guild of St. Luke at Antwerp in 1551, and died about 1570. CLEEF, Willem van, who was also a brother of Hendrik van Cleef, was received into the Guild of St. Luke at Antwerp in 1550. It is thought that he may have studied under Floris. He painted figure subjects, and died young. CLEIN, Franz. See Cleyn. CLEIN, Hans, an engraver on copper and wood, as well as a goldsmith, was a native of Nuremberg, where he died in 1550. The only engraving by him mentioned by Passavant (' Peintre-Graveur,'iii. 38,) is a ' Battle of eleven Naked Men,' after the Master IB., dated 1527. The woodcuts which are known to he by him are : St. John the Baptist preaching in the Desert. An Apostle preaching from a Ship. The Betrayal of Christ. The Battle of Naked Men. 1524. (After the Master IB.) CLEMENS, Johan Frederik, a Danish line- engraver, born at Golnau near Stettin in 1749, studied painting in the Copenhagen Academy under Mandelberg, and engraving under J. M. Preisler, and then in Paris under Wille and Delaunay. He visited Berlin and London ; but worked after 1795 in Copenhagen, where he died in 1831. His best plate is the ' Death of General Montgomery at the Battle of Quebec,' after Trumbull, engraved in London in 1792. Besides this he engraved ' Fred- erick the Great with his Generals,' after Cunning- ham, a ' Holy Family,' after Taraval, and a number of portraits. His first wife, Marie Jeanne Crevoisier, to whom he was married in 1781, was also an artist. She was born in Paris in 1755, and worked at first in pastels, hut afterwards studied engraving. She died at Berlin in 1790 or 1791. CLEMENT, Ffcix Augdste, was bom at Dou- 301 A BIOGRAPHICAL DICTIONARY OF zfere, Dr6me, in 1826. He was a pupil of Drolling and Picot, and obtained the first ' prix de Rome ' in 1856. He settled in Cairo, and contributed pictures of Oriental subjects to the Salon. Later in life he painted French landscapes and some portraits. He died in 1888. CLEMENTOXE. See Bocciardo. CLENNELL. Luke, an English painter, and engraver on wood, of extraordinary genius and talent, the son of a fanner, was bom at Dlgham, near Morpeth, in Northumberland, in 1781. His early disposition for drawing, and neglect of other studies or pursuits, induced his friends to place him, in 1797, with the celebrated Bewick, in whose art he soon showed great skill. But he did not confine himself to engraving ; he produced several pictures which attracted public attention, and gave promise of future excellence as a painter. Among these were the ' Arrival of the Mackerel Boat,' and the 'Day after the Fair,' in which he gave a happy delineation of rustic character, and showed great knowledge of colour. His picture of the ' De- cisive Charge made by the Lifeguards at the Battle of Waterloo,' which was afterwards engraved by Bromley, established his reputation ; but its excel- lence assisted in the melancholy termination of his existence. In consequence of the sensation which it produced, he was selected to paint the entertainment given by the city of London at the Guildhall to the allied sovereigns, nobles, and generals who had shared fn that memorable battle. The honour was fatal to his health and life. The vexations he had to encounter from vanity, caprice, and supercilious arrogance, afEected his mind so much that he lost his reason. This was in 1817, and though he recovered his reason partially for some years, yet the malady returned in 1831, and he was removed to an asylum at Newcastle-on- TjTie, where he died in 1840. C!ennell was skilful in composition, and in seizing the true points of character; he had great power of execution, and was well acquainted with the practical parts of art. He engraved the cuts to Falconer's ' Shipwreck,' and Rogers's ' Poems,' after Stothard, as well as the Diploma of the Highland Society after West. He made many drawings for Scott's ' Border Anti- quities,' and was a frequent exhibitor at the Royal Academy and the Water-Colour Exhibition. "The South Kensington Museum has three picturesbv him. CLEOPHANTDS, an ancient Corinthian artist, who flourished about B.C. 650, and is said to have been the first to fill up the contour of the figure with one colour, for which invention he received the name of ' Monocroraatos.' CLERC. Jean and Sebastien le. See Leclerc. CLERCK, Hexdrik de. See De Clerck. CLERGET, Adele. See Melling. CLERISSEAU, Charles Louis, an architect and water-colour draughtsman, was born in Paris in 1722. He visited Rome, where he resided some time, and became well acquainted with the artists of that city, especially Winckelmann. He accom- panied Robert Adams to England, where he re- mained some time, and made the drawings for the ' Ruins of Spalatro,' which was published in 1764. On his return to France in 1778, he pub- lished the 'Antiquites de France,' 'Monumens de Nimes,' and other works ; and was appointed, in 1783, architect to the Empress of Russia. He is, however, best known to the world by his fine drawings in water-colours of the remains of ancient architecture, which are held in high estimation. 302 An example, ' Tivoli,' executed in 1769, is in the South Kensington Museum. The figures in hie works were drawn by Antonio Zucchi. He died at Auteuil. near Paris, in 1820, in his 99th year. CLERK, John, of Eldin, an amateur draughts- man and etcher, was a son of Sir John Clerk, of Penicuik, Bart. He was bom at Penicuik in 1728, and was for some years a merchant in Edinburgh, but he relinquished mercantile pursuits to become Secretar}- to the Commissioners on the Annexed Estates in Scotland. From an early period of his life he e\'inced a fondness for sketching from nature, and many of these sketches he afterwards etched on copper. In 1855 the Bannatyne Club issued a series of his etchings, chiefly views in Scotland, and some of his drawings were engraved for Sibbald's ' Edinburgh Magazine.' He was the father of Lord Eldin, one of the Lords of Session, and was the author of an essay on ' Naval Tactics,' which gave rise to much controversy. He died at Eldin in 1812. CLESIDES. See Ctesicles. CLEVE. Van. See Cleef. CLEVELEY, John, an English marine painter, was bom in London about 1745. He was brought up in the dockyard at Deptford, and studied water- colour painting under Paul Sandby ; afterwards, he became a draughtsman in the navy, and in 1774 accompanied Captain Phipps (afterwards Lord Mulgrave) in his voyage of discovery to the Arctic Regions. He also went with Sir Joseph Banks to Iceland. He sometimes painted in oil, and was an exhibitor at the Royal Academy from 1770 till 1786. Many of his drawings have been en- graved. In the South Kensington Museum is 'A Launch at Deptford Dockyard about 1760,' in oil, and three water-colour drawings by him. He died in London in 1786. CLEVELEY, Robert, who in early life was a sailor, exhibited marine pictures at the Academy from 1780 to 1803, and was appointed marine- painter to the Prince of Wales. He frequently painted naval actions such as 'The "Solitaire" striking her colours to the "Ruby,"' 'Nelson boarding the San Josef,' and ' Earl Howe's Victory.' He died, through falling from the clifiE at Dover, in 1809. in the South Kensington Museum are two water-colour drawings of English Ships of War. CLEVENBERGH, Antoine, a Flemish painter of still-life, was born at Louvain in 1755. He studied historical painting under Verhaeghen, and made large pen-and-ink drawings, which possess much merit He died in 1810. CLEY'N, Franz, (also Kletn, or Clein,) was born at Rostock, in Mecklenburg-Schwerin, about 1590 or 1600, and was for some time in the em- ployment of Christian IV., King of Denmark. He afterwards went for improvement to Rome, where he passed four years, and acquired a talent for designing ornaments, by which he afterwards dis- tinguished himself. He came to England in the reign of James I. , and was taken into the service of the king, who first employed him in designing subjects for tapestry at the Mortlake manufactory. He received a pension from the king, which he continued to enjoy under Charles I., until the Civil War. He died in London in 1658. Cleyn was much employed in decorating the mansions of the nobility. Some of the best preserved of his works are in Holland House, where he painted a chamber, with a ceiling, and small compartments J on the chimneys, which bear some resemblance to PAINTERS AND ENGRAVERS. the style of Pannigiano. He also made designs for Virgil and for J^Isop's Fables, which were en- graved by Hollar. Cleyn etched a few plates, which he sometimes signed with his name, and sometimes with the initials F. C- and F. K. We have by him : A set of five Plates of the Senses, with grotesque orna- ments. The Seven Liberal Arts ; F. Cleyn fecit. 1645. A set of ten Plates of Grotesque Ornaments. His sons, Charles Cleyn and John Cleyn, were also painters. They both died young in London. Franz was born in 1625, and died in 1660. Tlieir sister, Penelope Cleyn, practised miniature paint- ing with great success. CLINCHAMP, Franqois £tienne Victor, Mar- quis de, a French painter and author, was born at Toulon in 1787. He was destined to a naval career, but his health failing he went to Paris, where he studied painting under Lebarbier and Girodet. He gave to his native town several reli- gious and historical pictures : ' Clirist healing the Sick of the Palsy,' 'The Sons of Zebedee,' 'The Death of Phocion,' ' The Baptism of St. Mandrier,' and a ' Crucifixion,' which was his best exliibited work. He wrote some works on perspective, and several dramatic pieces. He dieil in Paris in 1880. CLINT, Alfred, painter, born in 1807, was the 80n and pupil of George Clint, A.R.A. He first appeared at the Academy in 1829, with 'A Study from Nature,' and several of his later works were exhibited with tliat body. He contributed more frequently, however, to the shows of the British Artists, of wliich society he became a member in 1843, secretary in 1858, and president in 1870. He painted a few portraits early in his career, but his popularity rested chiefly on his landscapes and coast studies. In 1849 he published a ' Guide to Oil Painting.' He died in 188.3. CLINT, George, who, like Turner, was the son of a hairdresser, was born in London in 1770. In early life he occupied his leisure hours in miniature painting ; but eventually, he took to it as a profession. His miniatures produced at this period have been highly spoken of. He next be- came acquainted with Mr. Bell, the publisher of the illustrated edition of the British Poets, whose nephew, Edward Bell, a mezzotint engraver, initi- ated him into the mysteries of engraving. He not only painted miniatures, but made drawings of machinery and philosophical apparatus, and en- graved in mezzotint, in the chalk style, and in out- line. Among his early works are ' The Frightened Horse,' after Stubbs, a chalk engraving ; ' The Entombment of Christ,' after Dietrich ; numerous portraits in the chalk style ; a large bold engrav- ing in mezzotint of the 'Death of Nelson' (1807), after the fine picture painted by W. Drumniond, A.R.A. ; and a set of Raphael's Cartoons in outline. He was introduced to Sir Thomas Lawrence, who gave him some of his pictures to engrave. He was also commissioned to engrave ' The Kemble Family,' — containing portraits of John Kemble, Mrs. Siddons, Charles and Stephen Kemble, Blanch- ard, Wewitzer, Conway, Park (the oboe player). Miss Stephens (afterwards Countess of Essex), and other celebrities — which had been recently painted by Harlow for Tom Welsh the musician, and had created an immense sensation on being exhibited at the Royal Academy. Its popularity was so great that it was engraved three times. Clint painted in water-colour as well as in oil, and his painting-room in Gower Street became thronged with all the distinguished actors and actresses of the day, and with the supporters of the drama. The result of this popularity was a series of fine drama- tic pictures which will preserve his name along with that of Zofllany, to whom, in many respects, Clint was superior. The first of these theatrical subjects was a picture of Farren, Farley, and Jones, as Lord Ogleby, Canton, and Brusli, in the comedy of the ' Clandestine Marriage.' Then fol- lowed Munden, Knight, and Mrs. Orger, in ' Lock and Key,' painted fur the elder Mathews. This picture secured his election as an Associate of the Royal Academy, in 1821. At this time Welsh proposed to Clint to paint a companion subject to ' The Kemble Family,' — the last scene in ' A New Way to pay Old Debts,' in which Kean as Sir Giles Overreach was drawing all the town — and an admirable picture was the result. The picture of the ' Beggars' Opera,' perpetuating Blanchard, Mrs. Davenport, and Miss M. Tree, was Clint's next pro- duction. Then followed : Tayleure, Mrs. Davenport, and Clara Fisher, in the 'Spoilt Child' {painied for Lord Liverjiool). Fawcett and Charles Kemble as Capt.-iin Copp and Charles II. (painted for 3tathetos). Mithews, Listen, and Blanchard, in ' Love, Law, and Physic ; ' Mathews as the Lying Valet ; Bartley as Sir John Falstaff ; Oxberry as Master Peter ; H;ir- ley as Popolino in ' The Sleeping Draught ; ' Liston and Farren in ' Charles XII.' {painted for Lord Esaex). Miss Foote as Maria DarUngton (painted for Colonel Berkeley/}. Young as * Hamlet.' Kean as ' Richard III.' Macready as ' Macbeth.' Liston, Madamte Vestris, Miss Glover, and Williams, in ' Paul Pry.' 1831. In the ^Soiith Ken^imjion Museum. Charles Young as ' Hamlet,' and Miss Glover as * Ophelia.' 1831. Jn the South Kensington Museum. Many of this interesting series of pictures, repre- senting a phase in our drama which has since entirely passed away, ornament the walls of the Garrick Club. Falstaff and Mistress Ford by him is in the National Gallery. The talent displa3'ed by Clint procured him the friendship of Law- rence, Beechey, Mulready, Stanfield, Roberts, and other members of the Royal Academy. But, in spite of all, Clint remained for sixteen years an Associate, and never attained the higher rank of Academician. Younger men passed over his head, and some less worthy of the honour than himself. At last, finding the efforts of his friends of no avail, he determined to resign his position as an Associate, which he did in 1835. He died at Kensington in 1854. In portrait painting Clint was eminently successful : his men were gen- tlemen, and his ladies modest and charming. Associated with Mulready, Cooper, and other dis- tinguished artists, he laboured unceasingly to estab- lish those valuable institutions, the Artists' Bene- volent and Annuity Funds. He had four sons, of whom Luke, the eldest, after giving great promise as a scene-painter, died young. Raphael was a gem-engraver, and possessed considerable talent. SciPio distinguished himself as a medallist, and died in 1839, aged 34, just as patronage was about to be bestowed on him. CLOCHE, C, was a French engraver, who flour- ished about the year 1616. He engraved amongst other plates a portrait of Jean Boisteau de La Broderie, and a view of the city of Rennes. 303 A BIOGRAPHICAL DICTIONARY OF CLOCK NicoLAAS, or Claas, a Dutch engraver, was born at Leyden about the year 1570. Accord- ine to Heinecken, he was a disciple of Frans Flo. s. His style resembles that of Cornells Cort, with- out being nearly equal to that master. AVe have by him the following prints : The Four ElemeDts ; represented in half-length figures. 1597 The Jndgment of Midas ; after Karel van Mander. 