life f CORNELL UNIVERSITY LIBRARY FROM 3 1924 031 448 016 olin,anx Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924031448016 A Key to Picture Galleries and Portfolios. A HANDBOOK OF LEGENDARY AND MYTHOLOGICAL ART. BY CLARA ERSKINE CLEMENT. Eighth Edition. i8o illustratiotts. i ptf/., cr. 8w, c/(7/A,"$3.2S. Within 497 pages of an exquisitely printed volume, the author has con- trived to gather a perfect storehouse of facts relative to symbolism in art, and the legends, stories, and ancient myths associated with them The wonderful and touching histories of tlie Christian saints and martyrs are told with a freshness and fullness which give to the book an intrinsic value quite distinct from its ulterior design The preliminary chapter upon "Symbolism in Art" is of rare merit, and indicates most conscientious labor. Indeed the book through its every page bears witness to an amount of hard, earnest, and scholarly work such as few American authors can rival. — Christian Union. PUBLISHED BY HOUGHTON, OSGOOD AND COMPANY, WiNTHROP Square, Boston. TRANSFIGUKATION OP CHRIST. BY RAPHAEL. Vatican. PAINTERS, SCULPTORS, ARGHITECTS,' ENGRAVERS, AND THEIR' WORKS. ^ i^anDboo]^. CLARA ERSKINE CLEMENT, YVoifeA^ AITTHOK OF "A HAlfDBOOK OF LEGESDAEY AND MYTHOLOGICAL ABT." WITH ILLUSTRATIONS Afi CORNELL; rjJJNIVERSiTYl LIBRARY BOSTON: HOUGHTON, OSGOOD AND COMPANY. (H^be Etbereilie Prees, Cambrtlise. 1879. Entered according to Act of CongresB, In the year 1873, by Claba ^rskine Clbmend, in the Office of the Ubrarian of Congress, at WashinetotL RIVERSIDE, CAMBRIDGE; ELECTROTYPED AND PRINTED BT H. 0. HOUGHTON AND COMPANY. To J. MARION SIMS, MY FAITHFUL FKIEND AND PHTSICIAN, S Selrtcate t^ii 3iaak, AS A TOKEN OF KESPECT, GKATITUDE, AND AFFECTION. CLAEA EESKINE CLEMENT. PREFACE TO REVISED EDITION. It is five years since the publication of tliis book, and during that time, both here and in Europe, I have niade many notes which are used in its revision. The indexes are revised and enlarged, and an appendix added giving the prices paid for pictures of more than one hundred and sixty celebrated artists, together with other inter- esting facts connected with the history of some works of art. CLARA ERSKINE CLEMENT. "Clement Fakm," October, 1878. PREFACE TO SECOND EDITION. Foil the convenience of my readers it seems best to explain more fully than has been done the plan of this book. In writing it I had' two objects constantly in mind, namely, that it must be kept within a portable size and a moderate cost. In order to do this, all living artists were excluded, and those not living spoken of with as much conciseness as possible, while few were mentioned whose works do not come in the way of most travel- lers. This last rule when applied to the artists of antiquity takes in a very small number. Of antique paintings we have almost nothing remaining, and of antique sculptures but a small number of well attested originals and some copies. My limits have been exceeded in this respect by adding a few artists of antiquity of whom much is written and said, but whose works are not extant. It is a pleasure to elaborate, to dwell with mi- nuteness upon every known circumstance in the lives of those who have left us works of Art, and this has often been done. Our libraries are rich in such fascinating and valuable books ; but my aim was to give outlines ; to supply the want of a Hand- book for travellers, and a convenient book of reference for all, in which facts may be quickly ascertained, to make a suggestive rather than an exhaustive work, — in short, a book wherein " Th' unlearned their wants may view, The learned reflect on what before they knew." January, 1874. PEEFAOE. When I regard a favorite shelf in my library, and consider how.. exhaustively the subjects of this volume have been treated, I feel inclined to hide it away ; but when I think how many there are in our laud who are as much interested in art and artists as I am, and have not the means to furnish such a shelf, I hope that this book may do something for them. I have also endeavored to make it a book of reference which can be easily consulted and used to advantage in connection with more exten- sive works. Much time and study have been given to its prep- aration, and I have aimed to be conscientiously correct as well as unprejudiced in my decisions between conflicting authorities. The books consulted are too numerous to be named except in part, which will be done at the end of this preface. The book is not necessarily connected with my work on " Legendary and Mythological Art," but the two are so related to each other as to be profitably used together. The arrangement of engraving lists is, so far as I know, unique, and will render it a useful handbook for connoisseurs and buyers. The illustrations are representations of standard works of art, most of which are seen in European galleries and churches. A good number of monograms of painters and engravers are also given. I have endeavored in a small space to speak not only of artists as such, but by various facts and anecdotes to convey an idea of what they were in character and life. Three comprehensive indexes are added, which will increase the convenience and usefulness of the book, and in short, in its entire plan I have adopted the motto of Jan van Eyck, " Als ich chan." Claka Ekskine Clement. Boston, October 14, 1873. AUTHORITIES CONSULTED. D'Aegenvit^le. " Abre'g'^ de la Vio do plus fameux Peintres." D'Agixcoort. " Histoire de I'Art par les Monuments." " AnoKIMO DI M9RELLI." Bermudez. " Diccionario Historico de los mas lUnstres Profesores de las Bellas Artes en Espana." Blanc, Chaele!" The Works of. » Caepentek. " Memoir of Sir Anthony Vandyck.'' V Ctjnninoh iM. " Lives of the most Eminent British Painters." Ceowe and Cavalcaselle. " Early Flemish Painters," etc., etc. Caeton, L'Abbe. " Les Trois Fr^res Van Eyok." Eabtlakb. "Materials. for a History of Oil Painting.'' , DiDRON. " Manuel d'Iconographie Chretienne." Davies. " Life of Murillo." FoBD. " Handbook of Spain." Felibien. " Entretiens sur les Vies et sur les Ouvrages de plus excel- lens Peintres." Gaye. " Carteggio Inedits d'Artisti." Grimm. " Life of Michael Angelo." Heller. "Das Leben und die Werko Albrecht Durers." '* Jameson, Mrs. " Italian Painters." EuGLER. Handbooks of Italian, German, Dutch, and Flemish Paint- ing. Lanzi. " Storia Pittorica dell' Italia." "Leoenda Aurea," The. LuBKE. Histories of Fainting and Sculpture. MicHiEL. " Rubens et I'ifecole d'Anvers." Michiel. " La Peintre Flamande." Maschini " Guida di Venezia." MiLANEsi. " Document! per la Storia doll 'Arte Senese." Merrifiet.d, Mrs. Translation of "Cennino Cennini's Treatise on Paintinv:" NoRTiicoTE. " Life of Sir Joshua l?o.vnolds." Passavant. " Bafael von Urbino," etc. Racztnski. " Les Arts en Portugal." Kumohr.I "Italienische Forschungon." Kambocx. " Umiisse zur veranschaulichung alt Christlichen Kunst in Italien." ScHAFEH. Translation, "Das Handbuch der Malerei vom Berge Athos." X AUTHORITIES CONSULTED. Shaw. " Illuminated Ornametits sketched from MSS., etc.'' Stirling. " Annals of the Artists of Spain." VosMAEE. " Rembrandt Harmens van Rijn." ViLLOT. " Notice des Tableaux du Louvre." Vasari. " Lives of Painters, Sculptors, Architects," etc. "Vermiglioli. Memoir, etc., of Pinturicchio and Perugino. Walpole. " Anecdotes of Painting." WoRNUM. " Epochs of Painting." Dictionaries and Catalogues : Bartsch, Bryan, Elmes, Heineken, Nag- ler, Pilkington, RigoUot, Seguier, Smith, etc. ABBREVIATIONS USED. Card. Cardinal. Cath. Cathedral. Ch. Church. Coll. Collection. S. Saint. GaU. Gallery. Gio. Giovanni. Mus. Museum. Pal. Palace. LIST OP ILLUSTRATIONS. PAOE Tkansfigukatios of Cheist. Raphael. Vatican . FrowHspiece. Apollo Belvedeee. Vatican 6 Laocoon. Vatican 7 Cupids. Francisco Albani 14 Magdalene. Correggio. Dresden Gall 26 Spalatko. Washington Allston 31 The False Playeks. Caravaggio 39 DiRCE. Naples 49 Head of Eoxana. Farnesina, Rome 81 S. Lorenzo Giustiniani. Venice 92 Christ. Gio. Bellini 94 Relief. From Pulpit in Sta. Croce, Florence 97 Milking a Goat. Nicolas Berchem 100 Apollo and Daphne. Villa Borghese, Rome 105 A Glorified Madonna. Berlin Mus. 121 S. JuSTiNA AND Alphonso I. OF Ferrara. Belvedere, Vienna . . 122 Coronation of the Virgin. S. Simpliciano, Milan .... 123 Isaiah. M. Angelo. Sistine Chapel, Rome 150 Moses. M. Angelo. S. Pietro in Vincoli, Rome 157 Adoration of the Magi. Paul Veronese. Dresden Gall. . . . 168 Venus and Mabs. A. Carracci. Farnese Pal., Rome . . . . 194 S. John. Ciinabue. S. Maria Novella, Florence 209 Death of S. Mary op Egypt. Pietro da Cortona .... 225 Group. From a painting by Lucas Cranach 230 S. Lucia. Crivelli 234 Communion of S. Jerome. Domenichino. Vatican .... 247 Picture by G.. Dow. Vienna Gall 252 The Women going to the Sepulchre of Christ. Duccio. Cath of Siena 255 S. Christopher. Albert Diirer 258 The Anchorites. Hubert van Eyck. From the Ghent Painting . . 267 Annunciation. J. van Eyck . ' 268 A Wall-Painting. In the Catacombs of S. CaUxtus, Rome . . . 273 Coronation op the Virgin. Fra Angelico. Acad, of Florence . 276 Madonna. Fr. Francia. Dresden 284 Relief. From Ghiberti's Gate to the Baptistery at Florence . . 296 Zachaeias writing the Name op John. Domenioo Ghirlandaio. S. Maria Novella, Florence 297 The Concert. Giorgione. Pitti Gall 305 Figure op S. John. Giotto. From Painting in S. Maria dell' Arena, Padua 307 From the History op Noah. Bennzzo Gozzoli. Campo Santo, Pisa 313 S. Petronilla. Guercino. Capitol, Rome 319 xii LIST OF ILLUSTRATIONS. PAGE Makbiage a la Mode. Hogarth. National Gall. .... 332 The Burgomaster Meier Madokna. Holbein. Dresden Gall. . 337 Cathedral of S. Mark. Venice. Byzantine Architecture . . 344 Still-Life. Kalf ' . 353 One of the Seven Stages of the Passion of Christ. Adam Krafft 357 Temptation op Christ. Lucas van Leyden .... . 366 SS. Peter and Paul before the Proconsul Felix. Filippino Lippi. Brancacci Chapel 372 S. Ursula. Cath. of Cologne. Stephan Lothener 379 Christ mourned by Angels. Mantegna. Berlin Mus. . . . 388 Peter baptizing. Masaccio. S. Maria del Carmine, Florence . . 395 The Misers. Q. Massys. Windsor Castle 397 S. Ursula landing at Cologne. Hans Memling. Shrine of S. Ui-sula 402 A Sportsman. Metsu. Afthe Hague 406 S. John. Murillo. Madrid Mus 418 Marble Copy of Myron's Bronze Disk-Thkower. Massimi Pal., Rome 423 Samson overcoming the Lion. Master Nicolaus. Kloster-Neuberg 428 Beggars beseeching the Angel of Death to take them. Attrib- uted to Orcagna. Campo Santo, Pisa 432 Coronation of the Virgin. Imhoff Altar-piece, Nuremberg . . 438 The Three Graci'-s. Palma Vecchio. Dresden Gall. . . . 441 Relief on a Baptismal Basin. Lambert Patras. S. Barth^lemy, Lifege 446 Madonna. Perugino. Pitti Gall., Florence 460 Raising of Lazarus. Sebastian del Piombo. National Gall. . . 457 Adoration of the Kings. Niccolo Pisano. Pulpit in Baptistery at Pisa 459 Head of Juno. Ludovisi Villa. Rome 483 The Descent from the Cross. Fra Bartolommeo. Pitti Gall. . . 465 Moses at the Spring. N. Poussin 467 A Satyr. After Praxiteles. Capitol, Rome 469 Rape of Ganymede. Rembrandt. Dresden Gall 489 The Aurora. Guido Reni. Rospigliosi Pal., Rome . . _ . . 497 Leak, a Study. Sir Joshua Reynolds 502 Madonna in Terra-Cotta. Luca della Robbia 510 Children. Rubens. Berlin Gall. 524 Bronze Group of the Baptism of Christ"^ Andrea Sansavino . 536 The Entombment of Christ. Jacopo Sansavino. From the Bronze Gate of the Sacristy of S. Mark, Venice 538 Madonna. Andrea del Sarto . . . 540 From the Last Judgment. Signorelli. Cath. of Orvieto . . 550 Picture. By Teniers. Madrid Gall. 563 Allegorical Picture. Tintoretto. Doge's Pal., Venice ... 570 S. Sebastian. Titian. Vatican ....:... 573 The Children of Charles I. Vandyck. Dresden Gall. . . 587 Portrait. Velasquez 598 John, Peter, and Judas. Da Vinci. Milan 608 Tomb of S. Sebald. P. Vischer. Nuremberg . . . . 613 Relief from the Tomb of S. Sebald. P. Vischer. Nuremberg . 614 The Sibyl and the Emperor Augustus. R. van der Weyden. Berlin Mus 620 Shed with Horses. Philip Wouvermans 625 PAINTERS, SCULPTORS, ARCHITECTS, ENGRAVERS, AND THEIR WORKS. A. Aalst or Aelst, Evert or Everhard Van, born at Delft (1602- 1658). Painted dead birds, game, instruments of the chase, armor, vases, etc., with great exactness in detail. He sometimes used a clear or white ground, which is very effective. His characteristics were truthfulness and heaviness of tone. Dresden Gall., Nos. 1126, 1127; Berlin Mus., 921, 936. Aalst or Aelst, Wilhelm or ■William Van, born at Delft, 1620; died at Amsterdam, 1679. The nephew and pupil of Everhard, whom he much excelled. He also painted still life, dead birds, oys- ters, herrings, etc. His favorite subjects were fruit and other eat- ables, with accessories of glass and rich vessels of gold and silver. He spent some years in France and Italy. Was employed by the Grand Duke of Tuscany, who presented him with a gold inedal and chain. He returned to Holland in 1656, where his works were in great demand. They are of exquisite polish and finish. Dresden Gall., Nos. 1128, 1129, 1130 ; Berlin Mus., 975. Abate, Andrea, called Belvedere. Said to have died in 1 732 ; but there are reasons for believing that .he died several years earlier than that time. He was a Keapolitan, and excelled in painting flowers, fruit, etc. He was employed by Charles II. of Spain, and. together with Luca Giordano, who painted figures, executed a part of the ornainentation of the Escurial. Abbate, or dell' Abate, Niccolo. Called also Niccolo da Modena. Born at Modena, 1509 ; died at Paris, 1571. He was a pupil of Bega- relli, and, it is supposed, of Correggio, which opinion is confij'med by his knowledge of foreshortening. Algarotti enumerated him " among the first that had adorned the world." His frescoes in Bo- logna were models for the Caracci ; and Agostino Caracci said in a sonnet, that in Niccolo. were united the symmetry of Raphael, the terror of Michael Angelo, the truth of Titian, the dignity of Cor- reggio, the composition of Tibaldi, and the grace of Parmigianino. 2 ABBATK — ABSHO VEN. At the Castle of Scandiano he executed twelve scenes from the iEneid, which are now in the Florence Gallery.^ He painted his fres- coes so correctly that he seldom retouched them ; this was the secret of his beautiful coloring. At Bologna he painted a beautiful " Na- tivity " in the portico of the Lions, and in a frieze in the hall of the Institute his celebrated " Conversazione," of ladies and youths. In 1552 he accompanied Primaticcio to Fontainebleau, and painted thirty-eight scenes from the history of Ulysses, from the designs of that master. After Primaticcio died, Niccolo was employed by the French court during his life. His "Beheading of S. Paul" is at Dresden; and " The Rape of Proserpine," with a "rich, fantastically lighted landscape," is at Stafford House Gall. Abbiati, Pilippo, born at Milan (1640-1715). Pupil of " il Pan- filo." A man of great talent and powers of invention; well fitted for colossal labors. He competed with Federigo Bianchi, at Milan, in painting the ceiling of S. Alessandro Martire. One of his best works was the " Preaching of S. John the Baptist," at Sarono. Abbot, Lemuel, born at Leicestershire, England ; died 1803. Pupil of Francis Hayman. Truthfulness was his characteristic, and por- traits of men his best works. Those of " Cowper " and "Lord Nelson " were especiallj- fine. Abel de Pujol, Alexander Denis, born at Valenciennes (1787- 1861). Succeeded Gros, and became a member of the Institute in 1835. He painted " The History of Joseph" on the ceiling of the Antique Museum of the Louvre. In Notre Dame an altar-piece, " The Burial of the Virgin," and "The Preaching of S. Stephen," in S. Btienne du Mont, are by this master. Abel, Joseph, died at Vienna (1768-1818). Pupil of Fiiger. He was employed by the Czartorysky family. He passed six years in Eome, and gained a reputation by his pictures illustrative of ancient history and Greek poetry. At Vienna he painted large historical subjects and decorated the theatre. . Abildgaard, Nikolai, born at Copenhagen (1744-1809). He has been called the best painter of Denmark. His principal pictures were subjects taken from the ancient poets. When the palace of Christianborg was burned in 1794, some of his best works were de- stroyed. Fiissli relates that this so aifected his mind that he painted but little afterwards. Abahoven, or Apshoveu (1648-1690). Kugler calls him Mi- chael ; he is also called Theodore van Abshoven, and F. van Ap- shoven. He was a favorite scholar and successful imitator of David Teniers the younger. His pictures, like those of his master, repre- sent village festivals, scenes from peasant life, etc. They are fre- quently seen in Flanders, where they are placed in the best collec- tions. Dealers in pictures have been in the habit of caking his name from his works and substituting that of Teniers. ACEVEDO — ADRIANO. 8 Acevedo, Cristobal, born at Murcia. Pupil of Bartolomd Cardu- cho at Madrid in 1585. He painted at Murcia for tlie chapel of the college of S. Fulgencio a picture of that saint adoring the Virgin, and some other works for convents, which prove him to have been a good artist. « y| • Achen or Ach, Hans Van, born at Cologne j VVI YY 1552; died at Prague 1615. A pupil of Jer- ^ righ, afterwards an imitator of Bartholomew Spranger. He passed some time in Italy, and after his return was employed by the courts of Cologne and Prague. Specimens of his ecclesiastical pictm-es are to be seen in the ch. of Our Lady, and in the Jesuit ch. at Munich, where he painted the "Resurrection of Christ," and the " Finding of the True Cross by S. Helena." Three of his pictures are in the Vienna Gall.: " Bathsheba Bathing," after the style of Tintoretto ; " Bacchus with Venus ; " and " Jupiter and Antiope." Aohtsohelling, Lucas, born at Brussels (about 1570-1631). Pupil of Louis de Vadder. Painted landscapes, which are highly esteemed in the Low Countries. Three large works of his are in the collegiate ch. of S. Gudula at Brussels. Acosta, Cayetano, born in Portugal (1 710-1 780). It is not known under what master he studied, if at all, but he settled in Seville, calling himself a sculptor. He made a high altar for the collegi- ate eh. of San Salvador, in which he disregarded all architectural rules. Here, as in other places, a more beautiful structure was re- moved to make way for his. The barefooted friars of Mercy em- ployed him to carve three figures to replace those of Montaiies ; and Cean Bermudez asserts that even the inestimable works of Alonso Cano were put aside to be replaced by the deformities of Acosta. He left a son and nephew, also wood-carvers, and no better than himself. Adda, Conte Francesco d', born at Milan, died 1550. An ama- teur painter of small pictures on panels and slate, for private cabinets. He imitated Leonardo da Vinci. An altar-piece in the ch. of S. Maria delle Grazie at Milan, is attributed to him. Adolfi, Giaoomo, born at Bergamo (1682-1741). In the ch. of the monastery Del Paradiso, at Bergamo, is his picture of the " Crownino' of the Virgin," which is considered one of his best; that of the " Adoration of the Magi " is in the ch. of S. Alessandro della Croce. Adolfi, Giro, born at Bergamo (1683-1 758). Brother of Giacomo. Distinguished himself in fresco painting in the edifices of Bergamo. The "Four Evangelists'' in the ch. of S. Alessandro della Croce, and the "Deposition from the Cross " in S. Maria delle Grazie, are his principal works. The " Decollation of S. John," by this master, in the church at Colognola is also admired. Adriano. A barefooted Carmelite of Cordova. Pupil of Paul 4 ADRIANO — AETION. de Cespedes. His convent had for a long time a Magdelene by Adriano, which was considered a Titian. He was in the habit of destroying his works because they seemed to him so inferior. But his brethren have preserved a few by interceding in the names of .souls in purgatory, a fraud easily forgiven' by flie lover of art. He left a great name ; " great in art, and still greater in piety." Adrianssen, Alexander, born at Antwerp (1625-1685). An ex- eilient painter of still-life. He painted fish remarkably well. Berlin Miis., Nos. 922, 952, and 240. Aelst, Everhard Van. See Aalst. Aelst, Wilhelm Van. See Aalst. Aerts, Richard, born at Wyck 1482; died at Antwerp 1577. Son of a poor fisherman. When a boy his leg was so badly burned, as to necessitate amputation. During his confinement he manifested such a talent for sketching, that he was placed with an artist to study, — John Moestaert, the elder, of Haerlera. He became one of the ablest artists of his time. His fu-st works after leaving school, were two scenes from the life of Joseph, painted on the folding panels of an altar-piece in the great ch. at Haerlem. He removed to Antwerp, and was admitted to the Academy there in 1520. Aertszen, Pieter, called Lange Peer, born at Amsterdam. Writers differ as to the year of his birth, 1507-17, and 19, are all given. Died at Amsterdam in 1573. He was a pupil of Allard Claessen. When quite young he painted genre pictures, which were spirited and well colored. He then applied himself to Scriptural subjects. He painted numerous large altar-pieces in Amsterdam, Delft, Louvain, etc. These were destroyed by the Iconoclasts in 1666. One of his most celebrated works was an altar-piece for the ch. of Our Lady at Amsterdam. It was a triptych, the centre compartment represented the " Death of the Virgin Mary," with the Nativity and the Adoration of the Magi upon the folding panels. For this he is said to have received two thousand crowns. Michael Coxie of Mechlin, a great artist, was askedi to paint an altar-piece for a new church in Amsterdam, but when he saw the works of Aertszen he refused, saying that they had no need of him while they had such an artist in their own city. He sometimes painted market scenes, one of which is in the Vienna Gall., Antwerp Mus., No. 159 ; Berlin Mus., No. 726. His three sons, Peter, Arnold, and Theodore, were all painters. Action. A Greek painter, sometimes said to have lived in the time of Alexander ; but Lucian, in his account of him, distinctly says that he did not live in ancient times, and it is generally believed that he was of the time of Hadrian and the Antonines. His great work described by Lucian, represented the " Nuptials of Alexander and Roxane," with Erotes bus/ about them, and the armor of the kino-. This picture excited so much admiration when exhibited at the AETION— AGASIAS. 5 Olympic games, that Proxenidas, one of the judges, exclaimed, " I reserve crowns for the heads of the Athletae, but I give my daughter in marriage to the painter Aetion, as a recompense for his inimitable picture." This painting was carried to Rome, where Lucian saw it. Aetion seems to have excelled in the art of mixing and laying on his colors. Afesa, Pietro. Flourished about 1650. Was called della Basili- cata, because a native of the province of that name, a part of the kingdom of Naples. His works are in many churches and convents of Naples. One much esteemed is in the chapel of the monastery at Marsieo Nuovo, and represents the " Assumption of the Virgin Mary." Dominici mentions Afesa very favorably. Agabiti, Pietro Paolo, born at Sassoferrato. Some of his works are in that place, in the ch. of S. Agostino, and are dated 1514. Agaptos. Spooner says that " According to. Pausanias, Agaptos, a Grecian architect, invented the porticoes around the square attached to the Greek stadii, or racecourses of the gymnasiums, which gained liim so much reputation, that they were called the Porticoes of Agap- tos, and were adopted in every stadium." Agar,' Jacques d', born at Paris 1640; died at Copenhagen 1716. He was a scholar of Simon Vouet, but became a portrait painter. He went to England and painted many of the nobility of the reign of Queen Anne. He was afterwards invited to the Danish court, where he was much patronized. His portrait, painted by himself, is in the Florentine Gall, of Artists. Agasias. . Sculptor of Ephesus. Three Ephesians of this name are mentioned. Agasias, son of Dositheus, whose name is on the Borghese " Gladiator ; " Agasias, son of MenophUus, a sculptor in the island of Delos when it was under Roman sway, about 100 b. c. ; and Agasias, father of Heraclides, on a statue in the Louvre, 411. This was probably the name of an Ephesiatl family of artists, or had been made famous by one great master. The Borghese " Gladiator," Louvre, 304, and the " Apollo Belvedere ' ' were discovered ^mong the ruins of a palace of "the Roman Emperors at Antium. From liie attitude of the so-called " Gladiator," it is plain that it represents a warrior contend- ing with a horseman. Miiller thinks it may have been taken from a large battle group, in order to finish it with greater refinement of art. Thiersch thinks it may be Achilles contending with Penthesilea. This Agasias probably lived about 400 b. c. The sculptor of the ApoUo Belvedere is not known. Until recently it has been thought that the god held a bow ; but the discovery of a statuette, which* agrees with it in all essential points, has afforded a much more satisfactory explanation of the action represented. It is that he held the M^s with the Gorgoneia, which had a paralyzing effect, and waslentto Apollo by Jupiter, according to Homer (" Biad," xv. 318, et seq.). Ludwig Preller believes that this statue represents Apollo in 6 ■ AGASIAS — AGATHAKCUS. the battles with the Gauls before Delphi. Liibke says : " Not till now have we understood the Apollo Belvedere Ardently ex- cited, and filled with divine anger, with which is mingled a touch of triumphant scorn, the intellectual head is turned sidewards " (see figure), "while the figure with elastic step is hastening forwards. The eye seems to shoot forth lightning ; there is an expression of con- tempt in the corners of the mouth ; and the distended nostrils seem to breathe forth divine anger." APOLLO BEI.VEDEEB. Vatican. , Agatharcus, an Athenian painter. Vitruvius says he was the in- ventor of scene-painting, and painted a scene for a tragedy which iEschylus exhibited. This contradicts Aristotle, who says that Sophocles introduced this art. Dr. Smith thinks that probably scene-painting was introduced towards the close of the career of .Slschylus, but was not in general use until the tim'e of Sophocles. There was another Greek painter named Agatharcus, of the time of Alcibiades, who had no great merit, and prided himself chie% on the rapidity with which he worked. AGELADAS — AGESANDKK. 7 Ageladas, native of Argos. Distinguished as a sculptor, and the instructor of the three great masters, Phidias, Myron, and Poly- cletus. The contradictory statements of the writers who mention this name, have given rise to much discussion as to when he lived, all of which has resulted in the opinion that there were two sculptors of this name. The instructor of Fhidias, the Argive, was most emineht, and was born about 540 b. c. The other a native of Sicyon, who flourished in the 87th 01. as mentioned by Pliny, or about 432 b. c. Agesander, native of the island of Rhodes. Pliny is the only writer who speaks of him, and but one work of his is known, — the ' ' Laocoon ' ' of the Vatican. In this he was assisted by Polydorus and Athenodorus. Another statue, found at Antihm, shows that Atheno- dorus was the son of Agesander. It is thought not unlikely that Polydorus was also his son, and that the figure of Laocoon was exe- cuted by the father, and the remaining figures by the sons. This group was found near the baths of Titus, on the Esquiline Hill, in 1606. It is considered a most perfect work by all competent judges, and is very wonderful from the fact, that while it portrays the mtost intense suffering in every feature, limb, and muscle, it still has 'the sublime repose of true Grecian art. LaOCoon was a priest of Apblte,' 8 AGESANDER — AGNOLO. and had committed some crime against that god, who sent two im- mense serpents from the island Tenedos to kill him just as he was offering a sacrifice, assisted by his two sons. Laocobn had opposed the reception into Troy of the horse left by the Greeks ; and his death was believed by the Trojans to be a divine punishment for this ; therefore a breach was made in the walls and the horse admit- ted ; thus the death of the priest decided the ruin of Troy. Agi, Andrea Cardelle. The Berlin Museum has a, marriage of S. Catherine which is attributed to this painter. The expression is good. A small " Madonna " by him which was in the Beckford Coll., was remarkable for its fused execution. Aglaophon. Greek artist, native of the island of Thasos. The father and teacher of Polygnotus. He had another son, Aristophon. He probably lived about 01. 70 (b. c. 500). Quintilian praised his coloring. Pliny speaks of a younger Aglaophon, contempora- neous with Alcibiades. He was probably the son of Aristophon, as the Greeks bore the name of the grandfather rather than the father. In one picture this artist represented the presiding geniuses of the Olympic and Pythian games, Olympias and Pythia, as crowning Alcibiades, and in another, the genius of the Nemean games held Alcibiades in her lap. Alcibiades could not have won any victories which merited these honors before 01. 91 (b. c. 416). It is said that this Aglaophon is the first artist who represented Victory with wings. Aglio, Andrea-Salvatore di Antonio di Arzo, born at Lugano (1736-1786). Said to have discovered the method of fixing colors on marble. Agnolo, Sienese sculptor. See Agostino and Agnolo. Agnolo, Baccio d' (1460-1543). In his youth he was an ex- cellent artist in inlaid works. He executed some fine things in wood for the churches of S. Maria Novella, and the Nunziata at Flor- ence. Tliese last were removed when the Nunziata was re-adorned. After studying zealously at Rome, he returned to Florence, where he became a great architect. He erected several arches of triumph when Pope Leo visited that city. His work-shop, which he seldom left, became the rendezvous of artists and the young men of Florence, as well as strangers there, and in it many discussions were held. At length after he had proved his ability, the most magnificent buildings were committed to his care. He assisted with other architects to construct the Great Hall of the Palace, and carved with his own hand the frame-work for the large picture sketched by Fra Bartolomeo. He also took part in the erection of the steps leading to tlie Hall now called that of the Dugento, and also the marble doors to the same. On the Piazza di Santa Trinity he constructed a palade for Gio. Bartolini. This was ridiculed in sonnets, and every way, be- cause of its unusual style, and festoons of foliage hung on it as on AGNOLO — AGORACKITUS. 9 a church during a festival. This drove Baccio ahuost insane, but he knew the work was good, and he had his revenge by carvinw this inscription above the door, Carpere prompliwt quant imitari. He then "built many other beautiful palaces ; and for Giovan-Maria Benintendi made a frame-work for certain pictures which was esteemed ex- traordinarily beautiful. He made the model for the ch. of S. Giu- seppe at S. Onofrio, and erected its portal. This was his last work. He directed the work of the Campanile of Santo Spirito of Florence, but he did not finish it. He also built the bell-tower of S. Miniato-in-Monte. He was at length appointed architect of S. Maria del Fiore, and made a model for the gallery encircling the cupola, but Michael Angelo so criticised it, that a discussion was held before competent judges, and in the end neither plan was adopted. Baccio then attended to the pavement of S. Maria del Fiore and to the care of many other buildings that were trusted to him. He was eighty-two years old when he died. He was buried in S. Lorenzo. His three sons, Giuliano, Filippof and Domenieo were all artists. Agnolo, Giuliano, son of the preceding, gave much of his atten- tion to architecture, and by the favor of the Duke Cosimo he suc- ceeded to his father's office at S. Maria del Fiore, and finished what he had there commenced, as well as in many other buildings which Baccio had left unfinished. He made at Pescia a beautiful tomb, which was surrounded by a chapel, for Messer Baldassare, and also restored his house and furnished it. He built a house at Montughi, a short distance from Florence, for Messer Francisco Campana, and at Colle another house for the same Campana, and a most magnifi- cent palace al Tedesco for Messer Ugolino Grivoni, Signor of Alto- pascio. But space would not allow the enumeration of all his works. He was associated also with Baccio Bandinelli in various affairs, one of which was the reconstruction of the great hall in the ducal palace, which was a failure, according to Vasari ; another was the choir in S. Maria del Fiore, etc., etc. He also made couches, picture-frames, and various wood carvings Died 1555. Agnolo, Domenieo. He excelled Giuliano in wood-carving, and was a reputable architect. He completed the terrace for the house of the Nasi family, which his father had commenced, and executed several good architectural works. He promised to excel both his father and brother, but died before he reached his prime. Agoracritus, born in the island of Paros. Scholar of Phidias. Brass-caster and sculptor. He was so much the favorite of Phidias, that the master is even said to have put the name of this disciple upon some of his own works. Four of the wofks of Agoracritus are mentioned by different authors : namely a statue of Zeus ; a statue of the Ionian Athene, in the temple dedicated to her at.Athens ; a statue in the temple of the great goddess at Athens, probably a Cybele ; 10 AGORACKITUS — AGOSTINO. and the Rhamnusian Nemesis. It is said of this last that it was orio-inally a Venus, for Agoracritus and Aleamenes contended with each other in making a statue of that goddess, and when the Athe- nians gave the preference to the statue of Aleamenes, AgoracrituS changed his to a Nemesis, and sold it to the people of Ehamnus, making the condition that it should not be set up in Athens. Al- though this story is often repeated, it is not known to be true, and Fausanias says that this same Nemesis was the work of Phidias ; but be that as it may, there is no doubt that Agoracritus was a great sculptor from 440 to 428 B. C. and the other works attributed to him were undoubtedly his own. Agostino and Agnolo, Sienese sculptors, died 1348 and 1350. In 1284 Giovanni Pisano visited Siena to prepare designs for the Cathedral. Agostino, said to have been at this time about fifteen years old, became his pupil. So great was his talent, and his apph- cation to study, that he soon surpassed his co-disciples. Meantime his young brother, Agnolo, had made some secret attempts at sculp- ture, and from constant intercourse with Agostino and other artists had acquired a love for their art. At length Agostino prevailed upon Giovanni to employ Agnolo, together with himself, in executing a marble altar for Arezzo. Agnolo so acquitted himself, that Gio- vanni continued to employ the two at Pistoja, Pisa, etc. Tliey also studied architecture, and in 1308 were employed by the Nine, who ruled Siena, to make designs for a palace. When Giovanni died they were appointed architects to the State, and in 1317 directed the building of the north front of the Cathedral. After designing the Porta Romana and other gates, a church, convent, etc., they were invited to Orvieto by the Tolomei family, and there executed sculp- tures for the ch. of S. Maria. In 1326 Giotto visited Orvieto, and pronouncing the Sienese brothers the best sculptors who had worked there, recommended them to Piero Saccone da Pietramala, as the best persons he could employ to construct the tomb of Guido, bishop and lord of Arezzo. This work they did after the plan of Giotto, which occupied them three years. The tomb was very beau- tiful, and was adorned with sixteen relievi, representing the principal events in the life of Guido. They then executed an altar for the eh. of S. Francisco at Bologna, and when the Pope promised to remove to that city, these sculptors were employed to make designs for the castle fortress to be built for his reception. While they were at Bologna the Po burst its banks and caused . great destruction of life and property. These brothers found means to reconduct it to its channel, and for this were honorably rewarded by the lords of Mantua, and the house of Este. In 1338 they returned to Siena, where a new church was erected after their designs, and they were employed to construct a fountain on the principal piazza of the city. This was successfully done, and the water let on June 1, 1343, greatly AGOSTINO — AGUIRHK. • U to the joy of the Sienese, and the glory of the artists. After several other w<»rks in Siena, Agnolo went to Assisi to build a tomb, while Agostino remained at Siena in the service of the state, where he soon after died. . It is not known where Agnolo died. Agresti, Iiivio, calle'd also Livio da Forli, from the place of his birth, the date of which is not known, died about 1585. He was a fellow-student with Luea da Ravenna under Pierino del Vaga at Rome. Vasari calls him the rival of Luca. There are works of Agresti in many churches and public buildings at Rome. In S. Caterina de Funari he painted an " Annunciation" and " SS. Peter and Paul." In a chapel of S. Spirito in Sassia, the " Assumption of the Virgin." Pope Gregory XIII. employed him to assist in the great works at the Vatican, where he painted a fresco in the grand stair- case, representing the submission of Philip of Arragon to Pope Eugenius III. But his best works are in Forli. In a chapel of the Cathedral he painted the " Last Supper," and in the vault some fine figures of the prophets. He also painted seven pictures on cloth of silver, to be used as hangings for the Card, of Augusta, who sent them as a present to the King of Spain, in which country they were thought very beautiful. He also painted a picture on cloth of silver for the ch. of the Theatines in Forli. Agricola, Christopher Ludwig, born at Regensburg (1667-1 719). Portrait and landscape painter. He studied principally from nature when travelling, and his pictures resemble those of Foussin. He lived some time at Naples, and some of the pictures he_ painted there were carried to England. In the Dresden Gall, there are two works of his, Nos. 1784 and 1785. The Vienna Gall, has one of his finest landscapes, representing the ruins of a monument and the pillars of a temple, seen between the trees. Agua, Bernardino del, a Venetian painter. He executed frescoes in the cloister of the court of the Evangelists at the Escurial. These he did under the direction of Tibaldi, and after the sketches of that master, who attributed the defects in them to the haste with which Philip II. would have them done, rather than to any fault of Agua. Agiiero, Benito Manuel de, born at Madrid (1626-1670), pupil of Martinez. When Philip IV. visited- the studio of that master he was attracted by Aguero's wit as much as by his artistic powers. He painted a " 8. Udefonso " fOr the nuns of S. Isabel, which was like Titian in color. His usual subjects and those in which he ex- celled were battle-scenes and views of cities. Aguiar, Tomas de, a gentleman of Madrid, — flourished about 1660. He acquired considerable reputation for srfiall pictures in oil. He painted the portrait of Antonio de Solis, who in return wrote an extravagant sonnet in praise of Aguiar. "Aguirre, Francisco de, a pupil of Caxes. He was a portrait- punter and restorer of pictures, to which last profession he espe- 12 AGUIRRE — AKERS. tially devoted himself. He commenced at Toledo in 1646, and was employed to restore the pictvires in the Cathedral. Like many others who have done like work, he did not adhere to the original, but introduced his own ideas, thus destroying the true value of the paintings. Ainemolo, Vincenzo, born at Palermo, died 1540. The most important Sicilian artist of the sixteenth century. It is believed that he went to Naples, where he studied the style of Perugino. He went at length to Rome, and became famous as an imitator of Raphael. His works are mostly in Palermo, and the best one represents the ' ' Virgin and Child " between four saints. It is in the ch. of S. Pietro Martire. At S. Domenico there is a " Descent from the Cross," which is, in some of its figures, almost a copy of Raphael's " Spasimo di Sicilia." In several other churches of Palermo, and in its gallery, there are works of this artist. Aikman, Williain, born in Aberdeenshire (1682-1731). He studied law, but in 1707 left Scotland, and travelled extensively on the Continent, and in the East. He next spent some years in Rome, and studied painting under Sir John Medina, and then established himself as a portrait-painter in Edinburgh. He had no success, and in 1723 removed to London, where l^e became the friend of Sir God- frey Kneller, whom he imitated. His career was short. There is a head of Gay by Aikman, which is good. He had good literary parts, and was the friend of Allan Ramsay, and of Thomson, who wrote his elegy. He was taken to Scotland for burial. Aken, Joseph van, died in London 1749. A Flemish artist, he passed most of his life in England, Snd painted on velvet and satin with great success. He was often employed by other artists to paint figures in landscapes, in which he was very skilful. Akerboom. Dutch painter of interiors, who flourished about the middle of the seventeenth century. His pictures are very highly finished. Akers, Benjamin, called also Paul, born at Saccarappa, Maine, 1825, died at Philadelphia, 1861. His father owned a saw-mill, in which as a boy he spent much time. His most striking characteris- tics were intense attachments to persons and places, and extreme love of adventure and travel. When at work in the saw-mill, by means of a turning lathe, he made beautiful toys, and specimens of ornamental wood-work, from original designs. He invented a shin- gle machine, which is now in use. He went to Portland and tried to be a printer. He also attempted to paint, but it was not until his attention was attracted to a plaster cast that his true vocation was revealed to him. He went in 1849 to Boston and was instructed in plaster-casting by Joseph Carew. He returned home, and after a iEew attempts at moulding, in a good degree successful, he opened a studio in Portland with Tilton, the landscape-painter. During the AKERS — ALBANI. 13 two following years he made several portrait busts, so excellent as to establisli his reputation. In 1852 he went to Florence, where he passed a, year in study and labor. Returning home he made his "Benjamin in Egypt," whicli was burned in the Portland Ex- change. He passed a winter in Washington, where he made models for portrait busts of many eminent men. Some medallions also, which were much admired, especially that of Samuel Houston. He modelled a head of " Peace," and visited Providence, R. I., to execute commissions in portrait busts. In 1854 he went to Rome, and finished in marble the heads modelled in America. He copied works in the Vatican to fill American commissions, and also executed several original designs-; " Una and the Lion," "Diana and En- dymion," "Girl pressing Grapes," "Isaiah," "Schiller's Diver," and the " Reindeer," being those most admired. He then went to Venice, Switzerland, Paris, and England, and again to Rome, where he made a colossal head of Milton, the "Lost Pearl Diver," and " Saint Elizabeth of Hungary," which last was often repeated for his American admirers and patrons. He was never strong, and his health now failed. He came to America, but was obliged soon to seek a milder climate. He returned to Rome, and the last work he did there was a medallion likeness of his wife. In 1860 he came again to America, and went to pass the winter in Philadelphia. He devoted himself to his loved art as much as his failing strength would allow, and left the head of a cherub still unfinished when he died. His religious and sensitive character acquired for him from his young companions the nickname of ». Paul. By this name he ' ' became endeared to his friends and knojirn to fame." His love of Nature and of children was intense. " It makes no diflf'erence," he would say, " what happens to me, so long as I can hear sparrows sing and see .children roll on the grass." His literary attainments were fine, as is proved by his paper on " Art-expression " and " The Artist Prisoner." Many of his writings have never been given to the pubhc. Alba, Macrino d' or Giangiacomo Pava. Lived mostly at Turin, and flourished about 1500. In the Stadel Institute at Frank- fort, there is a picture of the "Madonna," with the histories of Joachim and Anna on folding side panels, by this master. It is " dignified and ful>of character." Albani, Francisco, born at Bologna (1578-1660). Son of a silk merchant. His father desired to bring him up to his own profession, but his decided art-genius so asserted itself that he was placed in the academy of Denys Calvert, where Guido Reni was a pupil. Albani and Guido became friends, and when the latter went to Rome and entered the school of the Caracci, Albani quickly followed. Here his talent soon brought him to notice, and there are many of his works in Rome. When Annibale Caracci was employed on the 14 ALBANI. frescoes of S. Giacomo degli Spagnuoli, he fell sick, and by his recommendation Albani was selected to finish them. He also painted the mythological frescoes in- the Verospi (now Torlonia), palace. In the.Borghese Gall., and at Turin, are his famous pictures of the "Four Elements." He also painted for the Duke of Mantua the stories of " Diana and Actajon," and " Venus and Cupid." Returning to Rome, he painted the large pictures in the Tribune of the Ma^ donna della Pace and the "Martyrdom of S. Sebastian" in the church of the same name. His best religious works at Bologna are the " Baptism of Christ " in S. Giorgio, the "Annunciation " in S. Barto- lomeo, and the " Resurrection "in S. Maria de Galeria. But his best pictures are those of mythological and fanciful subjects, in which both figures and landscapes were well done. Beauty was his characteristic rather than power. Lanzi calls him the Anacreon of painting, and says, " Like that poet with his short odes, so Albani from his small pictures acquired great reputation, and as the one sings of Venus and the Loves, and maids and boys, so does the artist hold up to the eye the same delicate and graceful subjects." He had every advan- tage in his own home for the perfection of such pictures. His villa was well situated, and afforded him lovely views of nature. EKs wife was beautiful, and bore him twelve children, so lovely that not only he, but the sculptors Algardi and Fiammingo are said to have used them as models. The works of Albani are in almost every large gal- /, .-^"0 / .--~\ ,-- ^sJ^fe CUPIDS. BY ALBANI. lery, for he either painted duplicates, or caused his scholars to paint those to which he put the finishing touches. The " Toilet of Venus," ALBANI. 15 at the Louvre, and the " Landing of Venus at Cytherea," in the Chigi Palace at Rome, are among his finest works. Ontj of his oft- repeated and pleasing subjects is the " Infant Christ " asleep on the cross. ENGRAVINGS AFTER THE W0KK8 OF ALBANI. Engraver, Aguila, Francisco Faraone. The Last Supper. Engraver, AudrAn, John. Infant Saviour regarding the Cross presented by Angels. Engraver, Aveline, Peter. The Wrath of Neptune. Inscribed, Quos ego. Engraver, Avril, Jean Jacques. Diana and Actseon ; The Bath- ers surprised. Engraver, Bartoli, Pietro Santi. The Birth of the Virgin. Engraver, Baudet, Stephen. The Virgin teaching the Infant Jesus to read ; The Woman of Samaria ; Four plates of the Loves of Venus and Adonis ; Four circular prints of the Four Elements. Engraver, Bona vera, Domenico Maria. The Baptism of our Saviour by S. John. Engraver, Canale, Giuseppe. Adam and Eve driven from Par- Engraver, Chateau or Chasteau, WilUam. The Baptism of Christ by S. John. Engraver, Crept or Chespy, John and Louis. The Nativity. Engraver, Daullb, John. A Charity with Three Children. Engraver, Duflob, Claude. The Annunciation. Engraver, Fariat or Farjat, Benoit. The Holy Family with S. John. Engraver, Fuey, James. A Charity with Three Children ; The Rape of Europa. Engraver, Fbezza, Giovanni Girolamo, The , Gallery of the Verospi Palace. Seventeen plates. Engraver, Hainzelmann, Elias. Christ appearing to Magdar lene. Engraver, Landry, Peter. Christ and the Woman of Samaria. Engraver, Lasne, Michael. The Virgin in the Clouds, with a crescent; oval. Engraver, MoLA, Pietro Francisco. Holy Family with Angels presenting Flowers to the Infant Jesus. Engraver, Mola, John Baptist. Cupid in a Car, drawn by Loves. Engraver, Picart, Stephen. The Ecce Homo, with Three Angels. Engraver, Vai-et or Vallet, WilUam. The Holy Family, called La Laveuse. Engraver, Vouillemont, Sebastian. Marriage of S. Catherine. 1 6 ALBANl — ALBERTINELLI. Albani or Albanb, Gio. Baptiste, died 1668. Brother of Fran- cisco, whom he imitated so closely that his pictui-es were sometimes , mistaken for his. AlberelU, G-iacomo, born at Venice (1600-1650). Pupil of Ja- copo Palma, the younger, with whom he painted thirty-four years. Several pictures by Alberelli are in his native city, the most esteemed being the "Baptism of Clirist " in the ch. of the Ognissanti. Alberioi, Enrico, born at Vilminore in Bergamo (1714-1775). Pupil of Ferdinando Cairo of Brescia. He had a good reputation, and painted his principal pictures for the ch. Dei Miracoli, at Brescia. AlbertineUi, Mariotto, born at Florence (1474-1515). His father placed him with a goldsmith, but he determined to be a painter, and entered the school of Cosimo Rosselli, where he was the intimate friend of Baccio della Porta, called Fra Bartolommeo. Mariotto imitated Baccio so closely as to render it difficult to distin- guish between the two, especially in some works wliich they did in ■ company, and he was called a second Bartolommeo. After they left Rosselli they dwelt together. Mariotto became the protege of the wife of Pietro dei Medici, and painted for her several pictures, besides her own portrait. Wlien Pietro was banished, Mariotto returned to the house of Baccio. When the latter became a monk, Mariotto was almost insane with grief, and could interest himself in nothing. Baccio had left unfinished the " Last Judgment " for the Cemetery of S. Maria Nuova, and as he had received part pay- ment for it he desired Mariotto to complete it. He did this with oreat care. He could not equal Baccio, because not equally gifted by nature ; but the pictures of both had the same life in action, elegance in proportion, and sharpness and careful minuteness in finish. His earlier work's were lost. One of the oldest known is No. 25 Louvre, " Christ appearing to the Magdalene." In 1503 he executed " The Salutation," now in the Uffizi, and generally consid- ered his master-piece. He next painted ihc fine " Nativity," No. 365 Pitti Gall. Soon after this Fra Bartolommeo resumed his brush and became the head of the work-shop of S. Marco. Mariotto painted "The Crucifixion," No. 24 Louvre, and received many pupils. He spent much time attempting to imurove oil mediums, being espe- cially dissatisfied with the white, but his experiments amounted to little. He could not endure criticism, and became so disgusted with it that he forsook painting and kept a tavern. He declared himself then "where there was no emban-assment with perspective, fore- shortenings, or muscles, and no criticism or censure to dread ; " and that his former calling " was to imitate flesh and blood, whereas that he had adopted made both flesh and blood." But he soon hated this more than painting, which he resumed. Late in life he went to Borne, where ho became ill. He was taken to Florence on a litter, ALBERTINELLI — ALBER I'X. 17 and died. The following are some of his works not yet mentioned : A " Trinity," No. 73, Florence Acad, of Arts ; an " Annunciation " at Munich, Pinacothek, Saal. No. 545 ; "Marriage of S.Catherine," on wood. Hermitage, St. Petersburg, No. 21; an " Assumption " in Berlin Mus., painted by Mariotto and Baccio; National Gall., London, No. 645, and many others in the Prince Gortschakoff Gall., St. Petersburg ; the Ex-Pourtalfes Gall., Paris, etc. Alberti, Leon Battista, born at Venice (1404-1472). The name of Alberti is distinguished in all branches of Art. Leon was an architect and of a noble family of Florence ; at the time of his birth his parents were in Venice, in order to escape persecution at home. He was a man of superior literary talents and cultivation, a fine mathematician and geometrician. He wrote ten books upon architecture in Latin, three books on painting, and other smaller works. Under Nicholas V. and in connection with Bernardo Ros- seUino, he superintended numerous pubUc works at Rome. At Rimini, for Sigismondo Malatesta, he made a model for the ch. of S. Francisco. He was next employed by Gio. di Paolo Rucellai, ■who had determined to adorn the principal fa9ade of S. Maria Novel- la at his own cost. This work was completed in 1477, and was much admired. For the Rucellai family he also designed palaces, and a chapel in the ch. of S. Pancrazio. For Ludovico Gonzaga, Mar- quis of Mantua, he modelled the chapel which he built in the Nun- ziata at Florence. He went afterwards to Mantua in the service of the same nobleman, and made designs for the ch. of S. An- drea, and other works. Leon painted a few pictures, which have been destroyed ; they had no great merit, but served to show that he could express himself with brush or pencil. AU writers who men- tion him agree that as a refined, elegant, and scholarly gentleman he had few equals. Alberti, Michele, born at.Borgo S. Sepolcro, 1527. Pupil of Daniello Bicciarelli, called da Volterra. His principal work was a picture of the " Murder of the Innocents " in the church of Triniti- di-Monti at Rome. G C; Alberti, Cherubiuo, born at Borgo S. Sepolcro y \ J ' A\-^ (1552-1615). Son of the preceding, by whom ji J_/ / y l3 he was instructed in painting. His principal pictures were in the church of S. Maria in- Via at Rome. He is chiefly distinguished as an engraver. It is not known with whom he studied this art, but his plates are remarkable for his time. They seem to have been executed entirely with the graver, the point not being used. His figures were better than his draperies. His prints have preserved some of the friezes of Polidoro da Caravaggio, which were upon the fa9ades of public edifices, and have been destroyed. His plates number about 180, of which 75 are from his own designs. The following are some of the best designed by himself : — 2 18 ALBERTI — ALBINI. Portrait of Pope Gregory XIII; oval, with ornaments. Portrait of Pope Urban VII. ; oval, with ornaments. Portrait of Henry IV., of France ; oval, 1695. Portrait of Pietro Angelo Bargeo. Judith, with the head of Holofernes. The Nativity ; inscribed, Deus omnipotens, etc. The Flight into Egypt, 1574. Another Holy Family ; S. Joseph seated, with a Book. The Body of Christ supported in the Clouds by an Angel, in- scribed. Magnum pielatis opus, etc. The Virgin Mary and Infant in the Clouds ; inscribed, Regina cceli. Mary Magdalene Penitent, 1582. S. Catherine receiving the Stigmata, 1574. S. Christian drawn out of the Sea. S. Francis receiving the Stigmata, 1599. S. Charles of Borromeo, kneeling before the Virgin and Infant, 1612. Six of Children, for ceilings ; dedicated to Card. Visconti, 1607. Alberti, Giovanni, born at Borgo S. Sepolcro (1558-1601). Brother of Cherubino, and instructed by their father. He excelled in landscapes and perspective, and the figures in his pictures were often done by Cherubino. Pope Gregory XIH. employed him in the Vatican, and Clement VIH. in the Lateran. His portrait is in S. Luke's Acad. Alberti, Durante, born at Borgo S. Sepolcro 1538, died at Rome 1613. Went to Rome when tery young. Gregory XIII. was then Pope. He soon distinguished himself, and his pictures are in several places in Rome. He was buried with great distinction in the Chiesa del Popolo, and his portrait is in the Acad, of S. Luke. In the ch. of S. Maria de Monti he painted " The Annunciation,'' and in S. Girolamo della Carita, an entire chapel in fresco, and the altar- piece in oil, which last represented the Virgin and infant Saviour whh SS. Bartolomeo and Alessandro. Alberti. There were other artists of this name, whose works are not well defined. Antonio of Ferrara lived in 1450, and had a son of the same name. Pietro Francisco (1584-1638) was a son of Durante, and was' a painter and engraver. Albertoni, Paolo, died about 1695. This artist was a follower of Carlo Maratti, and painted in his style. Some of his pictures are in the churches of S. Carlo, S. Maria, and other churches in Rome. Albertus, H. C, born in Saxony; died 1680. His portrait of John Seckendorfi', rector and professor of Zwickau, is a fine work of art. Albini, Alessandro. Zani says he was born in 1586 and died in 1646. Malvasia calls him a Bolognese, and a disciple of the school ALBINI — ALDEGREVER. 19 of the Caracci. He made designs for the funeral ceremonies of Agostino Caracci, which greatly added to his reputation. At Bo- logna, there is a picture by this master in the oh. of S. Michele in Bosco, representing the " Sepulture of SS. Valerian and Tiburtius," and another in S. Pietro Martu'e, representing SS. Peter, Cather- ine, and Cecilia. Alcanieues, born at Athens, scholar of Phidias, perhaps of Critias also. Brass-caster, sculptor, toreutes, and cleruchos in Lem- nos. He flourished from 444 to 400 b. o. His chief productions were images of the gods. Among these were two statues of Athene, one of which, after the expulsion of the thirty tyrants by Thrasybu- lus, was placed in the temple of Hercules at Thebes, together with a colossal statue of Hercules by the same sculptor (403 b. c.) ; a three-formed Hecate (the first of its kind), and a Proene in the Acropolis at Athens ; a statue of Mars in the temple of that god at Athens ; the Battle of the Centaurs and LapitliEE upon the western pediment of the temple at Olympia ; an iEsculapius at Mantineia ; a bronze statue of the victor in the Pentathlon ; and a statue of Hephaestus which represented his lameness without making it a deformity. But the most renowned of all his works was his " Venus," called from where it was set up, 'H^i' k^tois'A(/)poS(t7). The breasts, hands, and cheeks were particularly admired ; and it was said that Phidias put the finishing touches to this work. Some suppose that this was the statue which took the prize from that of Agoracritus. There is also a story that Alcamenes and Phidias contended in mak- ing a statue of Athene, and that before they were set up that of the pupil was most admired for its beautiful finish, but when they were in place the strong lines of that of the master were- so effective that the Athenians gave him the preference. ■ ! Aldegrever, Heiurich, born at Soest in Westphalia, A:A (1502-1562). As a painter he is less important than as an '' ' engraver. His style so closely i-esembles that of Albert Durer that he has been called Albert of Westphalia. His works show untiring labor, but his figures are often deformed and even hideous. In the Berlin GaU., a picture by him of the "Last Judgment" is very peculiar, especially in the upper part where Christ, the Virgin, and John the Baptist, are represented ; the trumpet-angels and the demons among the damned are worthy of notice, and in fact the whole picture is very striking. In the National Gall., London, there is a " Crucifixion " by Aldegrever. In the Berlin Mus. there is a por- trait of an old man, and in the Lichtenstein Gall, at Vienna one of a youth, which is clever. His prints are numerous. Among the por- traits, those of Luther, Melanchthon, John of Leyden, and Bernard KnipperdoUing, deserve noticed Of historical and religious subjects there are no less than one hundred and thirty-nine well-known plates. In one of Titus ManUus, ordering the execution of his son. iO ALDEGREVER — ALDKOVANDINI. the instrument of death resembles the French giiillotinc ; this is dated 1533. Thirteen plates of the " Labors of Hercules " are fine and rare, and the etching of " Orpheus and Eurydice," the only one of this master, is very rare. Aldighiero, oi Altichiero da Zevio, a native of Zevio, near Verona, was a painter of the early Paduan School. He decorated the chapel of S. Telice in S. Antonio at Padua with wall paintings, about 1370. Lubke says he displayed in his works a hvely concep- tion and richly finished coloring. The pictures in this chapel repre- sent scenes from the legend of S. James Major. That of the land- ing of the body of the saint on the coast of Spain, is especially fine. He was associated with D'Avanzo Veronese, who was one of the worthiest of the followers of Giottp, and their pictures were equal to any of the school of that master. Aldighiero was so much asso- ciated with other artists that there have arisen never-ending disputes as to what he did or did not do, but the records show that he painted the chapel of S. Felice. In the work of Crowe and Caval- caselle, it is said to be no exaggeration to call this chapel the noblest monument of the pictorial art of the fourteenth century, and that none but the greatest Florentines had done better. " Aldobrandini Marriage." This is one of the most valuable reUcs of ancient painting. It was discovered on the EsquiUne Hill, near the arch of Gallienus, in the early part of the seventeenth cen- tury, during the time of Clement VIII. It was taken from the wall, and became the possession of Cardinal Aldobrandini, who after hav- ing it restored by Domenico del Frate, placed it in his villa on the Quirinal ; hence its name. It is a composition of ten figures, and represents three .scenes arranged like an ordinary bas-relief. In the centre the bride is seated on a bed, while another female speaks to her ; the bridegroom is crowned with ivy, and seated on a stool at the end of the bed with his face turned to the bride. On one side the attendants make ready a bath ; on the other musicians sine the " Epithalamium " or wedding song. In 1818 Pius VII. paid 10,000 scudi, or about 2,000 guineas for this fresco, and placed it in the col- lection of the Vatican. Aldrovaudini, Mauro, born at Bologna (1649-1680). An eminent architect. As a painter he belonged to the School of Cignani, with whom he painted in the Palazzo Publico at Forli. Aldrovaudini, Tommaso, born at Bologna (1653-1736). Nephew of Mauro, by whom he was instructed. He excelled in perspective and architectural views, and worked much with Carlo Cignani and Antonio Franceschini, who executed figures. In conjunction with the latter, Tommaso painted the " Council Chamber of Genoa," his greatest work. Aldrovandini, Pompeo Agostino (1677-1739). Cousin and pupil of Tommaso. One of the most celebrated Italian painters of ALDKO VANDINI — ALFANI. 2 1 his time. He worked in oil, fresco, and distemper, and was much employed on the public buildings of Vienna, Dresden, and Prague. Alemau, Cristobal, introduced the art of glass-painting in Se- ville and painted a window for the Cath. in 1604. Alen or Olen, Jan van, born at Amsterdam (1651-1698). A painter of landscapes and still-life. A good imitator of Melchior Hondekoetor. Aleni, Tommaso, born at Cremona (1500-1560). Scholar of Galeazzo Campi. His works wore so much like those of his master as to be distinguished with difficulty, as may be seen in the ch. of S. Domenico at Cremona. Alesio, Mateo Perez de, born at Rome. Flourished about 1585 ; died 1600. He went to Spain, attracted by the generous love of art of King Philip H. His chief works were fresco-paintings in the churches of Seville. Grandeur of design was his chief characteris- tic. In the Cath. of Seville he painted a S. Christopher, which is still preserved. The figure of the saint is thirty-three feet high, and his leg is three feet across the calf. This was done in 1584. He also painted in the ch. of S. Miguel, and other public edifices. Alcr sio was almost the first to acknowledge the superiority of Luis de Vargas, but it is said that he returned to Rome, because the pictures of Vargas were preferred to his own. Alexander, Francis, born in Windham County, Conn., in 1800. At eighteen he was a school-teacher. He commenced his painting by attempting to reproduce in water-colors the beauties of some fish he had caught. His success was a surprise, both to himself and his mother, who encouraged his further use of the brush. In spite of scanty means he went to New York, and studied with the Scotchman, Alexander Robertson. He made friends, and received some com- missions in Providence. From there he went to Boston, and soon made a good reputation as a portrait painter. In 1831 he went to Italy, where he resided for many years. In 1833, together with Harding, Fisher, and others, he exhibited a number of his pictures in Boston. > Alfani, Domenico di Paris, born at Perugia 1483, living, 1553 ; time of death not known. Scholar of Perugino. He was an ardent admirer of Raphael, whose style he imitated ; had little originality. In middle life he caused his family of natural children to be legiti- mized and made his son Orazio his partner. He was a registered master in Perugia in 1510. The earliest known picture of his is a " Madonna and Child with SS. Gregory and :Sficholas " in the Collegio Gregoriano at Perugia. It is on wood, in oil, figures life-size, dated 1518. A fine picture, full of the beauties of Raphael. In the ch. of S. Francisco at Bettona is a fine fresco of the " Virgin and Child " with four saints, which reminds one of the " Madonna di Folifiio." At Diruta in the ch. of S. Antonio Abbate, there nrc 22 ALFANI — ALFARO. four pictures representing scenes in the life of S. Anthony ; much injured. In the Cath. of Cittk della Pieve is an altar-piece by Domenico : wood, oil, figures life size, dated 1521. In the gallery at Perugia a " Virgin and Child " with saints and angels : wood, oil, figures life size. In 1527 Rosso was at Perugia with Alfani, and from that time his style seems changed, which may be seen in the pictures at S. Giuliaua at Perugia. In 1553 the father and son together painted a '• Crucifixion " for S. Francesco- at Perugia, and as they painted much in conjunction, there are various pictures which cannot be assigned to either one. One of these is a graceful " Holy Family " in the tribune of the Ufiizi. In 1525 he painted frescoes at the villa of Prepo near Perugia. In 1527 he was commissioned to paint an altar-piece for Castel Rigone. In 1535 he painted the arms of Paul in. on the Pal. of Perugia ; in 1536 a " S. Louis " in S. Fran- cesco, and in this same year married the mother of his children. His will was made in 1549, and as before said, he was living in 1553. Alfani, Orazio di Paris, born at Perugia 1510, died at Rome 1583. Also a pupil of Perugino and an admiring imitator of Ra- phael. His reputation more than equalled that of his father. In the transept of S. Francesco at Perugia is a " Nativity ' ' by this artist, singular for the introductio,n of " S. Anna ' ' who has a basin of water ; said to have been dated 1536. Perugia Gall., No. 59, formerly in the Carmine, is a work of Orazio's, as are also Nos. 140, 142, 159, 132, 163, 144, 145, and 146, in the same gallery. There are several of his works in S. Francesco and S. Pietro at Perugia. At the Louvre " The Marriage of S. Catherine," No. 26, dated 1548, is by this master. Tliere arc many more of his pictures, in Peruo-ia men- tioned in the Guides. Orazio was registered in the guild of^Peruo-ia in 1545; elected architect of the town in 1576, but retained die office a very short time. He was first president of the Acad, of Perugia, founded in 1573. Alfaro y Gamou, Don Juan de, born at Cordoba 1640, died at Madrid 1680. He studied first with Antonio de Castile, and tlien with Velasquez. His pictures imitate the latter, and also remind one of Vandyck in color. He is said to have been very vain, and to have copied some prints, and put on each of them, Alfaro pinxit. To punish him, Castillo painted one, and subscribed it Non pinxit Alfaro, which passed into a proverb. He was also a, poet, and had good literary attainments, but his memory is stained by in- gratitude. The Admiral of Castillo was his patron ; still when he was banished Alfaro forsook him, and yet did not hesitate to soHcit his patronage when recalled. The rebufi" he received is said to have brought on melancholy and caused his death. In the ch. of the Carmelites is his "Incarnation," and at Madrid, in the ch. of the Imperial College his celebrated " Guardian Ano-el." ALFON — ALLAN. 23 Alfon, Juan, born at Toledo. In 1418 he painted several reliqua- ries for the Cathedral which are still preserved. ^-^ Algardi, Alessandro, born at Bologna 1598. He was rjwL an architect, sculptor, and engraver. A pupil of Giulio Cesare Conventi. His plates which remain are few ; they are executed with a graver, in the free bold manner of Agostino Caracci, and are as follows : — A large, upright plate of The Crucifixion. The Souls delivered from Purgatory ; oval. The Blind Beggar and liis Dog ; after Caracci. Eighty plates of the Cries of Bologna ; after Caracci. These were executed in conjunction with Simon Guillain. He is best known as a sculptor by a large rilievo in marble, over an altar in S. Peter's at Rome. It represents the appearance of SS. Peter and Paul to Attila and his hosts. While this work has some merit, it has great faults, especially those of confusion and want of breadth. Aliamet, Jacques, born at Abbeville 1728, died in Paris 1788. An engraver who excelled in landscapes and sea-pieces. Aliamet, Francois Germain, younger brother of Jacques. Born at Abbeville 1734. After studying engraving in Paris, he went to London, where he was under Sir Robert Strange. His works were inferior to his brother's, and consisted of portraits and historical subjects. Aliberti, G-io. Carlo, born at Asti (1680-1740). His prin- cipal works were frescoes in his native city. He painted the cupola of S. Agostino, and other pictures for the same church. Bryan says, " His style consists of a mixture of Maratta, of Gio. da S. Giovanni, and of Correggio ; heads and feet that might be attrib- uted to Guido or Domenichino ; forms peculiar to the Caracci ; dra- pery of Paolo, and colors of Guercino." Alibrandi, Girolamo, born at Messina (1470-1524). Pupil of Gio. Bellini, and a friend of Giorgione at Venice, where he spent many years. He then entered the school of Leonardo at Milan. He has been called the Raphael of Messina. The chef-cV muvre of Messinian pictures is his "Purification" in the ch. of Candelora. It has perspective, grace, and pleasing color. Polidoro admired it so much that he painted a " Deposition from the Cross " in distemper, to serve as a cover and protection to it. Aliense. See Vassilacchi. Allan, David, born at Alloa, Scotland (1744-1796). After studying in the Academy at Glasgow, he went to Italy, and took the prize medal at the Acad, of S. Luke, for the best historical com- position. It is difficult to understand how he could have excelled, judging from his etchings, or the ensjravings from his pictures. Allan, Sir "WiUiam, born at Edinburgh (1782-1850). Studied ^4 ALLAN — ALLEGRL at the same time as Wilkie in the Trustees' Acad, in his native city. He went to London, where he met with no success, and in 1805 went to St. Petersburg, wliere he made a good name, as a portrait painter. He visited the interior of Russia, Tartary, and Turkey. He afterwards painted pictures illustrative of the scenes of those countries, such as the " Circassian Captives," " Prisoners conveyed by Cossacks to Siberia," etc. He returned to England in 1814. In 1830 visited the continent; in 1834 went to Spain; in 1838 became president of the Royal Academy of Scotland, was the successor of Sir David Wilkie, as Limner to the Queen in Scotland, and was knighted in 1842. In 1843 he exhibited the " Battle of Waterloo," now in the Coll. of the Duke of Wellington. In 1844 he went again to Russia, and after his return, painted the picture now in the winter palace of the Emperor, representing " Peter the Great teach- ing the Art of Ship-building to his Subjects." He died in his studio at Edinburgh, before an unfinished picture of the ' ' Battle of Ban- nockburn." Allegri, Antonio da Correggio, or Antonio Lieto da Correggio. AUegri and Lieto are synonymous, and have the same meaning as the Latin Leatus (joyful). Born at Correggio (1494-1534). His father, Pellegrino Allegri, was a respectable merchant. Very little is known of the early life of Correggio, but it is thought that he was a pupU of Tonino Bartoletto of his native city. He probably studied the works of Leonardo da Vinci, and the painters of Mantua and Modena, for he fled to Mantua in 1511 on account of the plague at Correggio. He appears, however, to have been largely the founder of his own style. He is the greatest master of light and dark, or, chiaro-scuro, whether effected by color or shades. His management of light was wonderful ; he gave the most brilliant efiect without dazzling, and his deepest shades were not dull. In all his subjects there is life and motion. He loved to depict the joyousness of child- hood, while his representation of earthly love was blissful, and that of heavenly love fervent. If sorrow was represented, it was deep- ened by the contrast with his usual joyousness. His passion seems to have been foreshortening and violent perspective. For his cupola paintings, this was a necessity, but he used it often apparently for the mere love of it, as in one instance he painted a " Madonna" sit- ting on her throne as if seen from below, and her knees appear almost to touch her breast. He was the first modern artist who excelled in chiaro-scuro, and is allowed to be still unequalled. When twenty-five years old, he was at Parma, and had an established reputation. In 1520 he contracted to paint the dome of S. Giovanni Evangelista, the payments for which extended through four years. He had pre- viously painted in Parma, some mythological designs for the convent of S. Paolo. We are amazed that these designs were chosen for a cloister ; but Lanzi says, ' ' Our wonder will cease, when wo reflect, (D O) CO CL (Ji CQ Tl (Q CD ALLEGEI. 