1589. CLOET. See Clocet. CLOSE Samuel, a native of Dublin, was an en- graver, who was deaf and dumb, and of intemperate habits.' He died in 1817. CLOSS GrsTAV, a landscape painter, was born at Stutto-art in 1840, and received his first instruc- tions in°tbe School of Arts there under Funk, but af tenvards studied in Rome, Naples, Munich, Pans, and other places. He also made a number of student-tours.especiallvtotheChiem-SeemBavana, on the borders of which he died in 1870 at Prien. He produced a number of Italian views, and also published 'Illustrations to AVieland's Oberon,' a magnificent volume entitled 'Truth and Fiction,' and • Uhland and his Home atTiibingen,' the plates in which show the influence of Dore. Of his paintings may be mentioned : The Villa of Hadrian. Eoad near Sorrento. The Campagna near Rome. Evening in the Villa Pamfili. Cypresses in Tivoli. Christmas Eve. The Lonely Inn. CLOSTERMANN, Johann, (known in England as John Clostekjian.) was born at Osnabriick in 1656. He w.ts the son of a painter, ^who taught him the rudiments of drawing. In 1679 he went to Paris, where he was engaged by De Troyes to paint his draperies. He came to Eng- land in 1681, and was lor some time employed in a similar way by Riley. After the death of that artist, Clostennann painted the portraits of several of the nobility, though he was an artist of very limited merit ; but "at that period the art was in a very low state in England. He was several times in Italy, and in 16?6 was employed at the court of Spain, where he painted the King and the Queen. Portraits of Queen Anne and the Duke of Marlborough by him are in the National Portrait Gallery. A picture similar to the former is in the Council Chamber. Guildhall, and a replica of the latter is at Blenheim. Others of his portraits are the Family of the Duke of Marlborough, and the Duke o"f Rutland. He died in London in 1713. CLOUET, Albert, (Clovet, or Clowet.) a Flemish engraver, was the nephew of Pieter Clouet, and was born at Antwerp in 1624. Following the example of his uncle, he visited Italy in the early part of his life, and became a pupil of Cornells Bloemaert. Among his first productions were some plates of portraits of painters, for Bellori's ' Vite de' Pittori,' published at Rome in 1675. He_ also engraved several portraits for the work entitled, 'Effigies Cardinaliuin nunc viventium,' published at Rome by Rossi. At Florence he engraved after some of the pictures in the Pitti Palace. His plates of historical subjects are executed in the neat and finished style of Cornells Bloemaert, but in his por- traits he sometimes imitated the manner of Mellan, and at others that of F. de Poilly. He died at Antwerp in 1687. The following are his principal prints : 304 PORTRAITS. Nicolas Poussin, in Bellori's ' Vite de' Pittori. Sir Anthony van Dyek ; the same. Cardinal Thomas Philip Howard. Cardinal Azzolini ; after Vouet. Cardinal Eospigliosi": after Morandi. Cardinal Eosetti. Cardinal Francis WUliam of Wiirtemburg. Maximilian, Count of Wolfegg. A Medallion of Pope Alexander VII. SUBJECTS FROM VARIOUS MASTERS. The Image of the Blessed TJmiliana ; after Baldimuxi. Sepulchral Monument of Paul III. ; after Bamere. The Miraculous Conception ; after Pietro da Corttma ; in two sheets, fine and scarce. An Attack of Cavalry ; afttT Borgognone ; fine. _ The Battle of Joshua with the Amalekites ; in two sheets; after the same. CLOUET, Fras(;ois, also called Jehannet, Jasnet, and more frequently Janet, a French por- trait painter, was born, probably at Tours, between the years 1516 and 1520. His father, Jean Clouet, the second of that name, (whose sobriquet derived from his Christian name Jean, Francois also took,) emigrated from Brussels to Tours, and after his arrival in France held the joint offices of court painter and ' valet-de-chambre ' to Francis I. In the year 1541, that of his father's death, Francois Clouet was, in consequence of his father's services, formally naturahsed. and appointed to the vacant position at court. In that capacity he was em- ployed on the death of his patron, in 1547, to make a wax cast of the hands and face of the de- ceased monarch to be used at the great state funeral ; and again had to perform a similar seri-ice on the death of Henry II. in 1659. He retained his posi- tion as court "painter also under Francis IL and Charles IX. He was still li-s-ing in 1572, and died most likely in the following year. His paintings bear distinct traces of a Flemish origin, and their style differs widely from that of the Italian artists whose paintings were then in vogue in France; paintings which were tainted with an afEected sentimentality, and a disregard of nature. Clouet, on the contrarv, like the Van Eycks and Memling, had clearly made truth and accuracy his principal aim. StUl his works are not Flemish throughout, as they possess also a distinctly French element, which is observable in the ele- gance that pervades them as well as in the taste that grasps the most advantageous point of view from which to treat them. His aim is apparent on the surface, and yet it is the result of careful study. The more closely the work is esammed the deeper is the insight obtained into the moral and physical character of the person represented. The dehcacy of his form is all the more re- markable from its being rendered through the medium of simple pale tones without any attempt at chiaroscuro ; and this fact has but to be appreciated for it to be at once admitted what a real master he was in respect of lightness of hand and certainty of touch. The following are some of the principal works ascribed to him : Althorp. »» Antwerp. Berlin. Dresden. Florence. Earl Spencer. Francis II. „ Mary, Queen of Scots. Museum. Francis II. Gallery. Francis II. „ DukeofAnjou (Henry III.). Gallery. Jeanne de Pisseleu, Duchess of Etampes. Pitti Palace. Henry II. Vffui. Francis I . .equestrian portrait. PAINTERS AND ENGRAVERS. Hampton Court. Palace. Francis 11. .. •> Mary, Queen of Scots. London. Nat. Gall. Man's Portrait. » » Boy's Portrait. „ Hereford House. Mary, Queen of Scots. Munich. Pinakothek. Claudia, daughter of Henri n. of France. Paris. Louvre. Charles IX. » II Elizabeth of Austria, wife of Charles IX. Vienna. Charles IX. 1563. The Marquis of Biencourt possesses a remark- able portrait of the Duke of Montmorency, besides other works by Clouet. There are in the British Museum some crayon heads, and at Chantilly there are now eighty-eight portraits in black and white chalk in the manner of Holbein, representing persons eminent at the French court in Clouet's day, which are considered to be his work. See Lord Ronald Gower's book on Castle Howard pictures. CLOUET, Jean, (or Cloet,) the elder, a Flemish painter of historical subjects and portraits, was employed by the Duke of Burgundy, and was living at Brussels in 1475. He died about 1490. There is no proof of his having visited France, much less of his having settled at Tours between the years 1476 and 1485, as has been asserted. He was an artist of great talent, and may be included among the celebrated miniature painters of his time. CLOUET, Jean, the younger, was a painter of Flemish origin who established himself in France, probably at Tours, prior to the accession of Francis I. It appears highly probable that his father was the Jean Clouet who was painter to the Duke of Burgundy. He himself became court painter to Francis I., and his name occurs in that capacity as e irly as 1518. He is supposed to have been born ab )ut 1485. In the documents in which reference is made to him he is called Jehan, Jehan- tiot, and Jehannet. Besides the office of court painter he held that of ' valet-de-chambre.' There is much uncertainty about his works, but the fol- lowing are generally attributed to him : a small painting of Francis I. in armour, in the UfBzi at Florence; a full-length figure of Eleanor of Spain, wife of Francis L, at Hampton Court ; and a picture of Margaret of Valois, in the Royal Insti- tution at Liverpool. If these are correctly as- signed to him, it would appear that his pictures were distinguished from those of his son by sharper outline, and by a more antique rendering. He died in 1541, in all probability in Paris. CLOUET, Petrus, (also Clowet, Clouwet, or Clovet,) a Flemish engraver, was born at Antwerp in 1606, and died there in 1670. After having learnt the rudiments of the art in his native city, he went to Italy, and at Rome became a pupil of Spierre, and Bloemaert. 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 tlie style of Pontius, but are not equal to the woi'ks of tliat master. His plates, particularly those after Rubens, are con- Biderably esteemed. We have the following by him : PORTRAITS. Pietro Aretiuo. Tliomas a Kempis. Ferdinando Cortes. William Cavendish, Duke of Newcastle ; after Diepen- beeck. Christoffel van der Lauen, painter ; after Van Dyck. Theodorus Eogiers, Goldsmith ; after the same. X Anne Wake, Countess of Sussex holding a Fan of Feathers ; after the same. Henry Rich, Earl of Holland , after the same. Some of the Plenipotentiaries at the Congress of Munster ; after Van Hulle. SnBJECTS FROM VARIOUS MASTERS. The Descent from the Cross ; after Hubens. The Death of St. Anthony; after the same; fine and scarce. St. Michael discomfiting the Evil Spirit; after the same. The Epitaph of Rubens, with Accessories. Several gallant Figures in a Garden ; called The Garden of Love. The lirst impressions are with Flemish verses ; fine and scarce. Those with the address of C. van Meiiin are retouched, and very inferior. A large Landscape, representing Winter, with the Snow falling, and a Stable with Cows ; belonging to a set of six landscapes, of which five are engraved by JBohwert. The Virgin suckling the Infant Jesus ; after Van Dyck, who has etched the same subject. A Company of Cavaliers and Ladies at Table, said to be the Family of the Duke of Newcastle ; after Viepenbeeck. CLOVIO, Giorgio Giulio, (called Macedo,) was an extraordinary artist, who was born at Grizane in Croatia in 1498. After learning the rudiments of drawing in a convent of his own country, he went to Rome, where he was patronized by Cardinal Grimani. In theyears 1516 to 1519Clovioexecuted for him several excellent pen-and-ink designs for medals and seals ; thereby acquiring the habit of designing small figures, which he executed with a taste, accuracy, and firmness that gave grandeur to miniature. He entered the scljool of Giulio Romano, and devoted himself entirely to miniature painting, — a branch of art which he ennobled by his inimitable taleut, and in which he acquired a reputation that ranks him with the great, at a period which immediately succeeded the most distin- guished epoch of Roman excellence. In his de- sign of the figure, extraordinary as it may appear, he evinces something of the greatness of the Roman school, and of Michelangelo, whose works and those of Raphael he especially studied, and the naturalist will find every insect delineated with astonishing correctness, although on so dimi- nutive a scale as to require the use of a magnifier. His works were executed solely for tlie sovereigns and princes of his time, in whose libraries were found books embellished with his miniatures, painted with extraordinary force and beauty of colouring, with the most correct design. The most extraordinary work of Clovio is the pro- cession of Corpus Domini, at Rome, painted in twenty-six pictures, which occupied the artist dur- ing nine years. The rich covers to this masterpiece were executed by Benvenuto Cellini. At Milan, the Cistercians possess a picture by Clovio of the ' Descent from the Cross,' which breatlies all the spirit of the golden age of Roman art. He died at Rome in 1578. His cognomen Macedo, or Macedone, was given bim, it is supposed, because his ancestors were of Macedonia. His works are so incredibly numerous that their description would fill a large volume; we tliereforo give only a short list of some of his principal productions : Florence. Pitti Pal. Deposition, signed JOLIUS macedo FA. London. Soane Coll. The Epistle of St. Paul to the Romans. „ British Mus. The Victories of the Emperor {Grenville Charles V. (Tirelve miniatures Collection.) painted for Philip II., King of Spain, formerly in the KscorialS 305 A BIOGRAPHICAL DICTIONARY OF Naples. Soyal Coll. The Book of Our Lady, with the rich and precious covers of Ben- venuto Cellini. J, „ A Latin Missal, with numerous pictures {painted for Cardinal Farnese). 1546. Fans. Lcuvre. A Latin Psalter, with many beauti- ful miniatures {executed for Fope Paul III.). 1542. Borne. Vatican Lib. Dante's Divina Commedia. In many of his illustrations of Choral, Mass, and Prayer-Books, and in the execution of small por- traits for lockets, he was assisted by his pupils, amongst whom were Bartolommeo Torri, Bernar- dino Buontalenti, and Marco Du Vail. CLOWES, Butler, a mezzotint engraver, who worked in the latter half of the 18th century, and died in 1782. He engraved from his own designs, and also after Heemskerk, Stubbs, and others. CLOWET. See Clouet. COBERGHER. See Koeberger. COBLENT, Hermann, (or Coblentz,) was a Flemish ensrraver, who flourished from about 1570 to 1590. He was a pupil of Hans Collaert, whose works Coblent's plates so much resemble in their neat and finished manner that they are often con- foimded with them. Coblent marked his plates with a cipher composed of H. C. F. Jcx * We have by him : The Four Evangelists ; four plates. Lacretia under an Arch. A set of the Heathen Deities, single figures under Arches. A Man seated at a Table, and a Woman behind him. COBO T GUZMAN, Josef, a Spanish historical painter, was bom in 1666, at Jaen, where he learned to paint from Valois. He settled at Cor- dova, where he died in 1746. Some paintings by him are in the churches of that town, and are taste- fully executed in the style of Sebastian Martinez, by whom Valois was instructed. COCCAPANI, SiGiSMONDO, an Italian painter, who was bom at Florence in 1585. He at first studied literature and mathematics, but abandoned them for painting, and became a scholar of Cigoli. In 1610 he went to Italy, and after his return home gained considerable reputation both as a painter and an architect. He died in ] 642. COCCETTI, PiETRO Paolo, was a native of Italy, who flourished about the year 1725. He engraved some plates of architectural subjects, which are executed in a slight, indifferent style. COCCHI, PoMPEO, was a painter who lived in the early part of the 16th century. In the cathedral of Perugia is a ' Virgin and Child ' by him with the date ' Anno m.d. xxv.' (? 1627). No certain in- formation exists with respect to his birth or death. COCHEREAU, LSon Mateieu, was a French painter, bom at Montigny-le-Gannelon near Cha- teaudun in 1793. He was a pupil of David, of the interior of whose studio he has left us a paint- ing which now hangs in the Louvre. He died on the coast of Africa in 1817, when returning from Greece with his uncle, Pierre Prevost, the painter of panoramas. COCHET, Augustine, a French painter, bom at St. Omer in 1788. She was a pupil of Ch^ry, and devoted herself chiefly to genre subjects and por- traits. She died in Paris in 1832. COCHET, Joseph Antoine. See Coget. COCHIN, Charles Nicolas, the elder, a French line-engraver, was bom in Paris in 1688. His father, Charles Cochin, was a painter, and Charles 306 Nicolas followed the same profession until he was twenty-two years of age, when he abandoned painting and devoted himself entirely to engraving. In 1731 he became an Academician, and on the occasion of his reception engraved the portraits of Jacques Sarrazin and Eustache Le Sueur. He then turned his attention to the fancy subjects of Watteau, Lancret, and Chardin, after whom he executed several fine works. He also assisted his son, Charles Nicolas Cochin, with the plates of the ceremonies at the marriage of the Dauphin with the Infanta of Spain in 1745. He died in Paris in 1754, having engraved about one hundred plates, among which are many vignettes for the ' Virgil ' of 1742 and other books. The undermentioned are his best works : La Marine de Village : after Watteau. Decoration do Bal pare ; after C. N. Cochin, fits. 1745. Dfeoration du Bal masque ; after the same. 1745. Decoration et Dessein du Jeu tenn par le Roy et 1» Keine. 