27 The present head was the work of Prud'hon. There is a copy of this picture in the Vienna Gall., which is universally believed to be also by Correggio. At the Borghese Gall, at Home, is the pic- ture of Danae. At the Paris Museum, " Jupiter and Antiope." It is said that when Correggio saw the pictures of Raphael, his eyes brightened, and he exclaimed, ' ' I also am a painter." When Titian saw the works of Correggio at Parma, he said, " Were I not Titian, I should desire to be Correggio." Annibale Carracci wrote from Parma in 1580, " Tibaldi, MccolLni, Raphael himself, are nothing to Correggio." The monks were very fond of Correggio, and in 1520 he was made a member of the Congregation Cassinensi, in the monastery of S. John the Evangelist at Parma. Tasso was also a member of this fraternity. Tliis membership conveyed a participation in the masses, prayers, and alms of the community, and was accompanied with a promise to perform the same offices for the repose of his soul, and those of his family, that they would per- form for their own number. In 1520 he married Girolama Merlini, a lady of good family, very gentle and lovely. She was probably his model for ' ' La Zingarella ' ' af teV the birth of his first child. She bore him one son and three daughters, and died in 1529. He did not marry again, and died suddenly in 1534. The story of the great poverty of Correggio, set forth by Vasari, seems to have been unfounded ; it is certainly contradicted by the quantity and quality of the colors he lavished on his pictures. The prices which he received — such, as 1,000 ducats, or loOi^. sterling for the Cath. of Parma, 71. 10s. for " La Notte," etc., — seem to us very small, but we must consider the value of money in those days, and these sums are not inconsiderable. It is not known whether Correggio ever visited Rome or not, and various arguments are brought to bear on both sides of the question; but Ortensio Landi, in a work pubUshed in 1552, says, " he died young, without being able to see Rome." ENGRAVINGS AFTER CORREGGIO. Engraver, Anderloni, Pietro. Magdalene. Engraver, Audouin, Pierre. Jupiter and Antiope. Engraver, Bazin, Nicholas. The Virgin Mary suckling the Infant. Engraver, Beauvais, Nicholas Dauphin de. The Virgin with the Infant Jesus upon a pedestal, and several saints below. Engraver, Berger, Daniel. The Virgin and Child. Engraver, Bernard, Samuel. Mezzotinto, The Repose ; called La Zingarella. Engraver, Bertelli," Cristofano. The Virgin and Infant, with SS. Sebastian, Francis, and Roch. Engraver, Bonavera, Domenico Maria. The Cupola at Parma ; the Assumption. Dnminieo Bonavera, sc. 1697. 28 ALLEGRI. Engraver, Brizzio or Briccio, Francesco. The Holy Family. Engraver, Capitelli, Bernardo. The Marriage of S. Catherine. Engraver, Caracci, Agostino. The Virgin and Infant with Mag- dalene; S. Jerome and an Angel ; 1586. Engraver, Chateau or Chasteau, William. The Repose in Egypt. Engraver, CoRT, Cornelius. The Marriage of S. Catherine; S. Jerome. Engraver, Cunego, Domenico. The Virgin and Infant. Engraver, Duchange, Gaspar. Jupiter and lo; Jupiter and Danae ; Jupiter and Leda. Engraver, Earlom, Richard. The Repose, called la Zingara. Engraver, Edelinck, Nicholas. The Virgin and Infant. Engraver, Pessard, Stephen. S. John Baptist, with other saints. Engraver, Frezza, Gio. Girolamo. The Repose, called la Zin- gara. Engraver, Jode, Arnold de. Mercury educating Cupid. Engraver, Lorenzini, Pra Antonio. S. John surrounded with angels'. Engraver, Menageot, Robert. Friendship ; a circular print. Engraver, Mercati, Gio. Batista. The Marriage of S. Cath- erine. Engraver, Mitelli, Giuseppe Maria. The Adoration of the Shep- herds, called La Notte. Engraver, Mogalli, Como. The Holy Family. Engraver, Picart, J^tienne. The Marriage of S. Catherine. Virtue triumphant over Vice ; The Sensualist. Engraver, Porporati. Jupiter and Leda ; The Madonna with the Rabbit ; Leda and the Swan, and Leda bathing ; La Zingarella. Engraver, Rossi, Girolamo. Tlie Virgin and Infant Jesus. Engraver, Sanuto or Sanutus, Giulio. Apollo and Marsyas. Engraver, Smith, John. Venus standing in a Shell. Engraver, Sornique, Dominique. Diana and her Nymphs. Engraver, Spierre, Francis. The Virgm suckling the infant Christ. Engraver, Steen, Francis Vander. Cupid shaping his Bow ; Ju- piter and lo ; Ganymede. Engraver, Strange, Sir Robert. The Magdalene. Engraver, Surrugue, Peter Louis. The Adoration, called "La Nolle." Engraver, Troyen, John Van. Magdalene Penitent. Engraver, Volpato, Gio. Christ praying on the Mount. Engraver, Watson, Thomas. The Virgin with the infant Jesus and S. John. AUegri, Ponjponio Quirino, son of Antonio, born at Correggio 1521. He was but thirteen when his father died, therefore he could ALLEGBI — ALLOlii. 29 derive but small benefit from him, except in the study of his works. He had fair abilities, and was established at Parma, where he was constantly employed until 1598. In the Cath. of Parma there is a fresco by hifn representing Moses just after he received the Tables of the Law, and is showing them to the Israelites. ' Allegrini, Francesco, born at Florence 1 729. A designer and engraver. In 1 762 he published one hundred portraits of the Medici family with a frontispiece, all engraved by himself. He made a print of S. Francesco d'Assisi, which is much esteemed in Florence. He also engraved other eminent poets, painters, and men of Florence. Allegrini, Francesco, called da Gubbio (1587-1663). A disciple of Giuseppe Cesari, called 11 Cavaliere d'Arpino. He painted in oil and fresco, but mostly in the latter. At Gubbio he painted the cupola of the Sacrament in the Cath., and another at the Madonna de' Bianchi. He lived at Rome and worked in the Casa Panfili. Small pictures by this master are often seen in Bome and Gubbio, which merit praise. He also painted figures in the land- scapes of Claude ; two of these were in the Colonna Pal. He painted in the Cath. and Casa Gavotti at Savona, and in the Casa Durazzo at Genoa. His two sons, Flaminio and Angelo were histori- cal painters. Allet, Jean Charles, born at Paris 1668; died at Borne 1732. Designer alid engraver. He marked his plates sometimes Charles, and sometimes Jean Charles, which led to the opinion that there were two engravers of the name of Allet, but they are now believed to have been one person. His engravings are portraits and subjects from sacred history. Alloisi. See Galanino. Allori, Alessandro, born at Florence (1535-1607). A nephew of Bronzino, he was called by his name, which he sometimes afiixed to his pictures. Vasari speaks of him as living most lovingly, even as a son, with his uncle. Before he was seventeen he had painted from his own design, an altar-piece representing the Crucifixion. At nineteen he went to Rome and remained two years. There he studied principally the works of Michael Angelo. Returning to Florence he w.as constantly occupied on public edifices, but painted some portraits. He wrote a book upon anatomy for the use of pain- ters, and was so much devoted to this, that he neglected some other branches of art. He was a great mannerist, and his portraits were his best pictures, though some of the horses which he painted in Rome were fine ; but on the whole he was little if any above medi- ocrity. Allori, Cristoforo, born at Florence (1577-1621). Son of Ales- sandro, and called also Bronzino. He v/as a pupil of his father, whom he afterwards called "a heretic in painting," and followed Cigoli and Pagani, whose works he admired. By some his execution 30 ALLORI — ALLSTON. was considered better than that of any other artist of his time ; in- deed, he was so fastidious that he finished few pictures. He excelled in portraits, and in landscape painting surpassed the Florentines of his day. His best work is the " S. Julian," in the Pitti Gall., but his " Judith " is more generally known. It is said that the head of " Holofernes " is his own portrait, " Judith " that of his mistress, and " Abra," that of her mother. He made copies of the " Magdalen " of Correggio which passed for duplicates by the great master. Allston, Washington, born atWaccamaw, South Carolina, 1779; died at Cambridge, Mass., 1843. He gi-aduated from Harvard Col- lege in 1800, and went to London and studied in the Royal \Acad. After three years of assiduous labor he went to Paris, and proceeded to Italy, where ho remained four )cars, mostly in Rome. There he associated intimately with Coleridge and Thorwaldsen. In 1809 he came to America and married Miss Channing, and subsequently fixed his residence in London. He there exhibited ' ' The Dead Man re- vived," which took the prize of two hundred guineas at the British Institution. He next painted " S. Peter liberated by an Angel," now in tlie ch. of Ashby-de-la-Zouch ; " Uriel in the Sun," also a prize picture, now belonging to the Duke of Sutherland ; " Jacob's Dream," now at Petworth ; and between these larger works, several smaller ones. He returned to America in 1818, and settled in Boston. He was elected to the Royal Acad, in England, where' his works were much esteemed. The only one he brought to America, "Elijah in the Wilderness," was sold to tlie Hon. Mr. Labouchere, and taken to England. His next pictures were " The Prophet Jeremiah," now at Yale College ; " Saul and the Witch of Endor," which belonged to the late Colonel T. PI. Perkins, of Boston; "Miriam singing the Song of Triumph," also owned in Boston, by the late Hon. David Sears; and the small pictures of "Dante's Beatrice" and "The Valentine." In 1830 he married Miss Dana, and removed to Cam- bridge, where he passed the remainder of his life in seclusion. He there painted " Spalatro " or the " Vision oithe Bloody Hand," and " Rosalie" which belonged to the Hon. Nathan Appleton. " The Spalatro " is in the Coll. of John Taylor Johnston, New York. Mr. William Page, President of the National Acad, of Design, New York, said in a recent lecture, that when he praised this work to Allston, he replied, " I think, perhaps, it is on the whole the best picture I ever painted." Mr. Page said, " In color it is not as good as the best of Titian's, yet few pictures of Titian's, of that size, are so go6d in color. In composition and chiaro-scuro it is one of the great pictures. It is the best picture in a gallery which contains the best pictures to be seen in America." Allston also painted some por- traits. Among them were that of Benjamin West, in the Boston Athenajum, and one of Coleridge, in the National Portrait Gall, of England. Of the last, Wordsworth said, "It is the only likeness a. a. > o I > ALLSTON. 33 which ever gave me pleasure." In 1836, he was invited by Congress to paint a large picture for the Capitol, but his mind was fixed upon painting " Belshazzar's Feast," for which he had made a sketch in 1817. This was unfinished when he died, and is in the Boston Athe- naeum. Allston was remarkable for the versatility of his concep- tions. Tlie beauty of Beatrice and Rosalie, the prophetic sternness of Jeremiah, the grace of Miriam, the moonUght effects, the forests and mountains of his landscapes, the horror of Spalatro, and the im- pressive mysteriousness of the reviving Dead Man, display a won- derful scope of thought and a surprising power of execution. His literary talents were good. In 1813 he published a poem, " The Sylphs of the Season," and later, "The Two Painters" and "The Paint King." In 1821, " Moualdi " was written, but not published until much later. This story gives his own life in Rome, mingled with a story of passion, the whole gracefully adorned with observations upon art, and descriptions of nature. A course of lec- tures which he wrote upon Art, but did not deUver, were published after his death. Tuckerman has well said, " Indeed, the writings and paintings of Allston exquisitely illustrate each other. By their mutual contemplation we perceive the individuality of the artist and the pure spirit of the man ; and realize that unity whereby genius harmonizes all expression to a common and universal principle, mak- ing form and cglor, words and rhyme, express vividly and truly what exists in the artist's nature. ' Rosalie,' for instance, the poem, is the reflection of ' Rosalie,' the picture; and his letter describing a view among the Alps, breathes the identical feehng that pervades the landscape depicting the scene." Allston often related the follow- ing incident in his life. Not long after he went to Europe after his first marriage, his pecuniary wants became very pressing. One day while in his studio the thought came to him, tliat he merited his trials as a punishment for his want of gratitude in the past, when he had been more prosperous. Suddenly he felt a strong hope that God would answer his prayer ; he locked his door, threw himself on his knees, and prayed for a loaf of bread for his wife and himself. There was a knock at the door ; he opened it with a feeling of shame, and ■ a fear that he had been observed. A stranger asked for Mr. Allston, and inquired if his picture of " Uriel" had been sold. When an- swered in the negative he asked where it could be found. " Here, in this very room," replied Allston, and he brushed the dust from the picture and brought it forward. When the price was demanded, All- ston said he had done fixing a sum, for his price had, so far, exceeded his offers. "Will £400 bo an adequate recompense?" asked the stranger. " It is more than I have ever asked," said All- ston. " Then it is mine," replied the Marquis of Stafford, for he it was. From this hour they were the warmest friends. By him All- ston was introduced into society, and soon became a favored ■ guest in a circle which embraced many gifted minds. 34 ALMELOVEN — ALTDORFER. Almeloven, John, born about 16U or 1624. Dutch engraver and painter. Best known by some etchings of landscapes. Alsloot, Daniel, born at Brussels (l.'JSO-ieOS). Landscape painter. Alsloot, Denis van, flourished in early part of the seventeenth century. Painter of landscapes and portraits. Altamonte, or Altamonti, Martin, born at Naples, some say in 1657, and others, in 1682; died, 1745. He was among the best painters of his time. His subjects were historical and architectural. Altdorfer, Albrecht, born at Altdorf in Bavaria, 1488, died at Ratisbon, or Regensburg, 1538. He is said to have been a pupil of Albert Durer's, but this lacks confirmation. He was a painter, and an engraver on copper and wood. Kugler says, " He seized the fantastic tendency of the time with a poetic feeUng at onco rich and pleasing, and he developed it so as to attain a perfection in this sort of romantic painting, such as no other artist has ever realized." He is one of the best of the " little painters " of Ger- many. The latter portion of his life was given to painting, as his last prints were dated 1525. Some of Hs works display wonderful patience when we compare their size and the number of figures. That of the " Victory of Alexander at Arbela," is purely Gothic in design, and the costumes such as were worn in 1529 when it was painted. It has been said to contain more figures than any other picture. Sohlegel says, " It is, in truth, a little world on a few square feet of canvas ; the hosts of combatants, who advance on all sides against each other, are innumerable, and the view into the backgi-ound appears interminable. In the distance is the ocean, with high rocks, and a rugged island between them ; ships of war appear in the offing, and a whole fleet of vessels ; on the left, the moon is setting , on the I'ight, the sun rising ; both shining through the opening clouds, a clear and strik- ing image of the events represented. The armies are arranged in rank and column, without the strange attitudes, contrasts, and dis- tortions generally exhibited in so-called ttattle-pieces. How indeed would this have been possible with such a vast multitude of figures ? The whole is in the plain and severe, or it may be, the stiff manner of the old style. At the same time, the character and execution of these little figures is most masterly and profound. And what variety, what expression there is, not merely in the character of the single warriors and knights, but in the hosts themselves ! Here crowds of black archers rush down, troop after troop, from the mountain, with the rage of a foaming torrent ; on the other side, high upon the rocks in the far distance, a scattered crowd of flymg men are turning round in a defile. The point of the greatest in- terest stands out brilliantly from the centre of the whole ; Alexan- der and Darius, both in armor of burnished gold : Alexander, on Bucephalus, with his lance in rest, advances far before his men, and ALTDORFEE. • 35 presses on the flying Darius, whose charioteer has already fallen on his white horses, and who looks back upon his conqueror with all the despair of a vanquished monarch." This picture was in the Gall, of Schleissheim, and was taken to Paris. Napoleon liked it so much, that he had it at S. Cloud, in his bath-room. It was returned to Bavaria in 1815, and is now in the Pinacothek, Munich, Cabinets, 169. In the same place. Cabinets, 138, is the " History of Susanna" by Altdorfer. In the Augsburg Gall, there is an altar- piece with wings ; very fine. At Nuremburg, there is in the Lan- dauer Bruderhaus, No. 179, a Crucifixion, and in the chapel of S. Maurice a picture by this master, of S. Quirinus being drawn from the water. In the Coll. of the Historical Society at Katisbon, there is an " Adoration of the Shepherds." The Rev. J. Fuller Rus- sell has a picture of " Christ parting from the Virgin," which is un- doubtedly by Altdorfer, although it is sometimes attributed to Durer. I find mention of no other picture by Altdorfer, in England. His en- gravings were not inferior to his paintings, and he executed, on copper and wood, more than one hundred and seventy prints. The following is a list of a small portion of them. Engraved on Copper. Portrait of himself — with his cipher. Portrait of Luther, with an oval of foliage. S. Jerome with the Lion. One of the best. Judith with the head of Holofernes. Adam and Eve in Paradise. Solomon's Idolatry. Samson and Delilah. Pyramus and Thisbe. A naked Woman with wings, seated on a star, with a torch in one hand and an escutcheon in the other, called Lascivia. S. George and the Dragon. Mucius ScsBvola. Amphion saved from the Sea by a Dolphin. 1825. The Death of Lucretia. Etching. The Virgin and Child, dressed in the costume of Ratisbon, with a palm-tree. A Man and Woman dancing. Engraved on Wood. Forty cuts of the Fall and Redemption of Man. Very fine. Paris dying on Mt. Ida with the three Goddesses. 1511. The beautiful Virgin of Ratisbon after the picture in the Cath. One of his best works. S. Christopher, stooping to take up Jesus. 1513. The Purification. 36 ALTDOKFKB — ALUNNO. The Murder of the Innocents. 1511. The Resurrection of Christ. 1512. The Annunciation. 1518. S. Jerome before a Crucifix in a Grotto. Abraham's Sacrifice. Altham , flourished about 1660. A German painter of marine subjects and landscapes. Altissimo, Cristofano dell', flourished about 1568. Pupil of Bronzino. A good portrait painter. The Duke Cosmo dei Medici I., employed him to copy the portraits of illustrious persons in the Gall, of Count Giovio. Vasari says he finished more than 280 of these, ■which were hung around the Guardaroba of the Duke. Many more were finished later, and they were placed in the corridor of the Uffizi. His family name was Papi. Alunno, Niccolo, born at Foligno about the middle of the fifteenth century. He painted in distemper, but his colors still endure. His principal works arc, the " Annunciation" in S. Maria Nuova at Perugia, 1466 ; a " Crucifixion " in the Art Hall at Carls- ruhe, 1468; an enthroned "Madonna" in the Brera at Milan, 1465 ; portions of pictures originally at Assisi, which represented a ' ' PietJi,' ' much praised by Vasari ; portions of an altar-piece in the ch. of S. Niccolo, at Foligno, 1492 ; a "Madonna " in the Berlin Mns. , etc., etc. Numbers of his works are dispersed in the March of Ancona. Many of them were in several pieces, although that manner of painting had almost passed away in his time. Alunno may be called the founder of a new style in the Umbrian school. Hitherto the Art of those quiet valleys had expressed the character of their inhabitants, and breathed forth the deep religious enthusi- asm of a people living in retirement, unfamiliar with classic studies, and filled with fervent spiritual longings ; in short, a people who regarded Assisi with its Basilica as a holy place, and the lovely S. Francis as the most perfect earthly model that could be represented in Art, or imitated in life. But the tendency to represent mere beauty, the realistic mode, began now to be felt, even in Umbria, and it was first remarkable in the works of' this painter. The blend- ing of the two styk'S resulted in that wonderful beauty which we find in the works of Raphael, where the richness of Italian painting is made perfect by the expression of tender feeling, purity of soul, and spiritual and devotional sentiment. It is the union of beauty in form and expression that imparts the charm to the works of i class of painters, who, without great power or scope of thought, agi-ecably portray pure spiritual feeling with grave and quiet dignity. To this class Niccolo Alunno belonged, and his mission seems to have been to prepare the way for others who possessed more genius than himself. In addition to the works already mentioned there are at Gualdo, Duomo, several saints, a Crucifixion, etc. ; a S, Paul ALUNNO — AMAYA. 87 here is one of his best figures. At Nocera, Sacristy of Duomo, a " Nativity " and a " Coronation of tlie Virgin," with saints, doctors of the church, and half lengths of the Apostles. At Aqnila, convent of S. Chiara, a " Crucifixion " surrounded by four scenes from the life of Christ. At La Bastia, in the ch. of the place, an altar-piece dated 1499. In the Bologna Gall, a standard. On one face is an " Annunciation," on the other an enthroned " Madonna." At the Louvre, Musde Napoleon IlL Ex. Campana Gall. No. 111., a standard; No. 88 the " Annunciation." London, National Gall. No. 247, bust of Christ. No trace of this master has been found later than 1499. Amalteo, Pomponio, born at S. Vito 1505 ; died 1588. Son- in-law of Pordenone, and his successor in his school at Friuli. He painted historical subjects for the public edifices near Friuli. At BeUuno in the Hall of the Notaries he painted scenes from Boman History. His chefs-d'oeuvre were the three Judgments of Solomon, Daniel, and Trajan, painted in a Gall, where causes were decided at Ceneda, and a " S. Francis receiving the Stigmata," in the ch. of that saint at Udine. The moment chosen was that of the sun's rising, and from its centre bright rays fell on the hands and feet of the saint. He not only colored in the splendid manner of the Vene- tians, but also designed with accuracy. Amalteo, Grirolamo, brother and pupil of Pomponio. He died young. Graziano, in the poem of Orlando, calls him, " Girolamo Amalteo de' vita santo." Amato, Gio. Antonio d', called also II Vecchio, born at Na- ples 1475, where he lived until his death 1555. Said to have been a pupil of Silvestro Buono. He afterwards studied the style of Perugino, and seems to have largely educated himself. He painted in oil and fresco. He had many pupils. His favorite study was theology, and he gave expositions of the Scriptures, for which he was quite celebrated. His paintings may be seen in the churches of Naples. In S. Dominico Maggiore, there is a " Holy Family " in the chapel of the Caraffa. Amato, Gio. Antonia d', born at Naples (1535-1597). A nephew of the preceding. In the ch. of the Banco de Poveri at Naples, is his best work — the altar-piece, a representation of the infant Christ. Amato, Francesco, an engraver and painter. His pictures are little known, but his etchings are spirited and in the style of Bis- caino. Amatrlce, Cola deir. Flourished in 1533. Lived at Ascoli del Piceno. Distinguished there as an architect and painter. He painted a picture of the " Savioiu? dispensing the Eucharist to his Disciples," which is highly extolled in the Guida di Ascoli. Amaya . Flourished 1682. Pupil of Vincenzio Carducho, and painted in Segovia, with correctness of design, and good color- ins. 38 AMBERES — AMERIGHI. Amberes, Francisco de, flourished in the early part of the six- teenth century. A painter and sculptor. In 1502 he ornamented the Cath. of Toledo ; in 1508-10 together with Jean de Bourgogne and Villoldo he painted the arabesque chapel, which is still an inter- esting object. Amberes, Miguel di, flourished about 1640. His pictures are seen in the religious houses of Spain. He was originally of Antwerp, and somewhat resembled Vandyck in his style of portrait painting. Amberger, Christopher, born at Nuremberg 1490 (?); died at Augs- burg, 1563 (?). Pupil of the elder Holbein, he imitated the younger. He painted in distemper and oil, and is said to have ornamented the exteriors of houses in Augsburg in the former method. His pictures are chiefly small portraits. They are not equal to those of Holbein in execution, but have been mistaken for his. In 1532, when Charles V. visited Augsburg, Amberger painted his portrait, with which he was so much pleased that he paid him thirty-six rix dollars, the price being but twelve, and presented him with a medal on a gold chain. Charles is said to have declared the picture as good as one for which he had paid Titian one hundred rix dollars. It is probably now in the Berlin Gall. Amberger' s best works are in the Franciscan ch. and convent of S. Martin at Amberg. There is also a fine portrait of Sebastian Miinster at Berlin, and one of Henry VIII. at Augs- burg, attributed to Amberger. Ambrogi, Domenico degli, middle of 1 7th century. Native of Bologna. Called Menichino del Brizio from having studied with Francesco Brizio. He painted in oil and distemper. He excelled in perspective, landscapes, and architectural views, and painted also historical subjects. He was employed in many churches and palaces of Bologna. In S. Giacorao Maggiore there is a " Guardian Angel," and in the Nunziata a " S. Francis " by this artist. He was the instruc- tor of Fumiani and Pierantonio Cerva. In 1653 he published some wood-cuts from his own designs, printed in chiaro-scuro. Amelsfoort, Quirinus Van, born at Bois-le-duc (1 7t;0-1820). A painter of allegories, history, and portraits, which last were remark- able as likenesses. Amerighi, Michelangelo da Caravaggio (1569-1609), called Caravaggio from the place of his birth. He was the chief master of the school called Naturalistic, from its direct representation of com- mon life. Kugler says its style may be called " the poetry of the re- pulsive." When confined to scenes of common occurrence, and a somewhat low life, these pictures are often powerful and have their own peculiar charm ; but when this style is used to depict sacred sub- jects, although, in a sense, powerful, it becomes painful and offensive. Caravaggio was wild in his nature and life. He lived much in Rome, but went also to Naples, Malta, and Sicily. The contrasts of vivid and subdued lights ; his remarkably effective draperies, and his car- AMKKIQHI — AMES. 39 nation tints, give great effect to his pictures. Some of liis sacred pictures were taken away from the altars where they were placed, on account of their coarseness. One of his hest works is the " Behead- ing of S. John," in tlie Cath. of Malta. In Rome, tliere is at the "Vatican, the " Entombing of Christ;" this is his most celebrated picture. It is impressive in its solemnity, but devoid of sacredness or sublimity. In S. Luigi de' Francesci there is a chapel painted by Caravaggio; in the Borghese Gall, an immense " Holy Family; " in the Sciarra Pal., the " Cheating Gamester ; " in the Spada Pal., " Geometry," as a ragged girl, playing with compasses; and in the Gall, of the Capitol, a " Fortune-teller," which is a chef-d'oeuvre. THE KALSE PLAYEKS. BY CARAVAGGIO. These last are such subjects as he best represents. In the Berlin Mus. is " Earthly Love " and a portrait. At the' Louvre is the por- trait of " Vignacourt," Grand Master of Malta. . Ames, Joseph, bom in Roxbury, New Hampshire (1816-1872). This painter studied in America and Italy and finally settled in New York. His best fancy subjects are the " Old Stone Pitcher " and "Maud Muller." But his success was in portraits, of which he sometimes executed seventy-five in & year. Of course they could not be very carefully finished, but they were true to nature and his colors were fresh and bright. His picture of " Pope Pius IX." was much admired at Some ; his portraits of Webster, Choate, Felton, Rachel, 40 AMES — AMMAN. and Gazzaniga are well known. His " Death of Webster " has been engraved. Amici, Francesco. A modern Italian engraver. Amiconi or Amigoni, Jacopo, born at Venice in 1675; died at Madrid, 1752. After painting in Venice he went to Rome and thence to Munich, where he acquired considerable fame. Going thence to England in 1T29 his pictures were much in vogue, and he was employed by many noblemen in the decoration of staircases and similar works in the style of Kicci. He returned to Venice with £5,000. He was afterwards called to Spain and made painter to the king, Ferdinand VI. Two large pictures by him arc in the vestibule of the Queen of Spain's Gall., " The Finding of the Cup in Benja- min's sack " and " Joseph in the Palace of Pharaoh." Amiconi or Amigoni, Ottavio, born at Brescia (1605-1661). Pupil of Antonio Gandini. He excelled in frescoes executed after the manner of Paul Veronese. The scenes from the life of S. Al- bert, in the CarmeUte ch. of Brescia, were partly his work. Amidano, Pomponeo, born at Parma. Flourished about 1595. He has been called a pupil of Parmigianino ; of this there is no proof, but he was a close imitator of that master. The altar-piece in the ch. of Madonna del Quartiero is his best work, and has been attrib- uted, even by good artists, to Parmigianino. Orlandi says that many of his pictures were sold to foreigners, but they have probably been assigned to Parmigianino, as the name of Amidano is not found in catalogues. Amigazzi, Glo. Batista, a scholar of Claudio Ridolfi. He excelled as a copyist. In S. Carlo at Verona is a copy of a " Supper," by Paul Veronese, finely drawn and of good color even now. Amling, Carl Gustavus, born at Nuremberg (1651-1710). A designer and engraver. The Elector of Bavaria sent him to Paris for instruction, and he studied with F. de Poilly. He was a respectable, but not eminent artist. He made many plates, and was more success- ful in portraits than in other subjects. He engraved some for the Acad, of Sandrart and also made prints after tapestry, the plates of which belonged to the Elector of Bavaria. Amman, Justus, born at Zurich (1539-1591). Went to Nurem- berg in 1560, where he lived until he died. One of the " little art- ists," who excelled in wood-cuts. It is said that he made more than a thousand, comprising almost every imaginable subject. His " riai/oTAio " is a remarkable work ; it contains a description of the artist's time, and lias one hundred and fifteen wood-cuts of mechan- ics and tradesmen in their proper costumes. Amman himself is pre- sented as the engraver. The cuts from this book were used in that of Hans Sachs, " Bigentliche Beschreibung aller Stande auf Erden.'" He also made illustrations of Livy's Roman History. Nearly all his cuts were for books. Amman was also an author and wrote a book on "Poetry, Painting, and Sculptiiru." AMMAN — AMSTEL. 41 Amman, John. An engraver who lived at Hanau in 1640. Ammanati, Bartolomeo, born at Florence (1511-1589 ?). Stad- ied under Bandinelll at Florence, and afterwards at Venice with San- aovino, sculptor and architect. He was much employed in Fadua, Ur- bino, Naples, Venice, Rome, and Florence. The principal buildings upon which he was employed as an architect were the Pal. of Bena- vides at Padua, the Pitti Pal. at Florence, the Pal. Rucellai and the faQade of the CoUegio Romano at Rome. He also rebuilt the Ponte S. Trinita at Florence in 1569. This is his best work, a great ornament to the city, and one of the most graceful and beauti- ful bridges in the world. His most important work in sculpture was the fountain for the Piazza della Signoria, It consists of a colossal Neptune, in a car, siurounded by other figures, and is open to much criticism. He also erected a monument for Pope Julius IH. which may still bo seen at the ch. of San Pietro in Montorio. He married Laura Battiferri of TTrbino, who was a poetess, and a member of the Society of the Intronati at Siena. She was a lady of wealth, and they lived at the Villa Caserotta, near Florence. His wife died three years sooner than himself. Ammanati was buried in the ch. of S. Giovanni, upon which he had lavished both time and money. His bioa;rapher says, "his friends wept at his death for the loss of a dear _ friend, the poor for a constant helper, the priests for a zealous pro- moter of the divine worship, the artists for a great master, and all the eity of Florence for a distinguished architect." Before his death he wrote a letter to the Florentine Acad, of Design, regretting that he had sculptured undraped figures, and that their evil influence must survive him ; warns other artists against the same siiiy especially that of placing inappropriate figures in churches. Ammanati also wrote a large work called " La Citta." It con- tained designs for all the edifices necessary tp a city. When Mich- ael Angelo died he was one of the four chosen to superintend the obsequies of the great master. Ammon, Clement. Son-in-law of Theodore de Bry, the en- graver. Ammon added two volumes to the Coll. of portraits pub- lished by De Bry in six quarto vols, entitled ' ' Bibliotheca Caloor graphica." Those of Ammon were published in 1650-1652. He was much superior to De Bry. Ammon, Johanu, born at Schalfhausen. An engraver of por- traits. Flourished in 1700. Amorosi, Antonio, born at Communanza. Flourished about 1736. He painted some pictures for churches, one of which may be seen in S. Rocco at Rome, but he excelled in caricatures (bamboeci- ate), and subjects from common life. Amstel, Cornelius Ploos Van, born at Amsterdam, 1 732. An amateur engraver who executed an interesting set of plates in imita^ tion of the best masters. 42 ANCHILUS — ANDREA, Anchilus, N., born at Antwerp, 1688; died at Lyons, 1733. A painter of conversations in the manner of Teniers. He went to London and copied the pictures of Snyders for Sir E. Walpole. Aucona, Andrea Lilio d', called also Andrea Anconitano, died 1610. This painter was employed by Sixtus V. in the ornamenta- tion of the library of the Vatican, and in the Pal. of S. John of Lateran. In the Scala Santa he painted, in fresco, " Moses striking the Rock ; " in S. Maria Maggiorc, " Our Saviour washing die feet of the Disciples;" and in the Chiesa Nuova, "The Archangel Michael driving the Evil Spirits from Heaven." Ancona possessed some works of Lilio's, both in oil and fresco. Anderlini, Domenico, born at Pesaro, flourished about 1720. A landscape painter of some merit. Anderloui, Fauatino, born at Brescia. Flourished about 1 786- 1794. An engraver. He illustrated several scientific works and made portraits of Schiller, Herder, and Carlo Porta. He also en- graved " The Dying Magdalene," after Correggio ; " The Repose in Egypt," after N. Poussin ; and the "Mater Amabilis," after Sasso Ferrato. Anderloui, Pietro, brother of Faustino, born 1 784. He studied with P. Palazzi and Faustino, and was undecided between painting and engraving, but after deciding upon the latter, at tlie age of twenty he entered the school of Longhi, where he remained nine years. Under that master he became excellent in his art, and was allowed to put his name upon some plates in acknowledgment of his share in their execution. He went twice to Rome to make drawings after Raphael, and in 1831 be succeeded Longhi as superintendent of the Acad, of Engravers at Milan. He became a member of several academies and distinguished in his art. Anderson, . An English painter of small marine pictures. Anderton, Henry, flourished about 1660, died 1665. After studying under Streater he went to Italy. He painted some histori- cal pictures, but principally portraits ; one of the latter which he made of Mrs. Stuart (later Duchess of Richmond) , so pleased Charles II. that he gave Anderton his patronage. Andre, Jean, born in Paris (1662-1753). He was a Dominican and went to Rome, where he studied the works of Michael Angelo and Raphael, and was a pupil of Carlo Maratti. He painted histori- cal subjects and portraits. Andrea, Alessandro. An artist who flourished about 1578, when he engraved a portrait of the Abb^ de S. Arnaud, the French ambas- sador at the court of Constantinople. Andrea da Pirenze. This artist was employed in painting the story of the Beato Raineri, at the Campo Santo at Pisa, as is shown by his receipt for payment made the 13th of October, 1377/1378 (Pisan style). It is not possible exactly to trace this artist, as at that M.M,n ANDKEA — ANGELI. 43 time there were seven Andreas on the roll of Florentine artists, •either one of whom may have been the one employed at Pisa. There has also been a question as to whether lie did not paint the Cap- pellone dei Spagnuoli, which Vasari ascribed to Simone. Andrea da Firenze, who painted an altar-piece in a chapel of S. ' Margaret at Cortona, and a picture of the " Conversion of Constan- tine," flourished in 1437. Andrea del Sarto. See Sarto. Andreani, Andrea, born at Mantua, 1540 or 1560 j died, 1623. His paintings are little known, but he was a very cel- ebrated engraver. Early in life he established himself in Rome, and devoted himself to wood-cuts, which were printed in chiaro-scuro. He excelled all who had preceded him. It is said that he procured the blocks of other engravers, retouched them and called them his own. The number of prints attributed to him is very large, and they are prized by good judges. From the similarity of his monogram to that of Albert Altdorfer, their works are sometimes confounded. Audreasi, Ippolito, a native of Mantua. A pupil of Giulio Ro- mano, whom he assisted in his cartoons. Andreasi painted pic- tures of merit, in S. Barbara and other places. Audriessen, Jnrriaau, born at Amsterdam (1742-1819). Pupil of A. Elliger and J. M. Quinkhart. He excelled in decorative paint- ing, and the new theatre at Amsterdam was decorated by this artist and Numan. He had several pupils who are distinguished. Andriessen, Antony, born at Amsterdam (1746-1813). Painted landscapes and figures with liis brother, Jurriaan. Andriessen or Adrienses, Hendricks, called Mankenhein, born at Antwerp, 1600 ; died at Zealand, 1655. A painter of still life. Andrioli, G-irolamo. A Veronese painter. His name, with the date 1606, is found on an altar-piece and other pictures in the oh. of S. Caterina di Siena, at Verona. Andriot or Handeriot, Franz or Frau9oiB, born at Paris about 1655. An engraver who worked in Rome and Paris. He followed the style of Poilly, and although he did not equal that artist his plates are prized for their subjects and the masters after whom he engraved. Aneda, Juan de, born at Burgos, where he painted, in 1565, sev- .eral pictures, which are still in the Cath. He was associated in this work with Juan de Cea. Anesi, Paolo. A native of Florence. Several of his works are in the palaces and private galleries of that city and at Rome. He painted ruins in the manner of P. Panini, as well as landscapes. Francesco Zuccherelli was one of his pupils. Angeli or Angelis. There were many artists of this name, but the facts recorded of them scarcely serve to distinguish them from each other. 44 ANGELI — ANGUIEE. Angeli, Giulio Cesare, born about 1570 ; died 1630. A pupil of the Caracci. There is a large picture by him in the ch. of S. Agos- tino at Perugia. Angeli, Giuseppe, born about 1615. Pupil of Piazzetta. He painted some altar-pieces, but principally cabinet pictures. Angeli, Niccolo. An engraver who flourished about 1635. Angelis, Peter, born at Dunkirk, 1685; died at Rennes, 1734. He went to Flanders, and passed some time there and at Dusseldorf. In 1712 he went to England, and met with such success that he re- mained sixteen years. In 1 728 he went to Rome and remained three years. His pictures were much admired there, but his retiring dispo- sition and his devotion to his ait prevented his pushing his fortune. He left Italy with the intention of returning to England, but stopped at Rennes, in Bretagne, where he found so much employment that he spent the remainder of his lite there. He painted landscapes with small figures and conversations. He was fond of introducing fruit and fish into his pictures. His designs are graceful and natural, but his colors sometimes faint and wanting character. Angelico, Fra Giovanni, da Fiesole. See Eiesole. Angelini, Scipione, born at Perugia or Ascoli (1661-1729). A very skilful painter of flowers. Many of his works were exported i from Rome, where he worked, to France, Holland, and England. , ; Angelo Pedro. Stu-ling calls him the first good engraver of Spain. He engraved several fine portraits for books, among which were those of Card. Ximenes de Cisneros and Pedro Gonzalez de Mendoza, the great cardinal of Spain. Angelo, called Angelnccio. Flourished about 1G80. A promis- ing pupil of Claude Lorraine who died young. Angelo, Michael. See Buonarotti. Anglers, Paul. An engraver of whom little is known. He re- sided in London. He was employed mostly by booksellers, but his best print is a " View of TivoU," after Moucheron, ^.nd there is one of a " View of Roman Ruins," after Papini, dated 1749. Angioletto, of Gubbio, was a mosaist who flourished about 1325. He worked at Orvieto and at Assisi, where he assisted in the win- dows of the lower church. Anguier, Francois, born at Eu, in Normandy, 1604; died in Paris, 1669. A son of a carpenter who early taught him to carve in wood. He went afterwards to Paris to study sculpture, and later to Rome. He was one of the first artists of liis time in France, and Louis XIII. made him keeper of the Gall, of Antiquities, and gave him apartments in the Louvre. At one time he was employed in England. One of his best works is a " Crucifix," in the ch. of the Sorbonne. His sculptures may also be seen in the ch. de L'Ora^ toire ; the ch. S. Andrd-des-Arcs ; and at Moulins. He also exe- cuted four figures for the tomb of the Duke of Rohan, in the ch. of the Celestines, at Paris. His copies after the antique were fine. ANGUIKR — ANGUISCIOLA. 45 AngTiier, Michel, born at Eu (1612-1686). Brother of the preceding, with whom he studied until they went to Rome. Michel became the pupil of Algardi and worked with him at S. Peter's and in several palaces. He remained ten years in Rome and was the friend of Algardi, Poussin, and Du Quesnoy. In 1651 he returned to Paris and assisted Fran9ois in his greatest work, the tomb of the Duke de Montmorenci at Moulins. He made a statue of Louis XIII. which was cast in bronze. For Queen Anne of Austria he executed the principal sculptures in the ch. of Val de Grace, and adorned her own apartments in the Louvre. His " Nativity " in the last named ch. is considered his master-piece. He also executed sculptures for the high altar of S. Denis de la Chartrc ; bas-reliefs for the Porte S. Denis ; the monument of the Duchess de Longueville ; the brazen vase in the garden of Versailles ; and the statues of Pluto, Ceres, Neptune, and Amphitrite. This artist was professor in the Acad, of Arts at Paris, and wrote lectures on Sculpture. Angujsciola or AngoBciola, Sophonisba, born at Cremona, 1530 or 1533 ; died about 1620. She was of a good family and one of six sisters. She was first taught by Bernardino Campi, then Bernardo Gatti, called Sojaro. She came to be considered one of the best por- trait painters of her age. She instructed her sisters also, four of whom, besides herself, were artists. Vasari praises her picture of tliree of her sisters playing chess with an old woman, and another group of family portraits, in which her father is introduced. Her fame was so great that Philip 11. invited her to Spain as court painter, whither she went in 1559. She was received with great honor and first painted the portrait of the king, with which he was so much pleased, tliat he gave her a diamond wortli fifteen hundred ducats and a pension of two hundred ducats. She then painted the Queen Isabella, and a copy of tliis picture was sent by her to Pope Pius IV. with a letter written by her, which Vasari gives, together with the pope's reply. She painted various princes and persons of rank, and the whole court, in fact, desired to have her pictures. She at length married Don Fabrizzio di Moncada, a SiciUan nobleman, and resided at Palermo, while he lived. The king allowed her a handsome pension, and at her husband's death desired her to return to court, but she preferred to visit her native Italy and on her pas- sage to Genoa she fell in love with, and it is said, offered herself to Orazio Lomellino, the captain of the galley in which she sailed, and of a fine Genoese family. She continued to practice her art in Genoa, but late in life becariic blind. In 1620 Vandyck was often with her in Genoa, where "lier house was a favorite resort of all artists, and he was heard to say that he had been more enlighteiied in painting by a blind woman tlian by his own master. When we consider that this master was Rubens, and Vandyck his favorite pupil, tliis is great praise. She painted two portraits of herself wliich were much ad- 46 ANGUISCIOLA — ANSELMI. mired, and Lanzi says one of them was in the ducal Gall, of Florence, and the other in the possession of the Lomellini family at Genoa. At Althorpe, in Northamptonshire, is a portrait of herseK playing on a harpsichord. The picture of her sisters playing chess was in the Coll. of Lucien Bonaparte, and is somewhere in England ; and the Earl of Pembroke, at Wilton, had the " Marriage of S. Catherine " by her. Her sisters Lucia, Europa, and Anna Maria all painted, but none of them equalled Sophonisba. Angus, ■William. Flourished 1786-1820. An English designer and engraver of public buildings and landscapes. He made plates of many gentlemen's country seats, and was employed on various topo- grapliical works. He also made engravings from the designs of others. Anichini, Luigi, a Ferrarese engraver praised by Vasari. Anichini, Pietro. An engraver of whom Uttle is known. Some of his plates are dated 1655. Anjou, Rene d', King of the Two Sicilies, Duke of Lorraine, and Count of Provence, was a painter. His life belongs, however, to history rather than art. He painted his own portrait, which was in the chapel of the Carmelites at Aix. There is a print from it in MontfauQon. He painted missals and miniatures on glass, and it is said that he also did a portrait of Charles VH. of France. Anna, Baldassare d', Flemish by birth, but of the Venetian school, and a pupil of Corona of Murano. After his master's death in 1605, Anna completed several of his works. He also painted orig- inal pictures for the Servi, which surpass those of Corona in softness and the power of chiaro-scuro, but are inferior in design. Ansaldo, Gio. Andrea, born at Voltrc (1584-1638). Pupil of Orazio Cambiasi ; he also studied the works of Paul Veronese. He was an excellent colorist both in oil and fresco, especially in the lat- ter. His works are numerous in the churches and palaces of Genoa ; his chef-d^ asuvre was the cupola of the Nunziata in that city. Ausaloni, Vinoenzlo, born at Bologna. Flourished about 1615, and died young. A scholar of Ludovico Caracci, he became a painter of some merit. He left two altar-pieces in Bologna. One at S. Stefano, representing the death of S. Sebastian ; the other a Ma- donna, in the ch. of the Celestine monks, which is much admired. Anselin, Jean Louis, born at Paris (1754-1823). An eno-raver. His chief works were from the pictures of French masters represent- ing historical and poetical subjects. Anselmi, Giorgio, born at Verona (1722-1797). Pupil of Bales- tra. Painted the cupola of S. Andrea at Mantua. Anselmi, Michael Angelo, called Michelangelo da Siena, born at Lucca and studied at^ Siena, but his family were of Parma (1491- 1554). Bazzi was his master. He became a follower and imitator of Correggio. When the latter painted the Cath. of Parma, Anselmi ANSELMI— ANTONELLO. 47 was one of the ai'tists to whom the chapels were given. He painted much in Parma. There is a "Madonna" by him in the Louvre. His designs were weak ; his heads studied, and his colors gay. He died at Parma. Ansiauz, Jean Joseph Bleonora Autoine, born at Li^ge (1 764 -1840). Pupil of Vincent. He painted historical and poetical sub- jects, and large numbers of portraits. He ranks among the first art- ists of his time. There are tliree pictures by him in the ch. of S. Paul at Lifege. He painted portraits of many eminent statesmen and ■ generals. Antelami or Antelmi, Benedetto, born at Parma. Flourished about 1185. A basso-relievo of the " Crucifixion " by this sculptor is in the Cath. of Parma, and though rude when compared with an- cient or more modern sculpture, it is excellent for its time. Anthemius, born at Tralles in Lydia. An eminent architect and mathematician. In 532 he was employed by Justinian in the build- ing of the ch. of S. Sophia at Constantinople. In 1777 a fragment of one of his mathematical works was published at Paris. , Antiquus, Jan, born at Groningen (1702-1750). He commenced his artistic career as a glass painter ; he next studied with Jan Abel Wassenberg, after which he went to France and painted portraits. At length he went to Florence, where he was six years in the service of the Grand Duke of Tuscany. After his return to Holland he painted various large pictures in the Pal. of Loo, one of which was "Mars disarmed by the Graces." His design and color were good. AntoUuez, Don Josef, born at Seville (1639-1676). Pupil of Don Francesco Rizi. His historical pictures were admired for their fine landscape backgrounds. He was a man of haughty temper and sarcastic humor. In the Queen of Spain's Gall, is his " Magdalene in Ecstasy upborne by angels." The design and coloring are good, but the saint is too sad 4or her triumphant position. In the ch. of La Magdalena at Madrid are the " Miraculous Conception" and the " Good Shepherd," by Antolinez. Antolinez de Sarabia, Francisco, died 1700. Nephew of Josef and pupil of Murillo. Although he made himself a good reputation as an historical painter, he gave up the profession to practice law, for which he had been educated at Seville. But not succeeding, he was obliged again to paiM as a means of living. At this time he made a series of small pictures from the Bible and the life of the Virgin, which have been very greatly admired. After the death of his wife he determined to be a priest,' but did not live long enough to take orders. Palomino says, "in spite of his strange temper and unsettled habits, a man of large erudition and great powers of mem- ory, and had an apposite quotation on his tongue for every incident that could occur." Antonello da Messina. See Messina. 48 ANTONIO — APOLLODORUS. Antonio, Marc. See Saimondi. Antonio, Pedro, born at Cordova (1614-1675). Pupil of Antonio del Castillo. A good colorist. Antonisze, Cornelius, born at Amsterdam about 1500. He ex- celled in painting views of streets and towns. In the treasury of Amsterdam is his picture of that city in 1536 ; he also painted twelva views of its public buildings and engraved them on as many blocks of wood. These prints are now rare. Apellea. The most celebrated Grecian painter. He studied under Ephorus at Ephesus, under Pamphilus at Amphipolis, and later in the school of Melanthius at Sicyon. He combined the ele- gance of the Ionic, with the accurate science of the Sicyonic school. The best part of his life was spent at the courts of Philip and Alex- ander the Great, and he was the only master whom the latter would allow to paint his portrait. His most famous work was the " Venus Anadyomene." This was painted for the temple of Asclepius at Cos. It was taken to Rome by Augustus and placed in the temple of Csasar, and when it had been injured no artist would attempt its re,"^ toration. He painted Alexander with a thunderbolt in his hand, for the temple of Artemis at Ephesus, and the monarch is said to have- declared that there were two Alexanders ; the son of Philip who was unconquerable, and the work of Apelles, wliich was inimitable. There are many anecdotes of Apelles, and he is said to have seen and admitted the excellences of other artists, but he claimed that he excelled all in grace. In order to test the accuracy of his works he was accustomed to expose them in some public place and conceal himself where he could hear the remarks of those who passed by. On one occasion a cobbler criticised a shoe ; Apelles corrected the fault; but when the same man found fault with the leg, the master rushed out and commanded him to stick to the shoes. Apelles went to Rhodes, and to the studio of Protogenes when that master was absent. A panel was there ready for use. Apelles took a pencil and drew a thin colored line in such a way that when Pi-otogenes saw it he knew who must have done it ; he then drew a thinner line of a different color upon that of Apelles. When the latter saw this he drew still another line which divided that of Protogenes as he had divided the first. This panel was carried to Rome, where it was con- sidered the most wonderful work of art in the Pal. of the Caesars. It was burned with that building. No work of Apelles' remains. Apollodorus. 1. An Athenian painter who flourished about 408 n. c. He'was the discoverer of chiaro-scuro. Pliny says he was the first artist whose pictures riveted the eyes. 2. A sculptor. He made bronze statues and then destroyed them, because they did .not satisfy him. He was called the " mad-man," and was represented in that character by the sculptor Silanion. 3. An architect of Damas- cus. Trajan employed him to build the Forum, Odeum, and Gym- APOLLODORUS — APPELMAN. 49 nasium at Rome. Hadrian, who took offence at some words of Apol- lodonis', first banished him, and afterwards put him to death. Apollonio, Agostino, born at S. Angelo in Vado. Nephew of Luzio Dolci, whom he assisted in the latter part of his life. Apollo- nio removed to Castel Durante and worked both in stucco and oils. He was the heir of Luzio. Apollonio, Jacopo, born at Bassano (1584-1654). Grandson of Jacopo da Ponte, called Bassano, by whom he was instructed. He was the best imitator of his master among all his disciples. His , finest work is the " Martyrdom of S. Sebastian " in the ch. of that saint at Bassano. In the dome of Bassano there is a " Magdalen," and at the Riformati a picture of " S. Francis," by Apollonio. Apollonius. 1 . Born at Tralles and a brother of Tauriscup. These brothers were the sculptors of the group called the " Farnese Bull," which represents the punishment of Dirce. This group, now at Naples, was taken from Rhodes to Rome by Asinus Pollio ; it was found in the excavation of the Baths of Caracalla in the 16th century, and placed in the Far- nese Pal. Battista Bianca, of Mi- lan, undertook its restoration , but his work is very unlike the orig- inal. It was originally made of a single block of marble. It is be- lieved that these sculptors lived in the first century of the Chris- tian era. 2. An Athenian sculp- tor, son of Nestor, and the author of the " Torso of Hercules " in the Belvedere, one of the most splendid remains of Grecian art. There is also a statue of JEsculapius at Rome by this master. 3. Another Athenian sculptor, son of Archias. He executed the bronze head of a young hero, found a^ Herculaneum. 4. A sculptor, whose name is on a beautiful statue 6i a young satyr in the Coll. of the Earl of Egre- mont at Petworth, Sussex, England. AppeliuB, Jean, born at Middlebourg. Flourished about 1778. Painted history, portraits, and landscapes. His pictures are mostly large. He had more than ordinary talent. « Appelman, Bernard or Barent, born at the Hague (1640-1686). It is not known where he studied, but the fact that many of his pic- tures are of Italian scenery indicates that he visited Italy. The Prince of Orange employed him a long time. The landscapes which he painted in the Pal. at Soesdyk are. good in style and color. He 4 DIBCE. (NAPLES.) 50 APPELMAN — ARALDI. painted landscape backgrounds to the, portraits of other artists, and also painted portraits himself. Appiani, Andrea (1754-1818). An Italian, who painted in oil and fresco, in an. original and graceful style. His frescoes in the imperial pal. at Milan are simple and grand. The portrait which he made of Napoleon, who had appointed him his painter, is in Eng- land. He was made a knight of the Iron Crown and a member of the Legion of Honor, but when the Bourbons were restored his pen- sion was taken away. In 1813 he had a stroke of apoplexy, and be- came so poor that he was forced to sell his drawings, and everything of value that he possessed. Appiani, Francesco, born at Ancona, 1 702. Pupil of Magatta. In S. Sisto Vecchio at Rome, he painted in fresco, for Benedict XIII., a picture of the " Death of S. Benedict." The pope gave him a gold medal. He settled in Perugia, was presented with the freedom of the city, and labored until lie was ninety years old with a vigor equalled only by that of Titian. Perugia is full of his pictures, and there are many of them in England. Aquila, Francesco Faraone, born at Palermo, 1676. A designer and engi-aver. A brother of the celebrated Pietro Aquila. In 1 700 he established himself in Rome. Some of his engravings are highly esteemed. Besides detached pieces, he made twenty-two plates, called " Picturse Raphaelis Urbinatis ex aula et conclavibus Palatii Vatican!, etc., Franc. Aquilo, del. et incid. 1722." Aquila, Giorgio, called Maestro Giorgio da Firenzi, flourished from 1314 to 1325. Said to have been the first' Italian artist who used nut oil. Aquila, Pietro, born at Marzalla. The early part of his life was passed in a seminary preparing for the priesthood. He went to Rome in 1700 with his brother Francesco, and became a monk, but in his seclusion he was devoted to art. He painted only tolerably, but excelled as an engraver. His best prints are after the Caracci, and these are highly esteemed. The number of his works is very large, and some of them are after his own designs. His drawino' is correct and his etching bold and free. The " Farnese Gallery " with the statues and ornaments, is one of his best works. Aquila, Pompeo dell'. Flourished in the last part of the 16th century. A painter of history in oil and fresco. Several of his frescoes are in his native city, Aquila. At Rome, in the ch. of S. Spirito in Sassia, there is a fine " Deposition from the Gross " by this master. • Araldi, Alessandro, born at Parma (1465-1528). Painted his- tory. Lanzi says, " was indisputably a good artist in the mixed manner, that is now called anh'co moderno." His pictures are con- fined to Parma. He had little originality. The followino- is a list of his works : Duomo, fres(!0, on tlie wall to the rio-ht as vou ARALDI — AKDELL. 51 enter; "Virgin and Child" with S. Joseph and a kneeling man; Parma Gall., an "Annunciation" on wood, painted in oil; ch. of S. Paolo, a room painted in various designs ; ch. of S Sepolcro, pic- ture of " vS. Ubaldus, between the archangels Michael and Ra- phael ; " with an " Annunciation" and "Pietk" in the pediment. Arbasia, Cesare, born at Saluzzo. Flourished 1553-1614. A pupil of Federigo Zucchero. Painted in oil and fresco, but excelled in the latter. He went to Spain and worked in Cordova and Ma- laga. In 1583 he painted the " Martyrs " of the former city in the Cath. For a picture of the " Incarnation," in the Cath. of Malaga, he received three thousand ducats. About 1588 he went to Home with his former master. He was one of the founders of the Acad, of S. Luke, of which Federigo was the first president. Arce, Josef de. A pupil of Martinez Montanes. He executed eight colossal stone statues, representing the four Evangelists and four doctors of the Church, which were placed on the balustrades of the Sagrario of the Cath. of Seville. He also carved in wood the saints which adorned the high altar of the Carthusians at Xeres. Archer, Wykeham, born at Newcastle-upon-Tyne (1806-1864). He studied engraving with John Scott of London. He made etch- ings of places of interest at Newcastle and Hexham. At Edinburgh, he made drawings of the streets and edifices of the town, and re- turned to London to perfect himself in etching upon steel. He was a member of the new society of painters in water-colors. Mr. Ar- cher was author of " Vestiges of Old London," illustrated by etch- ings ; and a contributor to different journals. He claimed to have revived the practice of engraving in monumental brass, and executed works of that description. He also painted a little in oil. Arcimboldi, Griuseppe, born at Milan, 1533; died at Prague, 1593. Hi was court painter to Maximilian 11. and the Emperor Rodolph. He excelled in painting interiors, kjtchenS, fruits, vege- tables, utensils, etc. He also painted capricei, or pictures which looked like figures in the distance, but fell into heaps of flowers and leaves as one approached them. Arco, Alonso del, born at Madrid (1625-1700). Called El Sor- dillo de Pereda, and a disciple of Antonio de Pereda. He was deaf and dumb from his birth. Palomino praises him. Stirling says his pictures were mostly painted for public occasions, such as triumphal processions, etc. Many of his works were in the public buildings of Madrid and throughout Spain. Ardell, James Mo, born about 1710. A native of Ireland, or the son of Irish parents. One of the best mezzotinto engravers. The number of his plates is large. Many of them are portraits of dis- tinguished men of his time. He left a few plates of historical sub- jects after Vandyck, Murillo, Rembrandt, etc., some of which are extremely fine. 52 ARDEMANS — ARETUSI. Ardemans, Teodoro, born at Madrid, 1664. An eminent archi- tect, sculptor, and painter. He studied in the school of Coello. His attention was so given to his other pursuits tliat his pictures were few. That in the vault of the sacristy of S. Francis at Madrid is a clief-d'muvre. In 1689 he was master of works to the Cath. of Gra- nada, where he distinguished himself as a civil engineer. In 1691 he went to Madrid, and filled the place of master of works to the muni- cipality wliile that functionary was sick. In 1694 he was appointed to the same post at Toledo, and in 1700 at Madrid. In 1702 Philip V. made him superintendent of works at the Alcazar. In 1 704 he was made painter-in-ordinary, and received a key as deputy- Aposen- tador. He made designs for various public occasions, funerals, etc.; the plans for the collegiate churcli and high altar; for a large part of the Pal. and gardens of S. Ildefonso; and for the ch. of S. Millan at Madrid. It is said he also made some engravings. He wrote and published works on engineering and arcliitecture, and a eulogy upoo Palomino. Ardente, Alessandro. Flourished 1565-1595. He was a Pied- montesc, but the exact place of his birth is not known. Many of liis works are at Lucca. At Turin, at the Monte della Pietk, there is a picture of the " Conversion of S. Paul," wliich indicates by its style that he studied at Rome. At the time of his death he was painter to the court of France. Aregio, Pablo de. Flourished 1506. He is classed among Span- ish painters, but it is probable that he was an Italian, and of the school of Leonardo da Vinci. He painted, together with F. Neapoli, the doors of tlie great altar in the Cath. of Valencia. Long afterwards Philip IV. said of them, " the altar was silver, but its doors were gold." Arellano, Juan de, born Hi Santorcaz (1614-1676). A pupil of Juan de Solis. He did not succeed at first, and began to copy the pictures of Mario dei Fieri. He studied nature closely, and at length excelled in flowers and fruits. His pictures EB-e seen in most Spanish collections and are highly esteemed. Aretino, Spinello, born at Arezzo (1328-1400). He painted at Arezzo, Florence, Siena, and in the Campo Santo at Pisa. In S. Angelo at Arezzo he painted the " Fall of the Angels," in which Lucifer was so terrible that tlie remembrance of it affected the mind of Spinello, haunted his dreams, and, in truth, hastened his death. In general Spinello was sketchy and unequal in execution, but showed great talent in the vehemence of his conceptions. He painted the history of S. Benedict in the Sacristy of S. Miniato at Florence. These pictures are well preserved, and some of them are amono- the most spirited conceptions of all the pictures of the school of Giotto. Aretusi, or Munari degli Aretusi, Cesare. Called by some Mo- denese, because born at Modena, by others Bolognese, since he lived ARETUSI — ARIAS. 53 and took up his citizenship at Bologna ; died at Parma about 1612. He formed his style after Bagnacavallo. He was the intimate friend of Gio. Batista Fiorini, and they painted much together. Aretusi excelled in color and Fiorini was full of fine conceptions. Lanzi be- lieved that in every work attributed to Aretusi we should look for assistance from some other artist. But he excelled in portraits with- out the aid of any one, and surpassed in imitation. He could assume the style of almost any artist with wonderful exactness. He made a copy of the " Notte " of Correggio for the ch. of S. Gio. di Parma, which Mengs declared would be a good substitute for the original. The excellence of this performance obtained for Aretusi the honor of restoring the picture which Correggio had painted for the tribune gf the same church, and this last work was so well done that many believed it to be the original of Allegri. Arevalo, Juan Cano de, born at Valdemoro (1656-1696). Scholar of Francisco Camilo. He excelled in designing small figures, and at length painted most exquisite fans. But the Spanish ladies thought the French fans exceeded all others, and would not buy those made at home. Arevalo shut himself up and finished a great many very beautiful ones, and then displayed them, pretending that they were French. Before his deceit was detected his fans were so much ad- mired that he was appointed abaniquero or fan-painter to the queen. He did some pictures in distemper in the ch. of Valdemoro. When the qufeen, Maria Louisa, died, he designed a strange allegorical pic- ture which represented her as a glorious spirit within a lialo of rays, each ray containing a text which alluded to one of her many virtues. He went to Alcald to assist in painting some altar-pieces for the Jesuit college and the ch. of S. Maria. While there he died of a wound received in ai duel. His fans were his best works, and so fine- that they were preserved in cabinets after they were no longer used. Arfian, Antonio de. Flourished 1651. He studied with Murillo and L. de Vargas. He did several important works, and together with Antonio Ruiz painted the great altar-piece of the Cath. of Se- ville. This artist first introduced at Seville the painting of landscape and perspective backgrounds for bas-reliefs. He added to them painted figures which appeared to be carved like the rest. He also introduced improvements in the coloring of draperies on statues. Arias, Fernandez Antonio, born at Madrid; died 1680 or 1684. Studied with Pedro de las Cuevas. When but fourteen he painted the large altar-piece of the Carmelites at Toledo. This was much admired, and he was incited to greater application to his studies by the praises he received. At twenty-five he was one of the best painters at Madrid. The Duke d'Olivarez employed him to paint the portraits of the kings of Spain. After all his success, and his favors at court, he died in a hospital, although his life had been be- yond reproach. His daughter, who survived him, was a, painter of 54 AKIAS — ARTEAGA. some merit. In the Queen of Spain's Gall, there is a picture by- Arias of " The Pharisees asking Christ concerning the Tribute Money." Aristeides. 1. Lived about 360 b. c. One of the most celebrated Greek painters. A native of Thebes, son of Aristodemus, and pupil of Euxenidas and Nicomachus. He excelled in depicting the passions and feelings vrhich are observed in common life. It is said that the first foreign painting ever displayed in Rome was by this artist, and represented " Bacchus." It was brought to Rome by Mummius, and placed in the temple of Ceres. 2. A sculptor celebrated for his statues of two and four-horsed chariots. Arlaud, James Anthony, born at Geneva (1668-1743). He first painted small miniatures for the jewellers, but at length did some portraits, which were so successful as to induce him to go to Paris. Here lie was patronized by the Duke of Orleans, who gave him apartments at St. Cloud, and took lessons in painting from him. He devoted himself to his profession, in order to merit his good fortune, and became a favorite of the Princess Palatine. She ga^e him her portrait set with diamonds, and when he would go to England, she gave him a letter recommending him to the Princess of Wales, afterwards Queen Catherine. Arland painted her portrait, and was patronized by many of the nobility. He returned to Paris, and a few years after, having acquired an ample fortune, he settled in liis native city, in which he remained until his death. Armanno, Vinoenzio (1598-1649). A Flaming by birth. He painted landscapes and lived at Rome. His pictures are praised for their truthfulness, color, and shading. His figures are good and liis invention copious. It is said that he was imprisoned in Rome for eating meat on fast days, and that on his liberation he left the city in disgust and went to Venice, where ho died. Arnolfo, erroneously called di Lapo, was the son of Cambio of Colle de Val d'Elsa (1232-1310). A disciple of Niccola, under whom he worked at Sienna. When he (Ced he held the office of chief architect and sculptor of S. Reparata at Florence. Many archi- tectural monuments were assigned to him, but most of them have perished. The tomb of Card, de Braye, in S. Domenico at Orvieto, was executed by him in 1280. This is a mixture of mosaic, sculp- ture, and architecture, and affords but small opportunity for judging of his merits. Arpino, il Cavaliere d'. See Cesari. Arredondo, Don Isidoro, born at Colemar de Oreja (1653-1 702). A pupil of Josef Garcia, and later of Francesco Rizi. He painted history with great success, and at the death of Rizi was appointed court painter by Charles II. Palomino mentions a large and very grand picture of the " Incarnation " by Arredondo. Arteaga y Alfaro, Matias, born at Seville; died, 1704. Pupil AKTKAGA — ASPERTINI. 55 of Juan de Valdes. An eminent painter and engraver. He painted many perspective views, into which he introduced the stories illustrar tive of the legends of the Virgin. He was secretary of the Acad, of Seville, at the time of his deatli. Artois, Jacob van, born at Brussels (161S-1665). Probably studied witli Lodewyck de Vadder. Many of his pictures are very large. He painted only landscapes, and the figures in his pictures were done by Teniers, Van Herp, Gerard Zegers, and Gaspard de Craeyer. They sometimes represented Scripture stories, and are seen in the churches of Belgium. The pictures of Artois faithfully rep- resent the scenery of his native country. His pencil was light and free ; some of his works are grandly poetic, and his foliage so per- fect that it seems to be in motion. His coloring is not of the best. His pictures are numerous, and very unequal in merit and value. The Dresden Gall, has a fine small picture by this master, No. 956. The Gall, at Brussels has four; Nos. 37, 1, and 4 are the best. The figures in the first are by Van Herp. In No. 4, they are by Gaspard de Craeyer and Peter Snayers, and represent " S. Hubert adoring the Crucifix." In the Vienna Gall, are two large pictures with fig- ures by Gerard Zegers. In private galleries in England there are good pictures by Artois. Asper, Hans, born at Zurich (1499-1571). He painted portraits in the style of Holbein, and gained a reputation which has been in- jured by his pictures being sold for those of Holbein. The portraits of Zuinglius and his wife, in the library at Zurich, are by Asper. His drawings of game, flowers, and birds, were much esteemed. A medal was given him to record his merit, and yet he lived and died in poverty. Aspertini, Amico, born at Bologna (1475-1532). Scholar of Francis Francia. Very peculiar in character all his life, and insane before his death, according to Vasari, who says that he studied art by going through all Italy and making copies of all that pleased him. He could paint with both hands at the same time, and was called Amico da due Penelli. His earliest works are in S. Cecilia at Bo- logna, and are much injured. At S. Frediano in Lucca, there are nine pictures by this master, in the chapel of S. Agostino. They are much injured. His other works are, Berlin Mus., No. 119, "Nativity;" Bologna Gall., No. 297, "Virgin and Child," with several saints and the portraits of two patrons ; Madrid Mus., No. 886, " Rape of the Sabines ;" Bologna, ch. of S. JV^artino Maggiore, " Virgin and Child " with saints, among which is S. Nicholas giv- ino' their dowry to three young girls. At Ferrara, in the Strozzi Pal., a " Predella " with four scenes from the life of Mary. Aspertini, Guido, born at Bologna, about 1460. Scholar of Er- cole di Ferrara. Died young. His principal work was an " Adora- tion of the Magi," now in the Gall, of Bologna (No. 9). It is some- wha,t fantastic, but a pleasing picture. M.