1747 ; after the same. Le Jeu du Pied-de-bceuf ; after De Troy. Le Jeu de Colin-Maillard ; after Lancret. Fuyez Iris ; after the same. L'Amant sans gene ; after the same. La^Blanchisseuse ; La Fontaine ; after Chardin. L'Ecureuse : Le Gar^on Cabaretier ; after the same. The Funeral of the Queen of Sardinia, 1735; after Perault and Slodtz. Louise Magdeleine Hortemels, the wife of Cochin, likewise practised engraving. She was born in Paris in 1686, and married in 1713. Among the plates which she executed two of the best are ' La Charmante Catin ' and ' Le Chanteur de Cantiques,' which form part of the set of the ' Charges des Rues de Paris,' designed by her son. She also completed his large plate of the ' Feu d 'artifice ' at Rome, which greeted the birth of the Dauphin in 1729, and often assisted him in other works. She died in Paris in 1767. Further details respecting Cochin and his works are to be foimd in MM. Portalis and B^raldi's ' Graveurs du dix-huitifeme siecle,' i. 492-502. EJE.O. COCHIN, Charles Nicolas, the younger, an eminent French line-engraver, and the most cele- brated of the artists of this family, was the son and pupil of the preceding. He was bom in Paris in 1715, and produced his first engraving, a 'St Joseph,' in 1727, and his first essay in etching, 'The Flight into Egypt,' in 1730. In 1735 ap- peared his plate after Pannini of the ' Feu d'arti- fice ' with which the Cardinal de Polignac cele- brated at Rome the birth of the Dauphin in 1729, and in 1736 that of the Illumination and Fireworks with which the Duke of Orleans entertained the Dauphin at Meudon in 1735. These plates, together with that of the ' Decoration de I'lUumination et Feu d'artifice ' at Versailles on the occasion of the marriage of Madame Premiere with the Infant Don Philip, revealed the talent which Cochin possessed, and secured his admission into the Academy in 1741. Besides engraving, he made many draw- ings for vignettes, among which may be noted the illustrations to the Abbe Desfontaines' translation of Virgil, published in 1742, to the works of Rousseau, 1743, and to those of Boileau, 1746. In 1745 the marriage of the Dauphin gave Cochin another opportunity for the display of his wonder- ful skill in the representation of vast crowds in motion, nowhere seen to greater advantage than in his famous drawing of the ' Bal masque ' at Versailles, which is still preserved in the Louvre. PAINTERS AND ENGRAVERS. This and the ' Bal par6 ' were engraved by hie father. Not many months elapsed before he was called upon to commemorate the Funeral and Interment of the same Spanish Princess, in 1746. About this time the vignettes engraved by Cochin became fewer, for he had become a courtier, and at the close of 1749 he was chosen to accompany to Italy the Marquis of Marigny, the brother of Madame de Pompadour. On his return in ] 751 the order of St. Michael was bestowed upon him, and he was received as an Academician without having executed the usual trial work. In 1752 he suc- ceeded Coypel as Keeper of the King's Drawings, and in 1758 he published his ' Voyage d'ltalie.' From this time forth Cochin's labours were devoted chiefly to works connected with the court, such as the ' Medallic History of the Reign of Louis XV.,' the etchings of the Ports of France after Joseph Vemet, which were completed by Le Bas, and the ' Parade ' and book-plate of Madame de Pompadour, whom he assisted in her etchings. In 1764 he designed and engraved an allegorical cartouche, representing the sun in an eclipse, to contain verses by Favart upon the convalescence of the favourite, but she had a relapse, and died a few days later. The plate was then suppressed, and proofs from it are very rare. He also wrote several works on the fine arts. There were, moreover, but few celebrities of the period in France whose portraits he did not draw in pencil or in crayons, with much skilful delineation of character, and some of which he himself engraved. Cochin died in Paris in 1790, after having exercised for nearly forty years no inconsiderable influence upon art, for the Marquis of Marigny seldom took any important step without first coming to him for advice, which was always conscientiously given. The ' Catalogue de I'CEuvre de C. N. Cochin fils ' was published by C. A. Jorabert in 1780. MM. Portalis and B^raldi have given a full account of Cochin's life and works in their ' Graveurs du dix- huitidme siecle,' i. 503-570, and many interesting details of the earlier years of his life are to be found in his own ' Memoires,' published by M. Henry in 1880. The following are the principal portraits etched or engraved by him : Louis XV. (Schola Martis), an allegory. 1770. Louis XV., a medallion in profile. The Comte de Caylus. 1752. Joachim Gras, Treasurer of France. 1753. The Duke of La VaUiere. 1757. The Marquis of Vandieres, afterwards Marquis of Marigny ; two plates. 1752, 1757. Jean Restout, painter. R.E.G. COCHIN, Jacques Nicolas. See TAEDiEn. COCHIN, Nicolas, called the Elder, a French draughtsman and engraver, was the son of a painter named Noel Cochin. He was born at Troyes in 1610, and about 1635 went to Paris, where he died in 1686. He often unitated and copied Callot, but chose for his model De la Belle, some of whose drawings he engraved. Like these two artists he excelled in small figures, which he grouped and delineated with life-like animation. His specialty was topography, including battles, sieges, and en- campments. He engraved several hundred sub- jects, the most important of which are those which he executed for the ' Glorieuses Conquetesde Louis le Grand,' called the ' Grand Beaulieu,' published between the years 1676 and 1694. The best of these plates is that of the 'Siege of Arras,' en- graved on sixteen plates by Cochin and Frosne. i 2 iJicolas Cochin is the best of the engravers whom Troyes has produced. His drawing is firm, and his engraving fine and delicate. His plates are marked with his name in full, or with his initials only, or with a monogram. M. Corrard de Breban has given in his ' Graveurs Troyens,' 1868, a list of Cochin's works, among which the following are the best : The Life of the Virgin ; after Albrecht DiXrer ; 18 plates. The Marriage in Cana; after Paolo Veronese. The Miracle of the Loaves ; after Devoa. The Parable of the Prodigal Son; after Audran; 4 plates. Christ bearing the Cross ; after Callot. The Ascension of the Virgin ; after the same. The Passion ; 12 plates. The Conversion of St. Paul. The Procession of St. Genevieve in 1652; extremely curious. The Entry of Louis XIV. and his Queen into Paris in 1660 ; an enormous work composed of several plates. The Entry of the Queen of Sweden. 1658. The Fair of Guibray ; after F. Chamel. 1658. Portrait of Boutmie, the goldsmith ; rare and highly esteemed. View of Toumay ; after Van der Meulen ; 2 sheets. R.E.G COCHIN, Noel, a painter, draughtsman, and engraver, bom at Troyes in 1622, was the half- brother of Nicolas Cochin. He studied painting at Rome, devoting his attention especially to land- scapes, and was working in Paris in 1667. About 1670 he went to Venice, and never left that city until his death, which took place in 1696. M. Corrard de Breban has pointed out in his ' Graveurs Troyens ' that there has hitherto been a great con- fusion between the engravings of the two brothers, owing to their initials having been the same, but that they may easily be distinguished by the vast difference in talent which exists between them, the work of Noel Cochin being below mediocrity. He signed his plates sometimes with the initials N. C, sometimes with his name preceded by Noel, Natalis, or No6. Twenty-three of the plates of the ' Tabulae selectse et explicatae,' published by Catherine Patin at Padua in 1691, are signed with the name of Cochin, but with variable initials. Thirteen of these, l5earing the initials N. B., are probably the work of Nicolas Robert, the son of Noel Cochin. The remaining ten are by Noel Cochin, as are also the following plates : The Marriage in Cana ; after Andrea Vicentino ; signed Natal. Cochin. View of Paris ; 4 sheets. 1669. The Cries of Paris ; 8 plates. K.E.G. COCHRAN, William, bom at Stratheam in Clydesdale, in 1738, received his first instruction at the Academy of Painting at Glasgow, founded by the two celebrated printers, Robert and Andrew Foulis. About 1761 he went to Italy and studied under Gavin Hamilton, and on his return to Glas- gow about 1766 he practised portrait painting both in oil and miniature. Some pieces from fable, executed by him when at Rome, are to be found in Glasgow. He was a modest artist, and never ex- hibited his works, nor put his name to them. He died at Glasgow in 1785, and was buried in the cathedral, where a monument was erected to his memory. COCK, Frans de. See De Cock. COCK, HiERONiMUS, (or Kock,) a Flemish painter and engraver, was born at Antwerp in 1510 and died there in 1570. He was admitted 307 II A BIOGRAPHICAL DICTIONARY OF into the Guild of St. Luke in 1545 as a painter, but lie soon after abandoned painting, and applied liimaelf to engraving and the business of a print- seller. In the Belvedere at Vienna, there is a painting of an ideal vievr of Rome by him. When at Rome, where he stayed some time, he became acquainted with Vasari, whom he assisted in the execution of the biographies of the Dutch engravers. We have several plates by him after his brother Mattliys, Peeter Brueghel, Jerom Bosch, L. Lombard, and Frans Floris ; they are executed in a slight manner, and without much effect. He sometimes marked ^ his plates H. Cock '^P^fe^^^ ^'^sc fecit ; and some- timee with this device : The following are his principal works : PORTRAITS AND SUBJECTS FROM HIS OWN DESIGNS. Francis II., King of France and Scotland. Mary, Queen of Scotland and France. Oustavus, King of Sweden. Soliman, Emperor of the Turks. Camelia, Daughter of the Emperor. Six Portraits on one sheet ; of Guido Cavalcanti, Dante, Boccaccio, Petrarch, Politian, and Ficinus. A set of twenty-four Portraits of Flemish painters, with Latin verses by Lampsonius. They are mostly marked /. H. TV., for Wierix, the publisher; and are entitled, Pictorum aliquot celehrium Gtrmanice infei'ioris EJ^gies, ^c. 1572. The Funeral Pomp of Charles V., large frieze ; Hieroni- mus Cock invent. 1559. Twelve Plates; entitled Divi Caroli V., ex multis pracipue Victoriarum imagines. Hieronymus Coccius PictoT Antio. 1556. Moses with the Tables of the Law ; H. Cock mv. et exc. St. Christopher with the Infant Jesus on his shoulders. SUBJECTS AFTER VARIOUS FLEMISH MASTERS. A set of fifteen Landscapes ; after Matthys Cock. A large Landscape, with the Feast of St. George ; after the same. Samson and Delilah ; after Marten Heemskerk, Daniel in the Lions' Den ; after the same. A set of eight Female Figures, six from the Old Testa- ment, Jael, Ruth, Abigail, Judith, Esther, and Su- sannah ; and the Virgin Mary, and Mary Magdalene ; after the same. An Allegory, Fraud and Avarice ; after the same. lufant Bacchanalians dancing ; after the same. The Kesurrection ; after Peeter Brueghel, the elder. The Temptation of St. Anthony ; after the same. The Temptation of St. James ; after the same. 1565. The La-st Judgment ; after the same. The Laboratory of an Alchemist ; after the same. The Dispute between the Fat and the Lean ; after the same. A set of twelve Landscapes with subjects from the Bible ; after the same. A grotesque subject of the great Fish devouring the little ones; a whimsical composition; after Jerom Bosch. The Temptation of St. Anthony ; after the same. St. Martin in a Boat, surrounded by Devils ; after the same. An lucantation ; after the same. 1561. Shrove Tuesday ; a Woman making Pancakes. 1567- COCK, Jak Claus de. See De Cock, COCK, Matthys, (or Koce), the brother of Hieronimus Cock, was bom at Antwerp about the year 1500 or 1505, He was one of the early Flemish painters of landscapes, and one of the first of his countrymen who reformed the art from the stiff Gothic style that existed before. Several of his landscapes were engraved by his brother 308 igraver, r Hieronimus, and possess considerable merit for the time at which they were executed. The ' Tower of Babel,' by him, is in the Belvedere, Vienna. He died in 1652. COCK, PiETER. See Koeck. COCKBDRN, Major-General James Pattison, an ofiBcer of the Artillery, who was bom in 1778, is known as the author of several books of travel which he illustrated : ' A Voyage to Cadiz and Gibraltar,' with 30 coloured plates, published in 1815; 'Swiss Scenery,' with 62 plates, in 1820; ' The Route of the Simplon,' in 1822 : ' The Valley of Aosta,' in 1823 ; and ' Pompeii Illustrated,' in > folio, in 1827, He died at Woolwich in 1847, J COCKE, Henry, a decorative painter and a pupil ■ of Salvator Rosa in Italy, where he spent some time when a young man, worked in England about the middle of the 17th century. He was employed by William III. to repair some of the paintings in the Royal Palaces. He painted the choir of New College Chapel, Oxford, and the staircase at Ranelagh House. COCKELS, Joseph, a painter of hunting subjects, was bom in Brussels in 1786, and died in Bavaria in 1851. COCKQ, Paul Joseph de. See De Cockq, COCKSON, Thomas, was an English engraver, who flourished from about 1610 to 1630. He engraved several portraits in a neat but stiff style. His plates are sometimes marked with the cipher We have by him the following portraits, &c. : King James I. sitting in Parliament. King Charles I. in like manner. The Princess Elizabeth, daughter of James I. Louis XIII. , King of France. Marie de Medicis. Matthias, Emperor of Germany. Demetrius. Emperor of Russia. Henry of Bourbon, Prince of Conde, Conciui, Marquis of Ancre. Charles, Earl of Nottingham. Francis White, Bishop of Norwich. Samuel Daniel. 1609. T. Coryat. The Bevels of Christendom. I COOLERS, Jan Baptist, a Dutch painter of portraits and historical subjects, was bom at Maestricht in 1692. He was the son and pupil of Philip Coders, and worked for a time at Rome ^vith Servandoni. After his return he established himself at Liege, and died, wealthy and honoured, in 1762. Some of his works exist at Li^ge, but they possess no great merit. His daughter, Maria Lambertine, engraved some plates in the style of Adriaan van Ostade. COCLERS, Louis Bernard, was born at Maes- tricht in 1740. He was instructed by his father, Jan Baptist Coders. He passed three years in Italy, and after his return he painted portraits and cabinet pieces, in the manner of Mieris, Metsu, and Schalken at Maestricht, Nimeguen, Dordrecht, and Leyden, where he settled in 1769. Compro- mised politically, he left Holland in 1787, and went to Paris, where he remained several years. He again returned and resided at Amsterdam, where he painted portraits and cabinet pictures, which he exhibited from the year 1808 to 1813. One of his pictures is in the Museum of that city. He died at Li^ge in 1817. He was also a print-seller, and engraved 166 plates; they are signed with the ciphers, or his initials. JS PAINTERS AND ENGRAVERS. Among liis best plates may be mentioned : Ad Old 'Woman with an Owl ; after F. Hals. A Dutch Gentleman reading ancl smoking. COOLERS, Philip, a Dutch painter, who flour- ished at Maestricht during the latter part of the 17th century. He studied in Italy, and on his return to his native land was appointed painter to Joseph Olement of Bavaria, Prince- Bishop of Li^ge. He was a skilful portrait painter, and died early in the 18th century, at the age of 76. OOCX, GONZALVE, (or COQUES, GoKZALES,) WaS born at Antwerp in 1614. He received his ele- mentary instruction from Peeter Brueghel III., as whose pupil he entered the Guild of St. Luke in 1627 ; he then studied under David Byckaert the elder (whose daughter, Catharina, he married in 1643), but he owed the fame which he after- wards acquired to the excellent disposition with which nature had favoured him. fie was made a master of the Guild in 1640-41 ; and in 1665-66, and again in 1680-81, he was its Dean. In 1671 the Count de Monterey, Governor-General of the Low Countries, appointed him his ofBcial painter. His first subjects were conversations and gallant assemblies; but the extraordinary reputation Van Dyck had acquired by his admirable portraits, inspired him with the ambition of distinguishing himself in like manner, though on a different scale. He painted portraits of a small size, and endeavoured to give them the correctness and simple character of nature which we admire in the portraits of Van Dyck. His success was equal to his merit. His single heads, and his groups of family portraits, were esteemed superior to those of every artist of his time, Van Dyck alone excepted. He was employed by the principal potentates of his day, among whom were Charles I., the Archduke Leopold, and the Prince of Orange. To those who have not seen the pictures of this extraordinary artist, it will be difficult to give an idea of the beauty of his style. Although his heads rarely exceed the length of an inch and a half, they have all the breadth, freedom of touch, and animated character of the portraits of Van Dyck. Hence he is sometimes called the ' Little Van Dyck.' The heads and hands are drawn with the utmost cor- rectness ; his colouring has the freshness, and his draperies the ease, that we admire in the works of that master. In regarding them, we lose sight of the scale on which they are drawn, and they assume the size of life. He was peculiarly hnppy in the composition and arrangement of his family groups, and the accessories which accompany them. Cocx died at Antwerp in 1684. His compositions are few in number, and are extremely valuable : there are but 46 described in Smith's ' Catalogue raisonne,' vol. 4 and Suppl. It is supposed that as he Wiis wealthy, he painted more for pleasure than for profit ; but of this there is no proof. He painted landscapes skilfully, and dogs and other animals with much success. Among his principal works are: Antwerp. Museum. Portrait of a Lady. Berlin. Museum. Portrait of C'ornelis de Eie, the writer on art. Philosopher and his Wife. 1()40. Family group. Portrait of a Man. Portrait of a Lady. Dresden. Gallery. Family Portrait. Hague. Gallery. Interior of a Picture Gallery. {The fyures and accessories are Cassel. Gallery. Darmstadt. Gallery. iy Cocx. The paintings, forty- four in number, are by contem- porary artists, several of whom have signed their work.) London. A'at. Gal. Family Portraits. (Party in a garden.) ^ „ „ Portrait of a Lady. Paris. Louvre. The Artist and his Family. Petershurg. Hermitage. Portrait of a Man. COCXIE, MiCHiEi, VAN. See Cosie. CODA, Bartolommeo, (or Codi,) flourished about the year 1543. He was called Da Rimini, as was also his elder brother Francesco, who painted in 1533. He was instructed in the art by his father, Benedetto, whom he surpassed. In the church of San Rocco at Pesaro, is a fine picture by this master, bearing the above date ; which Lanzi says in every respect bears the character of the golden age of the art. It represents the Virgin and Infant enthroned, with a Choir of beautiful Cherubs, and with St. Roch and St. Sebastian. CODA, Benedetto, (or Codi,) was a native of Ferrara, born about the year 1460, and was a dis- ciple of Giovanni Bellini. According to Lanzi he resided chiefly at Rimini, where he painted some pictures for the churches, which prove him to have been an able artist. His principal works are, the 'Marriage of the Virgin with St. Joseph,' in the cathedral at Rimini ; and the ' Rosary,' in the church of the Dominicans. He died about the year 1520. CODAGORA. See Viviani, Antonio. CODDE, Lucas, (Codden, or Coddeman,) of Antwerp, is mentioned as designing some cartoons for glass-painting in the church of St. Catharine, at Breda ; and a portrait by him of Philip the Good, Duke of Burgundy, bears the inscription ' oud 42 jaren.' If this date refers to the Duke, the picture must have been painted about 1438. Codde is mentioned as a painter as early as 1426 ; and his name is the second inscribed in the register of the Guild of St. Luke, of which he was a master in 1453, and dean in 1465, 1457, 1460, and 1464. He died in 1469. He belonged to a family of artists ; his brother Jan is mentioned as a carver in 1450 ; another brother, Willem, was a sculptor ; and a brother-in-law, Willem Coeman, was a painter. CODDE, Pieter, the son of Marten Codde, was born in 1610, married in 1637 at Amsterdam, and was probably dead in 1666. He executed genre pictures in the style of Palamedes. His paintings are distinguished for the liveliness of their com- position and the fineness of their colouring. He painted figures in Dirk van Delen's interiors. Karel Codde, who was a native of the Hague, and died in 1698, was probably his son. He imitated the manner of Both and Berchem, and painted his figures in the style of Terburg with much taste and finish. Pieter Codde's best works are : Berlin. Museum. Preparation for the C;irnival. Dorpat. iSivcrs Coll. The Dancing Lessou. 