^.vi 56 ASSCHE — ATHANASIO. Assohe, Henri van, born at Brussels (1775-1841). Studied first with his father, and then with De Roi of Brussels. His pictures, which are landscapes, may be seen at Ghent, Lille, Haerlem, and Brussels. In some there are figures and animals by Ommeganck. Asselyn, Jan, born at Diessen, near Amsterdam. Scholar of Esaias van de Velde, and Jan Micl. He went to Italy in 1630, and remained fifteen years. He painted landscapes which are remarkable for tender coloring, good drawing, and poetic concep- tion. His works are highly esteemed. In the Louvre there are four. In the Van der Hoop Coll. at Amsterdam, a fine one, with a massive ruin in the foreground and blue mountains in the distance. In the Munich Gall. Cabinets, No. 445 has a fine effect of chiaro-scuro. It represents a ruined castle on a rock. In the Coll. of T. Baring, Esq., England, a picture of a Woman and Cattle reflected in the water, at the entrance of a cave, is one of the best works of Asselyn. Assen, Jan Walther van. Said to have 1 r -^"^"^^rX-l '"'®" \ivith saints, in the Gall, at Bologna is pleasing, but not powerful. In S. Maria della Pace at Rome, there are frescoes of a Saint and a Prophet in armor, colossal in size. There arc also works of his in the Berlin Mus., the Colonna Pal., and in the Solly Coll. There arc others in different churches of Bologna. Bagnacavallo, Gio. Batista. Son of Bartolommeo Ramenghi. He went to France as an assistant to Primaticcio, when he undertook his work at Fontainebleau. When he returned to Bologna, he was made chief of the Acad, of that cit)'. Baillie, Captain William. An amateur engraver. Born in Ireland about 1736. His early life was passed in the army, from which he retired with the rank of captain of cavalry. Ho devoted thu remainder of his life to art. He was one of the most intelligent connoisseurs of his time. We have about a hundred plates of his, engraved in different manners. BAILLIE — BALDOVINETTI. 65 His copies after Rembrandt, and his plates after (he style of that master, aa-e his choicest works. The following are a few of his plates . — Christ Healing the Sick, called the Hundred Guilder Print. Orig- inal plate by Rembrandt, and admirably retouched by Baillie. Beggars at the Door of a House; afler Rembrandt's print. The Gold- weigher; finely copied from Rembrandt's print. Three Trees; landscape; after same. Old Man, half-length, with a Cap and Beard; 1765; afler Rem- brandt. Landscape, with a Horse ; after Rembrandt's print. The Pen-cutter; after Oer. Douw. Interior of an Ale-house, with figures regaling; afler Tenters; fine. Another Interior with Peasants Smoking and Drinking ; afler A. Ostade. 1 765. Bailii, David, born at Leyden (1584-1638). Painter of portraits and perspective church interiors. The latter works of his are much admired. Baillu or Bailliu, born at Antwerp, 1614. An engraver, whose principal plates are after Rubens and^Vandyck. Although not the best, his prints are well esteemed. Baillu or Bailliu or Baleau, Beruhard, born in the Netherlands about 1625. An engraver of portraits and a few historical subjects. He executed entirely with the graver. Bajardo, G-io. Batista, born at Genoa (1620-1657). A painter of history whose pictures are esteemed in Genoa. The best are in the portico of S. Pietro and the cloister of S. Agostino. Bakker, Jacob, born at Harlingen (1608-1641). Lived chiefly at Amsterdam, and painted history and portraits with great rapidity. His works aro praised by the poet Vondel. Many of them are in Spain. An altar-piece in a chapel of the Antwerp Cath. represent- ing the "Last Judgment" is by Bakker, and is a fine picture. Another of his works is a large archery piece, No. 34, in the new Hotel de Villo at Amsterdam. Bakker, Adrian, born at Amsterdam (1643-1686). Nephew of Jacob. Studied at Rome. Excelled most of his countrymen in cor- rectness of design. His chef-d'oeuvre is a picture of the " Judgment of Solomon," in the Hotel de Ville at Amsterdam. Baldi, Lazzaro, born at Pistoja (1623-1703). A scholar of Pietro da Cortona, in Rome. He became an eminent painter of his time. In the Pontifical Pal. at Monte Cavallo, there is an esteemed work of his representing "David and Goliath." The "Martyrdom of S. Lazzaro " is in the ch. of S. Luke. Baldovinetti, Alesaio, born at Florence (1422-1499). He is believed to have been a pupil of Paolo Uccelli. His works are few, 5 66 BALDOVINETTI — BALDUNG. aud are distinguished for minuteness in detail. He is said to have painted straws so that their stems and joints could be seen. He ex- ecuted portraits and historical subjects, both in oils and fresco. His remaining works are much injured by scaling or the abrasion of the colors. Those best known are a fresco in the cloister of the Annun- ziata at Florence; No. 24, Uflizi Gall.; and a " Trinity" with Saints, painted for a chapel in S. Trinitk at Florence. He was interested in mosaic work, and studied much to learn the best manner in which it could be done. In 1481 he repaired the mosaic over the portal at S. Miniate al Monte. He was a chemist, as well as an artist. He claims to have been the teacher of Ghirlandaio. He was buried in S. Lorenzo at Florence. Baldrighi, Giuseppe, born at Pavia (1722-1802). A pupil of Vincenzio Meucci. He was invited to the court of Parma, and ap- pointed painter to the Duke. He painted portraits of the ducal family, which were much admired. One of his finest pictures is in the saloon of the Acad, of Parma, and represents " Prometheus." Balducci, Gio., called Cosci, died 1600. Said to have been a native of Florence and a pupil of Batista Naldini. He was employed at Rome by Leo XI., when Card. De' Medici. His works may be seen at Rome, at Florence, and at Naples, which he visited towards the close of his life. Baldung, Hans, called GrUn. Born at Gemund, 1470 ; died at Strasbourg, 1552. A contemporary, and perhaps a pupil of Albert Durer, but inferior to him in beauty of design and color. A number of his pictures may be seen in the Cath. of Freiburg. An altar-piece dated 151G is considered his chef-d'auvre. One of his best portraits is in the Vienna Gall. No. 148, Munich Gall. Cabinets, is a por- trait of the Margrave of Baden. Berlin Mus., Nos. 603 and 623 are his works. He was an engraver, and worked chiefly on wood. Bartsch assigns to him two engravings on copper, and mentions fifty- nine wood-cuts. His drawing was sometimes incorrect ; but the expression of the heads was good. The following are some of his prints: — Adam and Eve plucking the apple. The Fall of Adam; inscribed on a tablet, " Lapsus humanis gen- eris. 1511. Christ and the Apostles. 1514. Thirteen plates. The Crucifixion, with S. John, the Virgin, and Mary Magdalene; in chiaro-scuro ; fine. Two landscapes; very scarce. Four small upright prints : Solomon's Idolatry, Samson and Deli- lah, David and Bathsheba, and Aristotle and Phryne; very fine. An Incantation ; in chiaro-scuro. 1510. The Holy Family, with SS. Elizabeth aud Catherine ; half-length. 1512. BALDTJNG — BANDINELLI. 67 Two prints of Horses in a Forest; marked " Baldung. 1584," A Man witli a Horse ; large upright ; no date. Balechou, Jean Jacques, born at Aries, 1715 ; died at Avignon, 1764. Very celebrated engraver. He excelled all French engravers who preceded him in the clearness of his strokes and brilliancy of color. In neatness of execution he has rarely been surpassed. There is, however, a deficiency in his drawing, especially in portraits, which detracts from the effect of his works. His three plates after Vesnet, representing the " Storm," the " Calm," and the " Bathers," arc among his finest plates. Balen, Heinrich van, born at Antwerp (1560-1632). Pupil of Adam van Oort. He went to Italy, and returned to Antwerp, where the demand for liis pictures was greater than he could supply. In purity of color he excelled the older Flemish artists, but was cold in feeling, and mannered in design. The backgrounds of his pictures were often painted by Jan Breughel, and sometimes by Kierings. These works were found in the best collections. His nude figures were the most pleasing, and exquisite in finish. In the Antwerp Cath. are two altar-pieces, and in the ch. of S. Jacques an " Ascen- sion " by Balen. He was the first instructor of Vandyck. Balestra, Antonio, born at Verona (1666-1740). Pupil of Carlo Maratti at Kome, where he was employed to paint in several churches and palaces. He gained the prize at the Acad, of S. Liike in 1694. He was not a great master, but his works are held in good estima- tion. One of his finest pictures is in the ch. of S. Ignatius at Bo- logna. He was also an engraver, and his plates from his own designs are etched in a free and masterly manner. Baltz, J. Georges, born at Strasbourg, 1 760. Painted miniature portraits and landscapes on porcelain, many of which are seen in the cabinets of Europe. Bambini, Giacomo, born at Ferrara ; died 1622. Pupil of Do- menico Mona. There are many of his works in the churches and public edifices of Ferrara. Bambini, Niooolo, born at Venice (1651-1736). Pupil of Giulio Mazzoni and Carlo Maratti. He imitated Liberi, and like him was i^stinguished for his beautiful women. He was a reformer in Vene- tian art. Many of his works are in the churches of Venice. Bam- bini was the master of Zanetti. Bamboccio. See Peter de Laer. Banck, Peter van der, of Flemish extraction, but born at Paris (1649-1697). Pupil of Francis de Poilly, and an eminent engraver. In 1674 he went to England with Henry Gascar. He painted por- traits of many eminent persons of his time, which are much esteemed for their historical value, as well as for their merit as engravings. BandineUi, Bacoio, born at Florence (1487-1559). Sculptor and painter. Scholar of Rustici, and friend of Leonardo da Vinci. 68 BANDINELLI — BARBARIS. His designs were powerful, and his treatment bold, but he had much mannerism. He hated Michael Angelo, whom he never could equal. He was envious, false, and calumnious, full of silly vanity, his only virtue being that of industry. But all that has passed away, and his works remain to claim for him his due distinction. The best of these are a bas-relief on the screen of the choir (or the high altar) of the Florence Cath., which represents the Prophets, the Apostles, the Virtues, etc. ; a bas-relief on a pedestal in the Piazza of S. Lorenzo, at Florence ; and a group representing " Nicodemus supporting Christ," which he intended for his own monument. This last is in the ch. of the Annunziata, at Florence, and the Kicodemus is a portrait of Bandinelli himself. Banks, Thomas, born at Lambeth (1738-1805). He served his apprenticeship to a wood carver. He obtained several premiums from the Society for the Encouragement of the Arts, for models in sculpture. He then entered himself a student of the Eoyal Acad., and obtained their gold medal. This entitled him to study in Rome three years. He applied himself closely to the study of the antique, and there executed two of his best works in marble : " Cupid catch- ing a Butterfly," purchased by Catherine H. of Russia; and " Ca- ractacus brought Prisoner to Home." He returned to England, and attempted to indulge his fancy in works of a lofty and heroic style, but he was compelled to adopt the more lucrative employment of monumental sculpture. He was invited to Russia by the Empress, and remained two years. Monuments executed by him are in several churches in England; and in the Hall of the British Institution is the model of " Acliilles mourning the Loss of Briseis," never executed in marble. His life was one of disappointment. His poetic groups were received with coldness, and he lacked that encouragement which stimulates to the highest attainment. Baptiste. See Monnoyer. Barabbino, Simone, born near Genoa about 1585. Pupil of Ber- nardo CastcUo, who became jealous of his talent, and expelled him from his Acad. He then painted a picture for the Annunziata del Guastato, representing S. Diego, which has been much praised. He removed to Milan, where he received the honor due to his ability. One of his finest works is a " Madonna," with the dead Christ, and Saints, in the ch. of S. Girolamo. Lanzi says he became a mer- chant, and died in jail. Barbalunga. See Ricci. Barbarelli. See Giorgione. Barbaris, Jacopo de (1504). Little can be told of this painter; indeed, it is doubtful by what name he should be called, for he is thought to be identical with Jacomo Barberino Veneziano, and with Jacob Walch, an artist alluded to by DUrer in his correspondence. His signature and emblem (a wand of Mercury), are on a panel in BARBARIS— BARBIANI. 69 the Gall, of Augsburg, dated 1504, and on a head of Christ in the Mus. of Weimar. There are also pictures of his in Paris, Ratisbon, and in Dresden Mus. If he be the same as Jacomo Barberino Vene- ziano, he went, according to the Anonimo, to Burgundy and Ger- many, and adopted the style of those countries. He was in the ser- vice of John of Burgundy, Bishop of Utrecht, at the same time with Mabuse, and excelled in painting and engraving, fBarbary, Jacob da. An engraver, __ _j and the true "Master of the Caduceus/' ll Kn who has been called until recently Franci? de Babylone. The reason of the name is found in the fact that he marked his plates with a caduceus. One of his plates mentioned by BruUiot is dated 1504. His nationality is a matter of doubt. Different authors enumerate, altogether, twenty-nine plates by this artist. Tliey are highly esteemed for their rai-ity. The following are among those known to be his : — Apollo and Diana ; small upright plate. A Holy Family, with the Virgin resting on the stump of a tree, and S. Joseph leaning his head on his hand ; square plate ; half- length figures. A Holy Family, with S. Elizabeth, and an Angel playing a musical instrument. The Offering of the Wise Men ; small upright plate. S. Jerome writing, with a Crucifix before him. Two small upright plates; in one a woman carries a child in her arms, and in the other a man cAries a boat. A Sacrifice to Priapus ; a free subject; after Marc Antonio. Barbatelli, Bernardino, better known as Poccetti, and also called Bernardino delle facceati, or delle grotesche. Born at Florence (1548-1612). Pupil of Michele di Kidolfo del Ghirlandaio. At»first he painted only grotesques and the fronts of buildings, and was little known, but later he went to Rome, where he studied the works of Raphael, and also made a reputation as an architect. Few of his pictures on wood or canvas remain, but many of his frescoes are still in Florence, and compare well with those of many Italian masters. Mengs always studied him when in Florence, and Pietro da Cortona admired his works. He sometimes painted hastily, and again would prepare his drawings with the greatest care, but his pencil was always firm, and his works displayed facility and freedom. He adorned his historical pictures with fine landscapes, sea-views, fruits and flowers, and his draperies were admirable. Barbello, Gio. Giacomo, born at Cremona (1590-1656). Best known by his pictures in the churches of Bergamo. Barbiani, Andrea, born at Ravenna (1680-1754). Believed to have studied under P. Cesare Pronti, whose style he imitated in his- 70 BARBIANI — BAROCCIO. torical paintings. The churches and public buildings of Ravenna and Rimini are adorned with his works, one of the best being in the vault of the Cath. of Ravenna, and representing the " Four Evange- lists." He was an artist of considerable merit. Barbiani, Gio. Batista, born at Ravenna. Flourished about 1635. Probably studied under Bartolommeo Cesi. His best fresco is the " Assumption of the Virgin," in the dome of the chapel of N. Signora del Sudore, in the Cathedral. Some of his best pictures were at' Bologna. Barbier-Walbonne, Jacques Luc, born at Nismes, 1769. Pupil of David. He painted historical pictures, and portraits of the dis- tinguished generals of France. Barbiere, Domenico del, born at Florence about 1606. A pupil of II Rosso, whom he accompanied to France, when he came by in- vitation of Francis I. to ornament the palaces of Fontainebleau and Meudon. After the death of Primaticcio, Barbiere executed some frescoes after the designs of that master. He was also an engraver, but his works possess little merit. They are valued, however, on account of their scarcity, and are found in curious collections. Barbieri, G-io. Francesco. See Guercino. Barbieri, Paolo Antonio, brother of Gio. Francesco, called Guer- cino, born at Cento (1596-1640). A painter of still-life. He es- pecially excelled in pictures of fish. Barca, Don Vicente Calderon do la, born at Guadalaxara (1762-1794). Pupil of Don Francisco Goya. Painted history and portraits, and excelled in the latter. His finest historical work is in a college at Avila, and represents the " Birth of S. Norbert." Bardin, Jean, born at Montbar (1732-1809). Pupil of the elder Lagrenee. Studied also at Rome. Ho was a popular artist in France and was admitted to the Acad, in 1 795, His subjects were religious, poetfcal, and historical. David and Regnault were instructed in the elements of painting by Bardin. Barker, Robert (1739-1806). Inventor of panoramic painting. His first picture of this kind was a view of Edinburgh, which was exhibited in that city in 1788, and in London a year later. At first this kind of exhibition attracted but little attention, but soon its use- fulness was appreciated, and it became popular. Barnuevo, Don Sebastian de Herrera, born at Madrid (1611- 1671). Architect, sculptor, and painter. Studied first with his father who was a sculptor, then became a pupil in paintinw under Alonso Cano. He gained reputation in the three branches of art to which he gave his attention. Many of his works are in Madrid. The " Nativity," in the ch. of S. Geronimo, and the " Beatification of S. Augustine," in the great chapel of the Augustine R^coUets, were his principal pictures. Baroccio, Pederigo, born at Urbino (1528-1612). Studied de- BAEOCCIO. 71 sign with his father, who was an engraver. Became the pupil of Battista Franco of Venice. Went to Pesaro, where he saw the art- treasures of the Dukes of Urhino, and when twenty years old, to Rome. He was liindered by his modesty, but Michael Angelo chanced to see some of his drawings, which he praised, and Gio. da Udine became his friend. Ho also became known to Card. Giulio della Rovere, who gave liim his patronage. He returned, after four years, to Urbino, and executed some church paintings which gained him great reputation, and when, in 1560, he returned to Rome, Pius IV. employed him in the Vatican, with Federigo Zucehero. Here he was poisoned by some rival, and although the potion was not fatal, it induced a stomachic disorder, which prevented him from working more than two hours a day during the fifty-two remaining years of his life, which years, witli the exception of three at Perugia, and a visit to Florence, were passed at Urbino. Some of his best works were, the " Pardon of S. Francis of Assisi," for the Franciscans of Urbino, on which he spent six years; a " Deposition from the Cross," for the Cath. of Perugia, three years, now in the Vatican; the "Calling of S. Andrew;" the "Annunciation," now in the Vatican; " Santa Michelina," the " Presentation of the Madonna," and the "Visitation," in the Chiesa Nuova, at Rome; the "Insti- tution of the Sacrament," according to the Romish rite, in the ch. of the Minerva, at Rome; the " Cenacolo," and a " S. Sebastian," in the Cath. of Urbino; a portrait of Duke Francesco Maria, in rich armor, in the Tribune at Florence; and a " Madonna del Gatto," in the National Gall. This is by no means a list of his pictures, for the amount of work which he Accomplished was wonderful, when we consider his sufferings. Baroecio lived when the art of Italy was declining, and although he avoided, very considerably, the prevalent mannerism in form, his coloring was imperfect. He admired Michael Angelo, but he imitated Correggio in color. Mengs finds his pictures wanting in yellow; Reynolds criticises his flesh colors; and Bellori, his biographer, thought he used vermilion and ultramarine too freely. His design was correct. Bellori says he always made two cartoons, and two colored sketches; made all his drawings from life,, and dressed models in the required costumes. In spite of his faults he acquired a great name in his day, and merits the reputation of intro- ducing harmonious application of light and shade into Lower Italy — in which management of light, added to variety and novelty of conception, his merit consists. Excepting his health, his life was fortunate. For he was in good circumstances, happy in his tempeir, had many pupils, and more orders than he could execute. Duke Francesco Maria often visited him in his house in Urbino, and on the 1st of October, 1612, made this entry in his diary: " Federigo Ba- roecio of Urbino died, aged 77; an excellent painter, whose eye and hand served him as well as in his youth." He was, in truth, eighty- 72 BAKOCCIO — BARKET. four years old, and painted without spectacles, but not as well as earlier in life. He was buried in S. Francesco, where, in the corridor, the tablet to his memory remains. At his funeral a standard painted by himself, representing the Crucifixion, was placed at the foot of his bier. Baroccio was also an engraver, and left several plates, cor- rect in design and good in expression, though not especially delicate in their execution. Baron, Bernard, born at Paris, 1700; died in London, 1762. An eminent engraver, and a pupil of Nicholas Henry Tardieu. He en- graved several plates for the Crozat Coll. He resided in England some years before his death. His works have considerable merit, although coarse in their execution. Baron, John, or Baronius, called ToloSano, born at Toulouse 1631. Passed most of his life at Rome. An engraver of portraits and historical subjects. Barozzo, Jacopo, called Vignola, from his birthplace, in the ter- ritory of Modena (1507-1575). An illustrious architect. He com- menced to study painting in the school of Passarotti at Bologna, but became so enamored of the study of perspective, that by that means (as he himself said) he was led to devote himself to architecture. He became a law-giver in that art in Italy. He was employed in Rome by a society of nobles and gentlemen to make accurate meas- urements of the greater part of the Roman antiquities. These meas- ures or moulds were sent to France to be cast in bronze. Vignola then accompanied Primaticcio to France, where he was employed in architectural works as well as in the casting of the above named statues. In 1550 Julius III. was made Pope, and "Vignola, by the recommendation of friends, was appointed architect to His Holiness. Soon he became known to Card. Farnese, who employed him to de- sign his magnificent Pal. of Caprarola, and would have everythincf about it done according to his decision. In this palace some pictures by Vignola were seen. After the death of Michael Angelo Pius V. employed Vignola to superintend the work at S. Peter's. This mas- ter also published valuable works on architecture, in one of which he gave definite rules for the increase or decrease of every part in all the five orders of architecture. This was illustrated by ennravino-s and proved a very useful book. Milizia called it " L'Abbicci dell' Architettura." Barret, George, born at Dublin, 1728; died at Paddington, 1784. First studied in the drawing Acad, of his native city under Mr. "West. The Earl of Powerscourt became his patron, and he painted many views around Powerscourt Park. In the Dublin Society he took the premium for the finest landscape. In 1 762 he went to England, and there took prizes also. He greatly assisted in the establishment of the Royal Acad. He was a good painter of English landscape. His works are in the possession of the nobility, the principal ones belong- BARKET — BAUTHOLOMEW. 73 ing to the Dukes of Portland and Buccleugh. He also left several spirited etchings. Barry, James, born at Cork (1741-1806). Son of a coasting trader. Commenced to paint as a boy. His picture of " S. Patrick baptizing the King of Cashel," obtained for him the notice of Burke, who gave him the means to go to London, and later, defrayed his expenses in Rome. He returned to London in 1771. In the great room of the Society of Arts, at the Adelphi, he painted six large pic- tures, illustrating the " Civilization and Regeneration of Man?' In 1 782 he was made Professor of Painting to the Royal Acad. In 1 799 he was expelled the Acad, on account of a letter which he had pub- lished, and other disagreements with his academicians. He died poor and alone. He was laid in state in the Adelphi, in the midst of his works, and was buried in S. Paul's Oath. His other pictures were an " Adam and Eve; " " Venus Anadyomene; " " Pandora; " and " King Lear." His works are not great, and his unlovely char- acter prevented his being treated with charity, although by many he is regarded as a martyr to his appreciation and love of high art. Grandeur seemed to mean vastness in his mind. The " Harvest Home," at the Adelphi, is the best of the six in composition and finish. He overesteemed his own pictures, and could see no beauty in those of other artists. Bartholomew, Bdward Sheffield, born at Colchester, Conn., 1822. After trying various employments he abandoned all in disgust, spent his time in drawing, and studying any pictures which were within his reach. After a time, he read the life of Cellini. This, to use his own words, " put the devil into him." He abandoned all employment, and his friends regarded him as good for nothing, prac- tically. By some means he studied a year at the life school of the Acad, in New York, and did" some drawings which revealed liis talents to a few friends. He was the intimate friend of Church. He obtained the appointment of Curator of the Wadaworth Gall, at Hartford. He made careful copies and studies, but when he attempted to paint in oil found that he was color-blind. He then determined to attempt sculpture. His " Flora " was his first work, and from its execution may be dated his artistic career. By his own exertions and the aid of friends he obtained the meansto visit Italy. When in New York he was attacked with small-pox, which left him lame for life, with a weakened constitution. When, at length, he sailed, it was in an ill provided vessel, and he suffered much on the voyage. He requested to be landed on the coast of France, and made his way thence to Rome. So great was his energy that, in spite of all his hindrances, within three days after his arrival he was engaged in modelling the " BUnd Homer led by his Daughter." From that-time his life was prosperous. His chef-d'muvre, the " Re- pentant Eve," belongs to Joseph Harrison of Philadelphia. His 74 BARTHOLOMEW — BARTOLO. " Shepherd Boy " to E. Pratt of the same city. In Hartford there' is a large collection of figures, busts, and bas-reliefs by this artist. He also executed several monumental works, and visited America to superintend the erection of a monument to Charles Carrol. His home was always in Rome. On a second visit to America he renewed his friendship with Church, and the citizens of Hartford complimented him by a public dinner. He returned to Italy with fresh zeal and aspirations, but it was only to die. In a few months, on account of his health, he went from Rome to Naples, where he lived but a short time. Bartoli, Pietro Santa, sometimes called II Perugino, born at Pe- rugia, 1635. He first practised painting, but gave it up for engrav- ing, in which he became eminent. He left a great variety and num- ber of plates, which are chiefly etched in a free and masterly manner. He sometimes marked his plates with his initials, and added an F. for fecit : thus, P. B. F., but more frequently he used the following : Petr. Ss. Bart. sc. RomcB. Bartolia of Piacenza. Little is known of this old painter. In the Baptistery of Parma, and in the ch. of S. Antonio at Piacenza there are several pictures attributed to him. They are believed to belong to the close of the 14th, and rise of the 15th century, and are very rude. BartoUni, GiosefFo Maria, born at Imola, 1657. Pupil of Lorenzo Pasinelli, at Bologna. His pictures were historical, and some which still remain in the public edifices at Imola are much esteemed, espe- cially one in the ch. of S. Domenico, representing a miracle by S. Biagio. This artist was living in 1718. BartoUni, Lorenzo, born in Florence (1777-1850). He studied first in Paris ; visited Rome, and settled in Florence. He left many %vorks — some of considerable merit, but others bear the impress of French affectation. He executed many statues and monuments, and was considered a leading master of his time. At the Esterhazy Mus. in Vienna are three " Genii " by this master, remarkable for their elegance and truthfulness. Bartolo, Taddeo di. A Sienese painter of the early part of the 15th century. His earliest pictures are at Perugia. There is an altar-piece dated 1403. It represents the " Virgin and Child," with two angels and S. Bernard. This is now in the Acad., where there are two other works of this master. In the ch. of S. Agostino, Pe- rugia, a "Descent of the Holy Ghost," by Taddeo, is admirable. The Acad, of Siena has an " Annunciation," and the Louvre at Paris several pictures not important in considering Taddeo, but those of the "Life of the Virgin," on the walls of the chapel of the Palazzo della Signoria at Siena, are worthy of note. They were done in 1407, and are peculiarly impressive from their refinement and true feeUng. In 1414 he painted a hall joining the chapel which is much inferior, and represents ancient orators, poets, and statesmen. BARTOLO — BASAITI. 75 Bartolo, Domenico di. Flourished 1440. The brother or nephew of Taddeo, but much inferior to him. An " Assumption " in the Berlin Mus. is somewhat effective in arrangement, but coarse in the manner of execution. In 1440 he represented the " Works of Mercy " in the Hospital della Scala at Siena, but they are pictures of no merit. Bartolommeo, Pra. See Porta, Baccio della. Bartolozzi, Francesco, born at Florence (1730-1813). This eminent designer and engraver studied drawing under Hugfort Fer- retti at Florence, and engraving with Joseph Wagner at Venice. He went to England in 1764 and became eminently distinguished. He practised every kind of engraving. The number of his plates is enormous and their finish exquisite. His etchings are remarkable for the truthfulness with which he reproduced the spirit and expression of the works he copied. Bartsch, Adam, born at Vienna (1757-1820). Engraver and author. He was principal keeper of the Imperial and Royal Gall, at Vienna, and published " Le Peintre Graveur," which is the best account of -prints yet published. Besides this he published a " Cata- logue of the Etchings of Rembrandt and his Pupils," which like the former book is wonderful for its accuracy. For the first he made fac- similes of rare etchings, in which the spirit of the originals is per- fectly reproduced. In 1818, his son Frederic published a " Cata- Ibgue Raisonne " of the works of the father, which numbered 505. ■ Bas, Jacques Philippe Le, born at Paris (1708-1782). Cele- brated engraver. Studied with N. Tardieu. The number of plates Which he left is very large. He had many pupils, was an ingenious artist, and Bryan says, ■' availed himself much of the freedom and facility of etching, which he harmonized in an admirable manner with the graver and dry point." He made more than one hundred prints after Teniers, and copied that master most successfully. Basaiti, Marco. It is not known whether this artist was born at Friuli or Venice. He was of Greek parentage. Flourished from 1470 to 1520. He is believed to have been the assistant of Luigi Vivarini, and Gio. Bellini. He acquired much of the manner of both these masters, and imitated besides, at difl'erent periods, Palma, Lotto, and Carpaccio. He probably survived Raphael, but a wider diiference could scarcely be imagined than exists between the pic- tures of the two. Basaiti' s colors are brilliant, and his pictures fin- ished with the greatest care, even in the most minute details, which results in a dry realism. His figures have character, and a peculiar dignity, but his draperies are stiff and his heads have a tiresome sameness. His works are almost numberless, and there are few col- lections without them. The following are some of the more impor- tant: National Gall., S. Jerome reading, and the Virgin seated in a meadow with the Child asleep on her lap; Munich Gall., " Do- 76 BASAITI — BASSANO. position from the Cross; " Venetian Acad., " Christ with tlie Disci- ples in the Garden," and the " Calling of SS. Peter and Andrew," 1511; Vienna, Belvedere Gall., " Calling of James and John," with fine landscape, signed, 1515, Marcus Baxaitj, F. Basili, Pier Angiolo, born at Gubbio (1550-1604). Studied first under Felice Damiani, and then with Christofano lioncalli. His style resembled that of the latter master, but was more delicate. In the ch. of S. Mazziale is a picture of " Christ Preaching," with a great number of figures. His frescoes in the cloister of S. Ubaldo are much esteemed. Bassano, Francisco da Ponte, born at Vicenza, 1475 ; died at Bassano, 1530. This was the founder of the family of Bassano, six of whom were painters. Francisco, the elder, probably studied under Gio. Bellini, and imitated that master in his youth, but later in life he worked with more freedom and spirit. His " S. Bartholomew ' ' in the Cath. of Bassano, shows his early manner ; and the " Descent ■of the Holy Spirit," at the village of Oliero, is grand in composition, good in color and expression, and displays his later excellence. Bassano, Jacopo da Ponte, born at Bassano (1510-1592). Son •of the preceding. Ho studied with his father, and afterwards with Bonifazio Veneziano. But he gained much of his knowledge from studying tlie works of Titian, and copying the designs of Parmigiano. He excelled in painting landscape and animals, and introduced the latter into almost every picture, sometimes with marked impropriety. He was, perhaps, the earliest Italian genre painter. His coloring was good, and also his use of light and shade. He distinguished himself as a portrait painter, and painted many eminent persons, among them the Doge of Venice, Ariosto, and Tasso. He had four sons, who all painted with him, and many other scholars, so the amount of work completed in his atelier was very large. His latest pictures are by far the best. He had the habit of concealing the hands and feet, which injured his pictures very much. His works are to be seen almost everywhere. " The Entombing of Clirist," in the ch. of S. Maria in Vanzo, at Padua ; " A Family Concert," in the Ufiizi ; portrait of an old man, Berlin Mus. ; portrait of a richly dressed woman, in Studj Gall., at Naples ; "The Mourning Maries," at Cliiswick, and a " Nativity," at the Louvre, are some of his larger works. His cabinet pictures are very numerous. Bassano, Francisco da Ponte, the younger, son of the preceding, horn at Bassano (1548-1591). Trained in the school of hie father. He established himself in Venice. Was employed to paint a series of pictures representing the history of the Republic, on the walls of the public palace, and one of his best works is on a ceiling there. He also painted for the churches of Venice. He became melancholy, and this trouble was increased by his over application. He at last jumped from a window, and killed himself. BASSANO — BASSI. . 77 Bassano, Gio. Batista da Fonte, born at Bassano (1553-1613). Second son of Jacopo. Spent most of his time in copying the works of his father, which he did with surprising skill. Bassano, Iieandro da Poute, born at Bassano (1558-1623). Third son of Jacopo. Excelled in portrait painting, to which he confined himself during his later years. lie painted, among other distinguished men, the Doge Grimani, who made him a knight. The " Raising of Lazarus," in the Louvre, and the " Birth of the Virgin," in the ch. of S. Sophia, at Venice, are his best historical works. Bassano, Girolamo da Fonte, fourth son of Jacopo, born at Bassano (1560-162-2). He spent much of his lite in copying the pictures of liis father, which he did so well that the copies passed at the time, and since then, as the originals. In the ch. of S. Giovanni, at Bassano, there is an original picture by Girolamo, of "S. Barbara kneeling before the Virgin." Bassen, Bartholoiuow van. A Flemish artist who flourished from 1610 to 1630. He painted interiors of churches, and other pub- lic buildings. The figures in his pictures were done by other artists, and he in turn painted the architectural portions of their works. When called by his name they attract little notice, but are sometimes attributed to the painter of the figures. He was exact in perspective, and good in coloring. There are pictures of his in the Berlin Mus. Basseporte, Frances Magdalene, died about 1 780. She painted subjects from natural history, in water colors. She did three books of flowers, which were engraved by Avril. She also engraved some plates for the Crozat Coll., and others, among which are, — The Martyrdom of S. Fidelio de Sigmaringa; after P. A. Robert. Diana and Endymion ; after a design by Sebasliano Conca. Bassetti, Marc Antonio, born at Verona (1588-1630). There were but few pictures left by this master, for he believed that much time should be given to each one. Those he finished were liighly prized. He was a scholar of Felice Kiccio, called Brusasorci. He also studied the works of the masters in Venice and Rome. After his return to Verona he painted for the churches and public edifices of the city, but was cut off suddenly by the plague. Bassi, Antonio. The name of this painter occurs in the history of art in Ferrara, and some of his works may still be seen in the churches of that city. Bassi, Francesco, the elder, born at Cremona (1642-1700). From his landscape painting he was called " 11 Cremonese da Paesi." Many of his works are in the private collections of Venice. Bassi, Francesco, the younger, born at Bologna (1664-1693). Scholar of Lorenzo Pasinelli. He left pictures of merit in the churches of Bologna. One of " S. Antonio takeil to Heaven by An- gels," in the ch. of that saint, is much admired. He was distin- guished for his copies after Guercino. 