16J7. Hague. Gallery. The Ball. 163(5. „ Backgammon Pl.iyers. Vienna. Gsell Coll. The Evening Party. 1633. J, „ Soldiers playing at Dice. CODE, Mart. See Benwell. CODI. See CoDA. CODORfi, Olivier, a French engraver, was the author of the plates which accompanied the ' Entrde de Charles IX. k Paris,' 1572. They are executed with much facility, but display no great artistic talent. COECK, Pieter. See Koeck. COELENBIER, Jan, a Dutch landscape painter ■ 309 A BIOGRAPHICAL DICTIONARY OF who flourished in the 17th century, was a native of Utrecht. He became a pupil of Van Goyen, whose works he imitated so closely that they passed for the originals. He was received into the Guild of St. Luke at Haarlem in 1632, and was still living in 1671. COELLO, Alonso Sanchez. See Sanchez Coello. COELLO, Clahdio, was of Portuguese parents, but was bom at Madrid about 1621. He was there instructed in the art by Francisco Rizi, and executed while yet in that school an altar-piece for San Placido at Madrid. His acquaintance with the court painter, Juan Careno, procured him the per- mission to visit the royal collection, where he made his greatest advance by studying the works of Titian, Rubens, and Van Dyck. His friendship with Josef Donoso, under whom he studied at Rome, was not less advantageous for him. In con- jvmction with that artist he painted frescoes at Madrid and Toledo, and executed the Triumphal Arch for the entrance of the Queen, Maria Louisa of Orleans. By these paintings he became well known, and was employed by the Archbishop of Saragossa in 1683. He was made painter to PhiUp IV., by whom he was employed in the Escorial. Coello never travelled out of Spain, and his extra- ordinary talents are only known in that country. He was the last Spanish painter of eminence, as from the time that Luca Giordano was summoned to Spain, the art sank gradually to its decay. Many excellent specimens of his ability are to be seen in the churches and convents at Madrid, Saragossa, and Salamanca. But his principal work is the famous altar-piece in the sacristy of San Lorenzo, in the Escorial, representing the ' Adora- tion of the Miraculous Host.' It is an immense composition, and occupied the painter seven years. In the crowd of personages that form the pro- cession, are no less than fifty portraits, including those of the king and the principal persons of the court : it is painted with the utmost precision, yet in a bold and masterly style, and there is a majes- tic solemnity in the arrangement of the whole, which suits well to the grandeur of the subject. It is a very extraordinary performance, and holds its place even by the side of the works of Titian and Rubens. The preference which was given to Luca Giordano, who came to Madrid in 1692, in painting the grand staircase in the Eseorial, morti- fied Coello so much that he died of vexation at Madrid in 1693. Coello etched three plates, viz. : — ' Christ on the Cross, with the Virgin, St. Augustine, and St. Monica,' and the portraits of Charles II. and his Mother. He was the instructor of Sebastian Muiioz and Teodoro Ardmans. The following is a list of his best paintings : Buda-Pesth. Gallery. Madrid. «. Placido Palace, STuseum, Munich. Gallery. Petersburg. Hermitage. », ,» Saragossa. Augusti-nian > Toledo. 310 Church. Escorial. St. Joseph with the Virgin and Child. An altar-piece. Cartoons, representing the Fable of Cupid and Psyche, painted by Ant. Palomino. Assumption of the Virgin. (Two.) Portrait of Charles II. of Spain. St. Bosa of Lima. The Apotheosis of St. Augustin. St. Peter of Alcantara. His own Portrait. The Magdalen. The frescoes in the cupola. The Adoration of the Host. (Sit chef-d'oeuvre.) COELLO, Isabel Sanchez. See Sanchez Coello. COELMANS, Jacob, a Flemish engraver, bom at Antwerp about the year 1670. He was a pupil of Cornells Vermeulen. After engraving some plates in his native city, he was engaged by Boyer d'Aguilles to undertake the plates for the pictures of his collection. They consisted of one hundred and eighteen prints, and form the principal works of this artist, of which the following are the most esteemed : PORTRAITS. Olympia Maldachini, niece of Innocent X. ; after Giu- seppe Cesari. Paolo Veronese, a Bust ; after a picture by himself. Vincent Boyer, seigneur d'Aguilles ; after Le Grand. Jean Baptiste Boyer ; after Hyacinthe Rigaud. SUBJECTS AFTER VARIOnS MASTERS. The Holy Family, with St. John embracing the Infant Jesus ; after Parmigiaiw. The Meeting of Jacob and Bachel ; after Michelangelo da Caravaggio. Laban giving Piachel to Jacob ; after the same. Jacob's Departure from Laban ; after B. Castiglione. A Company of Musicians, Dancers, &c. ; after the same. Diana and Actseon ; after Otto van Veen. A Satyr drinking, with a Nymph and a Cupid; after i\'. Poussin. The Martyrdom of St. Bartholomew ; after S. Bourdon. Mount Parnassus, with Minerva and Mercury ; after Le .Sueur. The FUght into Egypt ; after Pujet. The Murder of the Innocents ; after Claude Spierre. The Head of the Virgin ; after Seb. Barras. COLN. See Koln. COENE, CoNSTANTlNUS FiDELio, a painter of history, genre, and landscape, was born in 1780 at Vilvoorden. He first studied under Hendrik van Assche, and in 1809 removed to Amsterdam and became the pupil of Barbiers. He then went to Brussels, and in 1820 was made Professor at the Academy. His picture of ' Rubens receiving from Charles I. the sword with which he had been knighted' gained for him the grand prize at Ghent, and is now in the Museum of that city. His ' Soldier returning from the Battle of Waterloo ' also gained him much praise. He died at Brussels in 1841. COENE, Jean Henri de. See De Coene. COENRADT, Lawers, who flourished about the year 1690, engraved some of the portraits for the coUecrion of Cardinals published by Rossi. They are very indifferent performances. COENTGEN, Georg Joseph, a painter and en- graver, was bom in 1752 at Mayence. He was a pupU of his father, the engraver Heinrich Hugo Contgen, but removed in 1776 to Frankfort-on- the-Main, where he painted and etched portraits and views of local events, and founded a Drawing Institution which still exists, and at which his wife, the flower painter Elisabetha Mund (who was born in 1752, married in 1776, and died in 1783), im- t^arted instmction. He died at that city in 1799. COFFRE, BenoIt, a French painter, who in 1692 gained the ' prix de Rome,' the subject being "Abraham sending away Hagar and Ishmael.' He went to Denmark, where he painted the ceilings of the castle of Fredriksborg between the years 1709 and 1717. COGELS, Joseph Charles, (sometimes called CoGELS Mabilde,) a landscape and marine painter, was bom at Brussels in 1786. He studied at the Academy of Diisseldorf ; and, after spending some time in France, returned to Belgium in 1806, and was admitted a member of the Royal Society of PAINTERS AND ENGRAVERS. the Fine Arts at Ghent. In 1810 he went to Munich, where he was employed by the King and Queen and the Duke of Leuchtenberg in painting cabinet pictures for their private collections, and for the Gallery at Schleissheira. His paintings, which are principally landscapes, water-falls, and old monu- ments of his native country, are held in high esti- mation. In the Cassel Gallery is a view of the St. Salvator Platz, Munich (1819). He etched also several plates, partly after J. Both, partly from his own designs. In 1817 he was made a member of the Academy at Antwerp. He, however, established himself at Munich, and was an honorary member of the Academy there. He died in 1831, at the Castle of Leitheira near Donauworth. COGET, JozEF Antoon, was an engraver, probably a Fleming, who lived about the year 1650. Le Blanc calls liim in error Cochet. By him we have: Time crowning Industry and punishing Idleness ; after Bitbens. Portrait of David Beck, the painter ; after himself. COGHETTI, Francesco, was born at Bergamo in 1804, and instructed in painting by Diotti di Casalmaggiore. He went afterwards to Rome, where he became a disciple of Camuccini, and studied the works of Raphael. He presided for many years over the Academj' of San Luca at Borne, and was the representative of classic art in the early part of the 19th century. He died at Rome in 1875. His best works are as under : Bergamo. Gallery. Two Altar-pieces. Mlrlacli.]^""^'^^^''^''''^^- „ Cathedral. Frescoes (in the cupola). Rome. Villa Torlonia. Scenes from the life of Alex- ander. „ „ The Four Elements. „ „ The Triumph of Bacchus. „ „ The Battle of the Amazons. Porto Maurizio. Church. The Assumption. Savona. Cathedral. The Martyrdom. COGNIET, Leon, was born in Paris in 1794, and studied art under Gu^rin. In 1817 he obtained the first ' grand prix de Rome,' and painted for some time in that city. He then settled in Paris, and devoted himself to teaching, and to the production of historical works, which earned for him much praise mingled with a certain amount of adverse criticism. He was appointed Professor of Drawing in the Lyceum of Louis le Grand and in the Poly- technic School. He died in Paris in 1880, having been a member of the ' Acad^mie des Beaux-Arts' since 1849. The following are his principal works: Metabus, King of the Volscians, expelled by his subjects {painted in Rome in 1822^. Marius in the Ruins of Carthage. 1824. , Numa {burned, in the Palace of the Conseil d'Etat, during the Commune). The Massacre of the Innocents. 1824. The Charity of St. Stephen {in the Church of St. Nicolas- des-Champs, Paris). The National Guard marching to join the army in 1792 {at Versailles). 1836. The Battle of Kivoli {at Versailles). The Battle of Limburg {at Versailles). Ad Angel announcing the Resurrection to the Magdalen {in the Madeleine, Paris). A Scene at the Barricades. 1830. Tintoretto painting his dead Daughter {in the Bordeaux Museum). One of his best works. 1845. In addition to the above, he executed, among other portraits, those of Marshal Maison, Louis Philippe in his youth, and the painter Guerin, and also painted at Versailles, in conjunction with Philippoteaux, Karl Girardet, Vignon, Guyon, and other artists, episodes in the campaign of Egypt. COGNIET, Marie Amelie, who was born in Paris in 1798, studied under her brother, Ldon Cogniet, and exhibited from 1831 to 1843. She painted genre subjects and portraits, and died in Paris in 1869. The Lille Museum contains an ' Interior of a Studio ' by her. COIGNARD, S., was a French engraver of little note, who worked in London during the early part of the 18th century, chiefly after Kneller. He has left us some indifferent portraits, amongst whicli are the following : John Dryden. Sir Christopher Wren. George Parker, astrologer. COIGNET, GiLLis. See Congnet. COIGNET, Jules Louis Philippe, a landscape painter, was born in Paris in 1798, and who studied under Bertin. He travelled a good deal in his own country as well as in Italy and the East, and produced a considerable number of views. He holds a middle place between the Idealists and the Realists, and his work is remarkable for the com- bination of vigour and delicacy in the effects of light and shade, for poetical feeling, for a firm brush, and occasionally for grandeur of conception. His chef-d'oeuvre is 'The Ruins of the Temple of P8estum,'now in the New Pinacothek at Munich. In addition to producing many water-colours and chalk-drawings, he wrote a book on landscape painting, and published in 1825 a series of sixty Italian views. He died in Paris in 1860. COINY, Jacques Joseph, a French line-engraver, was bom at Versailles in 1761. He was a pupil of Suv^e and of Phihppe Le Bas, and in 1788 went to Rome, where he stayed three years. He en- graved for (he government the ' Battle of Marengo,' after the large picture of Lejeune, exhibited in 1806; but his fame rests chiefly on the plates which he executed after Lefevre for the ' Lettres d'unePeruvienne ' and for ' Manon Lescaut' in the ' Collection Bleuet.' Coiny died in Paris in 1809. COINY, Joseph, a French line-engraver, was the son of Jacques Joseph Coiny. He was bom in Paris in 1795, and studied under his father, Gounod, and Bervic. He engraved the ' Creation of Eve ' after Michelangelo, Dante Alighieri after Raphael, and the portraits of Micliallon after L. Cogniet, and of Raphael from the picture in the Florence Gallery. He died in Paris in 1829. COLA, Gennaro di, an old Neapolitan painter, was born in 1 320. He was the disciple of Maestro Si- mone, a friend and companion of Giotto, and painted in his style. The principal works remaining of this ancient artist are, the altar-piece in the church of Santa Maria della Pieta, representing the Mater Dolorosa with the dead Christ, and Angels holding the Instruments of the Passion ; and in a chapel of the same church, a 'Penitent Magdalen.' In the tribune of San Giovanni a Carbonara, the ' Annunci- ation ' and the 'Nativity.' In the Chapel of the Crucified in Sant' Incoronata, at Naples, a ' Corona- tion of the Queen Johanna and Louis of Tarento,' a weak composition. In the Museum of that city is a 'Conception,' in the manner of a miniature painting. It is distinguished for its warm colour- ing. Many other works by this painter are men- tioned by Dominici. His style, like that of the painters of his time, is laboured and dry, but not without expression. He died in 1370. 311 A BIOGRAPHICAL DICTIONARY OF COLANDON, D., was a landscape painter who also etched. He is supposed to have been the game person as Oollandon who was bom at Cannes, and was established in Paris in 1670. He studied under P. F. Mola, his work being for the most part in the style of Genoels. Two plates are known signed with the name D. Colandon. One represents a mountain landscape with two women seated, one of whom is holding a child ; and the other is a landscape with a stream introduced, on the right bank of which is a woman with an infant. COLANTONIO del FIOEI. See Tomasi, Nic. COLAS, Alphonse, a French historical and por- trait painter, was born at Lille in 1818, and studied under Souchon at the school of his native town. He first attracted attention by a large canvas at the Salon of 1849, representing the ' Raising of the Cross.' He was much employed as a decorative painter in French churches, a good specimen of his work in this genre being his paintings in grisaille in the cupola of the Eglise de Notre Dame at Roubaix. He held the post of director of the art school of Lille, where he died in 1887. His por- trait of Souchon is in the Lille Museum. COLBENSCHLAG, Stephen, (or Colbenids,) was a German engraver, who flourished about tlie year 1610. Brulliot says he was born at Salzburg in 1591 ; and Nagler, that he died at the age of 92. He resided principally at Rome, where he engraved several plates from the works of the Italian painters : among others are the following : The Adoration of the Shepherds ; after Domenichino. TheTakiug down from the Cross ; after Annib. Carracci. COLCHESTER, Walter of. See Walter. COLE, B., an engraver of portraits, worked in England in the early part of the 18th century. COLE, George, painter, was born in 1808. He was entirely self-taught, and began life at Ports- mouth as a painter of portraits and animals. He finally, however, devoted himself to landscape, and settled in London. He first exhibited in 1840, and was afterwards a pretty constant contributor to the Old British Institution, and, later, to the Suffolk Street Exhibitions. He died September 7, 1883. COLE, George Vicat, R.A., was born at Portfl- mouth April 17, 1833, and died at Campden Hill House, Kensington, on April 16, 1893. His father was a successful artist, and in his studio Vicat Cole worked during his early years, making copies of works by Turner, Constable, and Cox. The most important part of his art education, however, was that which he obtained by sketching from nature during the summer raonthSjStill under his father's direction, both in England and abroad, and so effective was this, that in 1852, at the age of nineteen, he secured admission to the now extinct British Institution with a picture of 'Eanmore Common,' and to the Society of British Artists in Suffolk Street with drawings of the Wye and Teign, while in the following year he was represented for the first time at the Royal Academy by two pictures, ' Kloster Marienburg' and 'A Sunny View.' In spite of these youthful successes his early years were not without their healthy struggles with difHculties, and he was well content often to dispose of his works for quite insignificant sums. In 1859 he was elected a member of the Royal Society of British Artists, and in 1860 he was awarded a silver medal by the Society for the Encouragement of the Fine Arts for a painting entitled ' Harvest Time.' He was then residing at Abinger in Surrey, but in 312 1868 he removed to No. 8, Victoria Road, Kensing-' ton, and his reputation was so well established that in January 1870 he was elected an Associate of the Royal Academy, which was followed ten years later by his promotion to the full Academicianship. No less than three of the works which finally assured his claim to this distinction were renderings of the Thames, 'A Thames Backwater,' 'The Mist of the Morning, Sonning,' and ' The Silver Thames, near Medmenham,' and thenceforward he devoted himself almost exclusively to the depicting of that river, with the intention of recording its most salient beauties from the source to the sea. Thus in 1881 he exhibited 'Streatley' and 'Wargrave'; in M 1882 'The Sources of th.e Thames' and 'Abing- I don' ; in 1883 ' Windsor Castle ' ; in 1884 ' Oxford from ffley,' ' IfHey Mill,' 'Mapledurham Lock,' and 'Bisham'; in 1885 ' Sinodun Hill from Day's Lock ' ; in 1886 ' Cornfields at Gatehampton,' ' The Thames at Hartswood,' ' Pangbourne,' 'Cookham,' 'Great Marlow'; in 1887 'Streatley from near Cleve Lock'; in 1888 'The Pool of London,' 'Cornfields at Goring,' and 'A Thames Backwater'; in 1890 'Greenwich' and 'The Meeting of the Thames and the Isis at Dorchester' ; and in 1892 'Westminster' formed his last exhibit at the Royal Academy, though 'Windsor Castle from a Back- water' was his last completed picture, ' Gravesend' and ' The Nore ' being left unfinished at his death. He was typically a lover and painter of English landscapes, and his work was characterized by a straightforward directness of technique, a delicate sense of colour, a keen eye for the picturesque, and a close if not very inspired observation of nature. COLE, Humphrey, a goldsmith and engraver connected with the Mint in the Tower, was bom about the year 1530 in the north of England. He engraved the Map of Canaan for the second edition of the Bishops' Bible, published in 1572, and is said by Horace Walpole to have also en- graved the titlepage containing the portrait of Queen Elizabeth, as well as those of the Earl of Leicester and Lord Burghley, for the first edition of the same Bible, issued in 1568, but these are so far superior to the map in execution as to render the statement extremely doubtful. COLE, John, an English engraver, flourisln d about the year 1720. He was much employed by the booksellers, for whom he engraved some por- traits and other book-plates ; among which is a head of James Puckle, prefixed to his dialogue called ' The Club.' He also engraved several plates of monuments, and a copy from the print by Martin Rota, representing the ' Last Judgment,' after Michelangelo. COLE, Peter, practised as a portrait painter in the reign of Elizabeth. He was for some time Director of the Mint. He is thought to have been a brother of Humphrey Cole. COLE, Sir Ralph, Bart., was an amateur who studied under Van Djck. The date of his birth is not known, but he succeeded to the baronetcy in 1640, and died in 1704. There is at Petworth a portrait of Thomas Wyndham painted by him, which has been mezzotinted by R. Tompson. COLE, Thomas, the landscape painter, was bom at Bolton-le-Moors, Lancashire, in 1801. His father emigrated whilst his son was only eighteen years of age, in the hope of bettering his fortunes, and established a paper-hanging manufactory at Steu- benville in Ohio, and it was while assisting in this PAINTERS AND ENGRAVERS. buBinesB that tne son learnt the rudiments of hie art. At length a portrait-painter visited the place where he lived, whose works so awakened Cole's dormant spirit that he left his home suddenly to follow out the object he had so much at heart. Amid many difficulties and much privation, he found his way to Philadelphia, and thence to New York, where he set up his easel in a garret. His talents soon introduced him to the notice of Trumbull and otlier older brother artists, and likewise to some wealthy patrons ; from the former he received pro- fessional advice and assistance, and from the latter more substantial encouragement. He subsequently visited Ital}- and England, and finally settled down in the land which his parents had adopted. He was long known as one of the best landscape paint- ers in the States ; we also find his name in the cata- logues of our Royal Academy, he having exhibited in the year 1830 a ' View in New Hampshire, United States,' and the ' Tomb of General Brock, Lake Ontario, in Upper Canada ; ' and in 1831 a 'View in the United States.' He died in 1848, at his residence near the town of Catskill, on the banks of the Hudson. Of Cole's works, the New York Historical Society possesses the ' Course of Empire ' (five landscape scenes), his master-piece. His ' Voyage of Life ' was formerly in the Taylor- Johnston Collection at New York. The ' Mountain Ford ' and ' Kenilworth Castle ' were exhibited at Philadelphia in 1876. Cole wns the first good landscape painter in America. COLEMAN, Edward, of Birm ngham, painted Btill-life subjects. He exhibited at the Royal Academy in 1819, 1820, and 1822. COLEMAN, William, was one of the early wood-engravers. He died in London in 1807. COLEYER, Evert, (or Colier, or Colyner,) a Dutch painter of still-life and interiors, who was a native of Leyden, flourished from 1673 to 1691. He was dead in 1702. Some of his works are mentioned in the catalogues of Hoet and Terwesten. COLIBERT, Nicolas, a French painter and en- graver, was born in Paris in 1750. He executed in the dotted style some landscapes after Casanova, and about 1782 came to London, where he pro- duced two oval plates of ' Pity ' and 'Youth,' and two subjects from ' Evelina.' During the Revolution he returned to Paris and engraved several of Schall's designs for ' Les Amours de Psyche et de Cupidon,' published in 1791, and some illustrations after Monsiau to the poem ' La Mort d'Abel,' pub- lished in 1793. Colibert died in London in 1806. COLIEZ, Adrien Norbbrt Joseph, a French landscape painter, was born at Valenciennes in 1754, and died in the same town in 1824. He also painted scenery and views of towns. COLIGNON, FRANgois, a French designer and engraver, was born at Nancy about the year 1621. He was a pupil of Callot, and studied the works of Delia Bella and Silvestre. He engraved some of the plates of the towns conquered in the reign of Louis XIV., published by Beaulieu. We have also several plates from different masters, and from his own designs. His best works are views of build- ings, with small figures, in the style of Callot, which he executed with great spirit and freedom. We have by him, among others, the following prints : SUBJECTS FROM HIS OWN DESIGNS. A set of twelve Landscapes. The Buildings at Rome under Sixtus V. A View of Malta with its ancient Fortifications. SUBJECTS AFTER OTHER MASTERS. The Flight of Attila ; after Raphael. The five canonized Saints, St. Gaetano, St. Francis Borgia, St. Philip Benizio,St.Bertrand,and St.Kosa; after J. B. Gaetano. View of Florence ; after S. delta Bella. Plan of the Castle of Moyen ; after Callot. COLIN, a French historical painter and engineer, who became painter to the Duke of Burgundy in 1420. He was an artist in every acceptation of the term, and executed at the castle of Hesdin many undertakings in painting and architecture, as well as curious hydraulic works. COLIN, of Amiens, a French portrait painter, who flourished in 1482, was commissioned to paint the portrait of Louis XI. His praises were sung by the poets of his time. COLIN, Adriaan van, a Dutch painter of the 17th century, painted poultry in the manner of D'Hondecoeter. COLIN, Alexandre Marie, a French painter of historical and genre subjects, was born in Paris in 1798. He was a pupil of Girodet. His religious and historical paintings are characterised by a style based on a careful study of the old masters, while his genre pieces are vigorous and life-like. Amongst these latter may be noticed his ' French Fish-Market' (1832) in the Berlin Gallery, and his 'Gipsies Resting.' Amongst the former may be named a ' Christopher Columbus,' a ' Flight into Egypt,' and an ' Assumption of the Virgin.' He died in 1875. COLIN, Franqois, who was bom at Bordeaux in 1798, studied under Lacour, the elder, and died in his native city in 186'4. The Bordeaux Museum has two works by him — a 'Fountain of Love' and ' Crispin Messager.' COLIN, Jean, a French line-engraver, wlio flour- ished in the latter half of the 17th century. He was a native of Rheims, but the dates of his birth and death are unknown. He engraved an 'As- sumption ' after A. Carracci, an equestrian portrait of Louis XIV. crowned by Victory, and having at his feet a map of Holland, and several other por- traits which bear date from 1665 to 1688. Some of his plates are signed, Collin. COLLADO, Juan, a Spanish painter, was a native of Valencia, and a scholar of Rioharte. He painted in fresco the dome of the chapel of St. Francis Xavier in the Jesuits' church, and its lateral altar- pieces in oil ; and also executed various works for the parish church of Santa Catalina, and other churches of his native city. He died at Valencia in 1767. COLLAERT, Adriaen, a Flemish designer and engraver, was born at Antwerp, but in what year is not known. After having learnt 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"heatly finished style, bnt with a certain degree of dryness. He died at Antwerp in 1618. His drawing is correct, and bis heads expressive. He sometimes marked his plates with the cipher _^\_. Tlie following are his principal productions : SUBJECTS FROM HIS OWN DESIGNS. A Man and his Wife, conducted by Death. 1562. A Man iu Armour, to whom a Woman brings a Child, a Dog, and a C'ock. The Four Elements ; in four plates. 313 A BIOGRAPHICAL DICTIONARY OF The Life of Jesus Christ ; in thirty-six plates: Thirty plates of Birds. One hundred and twenty-five plates of Fishes. Twenty-four plates ; entitled Florileyium ah Hadriano Collaert ctpfatum, ^-c. The Temptation of St. Anthony. St. ApoUonia. SUBJECTS AFTER VARIOUS MASTERS. The Twelve Months of the Tear; after Josse De Momper ; the same that Callot has engraved. The Last Judgment ; after J. Stradan. St. Hubert ; after the same. Twelve plates of Horses ; after the same. A Hunting and Fishing Party ; after the same. The IsraeUtish Women singing the Song of Praise for the Destruction of the Egyptian Host in the Red Sea; after the same. A "Woman saving her Child from a Lion ; after the same. Twelve Landscapes ; after Hendrik van Cleef. A set of Hermitesses ; after M. de Vos ; engraved con- jointly with his son Hans Collaert. The Calling of St. Andrew to the Apostleship ; after Barocci. The Eepose in Egypt ; after H. Goltzius. 1585. A set of sis plates, called the Annunciations ; considered among the best of his works. COLLAERT, Hans or Jan, the son of Adriaen Collaert, was bom at Antwerp about 1540. After being instructed by his father for a while, he fol- lowed his example in visiting Italy, where he passed some time. He assisted his father in many of his works, and engraved a great number of plates, dated from 1555 to 1622, which are executed in the style of Adriaen, but with more taste and less stiffness. He died at Antwerp in 1628. He sometimes signed his plates with his name Hans Collaert fecit, sometimes with the initials H. C.F., and sometimes with the cipher JC|j . The following are his prints most worthy of notice : SUBJECTS AFTER HIS OWN DESIGNS. The Life of St. Francis ; in sixteen plates, with grotesque borders. The Dead Christ in the Lap of the Virgin. The Last Judgment, surrounded with small subjects of the Life of Christ. Peace. Charity. Ten plates ; entitled Monilium Bullarum inauriumqtu Icones. 1581. SUBJECTS AFTER VARIOUS MASTERS. St. John preaching in the TVilderne-ss ; G.A. Z. inv. Moses striking the Rock ; after Lambert Lombard; very tine. Marcus Curtius throwing himself into the Gulf; after the same. A Satyr pursued by Women ; after J. Stradan. Time and Truth ; after the same ; very fine. Mars and Venus ; after the same. The Loves of Mars and Venus ; four plates ; after P. Galle. t- , J The Title to the Biblia Saera ; after Ruhetis ; fine. The Title to the Kerkelyke Historie ; after the same; fine. The Title to the Heylige Vaders Boeck ; after the same; fine. Twelve plates for a ' Missal ; ' after the designs of Rubens. The subjects are taken from the Lives of Christ and the Virgin. COLLANDON, D. See Colandon. COLLANTES, Francisco, a Spanish painter, was bom at Madrid in 1599. He was instructed by Vicente Carducci and painted figures, animals, landscapes, fruit, and flower-pieces, and often united historical subjects with landscapes. His 314 works are executed in a bold and masterly manner, in the style of Rubens, richly coloured, and with very romantic scenery. Of his historical works, the principal are ' St. Jerome,' and a picture of the Resurrection, in the Buen Retiro. He died at Madrid in 1656. There are by him : Copenhagen. Museum. St. Jerome. Madrid. Gallery. The Vision of Ezekiel. „ „ St. WUliam of Aquitaine. „ „ Irfindscapes (tiro). „ „ The Burning of Troy. Munich. PinaXothek. Landscape. Paris. Louvre. Jehovah appearing to Moses in the Burning Bush. Petersburg. Hermitage. St. John the Baptist. COLLAS, AcHiLLE, a French mechanician, wag born in Paris in 1795. He was the inventor of the process of engraving in imitation of bas-reliefs and cameos which is known by his name. His principal work is the ' Tr^sor de Numismatique et de Glvptique,' 22 volumes in folio, published in 1834-1850. He died in Paris in 1859. COLLE, Raffaellino dal. See Dal Collb. COLLEONI, GiROLAMO, was a native of Bergamo, born, according to Tassi, about the end of the loth century. Most of the works of this able artist, in his own countrj', were formerly in the church of Sant' Antonio dell' Ospitale at Bergamo, but were destroyed at the time the church was re- built. In the church dedicated to St. Erasmo, at San Borgo Canale near Bergamo, is preserved one of his most esteemed works, painted in 1538. This picture is described by Tassi as one of the most admirable productions of Bergamese art. It repre- sents the Virgin and Infant, with Mary Magdalene, St. John, and St. Erasmus. Lanzi mentions a pic- ture by Colleoni of the ' Marriage of St. Catharine,' in the Carrara Gallery, which was thought by the best judges to be a work of Titian, until the inscrip- tion, Hieronymus Colleo, 1555, was found on it. Not meeting with the distinction he merited in his own country, and disgusted at the encouragement given to inferior talents of foreign growth, he determined to leave it ; but, previous to his depar- ture, Tassi asserts, he painted in one night on the facade of his house a very beautiful horse, and inscribed under it Nemo propheta acceptus in patria sua. He went to Spain, where he met with due encouragement, and was employed in the Escorial. COLLET, John, known as ' John Collet, senior,' died in London in 1771. He painted portraits. COLLET, John, an English artist, born in London in 1725, was a scholar of Lambert, the landscape painter. He painted subjects of humour, somewhat in the manner of Hogarth, approaching him only in vulgarity and caricature. In pieces wherein he did not attempt to imitate that genius, and confined himself to simple objects, he showed considerable merit in the representation of the characters and costume of his time. Several of his pictures have been engraved, and there are some etchings by him. He died in 