78 BAST — BAUR. Bast, Dominic de, born at Ghent, 1782. An amateur painter of landscapes, cattle, and marine subjects, in the last of which he was said to excel. His works are mostly in the private collections of Ghent, but one was purchased in 1822 by the Commissioners for the Encouragement of Fine Arts, in that city. Bastaro, Giuseppe del, born , at Rome. Flourished in the time of Urban VIII. His pictures may be seen in several Roman churches. In S. Maria Maggiore is his " Assumption of the Virgin," and in S. Girolamo, a " Descent from the Cross," and " The Death of S. Jerome. ' ' Bastaruolo, II. See Mazzuoli Filippo, or Giuseppe. Batoni, or Battoni, Pompeo, born at Lucca, 1702 ; died at Rome, 1787. Pupil of Francesco Fernandi. He was a contemporary of Raphael Mengs, who painted mostly in Spain. Batoni excelled most in portrait painting. He bestowed much labor upon the hands, and finished cravats, laces, etc., etc., with exquisite care. He lived after the decline of Italian art, and showed a desire for severer study than was usual with artists of his time. Of his historical pictures, the " Fall of Simon Magus," in the ch. of S. Maria degU AngeU, at Rome, deserves to be mentioned. In the ch. of S. Maria Maggiore there is an altar-piece representing the " Annunciation; " in the ch. of S. Girolamo, a " Madonna," with saints and angels ; in the pa- vilion at Monte Cavallo there are five pictures by this artist, one of which represents " Christ giving Peter the Keys," and is sometimes called his best work. Being the best artist of his day in Rome, he was constantly employed, and his works were well esteemed all over Europe. At Hampton Court there is a portrait of Gregory XIV. by Batoni, and in the Dresden Gall, a " Magdalene," and a " S. John in the Wilderness." These last are good specimens of his works, and display pure academic art, as if they were painted but to show color and design. Baudet, Stephen, born at Blois, 1620; died at Paris, 1691. An eminent engraver. After studying in Paris he went to Rome. He used only the graver, at this time, and seems to have imitated Corne- lius Bloemart. Upon his return to Paris he greatly improved his style by using the point also. He was a member of the Royal Acad. His choice of pictures from which to make plates was excellent, and were those of some of the best painters of Italy. Bauduins, Anthony Francis, born at Dixmude, in Flanders, 1640 ; died at Paris, 1700. He first studied painting under F. A. Vandermeulen, but afterwards became an engraver. Most of his plates were from the designs of Vandermeuleii, and were etched in a bold and eflTective style. Baur, John William, born at Strasbourg (1600-1640). I \X/j Pupil of Frederick Brentel, whom he soon surpassed. He went to Rome, where his views of the environs of the city were much admired. In 1637 he went to Venice, and then to BAUR — BAZZI. 79 Vienna, where lie was employed by Ferdinand III. His color was superior to his design. He acquired some celebrity as an engraver. Baur, Nicholas, born at Harlingen (1767-1820). One of the best modern Dutch painters of marine views. He also painted landscapes and views of cities, and frequently represented winter and moonlight scenes. Many of his works are in private houses in Holland, and the King of Holland purchased two of his marine views for the Mus. at the Hague. Bausa, Gregorio, born at Mallorca, near Valencia (1596-1656). Pupil of Francisco Ribalta. His pictures had considerable merit. At Valencia, in the ch. of S. Philippe of the Carmelites, there is an altar-piece representing the Martyrdom of the Saint, and in the monastery of Los Trinitarios Calzados there are several works of his. Bayeu y Subias, Don Francisco, born at Saragossa (1734-1795). He first studied and gained the prize at the Acad, in his native city. Then, a pension being granted him, he was able to go to Madrid, where he studied with Antonio Gonzales Velasquez. He painted for the churches, and was employed by Charles lU. in the Prado, and the palaces at Aranjuez, and Madrid. He became a member of the Acad, in 1765, and tliree years later was made painter to the king. Some pictures of the life of S. Bruno, at the Carthusians, are among his best works. Bayeu, Don Raymou, born at Saragossa (1746-1793). Brother and assistant of the preceding. Bazin, Nicholas, born at Troyes, 1636. Pupil of Claude Mellan. He executed plates of historical subjects and portraits in a stiff, dry manner. Bazzani, Giuseppe, born at Reggio (1701-1769). Pupil of Gio. Canti, whom he surpassed. Many works of his are in the churches and convents of Mantua and vicinity, and have considerable merit. At the time of his death he was director of the Acad, at Mantua. Bazziacaluve or Bezziacaluva, Ercole. An eminent engraver of Pisa or Florence, who flourished about 1640. Bazzi or Razzi, Gianantouio, called II Soddoma (1474-1549). Born at Vercelli, he seems rather to belong to Siena, for he settled there and became one of the best painters of the Sienese school. His mode of life was free and easy. He was fond of animals, and had a collection of them always about him. Queer birds, magpies, monkeys, etc., were always in his bouse, A raven who imitated him perfectly in voice, and manner of speech, was his especial pet. His dress and whole appearance was such that he attracted all sorts of odd people about him, and was not over fastidious about their character. He was maiTied to a young wife, who left him soon after the birth of a daughter. When we consider his peculiarities it is a surprise that he could have painted such women as he did, for they are often of a remarkaoly pure and noble type. His conception of beauty was e?- Vaordinar,'. and his expression of deep enthusiastic feeling not less 80 BAZZI — BEATRICI. so. His women resemble those of Leonardo, under whose influence he probably came in youth ; he was also familiar with the Florentine art, and studied the works of Raphael in Rome. He became vain and careless after attaining a good degree of fame, and painted only from the force of whims, or need ; and yet, in spite of his careless life, and unequal temperament, his genius made him great. In 1505 lie painted twenty-six frescoes in the convent of S. Uliveto Maggiore, near Siena, which are still well preserved. They represent scenes in the life of S. Benedict, and are full of able characterization and indi- vidualism. Soon after this, Pope Julius H. called him to Rome to paint in the Vatican, where but little of his work remains. At tlie Villa Farnesina tliere are two fine frescoes which he did for the banker Chigi. They represent the " Mawiage of Alexander and Roxana, " and " Alexander in the Tent of Darius. ' ' Tlie first is es- pecially beautiful; warm in color, exquisite in softness, the head of Roxana compares well witli some of Raphael's. After his return to Siena he put new life into its art, and produced some of his best pictures. Among them are the frescoes which he did in connection with Beccafumi and Girolamo del Pacchia in the Oratorium of S. Bernardino; figures of saints in a chapel of S. Spirito; and pictures of S. Caterina, both in the oratory of S. Caterina and in the chapel of S. Caterina in S. Domenico. There are also frescoes of his in the Palazzo Pubblico. In the Uffizi there is a panel painting of S. Sebastian which is one of the best works of tliis time. There are also a few other fine panel pictures. There is a " ResuiTection " in the Studj Gall., at Naples ; a " Scourging of Christ " in the Acad, of Siena, which has been transjjosed from the wall to canvas; the " Sacrifice of Abraham " in the Campo Santo at Pisa; a very beauti- ful portrait of " Lucrezia " which belongs to M. Comthur v. Kestner; and lastly, a " Dead Christ " in the Berlin Mus., and a " Madonna " in the Borghese Pal., which are attributed to him. The " Ecstasy of S. Caterina " at S. Domenico is especially fine; the saint is repre- sented in a swoon, Liibke says, "with the deepest feeling and the noblest expression of pain." Razzi is sometimes called the pride of the Sienese school. Beale, Mary, born in Suffolk (1632-1697). A good portrait painter. Pupil of Sir Peter Lely. She studied the works of Van- dyek, whom she resembled in color. Her pictures were much sought by the distinguished persons of her time. Beale, Charles. H»nbattd of the preceding, and a painter, but of no celebrity. ^trv\ •XT-) "\"r) T Beatrioi, Niccolo, born at Thionville about 1\J J\3J_i ^^*'*^- Early in life he went to Rome, and his plates show that he was there from 1532 to 1562, He is supposed to have studied under Agostino Veneziano, called De Musis. The works of Beatriciure not equal to those of the master. Hi£AD OF ROXANA, FKOSI THE FRESCO OF " ALEXANDEH'si MAHRIAGK," BY IL SOT)I)()jrA, IX THE FAHNESIHA, ROME. BEATEICI - BECCAFUMI. 83 His subjects, however, were excellent, and his plates have been valued on that account. His prints ai-e somewhat numerous. Beaumont, Claudio, born at Turin (1694-1766). After studying at Turin he went to Rome and spent some time in copying the works of Raphael, the Caracci and Guide. He admired Trevisani and imitated him in execution and color. Returning to Turin, he became distinguished, was employed by the King of Sardinia, and by him knighted. He decorated several apartments in the royal palace. A fine " Descent from the Cross," by Beaumont, is in the Chiesa della Croce. His pictures should be judged in comparison with others of his own time. Many other eminent foreign artists were employed by the court in competition with Beaumont. He re- modelled the Turin Acad, and extended it to all branches of art, under the name of the Royal Acad., and from that time the cultiva- tion of the fine arts increased. The name of Beaumont is deservedly respected in his native city. Beaumont, George Rowland (1 753-1827). An English baronet, an amateur painter and a pupil of Wilson. He painted landscapes respectably. He liked richly glazed foregrounds, but hght and silvery skies. His wood scenes resemble those of Ruysdael. Beaumont was a liberal patron of artists, and was much associated with them. Beauvais, Nicholas Dauphin de, born at Paris about 1687. Pupil of John Audran. His engravings are held in good estimation. Beauvarlet, James Firmin, born at Abbeville, 1733. Cele- brated engraver. Pupil of Charles Dupuis and Lawrence Cars at Paris. His earlier plates are bold and free, while the later ones are finished with great neatness and delicacy. BeccEifumi, Domenioo, called Meccherino, born at I 1 7 t Siena (1484-1549). He was a shepherd boy, and J_J accustomed to sketch upon stones while watching his flock. This attracted the attention of one Meccherino, who obtained his father's consent that he should study under a master in Siena. Capanna was his instructor. He copied the de- signs of various masters, and, at first, adopted the manner of Perugino. He afterwards went to Rome, and studied antiques, as well as the works of Michael Angelo and Raphael. Returning to Siena, he competed with Razzi, next to whom he was ranked by the Sienese. His earlier works had more beauty and grace than those of his later years. His color was cheerful and pleasing, and of such a body that liis pictures have endured the test of time better than many others. He used to say that he could not paint out of Siena, and his works are numerous there both in public and private collec- tions. He painted better in distemper than in oils. His frescoes in the oratory of S. Bernardino were fine. In the Acad, of Siena there is a picture by him of " S. Catherine receiving the Stigmata, ' ' which is one of his best easel pictures. He also did some works in sculpture and engraving, and we have a number of prints by him. One of his h.-:. 84 BECCAFUMI — BEECHEY. most interesting later works was the pavement of the Cath. of Siena, executed in mosaic. This has been engraved by Andrea Andreani. One of liis points of excellence was the power to suit his composi- tions well to the st}'le of the architecture by which they were sur- rounded, and to ornament them with grotesque designs, so that thi'v required no gilt stucco, etc., etc. He loved the reflections of fires, and other lights, and was more learned in the principles of art than most artists of his thne. He also understood foreshortening, espe- cially on ceilings. Ho sought strength and difjnity in his figures, and even his small pictures appear larger than they are for this reason. He was an upi-ight man of solitary habits. His memory was cher- ished by the Sienese, and honored by their poets. Beccaruzzi, Francesco, born at Conigliano in the Frioul. Scholar of Pordenone. He painted reputably both in oil and fresco. Many of his pictures are in the churches and convents of Trevigi. One of liis best works was a. " S. Francis receiving the Stigmata," painted for the Franciscans of Conigliano. Becerra, Gaspar, born at Baiza in Andalusia, 1520 ; died at Madrid, 1570. One of the great fresco painters of Spain; also an architect and sculptor. It is difficult to say whether he was most celebrated for his pictures or his figures. He was a close student of anatomy and made plates for a work on that subject, and also de- signed anatomical figures for the use of artists. He studied in Rome, and returning to Spain, was made sculptor and painter in ordinary to Philip II. Perhaps his most celebrated production was an image of the Virgin made for Queen Isabel de la Paz. He had ahead}' made two which did not please the Queen, when, as he sat one night over his work, he fell asleep, and was awakened suddenly by a \oice, saying, " Awake, and arise, and out of that log of wood blazing on the hearth, shape the thought within thee, and thou shalt obtain the desired image." He did so, and having quenched the burning stick, began at dawn to work. The statue gi-ew rapidly, and became a miraculous image, and, draped in widow's "weeds, was placed in a chapel devoted to her by the Minim Fathers at their convent in Madrid, to whom she brought much gain. This image is known as " Nuestra Senora de la Soledad." It disappeared during the war of independence. The most important work of this master was the high altar in the Cath. of Astorga, which was composed of many bas-reliefs and figures. It cost 30,000 ducats, 11,000 of which made the share of Becerra. Many works of this master are in the public edifices of Madrid, Astorga, and Zamora. Beechey, Sir William, born at Burford in Oxfordshire, 1772; died at Hampstead, 1839. Portrait painter to the Queen, appointed in 1793. He was made a knight by George HI. for his picture, now at Hampton Court, which represents the king reviewing troops. In sixty-four years he exhibited 362 portraits at the exhibitions of the Royal Acad. BEECK — BEGA. 85 Beeok, Jan, born at Looz ; died, 1616. A monk who became abbot of the convent of S. Lawrence near Liege. He painted the largest part of the pictures of his convent, and is considered next to the brothers "Van Eyck, among the old painters of Lifege. Beek, David, born at Arnheim (1621-1656). One" of the ablest pupils of Vandyck, whom he assisted until his death, painting an im- portant part in some pictures, and the whole of others, after the designs of the master. He went to England, where he was patron- ized by Charles I., and instructed the Prince of Wales and Duke of York in drawing. After some years in England he went to Sweden, and was appointed principal painter and chamberlain to Queen Christina. In spite of his honors he longed for Holland, and, at lengtli obtained permission to go there under promise to return to Sweden ; but his love for his home prevented his keeping this prom- ise, and he died at the Hague. Beeldemaker, John, born at the Hague, 1636. A painter of hunting scenes. Many of his pictures are in England. He handled his subjects with much spirit. Beeldemaker, Francis, born at the Hague (1669-1717). Son of the preceding, with whom he first studied. He next painted with William Doudyns, and at length went to Rome. After some years spent in Italy he returned to Holland, and painted portraits and his- torical pieces which were much admired. He was a member of the Acad, at the Hague. Beerstraaten, Alexander. This artist lived in the 1 7th century, ■ but there is nothing known of his life. One of his pictures is in the New York Metropohtan Mus. of Art, and represents " De Schreyer- storen " at Amsterdam. Bega, Cornelius, born at Haerlem (1620-1664). A pupil of Adrian Ostade. He painted the same class of pictures as his mas- ter, though in a difi'erent manner. He excelled Ostade in drawing, but fell below him in feeling for color, and management of light. No. 17, Amsterdam Mus., is one of his best works, and represents a ■village fete, with music and drinking. No. 13, Louvre, representing a peasant and wife at table, is cooler in color than the former, and more in his usual manner. His pictures are found in the choicest collections. He also left niore than thirty etchings, executed with much ingenuity and spirit, with a coarse, but firm, graver. His real name is said to have been Begeyn, but in youth he so displeased his father by his reckless mode of life, that he was disowned, and as- sumed the name by which he is now known. At the time of his death he was about to marry a young girl to whom he was devotedly attached. She was seized with the plague which visited Holland in 1664. Every one abandoned her, fearing infection, but Bega would not leave her, and gave her the most devoted attention to the last, when, having taken the disease, he also died. 86 BEGAEELLI — BEHAM. Begarelli, Antonio, called Antonio da Modena, born at Modena (1499-1565). A modeller in clay. A pupil of Gio. Abati. He was as-sooiated with Correggio in the decoration of the cupola at Parma, and made many models from which that artist painted his floating figures. These artists were the best of friends, and resembled each other in their conceptions of the gi-and and beautiful. In 1529 Michael Angelo met Begarelli in Modena, and saw his works. It is said that he exclaimed, " Alas for the statues of the ancients, if this clay were changed into marble!" Begarelli was an instructor in design and modelling, and greatly influenced the painting of the Lombard school. To him may be traced in a measure its excellence in design, especially its art of foreshortening, and its relief and grace, which often approaches that of Raphael. The works of Be- garelli are in the Berlin Mus. Begas, Charles, born at He;nsberg (1794-1854). While at the University of Bonn he received some instruction in painting. He went to Paris and studied under Gros. He attracted the attention of the King of Prussia in 1815, and received an allowance with which to visit Italy. Tn 1825 be went to Berlin and became a professor in the Acad, of Arts. He painted portraits of ScheUing, Humboldt, etc.; and various religious subjects, among which are the " Descent of the Holy Spirit ;" the "Transfiguration ; " " Christ bearin" his Cross," etc. Begyn, Abraham, Dutch painter, born in 1650. Painted land- scapes and cattle in the style of Nicholas Berghem. His pictures are justly admired. He painted in a light, free manner, and his ' coloring is agreeable. Beham, Bartel, born at Nuremberg, 1496 ; 1~) fni ^'''^^ ^" ^^^^y^ 1540. A painter, but more cele- *.\j ^ |B™ brated as an engraver. Pupil of Albert Diirer. He gave so much promise of excellence that Duke WiUielm of Bavaria sent him to study in Italy. His early pictures were much in the style of "burer, realistic, "broad and crude in color. A " Christ bearing his Cross," in the chapel of S. Maurice, and " Christ on the Mt. of Olives " in the Berlin Gall, arc of tliis time. When in Italy bu attempted to change his manner, but without much success. No. 2, Munich Gall., representing "A Woman raised from the Dead by the True Cross," is a remarkable picture. No. 98, same Gall., represents " Marcus Curtius leaping into the Gulf," and is injured by too much antique architecture. In the Gall, at Schleissheim, a number of portraits show his excellence in that department of paintino-. He studied engraving under Marc Antonio Raimondi, and was one of the most successful imitators of that artist. His drawing was that of a master, and his heads are fine in expression. Many of his plates have no mark, and this has occasioned some difficulty in designatino- them. His signature was BB, and the prints that have it are dated from 1520 BEHAM. 87 to 1533. His portraits of the Emperors Charles V. and Ferdinand I. are well known for their masterly conception and execution. The following are a part of his prints ; — Portrait of William, T)uke of Bavaria. Bust of Erasmus Balderman. 1535. Bust of Leonard Van Eck. Adam, Eve, and Death before a Tree. Judith sitting on the body of Holofernes. 1525. The Virgin suckling the Child ; very fine. A Sibyl reading and a Boy holding a Torch. BB. Susanna before the Elders; after Qiulio Romano. Lucretia. ■ Cleopatra. 1520. The Judgment of Paris. The following prints are marked with a B. on a die, thus; and have sometimes been attributed to N. Beatrici, but are | B | now called those of Beham. Apollo causing Marsyas to be flayed ; after Raphael. Christ giving his charge to S. Peter; after the same. A Naval Combat. A Landscape, with animals about a tree, at the top of which a Phcenix is burning her nest. Four Friezes, with Boys playing and Festoons of Flowers; Raph. V R B. IN. Ant. Laferii formis. , The two following have the die without the letter B. Apollo and the Python.' Apollo and Daphne. Beham, Hans Sebald, born at Nurem- TT^O berg, 1500 ; died at Frankfort, 1550. Nephew I itrlLP of the preceding, from whom he received his earUest instruction. He afterwards studied with Albert Diirer. His bad habits compelled him to leave Nuremberg in 1540, when he settled in Frankfort. He often painted humorous subjects, and sometimes those that were vulgar and indecorous. He was a good draughtsman, had singular powers of invention, and was not wanting in feeling for beauty and grace. His only oil picture now known is in the Louvre. It represents scenes from the life of David, and was executed for Albrecht, Archbishop of Mayence, in the form of a. table, in 1534. He also executed five miniatures in a prayer-book for the same ecclesiastic. These are in the royal library at Aschafi'en- burg, and prove his skill in this line of art. He was more important as an engraver than painter, and belonged to what are called " the little masters." We have no better examples of the manners and customs of his time than his " Triumphal Entry of Charles V. into Munich," and two processions of soldiers by him. His wood-cuts were free and spirited. His copper-plates are executed entirely: 88 BEHAM — BEICH. with the graver, and are neatly done. From 1519 to 1530 he marked his plates with the letters H. S, P. From 1531 to 1549 he used H. S. B. His copper-plates are very numerous. The follow- ing are a few of them : — Plates with the first cipher which were engraved at Nuremberg from 1510 to 1530: — Portraits of Hans Sebald and his wife ; the cipher with a wreath of laurel in the middle ; engraved also hy Hollar. Adam and Eve in Paradise ; two small plates. 1519. S. Jerome with a cardinal's hat, and a Lion. 1519. The Virgin suckling the Child. 1520. The Virgin with a Glory, standing, holding the Child. 1520. The death of Dido; Reginm Didonis imago. 1520. S. Anthony, Hermit, writing. 1521. Plates with the second cipher which were engraved at Frankfort. 1531 to 1549: — Adam and Eve, a Stag behind them. 1536. Adam and Eve in Paradise ; the Serpent presenting the Apple ; very fine. The Emperor Trajan listening to the Mother's complaint against his Son. 1537. Melancholy, inscribed, MelancoUa ; 1539 ; after Albert Durer. Fortuna ; a woman holding a Wheel. 1641. A Man trying to pull up a Tree ; inscribed, Impossible. 1549. Twelve small plates of the labors of Hercules ; inscribed, jErumnce Herculis. 1542 to 1548. The Judgment of Paris ; Judicium Paridis ; 1546 ; fine. Death seizing a young Woman; Omnem in liomine, etc.; 1547; fine. Wood-cuts, marked sometimes with one, and again with the other of his two ciphers : — Portrait of Beham with a Cap. Eight prints of the Passion of Christ. S. Jerome with a Book and Crucifix. A Village Fair, with a Steeple and Clock ; large frieze ; very scarce. A March of Soldiers ; large frieze, in four sheets ; very scarce. Biblica; Historia?, 348 prints ; most of them with figures on both sides. The Baptism of the Anabaptists ; circular, scarce. The same subject ; large, four sheets ; very scarce. Behnes, ^William (1801-1864). An English sculptor, distin- guished pat-ticularly for his busts. In 1820 he gained the silver medal for the best model from life. Belch or Beisch, Franz Joachim, born at Munich (1663-1748). He was first a pupil of his father, Wilhelm Beich, then went to Italy, where he became an imitator of Gaspar Poussin. But he is not BEICH — BELLINI. 8') an imitator merely, for lie was himself inspired by nature. Kugler says: "He takes the first place among the painters of ideal ten- dency." He was court painter to the Elector of Bavaria, and his best works are in the electoral palaces. He excelled in landscapes and battle scenes. While some of his pictures have the darkness and heaviness of color, which was the fault of his time, others are transparent and warm in tone. Two landscapes in the Vienna Gall., which are excellent in many ways, fail in color ; but in the Munich GaU. the opposite is true of Nos. 138, 162, and 171. We have also four sets of pjfates, twenty-six in all, etched by Beich. They are of landscapes, with figures and buildings, and are executed with facility and spirit. Beinaschi. See Benaschi. Belcamp or Belkamp, Jan Van. A Dutch painter who was much €mployed in England in copying the pictures in the royal college. -j-,^ Bella, Stefano Delia, born at Florence, $^ S^tfi^ (1610-1664). Son of a goldsmith, and in- XSf jlJ' tended for ids father's profession, he showed such a talent for drawing, that he was placed with Cesare Dandini to learn painting. But he had so great a preference for engi-aving that he was allowed to study with Canta Gallina, master of Callot. Per- haps no one has handled the point with more facility than Bella. The number of his prints exceeded 1,400, so it is not strange that some of them are slightly etched ; but he designed, with great taste, and his plates are brilliant in effect. In 1642 he went to Paris. Card. Richelieu employed him to make plates of the siege and taking of Arras. He also made some plates for Henrich, the uncle of Israel Silvestre. When he returned to Florence he was appointed to in- struct the son of the Grand Duke in drawing, and received a pension. Belle, Clement-Louls-Marle- Anne, born at Paris (1722-1806). Studied under Lemoyne, and later in Italy. His subjects were reUoious and poetical. He was an academician, and inspector of the royal manufactories at the Gobelins. Belle, Augustine-Louis, born at Paris (1757-1831). Son of the preceding, and his assistant at the Gobelins. He painted many pictures of subjects from sacred and profane history, and the ancient poets. Belle, Nicholas-Simon-Alexis (1674-1734). Scholar of F. de Troy.' An eminent portrait painter. Bellevois, died at Hamburg, 1684. A painter of marine subjects. His works are in many collections in Flanders, and have considerable merit. Bellini, Jaoopo, born at Venicp (about 1405-1470). A pupil of Gentile Fabriano, with whom he went to Florence in 1422. At that time all strangers who settled in Florence were observed jealously and regarded as intruders. One day a company surrounded the 90 BELLINI. shop of Fabriano and threw in stones. Jacopo was sent out to drive them off, and oame to blows with one Bernardo di ser Silvestri, a son of a notary. This young man was determined on revenge, and Jacopo, fearing trouble, left Fabriano, and " took service on board of the galleys of the Florentine States." Bernardo went before a judge and preferred charges against Jacopo, and he was summoned to appear, which failing to do, he was sentenced to a fine. After a year he returned to Florence, ignorant of what had been done. In a few days he was seized for contempt of the court, and sent to the Stinche. While there he compromised with Bernardo, and jjromised to pay him twenty-five small florins, and to submit to an act of pen- ance. Tliis was performed on the 8th of April, 1425, when he marched bareheaded, surrounded by a guard, to the Baptistery of San Giovanni, where it was proclaimed by sound of trumpet, that Jacopo had come to do penance, for having shown contempt of Florentine law. This ceremony ended, he was set at hberty. From this time there is much uncertainty respecting Jacopo. His master gave him no assistance in the time of his trial. We know that Jacopo painted the portrait of Fabriano, and that Fabriano held the first child of Jacopo at the font ; but the dates of these occurrences are not known. The only certain thing is, that Jacopo was in Venice in 1430, as is proved by his sketch-book. Tliis book, after passing through many hands, is now in the British Mus. It has 99 pages, 17 by 13 inches. The drawings are done in pencil, tinted with green earth in water-colors, and sometimes retouched with pen and ink. Many of the sketches are very imperfect. In this book we are intro- duced to the very innermost artistic life of Jacopo. It has sketches of almost everything. Still and animal life, nature, ancient sculp- ture, buildings, and human figures are all there. Nothing seemed too small for his study. Some subjects are several times repainted, rear- ranged, and brought to the perfection of his manner. The stories of Judith and Holofernes, of David and Goliath, many New Testament histories, the wonders of the hagiology and those of mythology all find a place. In contrast with these are studies of apes, eagles, dogs, cats, village scenes, hawking parties, etc., etc. The student of art deliglits in this book, and understands tlie feeling which led Gentile Bellini to leave it an heir-loom in his family, in order to perpetuate, as noth- ing else could, the remembrance of his father. In his time artists were not masters of anatomy and motion, and for that reason the drawing of Bellini is the more admirable. He attained a middle place between the conventionalism of art whicli preceded him, and the naturalistic art which followed him. He worthily commenced what his son Giovanni, and Titian perfected. It is scarcely possible to judge of Jacopo Bellini as a colorist, for the two panel pictures which remain to us are greatly injured. One of these is a small half-length of the " Madonna and Child," at Lovere, in the Coll. BELLINI. 91 of the Counts Tadini. The other, No. 443, Acad, of Venice, repre- sents the same subject. These are injured by scaling and blackened by time. Of his wall pictures, it is believed that some remain at Venice, but those of Verona are better known. That of the " Cru- cifixion," in the Arch-episcopal Pal., fully illustrates the style of this master. A copy of another " Crucifixion," in the Cath. of Verona, is in the Casa Albrizzi at Venice. The arrangement is little changed from that in his sketch-book, and these works served as models to the artists who followed him, especially Antonello of Messina, Carpaccio, and Mantegna. Of his other works, there is a small *•' Christ in Limbus," in the Communal Gall, of Padua, much in- jured; at S. Zaccaria, Venice, some frescoes in the dome of the Chapel of S. Terasio, much abraded and blackened ; and a picture of a " Dominican Friar, preaching in a Square," in the Oxford Mus. This last was probably the work of some one in his atelier, and is a panel on gold ground. It is known that Jacopo dwelt for a time in Padua, and there had a work-shop in which his sons assisted him ; that his daughter Nicolosia married Andrea Mantegna, and that he painted pictures and frescoes in that city, one of which was done in 1459. It is beUeved that he induced Mantegna to study Donatello and UcceUi, and thus greatly influenced the style of the gifted Paduan, and that he himself was affected by contact with that of Donatello. Jacopo also painted portraits, one of wliich Ridolfi noticed especially, that of the King of Cyprus, who was beheaded at Venice. Although Jacopo was greatly surpassed by his sons, he was a re- markable man for his time, and deserves to be remembered for pre- paring the way, and making it easier to those who followed. Bellini, Gentile, eldest son of the preceding, born at Venice (1421 ?-1507). After laboring with his brother Giovanni in the atelier of their father, at his death they declared their perfect inde- pendence of each other, but continued to labor together, and shared the respect of their countrymen and the laure'ls which they won. The study of Jacopo and of his master, Fabriano, was of great value to them, but they progressed far beyond both, and, together, laid the foundation for the perfect style of Titian and his followers. Giovanni was the most excellent, and Gentile was called " clumsy " by later Venetians. But he did a noble work in teaching them the value of a thoughtful imitation of nature. In 1464 Gentile painted the doors of the great organ of S. Marco. He represented four gigantic saints. These are now in a Gall, leading from S. Mark's to the Ducal Pal. Gentile was often employed as a portrait painter. Of his works of this kind I shall only mention No. 136, Gall, of the Capitol, Rome; one in the University Gall., Oxford, of two boys in profile ; Gorrer Mus., Venice, No. 14, and one of Lorenzo Giustiniani, now in the lumber room of the Acad, of Venice. In 1474 he was appointed to restore the old, and paint new pictures in the great council-chamber of 92 BELLINI. Venice. His works there gained him much reputation. In 1479 Sul-, tan Meliemet, the conqueror of Constantinople, sent to the Signo- ria of Venice for a good painter. The Doge decided to send Gentile Bellini, and he was dispatched with two journeymen, in galleys belonging to the state. In Con- stantinople Gentile was treated with great consideration, and made many portraits of notable person- ages. At one time he presented the Sultan with a picture of the head of John the Baptist in a charger. The Sultan criticised the' painting of the neck, and when he saw that Gentile did not under- stand his mistake, he called in a slave, and had his head instantly struck off, to prove to the artist what was the true action of the muscles under such circumstances. Such an act did not tend to make Bellini enjoy his residence in the domains of Mehemet II. He re- mained there a year, was made a knight, and received many pres- ents at parting. The Sultan of- fered him any gift he would name, but he only demanded a letter of praise to the Signoria of Venice. He carried to Venice many sketches, and a portrait of Mehemet. He also brought a picture, Louvre No. 68, which represents the reception of a Venetian embassy by the grand vizier and other officers. When Gentile left Venice, Giovanni was appointed to his place in the council- chamber, and when he returned, they continued the work in com- pany. The pictures painted there were partly legendary, and partly historical, and represented events in the Venetian wars in 1177; the combats on the Adriatic ; and the reconciliation of the Emperor with Pope Alexander III. These were done in fourteen compartments. They were almost destroyed by fire in 1577, but enough remains to make their loss a subject of regret. The other great work in which this artist was engaged was the decoration of the school of. S. Giovanni Evangelista, at Venice. Two of these pictures, one representing a miracle by means of a relic of the holy cross, the other a procession in which tlie same relic is borne, are in the Venetian Acad. Of his (Venice. LOHEXZO GIUSTINIANI. S. Maria dell Orta. Bellini.) Gentile BELLINI. 