1780. Two water-colour drawings by him are in the South Kensington Museum. COLLET, Louis, was a native of Paris, and flourished about the year 1610. He engraved a set of plates or ornaments for goldsmiths and jewellers, from the designs of Giles Legard, which are exe- cuted with the graver in a very neat style : these were published in 1663. COLLETTE, Alexandre, a French lithographer, was born at Arras in 1814, and died in 1877. CHARLES COLLINS CONVENT THOUGHTS [Univi-isily Galleries, Oxford PAINTERS AND ENGRAVERS. COLLIER, John, who assumed the name of Tim Bobbin, was born at Warrington in the early part of the 18th century. He was an eccentric indi- vidual — travelling the country, first as a school- master, then as a sign-painter, portrait-painter, and caricaturist, living from hand to mouth. He was also an author, and issued in 1810, ' The Passions humourously delineated,' with 25 coloured plates ; a volume of his ' Miscellaneous Works,' with his Life by R. Townley, and with portrait and copper- piates,was published in 1818. He lived to the age of 80, but the dates of his birth and death are uncertain. COLLIER, Makian, an English amateur painter, was the daughter of Professor Huxley. In 1879 she married Mr. John Collier. She painted figure pictures, and occasionally exhibited at the Academy and the Grosvenor Gallery. She died November 18, 1887. COLLIER, Tom, was bom at Glossop, Derbyshire, in 1840. Thougli he studied for a short time at the Manchester School of Art, he was practically self-taught. In 1861 he was elected a member of the Royal Institute of Painters in Water-Colours, to the exhibitions of which he was a frequent contributor. He sent pictures to the Paris Ex- hibitions of 1878 and 1889, and on the former occasion was created a Knight of the Legion of Honour. Collier painted landscapes of English scenery, in water-colour, of which three examples are at South Kensington. He painted also in oils, and exhibited at the Royal Academy. He died at Hampstead in 1891. COLLIER. See Monkswell. COLLIN, Richard, a German designer and en- graver, was born at Luxemburg in 1627. He went to Rome when 3'oung, and became a scholar of his countryman, Sandrart, for whose 'Accademia' he engraved some plates. On his return from Italy he resided at Antwerp and Brussels, where he engraved several portraits and other subjects, in a neat but laboured style. The following are his principal plates : PORTRAITS. Jane Bickerton, Duchess of Norfolk. Sir Godfrey Kneller ; for Sandrart's ' Accademia.' John Zachary KneUer ; for the same. Artus QuelUnus, sculptor ; afUr E. Quellinus. Jan Philip van "Thielen, flower painter ; after the same. Joachim Sandrart. 1679. Bartolome Ksteban Murillo, painter ; after Murillo. Christian Albert, Priuce Bishop of Lubeck. 1654. Anna Adelhildi^, wife of the Prince de la Tour et Tassis. 1682. A set of forty portraits of the Saints of Mount Oarmel. SUBJECTS AFTER VARIOUS MASTERS. Esther before Ahasuerus ; after Buhens. Christ bearing his Cross ; after A . Diepenbeeck. St. Arnold ; after the same. COLLIN DE VERMONT, Htacinthe, a French historical painter, was born at Versailles in 1693. He was a grandson of H. Rigaud and a pupil of Jouvenet, and was received into the Academy in 1725, when he painted the ' Birth of Bacchus,' now in the Museum of Tours. Collin de Vermont was one of the twelve painters who in 1727 took part in the competition held in the Gallery of Apollo. 'He died in Paris in 1761. COLLINGS, S. , a caricaturist and subject painter, flourished in the latter part of the 18th century. He occasionally exhibited at the Royal Academy. COLLINS, Charles, who died in 1744, painted birds, game, and still-life. COLLINS, Charles Allston, a younger son of William Collins, was bom at Hampstead in 1828. He first exhibited in 1847, and gave up the art in 1858. Among the chief pictures exhibited by him at the Royal Academy we may mention ' Convent Thoughts' (1851), 'The Devout Childhood of St. Elizabeth of Hungary' (1852), and 'The Good Harvest of 1854' (1855); which is now at South Kensington. He was also an author, and con- tributed to ' Household Words ' and ' All the Year Round,' when the latter was edited by Charles Dickens. He also wrote (in 1863) ' A Cruise upon Wheels,' a clever description of liis travels, which met with a deservedly favourable reception, and several novels. He was a younger brother of Wilkie Collins the novelist, and son-in-law of Dickens, for whom he furnished the illustrated title-page of ' Edwin Drood.' His contributions to 'All the Year Round' are amongst the most charming of its papers. He died after a long illness in 1873. COLLINS, Elizabeth Johanna, flourished about the middle of the 18th century. She made designs for book illustrations. COLLINS, Jacob, an engraver of portraits and frontispieces for books, worked in the 18th century. COLLINS, James, flourished about the year 1715. We have some prints by him representing views of buildings, among which is the large plate of Canterbury cathedral. COLLINS, John, was an English engraver, who flourished about the year 1682. He engraved some very indifferent copies from the grotesque figures published by the Bonnarts at Paris, called Scara- mouch and his Company of Comedians. We have also some portraits by him ; and the Funeral Pro- cession of George, Duke of Albemarle. COLLINS, John, flourished in England about 1744. At Hampton Court are a 'Shepherd' and a ' Shepherdess ' by him. COLLINS, Richard, a miniature painter, was born in Hampshire in 1755. He was a pupil of Jeremias Meyer. In 1777 he exhibited some por- traits at the Royal Academy, and in 1787 became chief miniature and enamel painter to George III. He died in London in 1831. COLLINS, Samdel, a native of Bristol, practised miniature painting at Bath, and there imparted instruction to Ozias Humphrey. About 1762 he removed to Dublin and practised there with success. His death is not recorded. COLLINS, William, who is so well known by the rustic simplicity of his pictures, was born in London in 1788. His father, a native of Wicklow in Ireland, although of literary abilities and a poet, was obliged also to carry on the business of a picture dealer in order to obtain the means to support his family. Amongst other works, he wrote a Life of Morland, who allowed the young painter to visit his studio and to watch him paint, and by examining the works of the two men it will be seen that the early impressions made by the eccentric artist had a decided influence on the art of Collins, although the latter denied that he ever obtained any great advantage in the practical part of his art from the instruction which he received from Morland. In 1807, after having studied for many years under his father's guidance, he at length obtained admission as a student into the Royal Academy, where he gained a silver medal for drawing from the life in 1809. Even at this early period he beean to exhibit at the annual exhibitions, and his ^ 315 A BIOGRAPHICAL DICTIONARY OF first work was, ' Boys u-ith a Bird's Nest.' In 1812 he lost his father, who died leaving his family in a state of destitution, and wholly dependent on the young artist for means of subsistence. Collins, however, met with generous assistance from his friends. Among his early patrons were Sir Thomas Heathcote, Sir John Leicester, Sir George Beaumont, Sir Robert Peel, and the Earl of Liverpool. In this year he painted one of his principal pic- tures of rustic life, "The Sale of the Pet Lamb.' 'The Burial-place of a Favourite Bird,' exhibited at the same time, and possessing the same quahties of tender pathos and unaffected sentiment, so far advanced CoUins in the opinion of his brother artists that in 1814 he was elected an Associate of the Royal Academy. In 1815 he thought he would try fresh subjects, and accordingly went to Cromer to study the sea and the habits of fishermen. At the Gillott sale in 1872 his large picture of ' Cromer Sands' brought 3600 guineas. After visiting Norfolk he went to Hastings, and there painted many pictures of coast scenery, enlivened by groups of fisher-boys, boats, &c. In 1818 one of these, a ' Scene on the coast of Norfolk,' was purchased by the Prince Regent, and now hangs in Windsor Castle. This patronage by royalty led to many other commissions, so that the artist rapidly rose to fame and overcame all his pecuniary difficulties. He had previously been compelled to resort to portrait painting as the only sure means of profit : but now he was able to abandon it entirely, and having in his particular branch of landscape art, as his intimate friend Wilkie told him, the ball at his feet, he had but to paint as he had begun to widen his popularity. In 1820 he became a Royal Aca- demician, giving as a diploma picture 'The Young Anglers,' and for the next sixteen years he was n constant contributor to the exhibitions, sendinir occasionally five and never less than three pictures. In 1822, whilst on a visit to Scotland, he married Miss Geddes, the sister of Mrs. Carpenter, the portrait painter. Collins continued to paint numerous pictures of rustic life with great success ; amongst which ' Rustic Civility ' and ' As Happy as a King ' are perhaps the most popular. A replica of the latter now hangs in the National Gallery. Wilkie Collins (the well-known novelist, and author of a Life of his father, published in 184><), says that the subject of this painting was suggested to his father by the story of the country boy whose ideal of happiness was swinging upon a gate all day long and eating fat bacon. In 1836 Collins visited Italy, having been re- peatedly urged by his friend Wilkie to see the beauties of that country. He remained two years abroad, and on his return the pictures which he exhibited surprised his former admirers ; but it is doubtful whether the Italian journey was at all beneficial to his reputation. It is said that his unwise practice of painting at all times of the day while at Sorrento, though he was warned of its folly by his friends, sowed the seeds of the disease by which he was vanquished at last. A rheumatic attack left behind it disease of the heart, and although he lived for eleven years afterwards, he was never the same man again. It was under great suffering that he painted, in 1846, his beautiful picture of ' Early Morning.' He died in London in 1847. 316 In 1817 he had visited Paris ; in 1828 Holland and Belgium ; in 1840 Germany ; and in 1842 the Shetland Isles. His pictures were at first landscapes with figures and simple incidents introduced — then subjects on the sea coast ; occasionally portraits ; and latterly, after his Italian journey, sacred subjects. His works are very numerous : there are no less than twelve in the Sheepshanks and Townshend Collections in the South Kensington Museum. The following are some of the principal, and are typical of the rest. Several have been engraved. 1811. A Country Kitchen (m tJu Sheepshanks Collection at South Kensington). 1813. The Sale of the Pet Lamb. 1814. Bird Catchers — Morning (one of the best of his early works, the property of the Marquis »f Lansdowne), 1816. Shrimp boys at Cromer. 1817. Fishermen coming ashore before sunrise, 1S18. Coa.st of Norfolk. 1819. Morning — Fishermen on the look-out, 1823. Scene near Chichester, 1823. Scene in Borrowdale. ,, Walmer Castle. 1824. The Cherry Seller. 1825. Fishermen getting out their nets, 1827. A Frost Scene. 1823. Scene m Freshwater Bay, Isle of Wight. 1829. Scene in a Kentish Hop Gaden. 1830. Waiting for the Arrival of Fishing Boats, Coast of France. 1831. The Prawn Catchers {in the National Gallery) 1833. Rustic Civility {at South Kensington). 1834. Cottage Hospitality. 1836. Sunday Morning. ,, Leaving Home. „ As Happy as a King (a replica is in the National Gall try). ,, Bayham Abbey {at South Kensington). 1839. A Scene near Subiaco, Eoman States. 1840. Our Saviour with the Doctors in the Temple {the properly of the Marquis of Lansdoxcne). ,, Ave Maria, Naples. 1841. The Two Disciples at Emmaus, ,, Ischia, Bay of Naples. 1842. Welsh Guides, Uanberris. 1843. The Caves of Ulysses at Sorrento {South Kensing- ton). „ The World or the Cloister. 1844. Morning, Boulogne. ,, Seaford, Sussex {at South Kensington). 1846. Early Morning. ,, Meailfoot Bav, Torquay. „ Hall Sands, Devonshire (at South Kensington). ■ Collins engraved, in a mixed manner of etching and mezzotint, some of his own paintings of coast scenes. COLLINSON, James, who studied in the schools of the Royal Academy, first exhibited at its Exhibitions in 1847, ' The Charity Boy's Debut.' In 1848-49 he became one of the seven original members of the Pre-Raphaelite Brethren, of whom five were painters: and in 1851 appeared his best work done under the influence of that teaching —'An Incident in the Life of St. Elizabeth of Hungary,' in illustration of Charles Kingsley]s 'Saint's' Tragedy.' CoUinson soon after left this Fraternity, became a Roman Catholic, and spent the years 1852-1854 in a convent. He was subse- quently a frequent exhibitor at the Royal Academy, and he also sent works to the British Institution and the Society of British Artists, of which he was a member from 1861 till 1870. in which year his active art life seems to have closed. He died in 1881, Among the best of his early works CD o u J J f5 o CO PAINTERS AND ENGRAVERS. The Rivals. Rnyal Academy. 1848. Italian Image Boys. Royal Academy. 1849. Answenngthe Emigrant's Letter. Royal Academy. 1850. COLLYER, Joseph, an engraver, was born in London in 1748, and became a pupil of Anthony Walker. He applied himself to book illustration with success ; and attracting the notice of Alder- man Boydell, was employed to make an engraving afterD.Teniers.andanotherof the 'Irish Volunteers,' after Wheatley. He subsequently engraved, with great success, Sir J. Reynolds' ' Venus,' and ' Una,' in imitation of chalk, the ' Girl with a Cat,' the por- traits of Miss Palmer, niece of Sir Joshua, and of Reynolds by himself. He was elected an Associate Engraver of the Royal Academy in 1786, and after- wards became Portrait Engraver to Queen Charlotte. He died in 1827. COLOGNE. See Koln. COLOMBA, LncA Antonio, who painted in oil and fresco, was born at Arogno in Switzerland, in 1661. His style was distinguislied for its happy compositions and its careful design, as also for the delicate and tender colours. He was particularly admired in Germany, where he painted for some time, and was employed by the Duke Eberhard Ludwig of Wiirtemburg. He died in 1737. COLOMBANO, Antonio Maria, an Italian paint- er, of the town of Correggio, who flourished from 1596 to 1616. Fifteen pictures by him, some of large dimensions, are mentioned by Pungilione in his Life of Antonio AUegri. The subjects are incidents in the life of the Virgin and the infancy of Christ. COLOMBEL, Nicolas, a French painter, was born at Sotteville, near Rouen, about 1644. He went to Rome when quite young, and remained there until 1692, forming his style by a study of the works of Raphael and of Nicolas Foussin. His pictures met with considerable success, though in the opinion of critics of more modern days he never attained any real approximation to the works of those masters. He was admitted into the Academy of St. Luke at Rome in 1686, and in 1694 into that of Paris. The Louvre possesses the ' Mars and Rhea Sylvia,' which he painted for his recep- tion, and an able work representing the ' Miracle of St. Hyaointhe.' He was much employed by Louis XIV. both at Versailles and at Meudon. Many of his works have been engraved by Dufloc, and by Michel Dossier. He died in Paris in 1717. COLOMBINI, CosiMO, an Italian engraver, flourished about the year 1764. He engraved among other things, several of the plates for the ' Museo Fiorentino.' A great part of the portraits of painters in that work are by his hand ; he marked some thus St. Mark curing Anianus. Kologna. Pinacotcca. MaJonna and Angels. Conegliano. Cathedral. Virgin enthroned, surrounded _ by six Saints, 1492. Dresden. Museum. The Presentation in theTempIe. _ ", It Christ in Benediction, Frankfort. Madonna (txoo). London. Nat. Gall. The Infant Christ standing on the Knees of the Virgin. t> « Madonna with the Infant Christ standing on her Knee.s, " .. The Incredulity of St, Thomas, »» i» St. Jerome, „ Hertford U. St, Catharine. , " » SS, Sebastian and Roch. Milan. Brera. St, Peter in cathedra between St, John the Baptist and St. Paul. >» » St, Peter Martyr, with SS. Nicholas and Augustin. n ti SS, Jerome, Nicholas, Ursula, and another, '> >i SS. Luke, Mary, John Baptist, and Mark. t» n Madonna. »i »> St, Jerome, »» II St. Giustina and two Saints. Poldi PezzoH. Head of female S;iint, MoJena. Museum. Christ taken down from the Cross. Munich. Pinakothek. Virgin, St. Jerome, and the Magdalene. Olera. Church. Polyptych. Paris. Louvre. Virgin and Child(My/nefWoANi3. Bapt. Coneglaneso opus). Parma. Museum. Madonna with Saints (two). i\ *i Mythological pieces (two). Venice. S. Giovanni 1 t, .. „ . , in Bragora. f Baptism of our Lord, II ,, St. Helena and Constantine. „ Carmine. The Nativity. ,, SS. Giovanni e ) Coronation of the Ma- Paolo. j donna. „ S.Maria dell'Orto.St. John between SS, Paul, Jerome, Mark and Peter. ,, Academy. Pieti. ,) „ Madonna with SS. John and Paul. „ 9, Madonna. II t. Madonna with six Saints. 11 I, Christ and St. Thomas and Magnus. ,, „ Tobias and the Angel. Vicenza. Museum. Virgin between SS. James and Jerome {painted in tempera). 1489. Vienna. Gallery. Virgin between St. Jerome and St. Louis, Bishop of Touloui>e. CONEY, John, an architectural draughtsman and engraver, was born at Ratcliffe Highway, London, in 1786 ; he was apprenticed to an archi- tect, but never followed the profession. He com- menced making pencil drawings of the interior of Westminster Abbey and other Gothic buildings as early as the age of fifteen ; these he sold to dealers, and other casual customers, at very small prices. In 1815 he published his first work, a series of eight views of the exterior and interior of 319 A BIOGRAPHICAL DICTIONARY OF Warwick Castle, drawn and etched by himself. Shortly afterwards he was emploj'ed bj' Harding to draw and engrave the fine series of exterior and interior views of the Cathedrals and Abbey Churches of England, to illustrate the new edition of Dugdale's ' Monasticon,' edited by Sir Henry Ellis. These plates occupied a gTeat portion of his time for fourteen years, and are executed with consummate skill. In 1829, he commenced the engravings of ' Ancient Cathedrals, Hotels de Ville, and other public buildings in France, Holland, Germany, and Italy ; ' all of which were drawn from the several objects by himself. This work was intended to be comprised in twelve parts, but, not meeting with the public encouragement to which it was entitled, only eight were published. Mr. Charles Heathcote Tatham wrote the necessary descriptions. In 1831 Coney commenced a similar series of the ' Architectural Beauties of Continental Europe,' for which Mr. H. E. Lloyd wrote the de- scriptions. This handsome work consists of 28 large plates of remarkable edifices in France, the Low Countries, Germany, and Italy, and 56 vig- nettes, all drawn and etched by himself. In addi- tion to these laborious undertakings, he executed numerous drawings in pencil, and also in colours, for private commissions ; and necessity often com- pelled him to part with many to picture-dealers and print-sellers. He was employed by Cockerell, the architect, to engrave a very large ' View of Rome,' and another plate as a companion to it, neither of which has been published. His draw- ings exliibit all the minutest details without the appearance of labour, yet with a neatness that is truly surprising. He died in Camberwell in 1833. A ' View of the Interior of Milan Cathedral ' was pubUshed after his death for the benefit of his widow. CONGIO, Cammillo, an Italian designer and engraver, was born at Rome about the year 1604. In 1630, he engraved some plates for the 'Galleria Giustiniana.' He also executed some of the en- gravings for Tasso's ' Jerusalem,' after the designs of Bernardo Castello. We have by him some prints after different Italian masters, which he generally marked GC F. His works most worthy of notice are The Annunciation. The Adoration of the Magi. Hercules combating the Hydra. A Frontispiece entitled, Biversi ornamenti capriciosi. The Creation of Angels ; after Qimassei. Frontispiece to the Mies BarbariuEe ; after Guido Ubaldo A hbatini. An Assembly of Saints ; after Gasparo Celio. CONGNET, GiLLES, (or Coignet,) was bom at Antwerp in 1540. He was some time under a painter called Antonio Palermo, then resident at Antwerp, and afterwards went to Italy. After visiting Terni, Naples, and several towns in Sicily, he returned to the Low Countries, where he was much encouraged. He was admitted into the Guild of St. Luke at Antwerp in 1561, and was dean in 1584-85. The troubles that existed at that time under the Prince of Parma, obliged Congnet to leave his native country about 1586, and take refuge in Amsterdam, where he remained several years. He painted historical and mjlhological Biilijects of an easel size, but was more successful in landscapes, in candle-light subjects, and moon- light. He finally settled at Hamburg, where he died in 1599. The Museum of Antwerp contains 320 a ' St. George ' and a portrait by him, and that of Cassel a ' Venus and Cupid ' of the year 1579. CONINCK. See Kokinck. CONINCK, De (or Coningh). See De Ko- NINCK. CONINXLO, CoRNELis VAN, (or Conixlo,) was a Flemish painter of the 16th century, of whom nothing has been recorded. He is only known by a painting which bears his signature, ' CornUiB va Conixlo Scernir 1626,' in the Brussels Gallery; it represents the ' Parentage of the Virgin.' CONINXLO, GiLLES VAN, (CONINGSLOO Or Co- NINCXLOY,) a Flemish painter of landscapes, and a relation of the other artists of the same name, was born at Antwerp in 1544. He was first instructed by Leonard Kroes, but afterwards became a scholar of Gilles Mostaert. He travelled through France to Italy, and on his return to Flandere, was much em- ployed in painting landscapes, in which the figures were frequently added by Martin van Cleef. Co- ninxlo was esteemed one of the ablest artists, in the branch that he followed, of the time in which he lived. His touch is spirited and light, and his colour clear and agreeable. He died at Antwerp in 1609. His only known work, a landscape dated 1604, is in the possession of Prince Liechten- stein at Vienna. Nicolaas De Bruyn engraved much after him. CONINXLO, Jan van, was born at Brussels in 1489 (?), but nothing is known of the details of his career. His father, who bore the same christian name, had another son, Pieter van Coninxlo : both were painters. The name is found written in a variety of ways — Coninxlo, Conninxlo, Connixlo, Cooninxloo, Conixloo — and sometimes with the additional name of Schemier. The Brussels Gallery contains five works by Jan van Coninxlo : a trip- tych of the ' Life of St. Anne,' which bears on its right wing (representing the death of that saint) the signature ' Jan van Conixlo 1546 ' ; the ' Birth of St. Nicholas,' and the ' Death of St. Nicholas,' both of which were formerly in a church in Louvain ; ' Christ among the Doctors,' and the ' Marriage at Cana.' These were formerly attri- butea to Gilles van Coninxlo. CONJOLA, Carl, a landscape painter in water- colours and oil, was born at Mannheim in 1773, and died at Munich in 1831. His views are prin- cipally of the mountainous parts of Bavaria and the Tyrol. CONQUY, Ephraim, a French line-engraver, was bom at Marseilles in 1809, and died in Paris in 1843. His works, many of which are portraits, are noticeable for vigour and for delicacy of finish. The most important are the following : The French Mother ; after Steuben. The Child Jesus on the steps of the Temple ; after Carl» Doh-i. St. Catharine ; after the same. St. Cecilia ; ajfter Domenichino, The Neapolitan Mother ; after Horace Vernet. CONRAD, a monk, who lived about the middle of the 13th century, compiled a number of learned works, which he illustrated \dt\i pictures. The Court Library at Munich possesses several of his designs for these, especially an 'Evangeliarium' and ' Lectionarium,' in which there is evinced a more .idvanced perception of the true natural form than is to be found in most miniatures of the Roman style in Germany. CONRAD, Abraham, (or Conradus,) was a Dutch designer and engraver, who flourished about the 1 ■1 PAINTERS AND ENGRAVERS. year 1650. His plates consist chiefly of portraits, part of which are from his own designs. They possess great merit, and some of them are success- ful imitations of the style of Lucas Vorstermans. The following are his principal prints : PORTRAITS. Christopher Love. Jacob Mglande, professor of Theology at Leyden. Thomas Maurois, of Canterbury, ecclesiastic at Amster- dam ; after I). Boudringhen. Godefroid Hotton, Pastor of the French Church at Amsterdam ; after H. Mermans ; very fine. The Flagellation ; after A. Diepenbeeck. The Crucifiiion ; after the sajne. CONRAD, Carl Emanuel, an architectural painter, was born at Berlin in 1810, and instructed first in that city, and afterwards at Dusseldorf. the Academy of which town he attended from 18.3o till 1839. Both in this institution and at the Real- Bchule he gave instruction in perspective to young artists, and received the title of professor, the Order of the Red Eagle, and a medal from the Pope. He painted buildings of the middle ages, with land- scape surroundings, such as ' The Church of St. Quirinus in Neuss,' ' The Cloister of St. Severinus in Cologne ' (1837), ' The Cathedral of Mayence ' (1841), 'Custom House in London' (1852), ' Views of Cologne Cathedral,' &c. He also exe- cuted some excellent acquatints, as ' Pius IX. in his Cabinet,' and ' An Assemblage at Sigmaringen in the Olden Time ' (1872). He died at Cologne in 1873. CONRADER. See Konrader. CONSCIENCE, FRANgois Antoine, a French painter of animals, who always exhibited under the name of Francis. He was born at Besanjon in 1795, became a pupil of Gu6rin, and died at Luxe- uil in 1840. CONSETTI, Antonio, an Italian historical painter, who was born at Modena in 1686, and died in 1766, is represented in the Estense Gallery, in his native city, by ' The Virgin of the Rosary with St. Dominic,' and ' St. Joseph and Angels.' CONSORTI, Bernardo, an Italian line-engraver, was born at Rome about 1785. He engraved the ' Holy Family with the Family of St. John ' after Garofalo, the ' Entombment ' after Van Dyck, and ' Psyche ' and other sculpture after Canova. CONSTABLE, John , one of the greatest realistic landscape painters' oi England, was born at East Bergholt, in Suffolk, on the 11th of June, 1776. It is recorded that he was so weakly at his birth, that he was baptized on the same day. He was sent to school at Lavenham and afterwards to Dedham, where, it is said, the boy was distin- guished for little more than his penmanship. His father, a wealthy miller, at first intended him to enter the Church, but as he had no taste for theological studies, the old man changed hia mind, and determined that his son should follow his own trade ; and, although the youth showed a decided taste for painting, he would on no account hear of his making that a profession. John, how- ever, made friends with a village plumber and glazier, of the name of Dunthorne, who was an enthusiast in art, and these two used to study painting in the fields ; and thus it was that he took his study from the books of nature. As Constable grew up, he was known from his good looks and fine figure as the ' handsome miller ' ; and when he was eighteen years of age, he spent a year, under the pretext of carrying on his business as a miller, in observing the picturesque effects of the heavens and the earth, and copying the drawings of Girtin, which had been lent to him by Sir George Beaumont. In 1795, Sir George's patronage and his own unmistakable genius for art, induced his parents to allow him to go to London to study painting. Shortly afterwards, however, he was recalled to his native village, where he for some time shared his father's labours ; and it was not until 1799 that he revisited London. In the same year he was admitted as a student into the Royal Academy, and he received some instruction from Farrington and Reinagle, and painted a few por- traits, and attempted historical subjects ; but his true instructor was Nature, and his true branch of art was landscape painting ; and in the year 1802 one of his landscapes was included in the Royal Academy Exhibition. During the following years he stayed in the summer months in the country, " living nearly always in the fields, and seeing nobody but field labourers," and sent to the Royal Academy and the British Institution numerous landscapes and studies. He was twice induced to paint an altar-piece : one, ' Christ blessing little Children,' for Brantham Church, in 1804, and the other, ' Our Saviour blessing the bread and wine,' for Nayland Church, in 1809 ; but it is believed that he never again attempted sacred Bubjects. The whole life of Constable is a testimony to his preference for the study of nature : his letters to Archdeacon Fisher, of Salisbury, and to his old friend, John Dunthorne, are full of delicate observ- ations on the subject, and show a fresh appreciation of the qualities of the country and the various methods of landscape painting. The more his talent was developed, the greater became his wish to depart from the popular style of classical painting at that time in vogue, and to observe directly all the different aspects of nature. Though a hard worker, it appears that Constable met with little success for manyyears, and in 1811 he was still without reputation, except among a few friends ; some of whom were Sir George Beaumont, Reinagle, Bishop Fisher, and IVIiss Mary Bicknell, whom he married, secretly, in 1816. But in the year 1819 Constable was elected an Associate of the Royal Academy, and ten years afterwards an Academician. About this time Constable's pictures began to gain notoriety, and a French speculator, who had bought three at the Royal Academy, sent them to the Paris Salon in 1824. These were 'The Hay Cart,' a 'View near London,' and 'The Lock on the Stour.' These pictures were much admired at Paris ; the native artists were astonished at the power displayed in them, and the King of the French awarded Constable a gold medal. In the year 1827, ' The Corn- Field,' one of his masterpieces, was exhibited at the British Institu- tion, where it held its own even in the neighbour- hood of works by Claude and Cuyp. In the same year Constable took up his abode at Hampstead, his dear Hampstead, his sweet Hamp- stead, as he called it. He says, " My httle studio commands a view without an equal in all Europe." Here he loved to sketch, and the neighbourhood furnished him with many studies for his pictures, as did also Osmington, the birthplace of his wife, and Salisbury, the residence of his friend Fisher. He continued to send many contributions to the 321 A BIOGRAPHICAL DICTIONARY OF Academy ; amongst the most noted may be men- tioned 'Salisbury Cathedral,' and 'The Valley Farm,' (known as Willy Lott's House,) situated on the Stour near Flatford Mill. Constable published in 1830-32 a set of mezzo- tint engravings of ' English Landscapes,' by David Lucas, from pictures painted by himself. " The subiects of all the plates are taken from real places ; they are mostly rural, and are meant par- ticularly to characterise the scenery of England." He also gave numerous lectures on the study of nature, and occasionally painted in water-colour. Constable died suddenly in Charlotte Street, Fitzroy Square, London, on the 1st of April, 1837. His ' Memoirs,' composed chiefly of his letters, were published by C. R. Leslie, R.A., in 1843, and ao-ain with additions in 1845. The first edition con- tains the plates by Lucas of ' English Landscapes.' He was one of the deceased painters who were represented in the London International Exliibition of 1874, when the following pictures by him were lent for exhibition : The Embarcation of George IT. from 'WliitehaU ou the occasion of the opening of 'Waterloo Bridge. Dedham Farm. The Hay Wain. The Leaping Horse. Englefield House. The Valley of the Stour. A Dell in Helmiugham Park ; besides nnmerous sketches for his other well-known works. The following are his principal works in public galleries : London. National Gall. The Cornfield (or Country Lane), painted in 1826. „ „ „ The VaUey Farm ("Willy Lett's House), exhibited at the Boyal Academy in 1835. „ „ „ A Cornfield with figures. ,j „ „ Barnes Common. 5. Kensington Salisbury Cathedral (^signed and dated 1823). „ „ Dedham Mill (signed and dated 1820). „ „ Hampstead Heath (exhibited at the Royal Academy in 1827). ,^ „ Hampstead Heath (exhibited at the Royal Academy in 1830). „ Boat-Building, near Flatford Mill. „ „ „ Water Meadows, near SaUsbury. Paris. Louvre. The Cottage. J, The Eainbow (with a view of SaUsbury). a sketch. „ „ 'Weymouth Bay. 1827. „ „ View of Hampstead Heath (o sketch). „ „ The Glebe Farm. CONSTANT, Jean Joseph Benjamin, was bom in Paris in 1845, studied at the Beaux-Arts, and then entered the atelier of M. Cabanel. His first picture was hung in the Salon in 1869 before he was twenty-four years old, and was called ' Hamlet et le Hoi.' " Since that time down to the very year of his death he was hardly ever absent from the great Parisian Exhibition. Prob.ibly no French artist has attracted more attention tlian M. Constant, or has had his work so minutely studied, and his methods more frequently copied by his compatriots. He was for years the master of the modern French school, and could never complain that his country- men failed to appreciate him. Amongst his notable works are ' Trop Tard ' (1870), 'Samson et Delilah' (1871), 'Femmes en Riff,' 'Boucher Maures a Tanrer,' 'Coin de Rue,' ' Carrefour k Tanger,' ' Prisonniers JIarocains,' ' Femmes de Harem k Maroc' all studies of life in Morocco, a country of 322 semi-barbarism which appealed to his imagination ; ' La Vengeance du Ch^nf,' another Oriental subject (1885). 