93 other works I shall only mention No. 90, in the Brera, at Milan, representing " S. Mark preacliing at Alexandria ; " and a portrait of Mehemet, said to be in England. In the former of these he intro- duced the costumes he had seen in the East. The picture was not finished at his death, and in his will, he provided that his brother, Giovanni, should not receive the sketch-book of his father until he had finished the picture of S. Mark. This painting, in spite of the injuries it has received, has a brilliant effect, a^i is valuable as the last work of the elder, combined with the mature perfection of the younger brother. There are other pictures ascribed to Gentile which lack proof of having been painted by liim. Such are No. 69, Louvre; No. 13, Gorrer Mus. ; and No. 12, Berlin Mus. He was also a mosaist, and left a " Virgin and Child " to the compauy of S. Marco. It is believed that he had a school, and that Titian became Ms pupil in 1486, when but nine years of age. His time was constantly occu- pied, and in 1506 he refused an order from the Marquis of Mantua,, asserting that he was engaged for a long time in advance. He was married, but had no children, and worked until the day of his death, at which time he was more than eighty years old. Bellini, Giovanni, the younger brother of Gentile, was born at Venice (1422-1512). The most excellent of this celebrated family. His works may be divided into two periods ; those wliieh he executed before he learned to paint in oil, and those done afterwards. The first have sweetness and elegance, but arc also dry and timid; the last are a rich foretaste of the Venetian coloring which was perfected later, while they lose nothing of the charms of the former. His chefs-d'ceuvre, which can still be seen in the Acad., and churches of Venice, were painted after he was sixty-five years old. We cannot appreciate this man unless we take into account the state of Venetian art in his day. It had been greatly influenced by Mantegna, the Paduan, but Gio. Bellini must stand as the founder of true Venetian painting. Even earlier than this its coloring had been softer, and more richly blended than that of other schools. The very atmos- phere resulting from its situation must have produced this, for it habituated tho°artist to wonderful effects of color. Thc-n the spii-it of the life there, the pomp, the cheerfulness, the oft-recurring f§tes» engendered a love of the rich and deep tones of color which so enhance beauty. Then, too, about the time when Giovanni could be said to be an artist. Van Eyck was introducing oil colors into Flanders, and Antonello da Messina brought tliem to Italy. There is a story that Giovanni went to the studio of Antonello in disguise, and thus learned the secret of the new color mixing, but this is not verified, and does not accord with his character. But, however lie may have learned, it is true that he employed oils with great success and judgment. His compositions are not especially varied or poetical. His powers were not versatile, but there is a moral beauty in his. 94 BELLINI. figures, rather than a sph'itual one, and he seems to stop just on the line which separates the highest eartlily type from the heavenly. Kugler says: "His Madonnas are amiable beings, imbued with a lofty grace ; his saints are powerful and noble forms ; his angels cheerful boys in the fuU bloom of youth." His representations of Christ are full of moral power, such as has rarely been equalled. His draperies are peculiar in the crystal-like clearness of their deep, rich colors. His authentic works do not belong to his youth. We have seen how he labored with Gentile in the great council-chamber, in which place he continued to paint, at times, dur- ing all his life. His earliest dated work is of 1487, and represents a " Madonna and Child " standing on a parapet. It is in the Acad, of Venice, and there is a similar one in the Berlin Mus. It is interesting to see previous works of this master, and study the changes through which his style has passed. In this way one can comprehend, in a measure, the struggles through which he reached his later style, and his grop- ing after the proper handling of the new oil mediums, which was an art in itself. To 1488 belongs a large altar-piece in the Sacristy of S. Maria de' Frari ; two angels in this are especially beautiful. The whole picture is a fine piece of color, and nicely finished. There is also a large altar-piece in SS. Giovanni e Paolo, which is one of his earlier pictures ; and another, very similar, in the Acad. In the ch. of S. Zaccaria is a " Madonna" with saints and an angel, dated 1505, and at S. Salvatore, " Christ at Emmaus," belonging to the same period. This last is especially fine. A similar picture, but not as good, is in the Manfrini Gall. Perhaps his latest work of this kind is in S. Gio. Crisostomo, dated 1515. In this he painted SS. Jerome, Augustine, and Christopher. The shades of moral contrasts are finely and powerfully drawn. . It is a picture that compels one -to study it. Other works of his are in the ch. del Redentore, the Man- frini Gall., and the Acad. Some of them are allegorical represen- tations, full of nawete and cheerfulness. One of his latest works was a " Bacchanalian," with a landscape by Titian. He often painted the single figure of the Redeemer. Lubke says of these representations : " By grand nobleness of expression, solemn bearing, and the excellent arrangement of the drapery, he reached a dignity which has been CHKIST. BY 14, almost at the close of his life, he painted a feast of the gods, which represents the gay and sensual with the happiness of the bright days of Titian. This picture is now at Alnwick Castle. In 1515 he painted the " Venus of the Belvedere," Room 2, No. 43. His last works were thus in marked contra.st with his first. He is believed to have instructed Giorgione and Titian. It is said that Albert Diirer visited him in the last year of his life, and pro- nounced him the best artist of that time. His death occurred on the 29th of November, and he was buried in SS. Giovanni c Paolo, by the side of his brother Gentile. Bellini, Filippo, born at TTrbino, 1594. A good painter, and an imitator of Federigo Baroccio. One of his most important works is a series of foui'teen representations of the Works of Charity, in the Chiesa della Carita at Fabriano. In the Basilica of Loretto there is a " Circumcision," and in the dome at Ancona a "Marriage of the Virgin," by this master. Bellini, Giacinto, Cavaliere, born at Bologna, was living in 1660. Pupil of Francesco Albano. Later he studied with Francesco Caracci in Rome. There he attracted the attention of Card. Tonti, who employed him a long time, and procured him the knighthood of the Order of Loretto. His pictures possess much pf the gracefulness of Albano. Belllniano, Vittore, born at Venice. Flourished about 1526. A painter of history. Several of his works are in the Confraternity of 5. Mark's, and the neighboring churches of Venice. Bellotti, Bernardo, born at Venice, 1724; died at Warsaw, 1780. A painter and engraver. Nephew and pupil of Antonio Canal, called Canaletto. Bellotti painted perspective and architectural views in a pleasing manner. He lived much in Germany, and etched, from his own designs, views of Vienna, Dresden, and Warsaw. He was a member of the Acad, of Dresden,, and many of his pictures are in the Gall, of that city. They are called by the name of Canaletto, 90 BELLOTTI — BENASCHI. which he assumed. He signed some of his works Bernardo Belotto detto jCanaletto. The fine views of Dresden were ordered by Count Briihl, at 200 thalers each. The figures were the work of Stefano ToreUi of Bologna. Beltraffio, G-io. Antonio (1467-1516). A Milanese gentleman, and a pupil of Leonardo da Vinci. His characteristic is gentleness. In tlic Louvre is an altar-piece painted for a ch. in Bologna. It represents the " Madonna and Child " with John the Baptist and S. Sebastian; the donors are kneeling. It was painted in 1500. In the Berlin Mus. there is a " S. Barbara" by Beltraflio. " A figure of peculiarly gi-and, statue-like dignity." In the National Gall, there is a " Madonna and Child " ascribed to hiin ; his works are scarce. j^ Bellucci, Antonio, born at Pieve di Soligo (1654-1726). A painter who excelled in small figures. He painted these in many of the landscapes of Tempesta. In color he belonged to the Tenebrosi, \>fxt used shadow so judiciously as not to spoil his color He is said to have painted altar-pieces in Venice and Verona. There are pictures of his in the Dusseldorf Gall. , and a ' ' Nativity ' ' in the ch. of the Ascension at Venice. Beltrano, Agostino, and his wife, Aniella. Neapolitan painters who flourislied about the middle of the 1 7tli century. They were the pupils of Massimo, and Aniella was his niece. Beltrano was a good fresco painter, and more than ordinary in his coloring in oil. This is proved by numerous cabinet pictures, a.nd a few large fres- coes. Aniella painted in the same style, and worked with her husband. She had talent and beauty. The pictures which are called hers are praised, especially (hat of the " Birth and Death of the Virgin," in the Chiesa della Pietb, de' Turchini. But it is not unlikely that she was assisted by Massimo. In 1649, when thirty-six years old, she was murdered by lier husband, in a fit of jealousy. She survived her wounds long enough to pardon Beltrano. He fled to France, and wandered, an outcast, till- 1659, when he returned to Naples and resumed his work. He lived, tormented by remorse, till 1665. Bemmell, William van, born at Utrecht (1630-1703). Pupil of Herman Sachtleeven, and, like him, an excellent landscape painter. He went to Italy and made many studies of scenery about Rome. He settled, at length, in Nuremberg. His pictures were much admired, and are mostly in German collections. Bemmell, Peter Van, born at Nuremberg (1689-1723). Grand- son of tlie preceding, and a landscape painter. His pictures are scarcely known outside liis native city Benaschi or Beinaschi, Gio. Batista, Cavaliere (1636-1688). An imitator, and probably a pupil of Lanfranco. !Most of his works are in Naples, where lio painted ceilings and other frescoes. BENASCHI — BENCOVICH. 97 Benaschi, Angela. Daughter of the preceding, and a good portrait painter. Benazech (Beaasech, Benezech, Benezeck, Beuazec), Charles. English engraver and painter. Studied at Paris under Greuze. Went to Rome in 1782.^ Returned to Paris, and, at tlie time of the French Revolution, reVisited London, where he died. He especially devoted himself to historical painting, and his best works are a series of four pictures of the last days of Louis XVI. He also left a few engravings. Bencovich, Federigo, called also Federighetto di Dalmazia. Flourished about 1753. A native of Dalmatia, but educated in Bologna. He studied the style of Carlo Cignani. His works were good, and he painted pictures of merit in Milan, Venice, and BELIEF, BY BENEDETTO DA MAJANO, FBOM THE MARBLE PULPIT IS STA. CliOOB, FLOHENCE. 7 98 BENCOVICH — BENBFIAL. Bologna. In the latter city, in the ch. of La Madonna del Piombo, is an altar-piece by this master, representing the " Crucifixion of S. Andrew." Many of his easel pictures are in Germany, where he resided for a time. Benedetto, da Majano, born at Florence (1442-1498). An eminent architect and sculptor. He commenced life as a worker in wooden mosaic or intarsiatore. His brother, Giuliano, was also a celebrated artist, and a younger one, Giovanni, was of less impor- tance. Together they executed the " Madonna dell Ulivo," in terra cotta, and a " Pietk " in bas-relief. They stand at a wayside shrine, a mile outside the gate of Prato, towards Florence. We have only to compare the relief of the brothers with the "Madonna" of Benedetto, to perceive his excellence. His greatest work as an architect was the Palazzo Strozzi, which was commenced in 1489. After the death of Filippo Strozzi the work was suspended, and the building was finislied under tlie direction of Cronaca. In 1490 he made busts of Giotto and Squarcilupo in the Duomo at Florence. In the same year he went to Naples, where he remained two years, and was constantly occupied by the Duke of Calabria. He also executed the bas-reliefs of the ' ' Annunciation ' ' in the ch. of Monte Oliveto, and, in 1491, the monument to Filippo Strozzi was erected in Santa Maria Novella, which he had commissioned Benedetto to make before his death. It is the clief-d' CBuvre of Majano, and one of the finest works of the 15th century. He also made the beautiful altar of S. Savino for the Cath. at Faenza ; a marble pulpit at Santa Croce, Florence ; and some works at S. Simignano. The pulpit at Santa Croce was very fine ; he supported it against a column, through which he carried the staircase ; the reliefs repre- sent scenes from the life of S. Francis. In the Uflizi there is a bust of Pietro Mellini, who commissioned Benedetto to execute the pulpit, and. in the same Gall, a figure of S. John. Benedetto. See Castiglione. Benedicto, Roque, died at Valencia," 1735. His pictures are sometimes taken for those of his master, Gaspar de la Huerta. His best work represents S. Francis de Paula feeding three thousand people with a little bread. Benfatto, Luigi, born at Verona (1551-1611). Nephew and pupil of Paul Veronese. He was distinguished for his works in the public places in Venice. In the Chiesa di S. Marta are several of his pictures illustrating the life of the saint, and in the ch. of S. Nicholas a grand composition representing the Ascension of that saint. Benefial, Cavaliere Marco, born at Rome (1684-1764). In the Palazzo Spada, Rome, there is a, saloon painted entirely by this artist ; in the Acad, of S. Luke a picture of " Christ and the Samar- itan Woman," and in the Stimmate a " Flagellation." His merits BENEFIAL — BERCHEM. 99 have been much discussed, and his admirers give him unqualified approbation, while others call him feeble in all points. His monu- ment is in the Pantheon. Benso, Giulio, born at Genoa (1601-1668). Pupil of Gio. Batista Paggi. Soprani calls him an architect also. He painted history and perspective. He was -a prot^g^ of the house of Doria, and some of his works were in their Palace. Several of his oil pic- tures are in the churches of Genoa. That of " S. Domenico" is much admired, and the " Crowning of the Virgin," in the Nunziata, is a fine production. Bent, John van der, born at Amsterdam (1650-1690). Land- scape painter. Scholar of Peter Wouvermans and Adrian van de Velde. While he is not equal to his masters, his works are deserv- inu' of esteem. Many of them are in England. They bear a strong resemblance to those of Nicholas Berghem. Benvenuto, Gio. Batista, called L'Ortolano, or market gardener, from the occupation of his father, born at Ferrara (about 1490- 1525). A contemporary of Garofalo, the prince of Ferrarese paint- ers. L'Ortolano studied in Bologna und6r H Bagnacavallo. His style was severe, and his pictures curiously finished. His heads are weak, but his landscapes and backgrounds good, and his figures well brought out. His works are in S. Niccolo, S. Maria de Servi, and S. Lorenzo at Ferrara. Berchem, Nicholas, born at Haerlem 1624-1683). Son of Pieter Klaasze. The reason for his being called Berchem, or Berghem, is not known, but he usually signed his works with that name. He studied with his father. Van Goyen, J. B. Woenix, and Jan Wils, and married the daughter of the latter. It is evident from his works that he went to Italy, although no ac- count of his having done so is given. He painted genre, battles, land- scapes, cattle, and portraits. His best works are his small landscapes with figures and cattle. He painted with great facility, and his wife was so avaricious that she constantly excited him to work. She also saw to it that his money was saved, as he liked to spend it for Italian drawincrs. Berchem is the most celebrated of the group of painters to which he belongs. Smith describes 41 7 of his works, and he left besides more than 50 etchings, some of which show a better feehng for nature than is found in his oil pictures. By then- dates it is seen that he handled the point when but ten years of age. The galleries of Munich, Dresden, Vienna, Berlin, St. Petersbm-gh, and the Louvre contain the largest number of his works. Some are also m England, in the National Gall, and at Dulwich ; and Lord Ashbur- ton has one of his best productions, called " Le Fagot," from a bundle of wood carried by a man in the foreground. He seldom made lar<^e pictures, but in 1648 he painted an ItaUan landscape, now 100 BERCHEM. at tie Hague, in which the figures are Hfe-size. It was sold in 1827 for £500, but it is cold and unsatisfactory, though well drawn and lighted. In addition to his other work he often painted figures and animals in the landscapes of other artists, such as Ruysdael, Hobbeina, Jan Wils, Abraham Verboom,"and Isaac Mo>u heron. BERCHEM — BERCHET. 101 ENGRAVINGS AFTER THE WORKS OF BERCHEM. Engraver, Ahamet, Jacques. Landscape, with Figures and Cattle. The Port of Genoa. Landscape with a Stag Hunt. The Female Villagers. Village Pleasvires. Engraver, Amstel, Cornelius Ploos Van. A Landscape with a Woman riding on an Ass, with Cattle by the side of a Canal ; N. Berghem, fecit, 1764; F. Van Amslel, fecit, 1769. Engraver, Aveline, Peter. A Landscape; fine. Engraver, AvRiL, Jean Jacques. The Passage of the Rhine. Engraver, Bas, James Philippe lo.' Four Plates of the Times of the Day. The Embarkation. Engraver, Canot, Peter Charles. Returning from Market. Engi-aver, Charpentier, Pierre Fran9ois. The Shepherdess. The Shepherd reposing. Engraver, Coulet, Amne PhiUbert. The " Rendezvous k la Colonne." Engraver, Danckert or Danckers, Dancker. Four plates of Landscapes and Figures, in one of which a man is passing a Bridce. The best prints of Danckert. Engraver, Daudet, John Baptist. Two Landscapes, with Figures and Cattle. Engraver, Dequevauviller, Fran9ois. Noon; a Landscape with Figures. Evening; the etching by Weisbrod. Engraver, Groensvelt, John. A Set of Six Landscapes. A Set of Four Landscapes; Berghem, del. Groensvelt, fee. Cle. de Jonghe, exc; fine. Engraver, Kobell, William. Two Landscapes, with Figures and Cattle. Engraver, Laurent, Peter. The Passage of the Ferry Boat. The Shepherdess. The Fortune Teller. Engraver, Ma.jor, Thomas. The Travellers. Two Landscapes; morning and evening. Engraver, Martknasik, Peter. The Watering Place. Engraver, Non, Richard Abbd de St. A Landscape with a Figure. Engraver, Pelletier, Jean. The Watering Place. Ruins and Figures. Engraver, Schlicht, Abel. A Landscape, with Figures and Animals. Engraver, Veau, Jean Le. The Village Blacksmith. Engraver, Visscher, Cornelius. Two Sets of Landscapes; four plates •each. Several Peasants dancing in a Cottage, called Berg- hem's Ball. His finest plate. A Set of four Landscapes, the four times of the Day. Several sets of Landscapes, with Figures and Animals. Berohet, Peter, FrjaicLi.SCluiol {i fifiR-l 7^n) Pupil of Charles 102 BERCHET — BERGMULLER. de la Fosse. Went to England in 1681. His best work is the ceiling of the chapel at Trinity College, Oxford, representing the " Ascension." Berg, Mathias Van den, born at Ypres (1615-1647). It is said that his father had the care of the estates of Rubens, and that master took the son into his Academy. He is known only by his excellent copies of the works of his master. Bergen, Dirk Van, born at Haerlem (1645-1689). Pupil of Adrian Van de Velde, and one of his most successful imitators. His earliest works are the best, and are warm and sunny in color; in his later ones the cattle become crude in tone, and hard in execution. Nos. 15 and 16, Louvre, are among his best pictures, as are also Nos. 28 and 29, Amsterdam Mus. He established himself in Lon- don in 1673. Berger, Daniel, born at Berlin, 1744. Pupil of his father. He became a good engraver, made a number of portraits of the royal family and many plates after different artists, principally those of his own country. In 1787 he was appointed Rector and Professor of Engraving at the Acad, of Berlin. Bergeret, Pierre-Nolasque, born at Bordeaux (1780-1828?). A pupil of David, and a distinguished painter of history and land- scapes. He was happy in the choice of interesting subjects. Many of his works were placed in the Gall, of the Luxembourg, and other royal collections. He also painted four portraits for the Hall of the Chancellors. He designed bas-reliefs, among which may be men- tioned those on the column of the Place Vendome. Many of his pictures have been engraved and some of them used as illustrations of splendid editions of " La Fontaine," " BoOeau," etc., etc. Bergler, Joseph, born at Salzberg, 1753; died at Prague, 1829. When twenty years old he had made himself so good a name that Prince Firmian of Passau sent him to Italy, with a pension. He went first to Milan, wliere he was the pupil of Martin Knoller. He remained five years in Milan, copying wOrks of the masters, and executing frescoes with his teacher. From Milan he went to Rome, and in 1 784 gained the prize of the Acad, in Parma. From this time he received as many commissions as he could execute. He remained in Rome until 1786, when he returned to Passau. In 1800 he went to Prague to assume the place of director of the Acad. ; the number of liis oil pictures is very large. They are almost without exception representations of religious subjects, and may be seen in the churches of his own country. BergmuUer, John George, born at Dirkheim in Bavaria (1688- 1762). Pupil of Andrew Wolff. Painter of history and portraits, but best known by his engravings, which were from his own designs. Some of his pictures are in the churches of Augsburg, where he resided. BERINGEROTH — BEKNA. 103 Beringeroth, Martin, born at Kamelsbourg, 1670; died in Leipsip, 1738. An engraver who executed a great number of portraits. Beringeroth, John Martin, born at Leipsie (1713-1767). Son of the preceding, and an engraver of portraits. Berkheiden, Job, born at Haerlem (1628-1698). He is not known to have had any teacher, but when young, made sketches which were so much praised that he determined to become an artist. His pictures are landscapes with small figures, and sometimes represent villao-e fetes, etc., with some success. Ho travelled with his younger brother Grerit, and, when he returned to Holland, was well patronized. He was employed by the* Elector l^alatine, when in Germany, and re- ceived from him a gold medal and chain. Entire pictures by him are rare. He painted some portraits. No. 845, BerUn Mus., a landscape, has his signature. Ho was drowned in a canal at Amsterdam. Berkheiden, Gerit, born at Haerlem (1645-1693). His pictures chiefly represent the exteriors of buildings in his own country, and Italy. They are good, but not equal to those of Van dor Heyden. His works are rare in public galleries. There is a fine series in the Hope Coll.; Amsterdam Mus., No. 26 is one of his best. The same is true of Dresden Gall., No. 1470. Louvre No. 28, is a view of Tra- jan's Column. Mr. Baring has an excellent view of a Dutch town, with numerous figures. Berkmans, Henry, born at Clunder, 1629; died at Middlebourg, 1690. His last instructor was J. Jordaens. At first he painted his- tory, but his portraits were so good, and in such demand, that he could not fulfil his commissions. He painted many of the most distin- guished men of his time. His best work is a large picture of the 'Company of Archers, in the Town Hall of Middlebourg. Berlinghieri, Marco, Barone, and Bonaventura. These are three artists of this name mentioned as signing a treaty of peace with Pisa, in 1228. The works of Bonaventura alone remain. They con- sist of a series illustrative of the Life of S. Francis, in the ch. of that saint at Pescia; and No. 28, a " Crucifixion," in the Acad, of Fine Arts at Florence. These pictures are characterized by childish simplicity. The angels are merely motionless haU-fignres, with embroidered dresses, and the resoluteness with which the different occurrences in the life of the saint are crudely indicated, is ludicrous in the extreme. The sparrows to which he talks are huge birds, perched on trees rising from a conical hill; and those persons whom he freed from evil spirits have little devils flying out of their mouths. Berlinghieri, Camillo, called II Ferraresino, born at Ferrara (about 1596-1635). Pupil of Carlo Bononi. Painter of history. His works are chiefly at Ferrara and Venice. A picture of the "Miracle of the Manna," in the ch. of S. Niccolo at Ferrara, is a fine work, also that of the " Annunciation " in S. Antonio Abate. Berna or Barna. True name thought to have been Barna Bertini. 104 BERNA — BERNINI. Sienese painter (died 1381 ?). In the capitular ch. of S. Gimignano, in the Valdelsa, there still may be seen some remains of the frescoes of this old artist. They represent stories from the New Testament, and have been injured by retouching. As far as can be judged, Barna combined the peculiarities of Simone and Ugolino — minute drawing, abundant ornament, muscular limbs, stiffened action, close-fitting draperies, and a general flatness in effect. Vasari claimed praise for Barna on account of his having been the first to depict animals well. In the Berlin Mus. are three pictures, Nos. 1067, 1072, and 1142, which may be the works of Barna; the latter especially has his char- acteristics, and in the Chapel del Rosario at S. Dominico in Siena, there is a " Virgin and Child " attributed to liim. He was killed by a fall from his scaffold. Bernabei, Pier Antonio, called della Casa, born at Parma. Flourished 1 550. An imitator of Correggio. The Cupola of La Ma- donna del Quartiere proves him to have been a good fresco painter. Lanzi says, equal to any of that time in Lombardy, and perhaps in Italy. There are also considerable works of his at the Carmelites, and in other places in Parma. Bernaerts, Nicaise, born at Antwerp (1608-1678). Pupil of Francis Snyders. His pictures so nearly resemble those of his master that they have been sold as genuine Snyders. Bernard, Jan (1765-1833). A copyist of Paul Potter and Berghem. A member of the Institute, and of the Acad, of Fine Arts at Amsterdam. Bernard of Brussels. See Van Orley. Bernard, Solomon, or Little Bernard. An engraver, born at Lyons, 1512. His best prints are those for a Bible published at Lyons from 1550 to 1580. Bernard, Samuel, born at Paris, 1615. A miniature painter and engraver. Pupil of Simon Vouet. He attempted frescoes, but failed. He succeeded better in miniatures, but at last became an engraver. . Bernini, Gio. Lorenzo, born at Naples, 1598; died at Rome, 1680. As early as his tenth year he had become known as a prodigy in art. At this time his father took him to Rome. Pope Paul V. became interested in him, and also Card. Barberini, who assisted him in his studies. Good fortune ever attended his steps, and, althouo-h he lived during nine pontificates, the favor of the reigning Pope was always his. His fame extended to other countries, and he was invited to France, to which country he went when sixty-eight years old, accompanied by one of his sons and a numerous retinue. He was loaded with favors, and received large sums of money and valuable presents. He held several benefices at Rome, and his son was Canon of Santa Maria Maggiore. He was buried with creat magnificence in the last named ch., and left the immense fortune of BERNINI. 105 400,000 Roman crowns. He had versatility of talent, remarkable imagination and perceptive power, and marvellous facility of execu- tion. It has been said that marble was like clay, or wax, beneath his hand. He believed and constantly said that one must be above rules in order to excel. There is a fascination in the sound of this maxim, but Bernini's own works prove that its practical application is hurtful, and his extraordinary executive ability often failed to atone for the bad taste in which he treated his subjects. In short, his desire for picturesque and unusual effect made liim an injury rather than a benefit to the art he practised. Westmacott says it would have been better for sculpture had Bernini never lived. His " Apollo and Daphne " was executed when he was but eighteen years old ; yet he himself declared, near the close of his life, that he had made little progress since it was produced. Some of his most important works were exe- cuted in the time of Urban Vni., among which are the great altar of S. Peter's, in bronze and gilt, beneath the centre of the dome ; the pulpit and canopy of S. Peter's ; colossal statues of the Four Doctors of the Church supporting the chair of S. Peter; the Campanile; the circular piazza before the Basilica, and the Pal. Barberini. The beautiful colonnade of S. Peter's was executed according to his plans, and under his direc- tion. He also built the Chapel of S. Teresa, in the ch. of Santa Maria della Vittoria; the ch. and high altar of S. Bibiano ; a large part of the ch. of S. Anas- tasia; the celebrated Chigi Pal.; the CoUegio Urbano di Propaganda Fide, besides portions of other churches and palaces. For Charles BY BEKHim. APOLLO AND DAPHNE. In the Villa Borghese, Kopie. I. of England he executed a statue. For this purpose the king sent liim three portraits by Vandyck, and the likeness was so satisfactory that, in addition to the 6,000 crowns paid for the statue, Charles sent him a rino- worth as much more. The colossal equestrian statue of 106 BEKNINI — BERTHELEMY. Louis XIV., executed by Bernini, was afterwards converted into Marcus Curtius, and was sent to Versailles. Bernini also executed the monuments of Urban VIII. and Alexander VII. in S. Peter's, and the decorations of the Bridge of S. Angelo. Among his charac- teristic and exaggerated works are the fountain in the Piazza Navona ; the "Ecstasy of S. Teresa," and the "Apollo and Daphne " before mentioned. Benre, Jean Baptiste, born at Antwerp, 1777; died in Paris, about 1830. A painter of subjects in the manner of Weenix. His pictures were highly finished, are much sought for by amateurs, and bring large prices. He hved mostly in Paris. His works are in several rich collections. Berreguette, Alonso, born at Parades de Nava, in Castile, about 1480. The most eminent Spanish artist of his time. He is called the Michael Angelo of Spain, for he was painter, sculptor, and architect. He studied with his father Pedro, and was painter to Philip I. He was in Florence in 1503, and went with Michael Angelo to Rome in 1505. He devoted many years to study in Italy, returning to Spain in 1520. He was appointed painter and sculptor to Charles V. He received 4400 ducats for the high altar of the ch. of S. Benito el Keal, in Valladolid, where he settled. When almost eighty years old he went to Toledo, to construct a monument to Card. Tavera in the Hospital of S. John Baptist. He was lodged in the hospital, and there died in 1561. He left a large fortune, and was buried with magnificent ceremonies at the expense of the emperor. Berrestyn, C. V., flourished about 1650. A German engraver. There is one plate of a woody landscape, signed with his name and the above date, which is very scarce. Berretoni, Pietro. See Cortona. Berretoni, Niccolo, born at Montefeltro, 1627. He was the best scholar of Carlo Maratti. In the ch. of Montosanto, at Rome, there is an altar-piece representing a scene in the life of S. Prancis, which is his best work. He became a member of the Acad, at Rome in 1675, and died in 1682. Bertaud, Marie Ilosalie, born at Paris, about 1700. An en- graver, whose best works are after the -pictures of Vernet. She was instructed by S. Aubin and Choffard. Bertelli, Cristofano, born at Rimini, 1525. We have a few plates by him, stiffly executed with the graver. Bertelli, Perrando, born at Venice, 1525. He engraved mostly after the Venetian painters. Bertelli, Lucas. A relative of the preceding, who engraved after the Italian masters. Some of his prints are very scarce. Berthelemy, Jean Simon, born at Laon, 1743; died in Paris, 1811. Pupil of N. Halld. His subjects were historical and poetical. BERTHELEMY — BETTELINI.- 107 He painted ceilings in the Pal. of Fontainebleau, the Luxembourg, and at the Museum. He was a member of the Acad, and Director of the School of Design. Bertin, Nicholas, born at Paris (1667-1736). Son of a sculptor, who died wliile he was a boy. He studied with John Jouvenet, and later with the elder Boulogne. So much talent had he, that he gained the first prize at the Acad, when eighteen years old, and was sent to Eome with a pension from the king. He remained three years. Returning to Paris, he so distinguished liimself, that he was made a Royal Academician in 1 703. He was employed by Louis XIV; at the Trianon. He painted in Normandy, and in the Abbey of S. Germain des Pres is a representation of the " Baptism of the Eunuch of Queen Candace," which is fine. Bertucci, Jacopo, called Jacopone da Faenza, flourished about 1530. Was best known as a copyist of Raphael, and also executed some good pictures at Faenza. Bertucci or Bertusio, Gio. Batista, born at Faenza, died 1644. Studied under Denys Calvart, and afterwards in the school of the Caracci. He painted history and imitated Guido. His drawing was good, but his color chalky and cold. Many of his works are in the churches of Bologna. Bervic, Charles Clement, born at Paris (1756-1822). A pupil of J. G. Wille. A fine engraver. A plate of the " Laocobn," made by him for the Musde Fran9ais, Bryan calls the best representation . of that group ever engraved. It has been sold as high as £30. Beschey, Balthasar, born at Antwerp (1708-1776). A weak painter of history and portraits. Antwerp Mus. Nos. 496 and 497 are his, and seem to imitate Gaspard de Craeyer. They represent scenes in the life of Joseph. His own portrait is No. 498 Antwerp Gall. Beschey, J. F., born at Antwerp (1739-1799). A copyist of Dutch and Flemish painters. Besenzi, Paolo Bmilio, born at Reggio (1624-1666). An imitator of Albano. His best pictures are in the oh. of S. Pietro, at Reggio, and are worthy of commendation. Bestard. A Spanish artist who lived at Palma at the end of the 17th century. He ornamented several public buildings there, and painted a picture for the convent of Monte Sion, which was 24 palms wide, and 15 palms high. It represents " Christ in the Desert attended by Angels," and is the wonder of Palma. He had good knowledge of drawing, color, and chiaro-scuro. Bettelini, Pietro, born at Lugano, 1763. A very eminent en- graver. Thorwaldsen so esteemed him that he employed him to engrave his finest works. His plate of the "Entombment," after Andrea del Sarto, is called his chef-d'ceuvre, and is a magnificent work of art. 108 • BETTI — BIGAEI. Betti, Padre Biagio, born at Pistoja (1545-1615). Pupil of Daniele da Volterra. After the death of his master Betti became a monk of the Theatine order. His works are principally in the monastery of his order at Rome. Betti, Bernardino di. See Pinturicchio. Bewick, Thomas, born at Cherry Burn, 1753; died at Gateshead, 1828. This artist is distinguislied as the reviver of wood-engraving. He was apprenticed to Ralph Beilby at Newcastle, an excellent and painstaking master, who pointed out to him in what he could excel. His first considerable work was the illustration of Dr. Hutton's book on mensuration. He at length became a partner of Beilby and, in 1790, pubUshed liis " History of Quadrupeds." From this time his fame was established. He afterwards made the illustrations for many fine books, among which were " British Birds," " British Water Birds," Goldsmith's " Deserted Village " and " Traveller," etc. He had many distinguished pupils, such as Harvey, Nesbitt; Hole, Ransom, and Clennell. Bianchi, Cavaliere Isidoro, born at Milan. Flourished about 1626. Pupil of Morazzone, and one of his best followers. His fres- coes were his best works, and may be seen in the churches of Como, and in S. Ambrogio, at Milan. Biauchi, Pietro, born at Rome, 1694. Pupil of Benedetto Luti. One of his best works is a picture of tlie ' ' Conception ' ' in the ch. of S. Maria degli Angeli. Bianoucci, Paolo, born at Lucca (1583-1653). Pupil of Guido. His works resemble those of Sassoferrato. A representation of ' ' Purgatory ' ' in the ch. of the Suffragio, and an altar-piece in S. Francisco are among his best works. Bicci. There were three artists of this name, and there has been much confusion regarding their individuality. It now seems to be established that Lorenzo di Bicci married Madonna Lucia d'Angelo da Panzano. Their son Bicci was born in 1373, married in 1418, and was fatlier of Neii di Bicci. Thus we liave Lorenzo di Bicci, Bicci di Lorenzo his son, and Neri di Bicci his grandson. No pictures now remaining are positively known to be those of Lorenzo. Of the works of Bicci, a few remain. No. 14, first corridor, Uffizi Gall., representing " SS. Cosmo and Damian," was formerly in the ch. of S. Maria del Fiore, executed about 1429. Some other works still remain in S. Maria del Fiore, and a terra cotta above the portal of S. Maria Nuova; the drawing of these was better than the color. Neri di Bicci was little more than a house-painter, but he filled half Tuscany with pictures. Many of these still remain in churches, and there are four "Annunciations" by him in the Acad, of Arts in Florence. These artists were among the last of the weak imita^ tors of Giotto. Bigari, Vittorio, born at Bologna. His works may be seen in BIGARI — BISCAINO. 