'Judith' and ' Justinian ' (1886), 'Orphee' and 'Theodora' (1887), 'Pope Urban II. entering Toulouse,' ' Beethoven,' ' Victrix,' and others. In addition to all these subject pictures he was an eminent painter of portraits, and by them his re- nown in England and America has been chiefly produced. He painted Queen Victoria, Queen Alexandra, the Pope (Leo XIII.), the Due d'Aumale, the Marquis of Dufferin, Lady Helen Vincent, the Duchess of Marlborough, and M. Hanotaux. Two of his best portraits, those of Lord Savile and M. de Blowitz, were upon the walls of the Salon in 1902 when he died ; that of Queen Alexandra having been exhibited in the previous year. He was largely influenced in his technique by a careful study of the work of Gainsborough, and his paintings show evident signs of an entire change of method after the works of the English school first attracted his attention. His aim was in all cases to produce a single well-balanced harmony of light and colour. Few of his portraits received such an excess of criticism as the one of Queen Victoria which appeared at the Royal Academy in 1900. Its stately but unaffected grandeur was very attractive, but the somewhat over-strained sentiment did not appeal to English critics. There is no doubt that at times his lighting was too artificial and almost garish, and his colour false, and these qualities were discovered in this celebrated portrait, and were vehemently pointed out by many writers. The portrait wiU, however, remain noteworthy as a majestic con- ception grandly presented on canvas. Constant was greatly affected by the death of his son in 1899, and never quite recovered from the blow. In 1901 he caught an acute attack of influenza in Scotland, and from the effect of this died in May 1902. He had painted many decorative canvases for public buildings in Paris, especially at the Hotel de Ville and Opera Comique, and was at the very last engaged in setting out a new and even more important work of this sort. He was a member of the Institute of France, and Commander of the Legion of Honour. G. C. W.- CONSTANTIN, Abraham, a Swiss enamel painter, was born at Geneva in 1785. He became a pupil of Gerard, after whom he executed many works on porcelain, including portraits of the King of Rome, Charles X., and the Erapt^ror of Russia. He was attached to the manufactory at Sevres, and died at Geneva after 1851. CONSTANTIN, Jean Antoine, a landscape painter, who also etched, was born at Bonneveine, near Marseilles, in 1756. An enamel painter, dis- cerning his talent, found him employment in painting porcelain, an occupation which he quitted to get lessons at Marseilles from Kapeller the elder and David of Marseilles. From that city an amateur took him to Aix, and arranged for his going to Rome, where he worked hard for six years. On his return to Aix he became the director of the School of Design. He exhibited at the Paris Salon from 1817 to 1831. Many of his paintings and a thousand drawings and etchings by him are in the Museum at Aix, where he died in 1844. CONSTANTIN, Joseph Sebastien, the son of Jean Antoine Constantin, and also a landscape painter, was bom at Aix in 1793. He lost his sight, and died in the hospital of Bicetre in 1864. CONSTANTINI, Giovanni Batiista, (or Cos- JOHN CONSTABLE Ha nfstii II g I photo] iWilioiial Gallery, London THE VALLEY FARM < H tn Z o u X o BENJAMIN CONSTANT HER MAJESTY QUEEN ALEXANDRA PAINTERS AND ENGRAVERS. STANTINO), was a nativa of Italy, who flourished about the year 1619. We have an etching by him, representing a Bacchanalian subject, surrounded with a grape vine, in the form of a border. It is executed in a slight, free style, somewhat resem- bling that of Guide, though less masterly, and appears to have been the work of a painter. CONTARINI, Cavaliere Giovanni, was bom at Venice in 1549. He was a contemporary of Palma, and studied the works of Tintoretto and Titian. His portraits and altar-pieces are distinguished by their beautiful colouring : in the former he fol- lowed the chaste and simple style of Titian. Con- tarini was a perfect master of the sotto in su, as is seen in his picture of the ' Resurrection ' in San Francesco di Paola at Venice. He appears to have been much engaged in painting easel pictures of mythological subjects, which he had learning enough to treat with propriety, but he excelled especially in painting ceilings. He went to Ger- many and passed some years at the court of the Emperor Rudolph II., by whom he was knighted. He died in 1605. Amongst his works, which are principally to be met with in the churches and palaces of Venice, may be mentioned : Berlin. Museum. St. Sebastian. Florence. Gallery. His own Portrait. Milan. £rera. St. Jerome. Paris. Lauvrt. The Virgin and the Infant Jesas enthroned, with St. Mark, St. Sebastian, and the Doge Marino Grimani kneeling ; formerly in the Ducal palace at Venice. His test work. Venice. CW«a d«;/a J ^^^ Crucifixion. Vienna. Gallery. The Baptism of Christ. CONTE, Jacopo del. See Del Conte. C0NT6, Nicolas Jacqdes, a French mechanician and portrait painter, was born at St. C^nery in Normandy in 1755. He was the inventor of a machine for engraving and of the crayons which bear his name. He died in 1805. CONTI, Bernardino de'. See De' Conti. CONTI, Cesare and Vinoenzio, two brothers, were natives of Ancona, but went to Rome during the Pontificate of Gregory XIII., by whom they were employed, as well as by his successors, Sixtus v., Clement VIII., and Paul V. Cesare was es- teemed for his grotesque ornaments, and Viiicenzio painted the figures. The former died at Macerata about 1615 ; the latter went to the court of Savoy, and died there in 1610. Some of their works are in Santa Maria in Trastevere. In San Spirito in Sassia is the history of San Giacomo del Zucchi ; in Santa Cecilia, ' St. Agnes,' and the ' Martyrdom of St. Urban.' CONTI, Francesco, an Italian historical painter, was born at Florence in 1681. He was a pupil of C. Maratti, whose style he imitated. He died in 1760. His own portrait by himself is in the UfiBzi. CONTRERAS, Antonio de, a Spanish painter, was born at Cordova in 1587. He was a pupil of Pablo de Cespedes, after whose death he went to Granada, and subsequently to Bujalance, where he resided until his death, which took place in 1664. He painted many pictures for the Franciscan con- vent and other churches of Bujalance, and also distinguished himself by his portraits. COOK, Richard, was born in London in 1784, and entered the schools of the Royal Academy in 1800. He was a constant contributor to the exhibitions from 1808 to 1822, during which time he painted several landscapes not destitute of poetic beauty, scenes from ' The Lady of the Lake,' dis- playing taste and talent, and in 1817 (having been elected an Associate in the preceding year) a more ambitious work, entitled ' Ceres, disconsolate for the loss of Proserpine, rejects the solicitations of Iris, sent to her by Jupiter.' In 1822 he attained the rank of Royal Academician, and almost from that time forward, and certainly for many years preceding his death, he seems to have relinquished his profession, and ceased to contribute to the annual exhibitions of the Academy, his private fortune enabling him to live independently of his art. He died in London in 1857. He illus- trated editions of 'The Lady of the Lake' and ' Gertrude of Wyoming.' COOK, Robert, an artist who lived at the end of the 15tli and the beginning of the 16th century, is said to have painted the portraits of Henry VII., Henry VIII., Queen Katharine, the Duke of Suffolk, and the family of Sir Robert Wingtield. COOK, Samdel, a water-colour painter, was bom in 1806 at Camelford in Cornwall. At the early age of nine he was apprenticed to a firm of woollen manufacturers in that place, but during the inter- vals of his duties he would amuse himself with making drawings in chalk on the floor of the fac- tory, to the annoyance of his employers, one of whom declared that "he would never be fit for anything but a limner ; " and a limner he ulti- mately became. On the expiration of his appren- ticeship he went to Plymouth, where he set up as a painter and glazier. Every hour he could snatch from business, however, was devoted to sketching from nature, anjl though these early products of his pencil displayed timidity in respect of colour, they nevertheless exhibited great truth ; and with increasing knowledge and experience came in- creased confidence and power. In 1830 he sent some drawings to the New Society (now the Insti- tute) of Painters in Water-Colours, which obtained him admission into that body ; to whose annual exhibition he became a regular contributor, chiefly of coast scenes, though sometimes of inland views, till the day of his death, which occurred in 1859. A view of ' Stonehouse, Plymouth,' by him is in the South Kensington Museum. COOK, Thomas, who was bora about the year 1744, was a pupil of Ravenet. He engraved many portraits, as well as some of the plates for Bell's ' Shakespeare ' and ' British Poets.' He was also employed by Alderman Boydell, and engraved some of the works of Hogarth. He died in 1818, aged 74. COOKE, Edward William, the son of George Cooke, the engraver, was born in London in 1811, and was brought up with a view of following his father's profession. He early publislied a set of sixty-five etched plates of 'Shipping and Craft, views on the Thames. But in 1832 he determined to adopt oil-painting in place of engraving ; and, three years later, his first works, ' Honfleur Fish- ing Boats' and a 'Hay-Barge, off Greenwich,' appeared at the Royal Academy. Since then, with three exceptions, 1839, 1846, and 1874, there was not a single exhibition up to that of 1879, which did not contain one or more of his works. To forty-one exhibitions he contributed one hundred and thirty works, all well thought out and carefully executed. In 1851 he was elected an Associate of the Royal Academy, and in 1864 he was made an Academician. He also contributed many works 323 A BIOGRAPHICAL DICTIONARY OF to the British Institution, and frequently painted in water-colour: the South Kensington Museum has a collection of his works in this medium. He wRs a fellow of the Royal, the Geographical, the Geological, and the Linnjean Societies. He died at Groombridge, near Tunbridge Wells, in 1880. His paintings generally represent views on the Thames, the Medway, and the English coast ; but they also include scenes from Holland and France, and even so far afield as Morocco and the lagoons of Venice. We need mention but few : Dutch Boats in a calm. 1S44. In the National Gallery. The Boat-House. In the National Gallery. Lobster Pots. 1S36. -, Brighton Sands. 183S. j»c^*i Mending the Bait Xets, Shanklin. 1836. \ ,- ■ , Portsmouth Harbour— The Hulks. I ^^'^^"'9^'"^ Portsmouth Harbour — The Victory. •' Dutch Boats on the Y. 1S37. Dutch Enats on the DoUart Zee. A Calm Day in the Scheldt. A Bit of English Coast. Catalan Bay, Gibraltar. 1863. The Goodwin Light-Ship. A Dutch Galliot agroimd. H. M. S. Terror abandoned. 1?60. Schevening Pinks running to anchor off Yarmouth. 1S64. COOKE, George, a line-engraver, who was bom in London in 1781, was apprenticed to James Basire, and early in life attained celebrity. He died at Barnes in 183-1. He was brother to William Ber- nard Cooke, and father of Edward W. Cooke, R.A. The following are his principal works : Illustrations to the ' Beauties of England and ■^Tales.' „ Pinkerton's ' Collection of Voyages and Travels.' „ ' The Thames.' 1811. „ ' The Southern Coast of England.' 1814- 1826. „ Surtees's ' History of Durham.' „ Clutterbuck's ' Hertfordshire.' „ HakeweU's ' Italy.' „ D'Oyly and Mant's ' Bible.' „ ' The Botanical Cabinet.' 1817-1833. „ ' London and its Vicinity.' 1826-1828. Gledhouse, Yorkshire ; after Turner. Eott«rdam; after Sir A. W. Callcott. 1825. Old London Bridge ; after E. JV. Cooke. New London Bridge ; after the same. COOKE, Henry, a portrait painter and copyist, flourished in 1640, as appears by several portraits painted by him in that year for the Company of Ironmongers, and now in their Hall. They are probably copies of older pictures, as with the exception of Sir James Campbell, who sat to the artist, all the persons represented were dead long before the time when these were executed. COOKE, Henrt, son of Henry Cooke, who was employed by the Ironmongers' Company, was bom in 16-12. He went to Italy and studied under Sal- vator Rosa. He painted the choir of New College Chapel, Oxford, the staircase at Ranelagh House, and Lord Carlisle's House in Sobo Square. He died in 1700. It is said that he committed a murder and fled from England : and that after his return, he was employed by King William to "repair" the Cartoons of Raphael. He finished the portrait of Charles II. at Chelsea Hospital ; and also tried portrait painting, but gave it up. COOKE, William Bernard, a line-engraver, and a pupil of Angus, was bom in 1778. He was the elder brother of George Cooke. He suc- ceeded best in marine subjects, but never attained any great eminence. He published conjointly with his brother ' The Thames ' and ' The Southern 324 Coast of England.' His death occurred in 1855. COOKE, William John, was born in Dublin in 1797, but his parents left Ireland when he was a year old. He was a pupil of his uncle, George Cooke, and in 1826 received from the Society of Arts a gold medal for improvements in engraving upon steel. About 1840 he left England and went to reside at Darmstadt, where he died in 1865. His best plates are those after Turner of ' Notting- ham ' and ' Plymouth ' in the ' Views in England and Wales,' and ' Newark Castle ' in Scott's Poetical Works. COOL, Jan Daemen, of Rotterdam, is a painter of whom but little is known. In 1614, he was ad- mitted into the Guild of St. Luke at Delft ; but by 1618 he had returned to Rotterdam, and in 1623 he married Lysbeth, the widow of the painter Lowys Percelles. In 1652 the governors of the " Old Men's Home" at Rotterdam agreed to receive him into the institution on condition of his paying a sum of 1225 florins and painting a picture repre- senting them assembled together. Cool died there in 1660, and was buried in the church of the insti- tution. The work, which he executed in accord- ance with the agreement, is the only one known to be by him ; and it is only lately that it has been given to its true author. Lamme ascribed it to Aart Mytens ; Biirger gave it to Jacob Backer ; and it is attributed to Daniel M\-tens, the elder, by the catalogue, of 1867, of the Rotterdam Museum, where it has been since its removal from the Old Men's Home in 1849. It is dated 1653, and repre- sents ' Five Governors, clothed in black, ranged round a table.' (See Obreen's 'Archief voor Nederlandsche Kunstgeschiedenis,' vol. I.) COOL, Pieter, a Flemish engraver, flourished about the year 1690. His name is afiSxed to a middling-sized upright plate, representing Christ bearing the Cross, with St. Veronica and other figures, after Martin De Vos. It is executed entirely with the graver, in a coarse, stifE style. COOL, Thomas Simon, a Dutch historical and genre painter, was born at the Hague in 1831. He studied at the Hague Academy under J. E. J. van den Berg, and first distinguished himself by his 'Atala,' exhibited in 1853. He resided in Paris from 1857 to 1860, and in Antwerp from 1861 to 1865. He died at Dordrecht in 1870. COOPER, Abraham, was born in London in 1787. His father was a tobacconist, who afterwards kept an inn at Holloway. but being unfortimate in business, his son was early left to his own resources. For some time he was employed in the mimic battles and pageants at Astley's theatre, then under the management of his uncle Davis. He employed much of his leisure time in making sketches of dogs and horses, and in 1809, without any instruc- tion, succeeded in painting a favourite horse be- longing to Sir Henry Meux so successfully that that gentleman purchased it, and was ever after- wards a liberal patron of the artist. He soon met with further encouragement as a painter of horses, from the Dukes of Grafton, Bedford, and Marl- borough, and others of the sporting nobility and gentry, and many of his works were engraved in the ' Sporting Magazine.' In 1816 he was awarded a premium of 150 guineas by the British Institution (where he first exhibited in 1812) for a picture of the ' Battle of Waterloo.' In 1817 he was elected an Associate of the Royal Academy ; in 1819 he exhibited a fine picture of ' Marston Moor ' ; and in PAINTERS AND ENGRAVERS. 1820 became an Academician. From that time he was a constant exhibitor of pictures, generally of email dimensions, representing groups of horses and animals, field-sports, battle-scenes in the olden time,