109 almost every church in Bologna, and are well spoken of. In the ch. of the Madonna del Soccorso, there is a " Madonna and Child," ■with S. Petronio and other saints, which is much admired. BiUverti, Gio., born at Florence (1576-1644). Pupil of Cigoli. He united, in a degree, certain elements of his master, of S. di Tito, and of P. Veronese. A pictm-e of the "Chastity of Joseph" by him is in the Florence Gall. It is much admired, and has been so often copied, that amateurs sliould be on tlieir guard concerning it. Several of his works are in S. Gaetano and S. Marco. Biltius, Francis. An artist of the Netherlands, who flourished about 1650. He painted dead game, hunting-horns, pouches, nets, etc., in such a manner that they were often n^staken for the real articles. He used white backgrounds. 1 ^ -p) Binok, James, born at Cologne, about 1504. A dis- ^ I i ^ tinguished old engraver whose plates are highly prized. He is believed to have studied first with Albert Durer, and some of his plates resemble those of that master. He went to Rome, and, it is said, studied with Marc Antonio, and engraved after the works of Rapliael under liis guidance. From the size of his plates he is called, a little master. His drawing is correct, his style neat, and he had facility of execution. He usually marked his plates I. B., or with those letters with C. between, forming a cipher. Birch, Thomas. An Englishman who settled in Philadelphia, where he died in 1851. He painted marine views. His pictures of the engagements between the U. S. Frigate Constitution and the British Frigate Guerriere, and between tlie United States and the Macedonian, have much historical value, and are in the Gall, of Joseph Harrison in Philadelphia. Bird, Bdward, born at Wolverhampton, 1762; died at Bristol, 1819. Son of a carpenter, he was apprenticed to a tin and japan- ware maker. When he became his own master he removed to Bristol, where he was first a drawing teacher and at length an artist. He siicceeded in gaining a reputation rapidly, and his pictures had a ready sale. In 1814 he was appointed painter to the Princess Charlotte, and the next year was made a member of the Royal Acad. His genre pictures were the best, and he made a mistake in attempt- ing historical representations. Although not equal to Wilkie, he painted in liis style. His best works are, the " Results of the Battle of Chevy Chace," and the " Surrender of Calais." He was much respected, and was buried with honors in the Bristol Cath. Biscaino, Bartolommeo, born at Genoa (1632-1657). Studied first with his father, Gio. Andrea Biscaino, and later with Valerio CastelU. His early works showed great genius, and his future was full of promise. Although but twenty-five, he had painted several important pictures when the plague devastated Genoa, to which both Bartolommeo and his father were victims. There are three 1 1 BISC AINO — BLACHERNIT A. pictures by this artist in the Dresden Gall. He also etched some plates in a free, bold manner, with good drawing and high finish. Biset, Charles Emanuel, born at Antwerp, 1633. This artist went to Paris, where his pictures, which were conversations, or representations of gallant assemblies, were much in vogue. He met with good success, but his love of Antwerp caused him to return there, and he was made director of the Acad, in 1674. In the hall of the Society of Archers there is a picture of ' ' Tell compelled to shoot the Apple from his Son's Head," which is the work of this artist. Bisi, Michael. A celebrated engraver of Milan. He gained his first reputation by the ' ' Pinacoteca del Palazzo Reale, della Scienze delle Arti," etc., which he published. He commenced a set of engravings after the works of Andrea Appiani in 1819, in which he was assisted by the best pupils of Longhi. Later he made plates after various masters, all of which were good. He also painted land- scapes with some success. Bissolo, Pier Francesco. A Venetian artist, who painted from 1500 to 1528. He was brought up in the school of the Bellini. His heads arc beautiful and full of expression. His characteristics are gentleness, and delicacy of execution. In the Berlin Mus. there is a fine work of his, representing the " Resurrection of Christ; " in the Manfrini Gall., an "Annunciation," and in the Venetian Acad. " S. Catherine of Siena, exchanging the crown of thorns for a crown of gold ; ' ' signed Franciscus Bissolo. Bissuccio, Leonardo di. But one work of this artist is known to remain. It is the decoration of the monumental chapel to Sergiani Carracciolo, in the ch. of S. Giovanni a Carbonara, at Naples. It was built in 1433. The style of the pictures is Giottesque, but the heads are more like those of Fiesole. Carracciolo was the lover and seneschal of the younger Queen Johanna, and one of these pictures represents him naked, as he was found after his murder. There are also scenes from the " Life of the Virgin," and pictures of several members of the Carracciolo family. There is an inscription which clearly tells the name and origin of t])e painter. Blaceo, Bernardino. An artist of Udine, in the Frioul, who flourished about 1 550. His works are in several churches in Udine. Blachernita, Michael and Simeon. These artists were painters of miniature, or the illuminations of MSS. Theu- names are upon the miniatures in the celebrated Menologium or Calendar of the Emperor Basilius II. It was executed about 1000 a. d., and is now in the Vatican, No. 1613, Vaticana. It is supposed that Ludovico Sforza, Duke of Milan, procured it from Constantinople. There remain at present but five months, but these contain 430 miniatures on gold grounds, representing scenes in the " Life of Christ," and in the lives of those saints whose days occur in these months. This BLACHERNITA — BLANSERI. ] 1 1 MS. was presented to Paul V. who placed it in the Vatican in 1615. Blackmore, John. An English raezzotinto engraver, who has left some well-scraped plates of portraits. Flourished 1770. Blake, William, born in London (1757-1828). Poet and painter, a man of wonderful, rather than practical genius. He was appren- ticed to an engraver. He lived in a sort of dream-land, and took what ho called portraits of Moses, Homer, Milton, etc. He said of himself, that his business was " not to gather gold, but to make glorious shapes, expressing godlike sentiments." He painted but little. He married Catherine Boutcher, who was a devoted wife. He also possessed the strong friendship of the sculptor Flaxman. He loved the antique, and the works of Raphael and Michael Angelo. His illustrations of the Book of Job, Young's " Night Thoughts," Blair's " Grave," etc., are astonishing conceptions, but his published works are too well known to need description or criticism. Blanohard, Jacques, born at Paris (1600-1638). When twenty- four he went to Italy, and lived two years in Rome and two in Venice. He perfected himself in the coloring of the Venetian masters, for which he was much admired after his return to Paris. He has been called the French Titian. His pictures are agreeable, and his flesh tints are very good. In the ch. of Notre Dame are two pictures by this master, representing the "Descent of the Holy Ghost," and " S. Andrew kneeling before the Cross." Several of his works are in the Louvre. He also etched plates from his own designs and those of other masters. Blanohet, Thomas, born at Paris, 1617; died at Lyons, 1689. At first he studied sculpture under Sarrazin, but abandoned it on ac- count of his delicate health. He went to Rome and studied under Andrea Sacchi. He was a friend of Algardi and Nicholas Poussin, both of whom advised and encouraged him. Returning to Paris, he painted the " Vision of S. Philip," and the "Baptism of the Eu- nuch," for the Cath. of Notre Dame, and was then employed to execute various works for the Hotel de Ville at Lyons. These last earned him a reputation as an historical painter. When admitted to the Acad, at Paris, he painted for his picture of reception, " Cadmus killing the Dragon." \ Blankhof, John Teunisz, born at Alkmaer (1628-1670). Pupil of, Cffisar van Everdingen. He spent some time in Italy. He ex- celled in marine views, and some of his best pictures represent storms on the Mediterranean coast, in which he imitated the scenery of Italy with Dutch truthfulness. Blanseri, Vittorlo, born in Venice (1735-1775). Educated in the school of Cavaliere Beaumont, he was his best scholar, and his successor in the office of painter at the court of Turin. His principal works are in that eity, one of which, -representing " S. Luigi faint- ing," is in the ch. of S. Pelagio, and is much admired. li-2 BLECK — BLOEMEN. Bleck or Bleeck, Peter Van. A Flemish engraver, who went to England about 1730. He engraved in mezzotinto, and his plates have considerable merit. Bias, Henri de, born at Bouvignes, 1480 ; died probably 1650 at Liege. A painter of landscapes who belonged to one of the last branches of the Van Eyck school. He adopted an owl for his monogram, and was called Cicetta in Italy. His manner was stiff and dry, resembling that of Jacob Patinier in color. He often introduced a Scripture subject in a landscape. No. 624, Berlin Mus., is one of his earlier works, and is a male portrait with a landscape background. No. 91, Munich Gall. Cabinets, represents the "Adoration of the Kings." In the Coll. of the Prince Consort at Kensington there is a " Crucifixion " by this master. His works are rarely for sale, and are much esteemed. ■ Bloemaert, Abraham, born ^^ I \ at Gorcum about 1564; died at e/nA/&^ X fi A Utrecht, 1647. Painter and en- graver, a contemporary of Ru- bens, and the son of Cornelius Bloemaert, an eminent architect. He painted history, landscape, and animals. His drawing was very bad. " The Wise Men's Offering," in the Jesuit ch. at Brussels; a "Nativity" at Leliendael; also Nos. 745 and 722, Berlin Gall.; No. 193, Munich Gall.; the " Feast of the Gods," in the Hague Gall., and a " Madonna" in the Mechlin Cath. are by Bloemaert. He de- serves the most attention as an engraver, for his etchings are good, his plates in chiaro-scuro are spirited and cfi'ective, and the outlines are not cut on blocks of wood, as is customary, but etched on copper. Bloemaert, Cornelius, son of the preceding. Born at Ufrecht, 1603; died at Rome, 1680. A very distinguished engraver. He studied first under his father, then with Crispin de Passe. In 1 630 he went to Paris, where he distinguished Mmself . He went to Rome where he passed the remainder of his life. His engravings were fine, but he effected a change in his art, which added to his fame more than his works. Before his time there was an inattention to har- mony, and the lights were left indiscriminately clear, which had an incongruous and spotted effect. Bloemaert effected a gi-adual or iuNcnsible gradation from light to shade, and made a variety of tints in the distances. Thus he nmy be called the originator of the style followed by Poilly, Audran, Picart, and the great French engravers. His works are much prized, and several of them have become scarce. He marked his plates C. Bl. or Corn. Blo. or C. Blo. Bloemen, John Francis Van, called Orizonti, born at Antwerp, 1656; died at Rome, 1740. He painted like an Italian, for he went BLOEMEN — BLONDEEL. 113 to Italy when very young, and there passed his life. His works are in the Colonna, Doria, and Rospigliosi palaces in Rome, and also in the pontifical Pal. at Monte Cavallo. He painted landscapes and received his sobriquet from the Soc. of Flemings at Rome, on account of the delicate beauty with which he painted his distances. His pictures are very unequal. He made choice of good subjects, and some of his best arc almost equal to those oif Gaspar Poussin, and although inferior to the latter he merits a rank among the best land- scape painters. His works are well known in England, and there are six in the Lpuvre, Nos. 33 to 38, also three landscapes in the Vienna Gall. Bloemen, Peter Van, called Standard, born at Antwerp (1649- 1719). Brother of the preceding. He went also to Rome, but re- turned to Flanders, with numerous studies made in Italy. He painted attacks of cavalry, from which he received ths name of Standard; also battles, fairs, caravans, etc. His figures and animals were drawn witli great freedom and spirit, and his landscapes were adorned with ruins of statues, and architectural ruins. In 1699 he was appointed director of the Acad, of Antwerp. In the Dresden Gall, there are six pictures by this artist. No. 993, " The Vagrant Family," is the best; next to it is one of Fishermen and an old gray Horse, and Travellers with Horses before an Inn. Blond or Blon, James Christopher Le, born at Frankfort, 1670; died at Paris, 1741. He went early to Italy, where he studied under Carlo Maratti. He next went to Amsterdam with B. van Overbeck. There lie painted miniature portraits which were much esteemed. He went at length to Englanfl, and attempted the printing of mezzotinto plates in colors, so as to represent perfectly the pictures from which they were made. He disposed of the prints which he made by a kind of lottery, and published a book upon the Harmony of Coloring in Painting. He also conceived the idea of making tapestries from the cartoons of Raphael. Houses were purchased, drawings made, and much money expended, but the scheme failed, and Le Blon went to Paris, and, it is said, died in a hospital. His prints, aside from their novelty, have some merit. ' Blondeel, Lancelot. Flourished at Bruges about 1520 to 1574. His pictures have rich architectural backgrounds, often in Renais- sance style; executed on a gold ground. The eflfect is brilliant. His figures are in the Italian style. His flesh tones are cold, and his whole execution mannered. In the ch. of S. Jacques, Bruges, is a picture representing SS. Cosmo and Damian, dated 1523; hisearUest known work ; in the Cath. a " Madonna " with Saints, dated 1545 ; and the Berlin Mus. has two of his works, Nos. 641 and 656. The mantelpiece in the council-hall of Bruges was designed by Blondeel, and is adorned with statues of Charles V. and other princes. He was originally a mason, hence his monogram of a trowel. 114 BLOOT — BOCCACCINO. Bloot, Peter. A painter ot Holland. Flourished, about 1650, died 1667. He represented scenes from low life; drunken frolics, quarrels, etc. Ills characters are/uncomely, grotesque, and even disgusting. Unlike some other artists, such as Ostade and Teniers, he has not attempted to' reconcile us to vulgarity by ingenious arrangement or beautiful colors. His works are very rare and highly prized in Holland. ' Blooteling or Bloteling, Abraham, born at Amsterdam, /\ ^ 1634. His style indicates that he studied under the *-' Visschers. He became a very eminent designer and en- graver, and produced a large number of etchings; some plates in mezzotinto, and some executed with the graver. He went to Eng- land in 1672, and remained two years. He etched plates of the Coll. of gems of Leonardo Augostini, and publislied them in 1685. Blot, Maurice, born at Paris (1754-1818). Pupil of Aug. S. Aubin. He engraved in a neat style, and has left some plates of portraits and fancy subjects. Bobadilla, Geronimo, born at Antequerra ; died, 1680. Pupil of Zurbaran at Seville. He thoroughly understood perspective, and arranged the figures in his pictures well, but his designs were not good. His color was better. Murillo compared the varnish he used to crystal. He was one of the founders of the Acad, at Seville. He made a large Coll. of drawings, models, sketches after celebrated artists, etc. Bocanegra, Don Pedro Atanasio, born at GraiUada (1638-1688). A pupil of Alonso Cano, he also studied color from the works of Pedro de Moya and Vandyck. He was a boaster, vain and arro- gant, disliked by all who knew him, and when he was challenged to prove his skill he stole away from Madrid to avoid the test. But his works were much esteemed, and no Coll. was thought complete without them. At the college of the Jesuits, Granada, is the " Con- version of S. Paul," one of his finest works ; and in the Cloister of Nuestra Senora de Gracia a " Conception." Boccacciuo, Boccaccio, born at Cremona (1460-1518). Few facts are known in the life of this old painter. In 1497 he had painted a series of frescoes in S. Agostino, and had a school at Cremona, from which Garofalo ran away in 1499. His compositions are scattered ; his perspective bad ; but there is a certain grace and spirit in his figures. His remaining works are frescoes in the Cath. of Cremona ; at S. Quirico in Cremona, a panel much in the Vene- tian style of painting ; an early tempera on canvas in the Bishop's Pal. at Cremona; No. 132, Venice Acad., and an altar-piece at S. Giuliano at Venice. There are others that are supposed to be his in various collections, which are attributed to Perugino, Pinturicchio, etc. Boccaccino, Camillo, born at Cremona (1511-1546). Son of BOCCACCINO — BOEYERMANNS. 115 the preceding. At the time of his early death he was tlie most promising artist of the Cremonese school. The " Raising of Laz- arus,'' and the " Adulteress before Christ," at Cremona, are well esteemed, and he painted the •' Four Evangelists," in S. Sigismondi, in a style which showed great knowledge of perspective and fore- shortening. Bocciardo, Clemente, called Clementone, born at Genoa (1620- 1658). His principal works are at Pisa, and a " Martyrdom of S. Sebastian," in the ch. of the Carthusians, is one of the best. Bocciardo, Domenlco, born at Genoa, 1686. In the ch. of S. Paolo, Genoa, there is a picture by him of S. John baptizing several persons. Bockhorst, John Van, called Langen Jan, born at Munster, 1610. His family removed to Antwerp, and he became a pupil of Jacob Jordaens. He painted much in the style of Vandyck. . His portraits were excellent, and his liistorioal pictures rank among the best productions of the Flemish school. They are in many Flemish churches. In the ch. of S. James, at Ghendt, there is an altar-piece representing the Martyrdom of the Saint, and in the ch. of the Be of Birds, and a " Wild Boar Hunt," merit special notice. ^tJ' Boethus of Chalcedon. We have an account of three statues of boys by this sculptor. The "Boy with a Goose," in the Louvre, is copied from one of them. Boetius or Boece, Christian Frederick, born at Leipsic, 1706. Lived chiefly in Dresden, and was made professor of the Electoral Acad, in 1764. He engraved several plates from the pictures in the Dresden Gall., for the volumes published in 1753 and 1757. He also engraved some portraits, and other subjects. Boeyermanns, Theodor, born at Antwerp (1620-1678.) An 116 BOEYERMANNS — BOL. excellent painter, and imitator of Vandyck. Was made a member of the Antwerp Guild in 1654. His pictm'es are scarce. Either he did not put his name on them, or it has been removed in order to pass them as Vandyck's. The Antwerp Mus. has two of his pictures : No. 403, called " L'Ambassadeur," and No. 404, " The Pool of Bethesda," a large composition dated 1675. His works are also in the ch. of S. James, and the Convent of tlie Jacobins at Antwerp, but his cJief-d' (xuvre is a representation of " S. Francis Xavier con- verting an Indian prince " in the Jesuit ch. at Ipres. ^yC^ Boissieu, Jean Jacques de (1736-1810). An \^J^\ I Ty- eminent engraver, who has left about sixty charm- ing plates. They are of landscapes and other subjects, both from his own designs and those of other artists. He marked his plates D. B., with the date. He also painted some por- traits, and a few pictures of subjects similar to those of Ostade. Boizot, Louis Simon (1743-1809). French sculptor. His father was a designer, and at the age of nineteen Louis had gained the grand prize of the Royal Acad., and was sent to Rome by the king. The group of allegorical figures in the Place du ChStelct is his best work. There are two busts executed by him in the Gall, of Fontaine- bleau. Boizot, Marie Louise Adelaide, born at Paris, 1748. She was instructed by J. J. Flipart, and engraved with neatness both por- traits and other subjects. Bol, Ferdinand, born at Dortrecht, 1609 ; died at Amsterdam, 1681. A pupil of Rembrandt, whose style he followed but for a time. His historical subjects are not skilful in composition, and his heads have a tiresome sameness, while his color was too yellow. The force of his pictures is astonisliing, and yet they lack refine- ment. His portraits were his best efforts; they were painted in full lights, and his flesh tones were trutliful, while the expression was animated and life-like. One of his fine early works is a portrait painted in 1632, Berlin Mus., No. 810. His best work is probably that in tlie " Leprosenhuys," at Amsterdam, in which a doctor is recommending an infected boy to the Regents. Tlie heads are masterly, and the hands are finely painted. In the " Huyssitten- huys " there is a picture of the same kind. Mr. Baring has a scene from Guarini's " Pastor Fido," and a couple of fine portraits. No. 42, Louvre, is also a portrait. In the town-house at Leyden there is an allegory of " Peace," and in the Dresden Gall., No. 1203 repre- sents " Joseph presenting Jacob to Pharaoh," and No. 1205, "David's Letter concerning Uriah." These last are of the best of his later works. Bol was nlso an engraver, and his etchings, though not e(iual to those of his master, are highly esteemed. His lights and sIkkIiws arc good, and his style with the point is bold and free, rather than light and tasteful, like that of Rembrandt. BOL — BOLOGNINI. 117 ^~ Bol, Hans, born at Mechlin, 1535; died at Amsterdam, I ' / « ? 1593. An engraver and painter. At first he attempted large pictures in size colors, but afterwards confined him- self to miniatures. His execution was good, as was his drawino- also, and his animals, flowers, etc., are truthfully represented, as well as his portraits. He used his pictures for the decoration of books, an example of which may be seen in the Imperial Library at Paris, No. 708. His pictures are also in the cabinet of engravings at Berlin, and the cabinet of miniatures at Munich. He etched some plates too, from his own designs, which have considerable merit. 1^ " Boldrini, Joseph Nicolas. A wood engraver. ♦hMh* There is much difference in the accounts of this artist, ■■-' but his plates are mostly after Titian, and it is, thought Aat he studied under that great master. His plates are rare. Bologna, Gio. or Gian, born at Douai (1530?-1G08). Called 11 Fiammingo. His father wished him to be a notary, but his taste for sculpture was early so decided, that he placed him with an artist named Beuch, who had studied in Italy. From this master he went to Rome, and at length settled in Florence. He founded his style upon the study of Michael Angelo, and was undoubtedly the best sculptor of his time ; but his works show the decline of art, when compared with those of the fifteenth century. He most excelled in the representation of abstract ideas, which gave an opportunity for the display of his great technical skill. In the treatment of religious subjects, which he rarely attempted, he was less successful. Among his best works may be mentioned the group of the " Rape of the Sabines;" the equestrian statue of Cosmo I., in the Piazza della Signoria ; and a Mercury, in the Uffizi. A group of ' ' Hercules and NessuB," which stands near that of the Sabines, in the Loggia de' Lanzi, is good, but not equal to the latter. A fountain in the Boboli gardens; a Venus, at the Villa of Petraca; a S. Luke, at Or S. Michele, and a representation of Victory in the Palazzo Vecchio, are all works of more than ordinary merit. These are but a small portion of the works of Bologna. The " Rape of the Sabines " is considered his clief-d'auvre, and copies of the Mercury are to be seen in many galleries and museums of art. Flaxman says that his " Venus coming from the Bath," both standing and kneeling, " are remarkable for delicacy and grace." Bolognese, H. See Griraaldi. Bolognini, Gio. Batista, born at Bologna (1612-1689). One of the best pupils of Guido Reni. His works are in several churches of Boloo-na. He also etched some plates after the works of Guido, which are done in a slight and spirited manner. Bolognini, Giacomo, born at Bologna (1664-1734). A nephew and pupil of the preceding, he became a painter of history. His pictures are in some Bolognese churches, and have considerable merit. 118 BOLS WERT — BONCUORE. Bolswert or Bolsuerd, Boetius Adam, 'y^ ^^tJ^ ^°''° ^* Bolswert in Friesland, 1580. Where /j\ (Vy(0 ^^ studied engraving is not known, but he °^ ' became eminent in that branch of Art. He followed the manner of Cornelius Bloeraaert. He settled with his brother Scheltius in Antwerp, as a print-seller and eno-raver. He used the graver only. His finest plates are after Rubens, and have more color and finish than his others. Bols-wert or Bolsuerd, Scheltius A., fl\ f^n \>OT:y\ at Bolswert, 1586. A very eminent I fvi I'^VJL ^3i engraver; in truth, one of the most so of ^ his country. His plates embrace all classes of subjects, but he was especially happy in representing the finest works of Rubens and Vandyck. It is said that Rubens often re- touched his proofs with chalk, and he made the corrections with the graver. He never used' the point. Some of these proofs are in the portfolios of lovers of the curious. Bombelli, Sebastian, born at Udina (1635-1685). Pupil of Guer- cino. Especially distinguished as a portrait painter and a copyist of Paul Yeronese. Boschini says that in his imitation of Veronese, he could not be excelled. In early life he painted some historical pictures which gave promise of excellence, but portrait painting promised him greater rewards, and he confined himself largely to that branch of painting. He travelled through Germany and painted portraits of many eminent persons at different courts. Bonacina, Gio. Batista, born at Milan, 1620. An engraver who imitated Cornelius Bloemaert, without equalling him. His style is neat, but dry and stiff. Bonasoni, Giulio, born at Bologna about 1498. A /f D painter and very emiment engraver. Some of his \jl pictures are in the churches of Bologna, but it is as an engraver that he demands attention. He was instructed by Marc Antonio, and although he did hot equal him, he executed plates after the works of some of the best masters with great faciUty and elegance. He used the graver almost entirely. The distribution of lights and shadows, and breadth in the masses are especial points of excellence in his plates. He engraved after M. Angelo, Raphael, Giulio Romano, Parmegiano, etc., and also several plates from his own designs. Bonatti, Gio., born at Ferrara, 16S5; died at Rome, 1681. Pupil of Guercino, and a protdgd of Card. Carlo Pio. Later, in Rome, he studied with P. Francesco Mola. In the Gall, at the Capitol there are works of his, and in the churches of Santa Croce in Gerusar lerame, and Chiesa Nuova. Boncuore, Gio. Batista, born at Abruzzo (1643-1699). Pupil of Francesco Albano. His best characteristic is force and vio-or of effect. One of his best works is in the Chiesa degU Orfanelli at Rome. BONE — BONIFAZIO. 119 Bone, Henry, born at Truro in Cornwall (1755-1834). He was a manufacturer of china, but became an eminent enameller. He was first distinguished by his copies of the ' ' Sleeping Girl ' ' by Sir Joshua Reynolds, but his greatest work was the " Portraits of the Illustrious Men and Women of England," which he reproduced in enamel. Since his death they have been bought by collectors of the beautiful. He was a member of the Royal Acad. Bonesi, Grio. Girolamo, born at Bologna (1653-1725). Scholar of Gio. Viani. He imitated Carlo Cignani. His works may be seen in the churches of S. Marino, S. Biagio, the Certosa, and other public edifices of Bologna. Bonfanti, Antonio. An artist of Ferrara, called 11 Torrioella. His pictures are in the public edifices of that city. The most esteemed are the " Holy Family," in the ch. of La Santissima Trinity, and " Christ in the Temple," at S. Francesco. Bonfigli, or di Buonfiglio, Benedetto, born at Perugia (1420?- 1496?). He was superior to all the Umbrians of his time, except Piero della Francesca, and must have been acquainted with the classic art of Florence. His works were considered the greatest ornament of Perugia. His largest work was the Hall of the Palazzo Comunale, which ho decorated with scenes from the lives of S. Louis of Toulouse and S. Ercolano. They were commenced in 1454, and were not finished in 1496. The progress of painting in his time is well illustrated in the works of Bonfigli, and they prd'^are the way for the excellence of Perugino. Besides the Hall already mentioned he undertook the chapel of the " Magistrate,", and a Brutus in the refectory of the Priori in the Palazzo Comunale. For S. Domenico he painted an " Adoration of the Magi," now No. 18, Perugia Gall. ; for the company of S. Bernardino, a banne'r, 1465 ; a " Virgin of Mercy," 1478, and many works which testify .to his great industry. Vasari says that Pinturicchio was the assistant and friend of Bonfigli, and Lanzi says that Perugino was his pupil. Whether these artists were associated with him or not, thSy undoubtedly profited by his example, and were indebted to him for giving a consideration to Perugian art, which had not before belonged to it. Boni, Giacomo, born at Bologna (1688-1766). Pupil and as- sistant of Marc Antonio Franceschini. Said also to have studied under Carlo Cignani, whose style is imitated in some of his frescoes, such as the ceilings of S. Pietro Celestini at Bologna, and S. Maria della Costa at S. Remo. A picture of the " Infant Jupiter," and a saloon at the Palazzo Pallavlcino, by this master, are much admired. Bonifaccio, Francesco, born at Viterbo, 1637. Pupil of Pietro da Cortona. His works were in the public edifices of Viterbo, and possessed considerable merit. In the Palazzo Braschi is his picture of the " Woman taken in Adultery." Bonifazio, Venezitoio (1494-1563). A pupil of the elder 120 BONIFAZIO — BONVICINO. Palma, and an imitator of Titian. In color he approaches the last- named master, and is altogether an eminent example of what patient application can do even when great talent is wanting. There are many works of his in Venice. His most pleasing pictures are those of simple arrangement, such as Saints and Holy Families. " The Rich Man's Supper," in the Acad, at Venice, is one of hi^ best works. His latest pictures are weak and mannered. Bonington, Richard Farkes, born at Arnold, Nottingham (1801- 1828). A fine landscape and marine painter. He copied in the Louvre, was a student in the ficole des Beaux Arts, and occasionally attended the studio of Baron Gros. He visited Italy, and painted some pictures in Venice. He exhibited a few pictures at the Royal Acad, before his death, but since the International Exhibition of 1862, he has been more appreciated in England. Bonone, Carlo, born at Ferrara (1569-1632). Pupil of Giuseppe Mazzuoli. He visited Bologna, and so admired the works of the Caracci, that he copied some of their principal pictures ; he went to Venice, and to Parma, where he studied the excellences of Paul Veronese and Correggio. His small pictures are in the style of the Caracci, but his larger works are more akin to those of Paul Veronese. Many of his works are in the public edifices of Ferrara, and some of the best Ferrarese painters were his pupils. Bonsignori, Francesco, born at Verona (145.5-1519). Little is positively knRwn of this old master, although many of his works * remain in Verona and Mantua, and specimens are to be seen in many of the large galleries ^f Europe. Vasari calls him a pupil of Man- tegna, but this seems improbable, upon a, careful examination of his works, as a change in his manner about 1481 indicates that he came utider the influence of Mantegna at that time. He was patronized by the Marquis Francesco Gonzaga, who gave him a salary and a house in 1487. Bonvicino, Alessandro, called II Moretto di Brescia, born at Brescia (1500-f547). At first he imitated Titian, but afterwards studied the Roman school, and produced a manner full of gi-aoe, stateliness, and simple dignity. His oil pictures were better than his frescoes, and his best works were quiet altar-pieces, for he did not succeed in the action necessary to historical painting. He has left fine works in his native city, and his pictures are to be seen in Vienna, Frankfort, Berlin, the Louvre, etc. A large altar-piece, representing " The Virgin between SS. Anthony and Sebastian," in the St'adel Institute, Frankfort, is wcfrthy of notice. A colossal " Adoration of the Shepherds," Berlin Mus., is excellent. In tlie Imp. Gall., Vienna, there is a fine picture of S. Justina, with the Duke of Ferrara (called a Pordenone) kneeling beside her, which has been engraved by Rahl. His portraits have been likened to those of Titian, and he was the master of Moroni. The National BONVICINO — BOONEN. 121 A GLORIFIED MADONHA. BY IL MOKETTO. Belli I Mus. Gall, has a portrait, and a picture of S. Bernardino and other saints, •which is very fine. His works are numerous. Boonen, Arnold Van, born at Dortrecht (1669-1729). Pupil ot Schalken. He painted portraits and genre pictures. He is not equal to his master, whom he closely imitated. His pictures are taken frequently by candle-light. In the Dresden Gall. No. 1579, two young men, one smoking, is truthful and full of feeling. Nos. 1570 to 1582 are also by Boonen. He executed some large pictures for the different companies of Dort and Amsterdam, and the portraits of many distinguished personages. 122 BOEDONE. S. JDSTINA AND ALPHONSO I. OF FEKRARA. BY IL MORETTO. Belvedere, Vienna. Bordone, Paris, born at Trevigi (1500-1570). His portraits were his best works, and for them he is distinguished. He was of noble family, and well educated before he entered the school of Titian. Many of his female portraits are in the Uffizi; the Manfrini Coll., Venice; the Belvedere and Esterhazy galleries, Vienna; and in other places. All his heads are fine, and some of them closely resemble Titian. Two of his larger works are in the Berlin Mus., but the best of this class is in the Acad, of Venice, and represents the fisherman presenting the ring of S. Mark to the Doo-e; it is BORDONE - BORGIANI. 123 splendidly executed. Bordone was invited to Franco by Francis I., and painted the portraits of the king and many of the nobility. Borgaai, Francesco, born at Mantua. Flourished in the middle of the 1 7th century. Scholar of Domenico Feti. Lanzi says this artist merits more attention than he receives. His works are in the churches of Mantua. Borgiani, Orazlo, born at Rome (1577-1615). Studied with his brother called Scalzo. Copied the works of the masters of Rome. A man of violent temper. Riding one day in a coach, at Rome, he saw some artists, among whom was Caravaggio, laughing at him; he sprang from the carriage, seized a bottle of varnish from the shop of a druggist, and threw it at the heads of the offenders. He passed some years in Spain, where he was well received and patronized, and on his return to Rome was employed by the Spanish ambassador. CORONATION OF THE VIRGIN. BY BORGOGNONE. In S. Simpliciano, Milan. 124 BOEGIANI — BORZONE. His works may be seen in some churches of his native city, and he also left a few plates etched in a free, bold manner. Borgognone, Ambrogio. Flourished about 1500, born at Milan. His pictures are by no means excellent, but his heads arc gentle and meek in expression ; and sometimes they have a peculiarly austere and mournful look. His works may be see in Milan, especially in the ch. of S. Ambrogio; in Pavia the frescoes in the Carthusian Convent, formerly ascribed to Bramante, are by Borgognone. In the Berlin Mus. there are two works b}' this artist, one of which, an " Enthroned Madonna," has a high reputation. Borras, Nicholas, born at Cocentayna, 1530; died at Gandia, 1610. A priest, monk, and painter. He studied with Joanes at Valencia, and was his most eminent disciple. He took orders and lived as a priest in his native town, continuing to paint meanwhile. At length he went to the convent of the Jeronymites at Gandia, to paint some pictures for their high-altar. When his work was ended he refused all payment, and desired that the habit of their order should be given him. This was done and he remained in the convent three years, but hoping to find a stricter discipline, he went to a Franciscan monastery near Valencia. He did not remain long, and returning to Gandia, passed the rest of his life there. His industry was wonder- ful, and the number of his works immense. He not only gave his time and skill to his convent, but also devoted goodly sums of money for the comfort and elegance of its appointments. He' hired sculptors and decorators at his own expense, and came to be considered a benefactor to his community. While he lived fifty masses were said yearly for his soul. The Mus. of Valencia has more of the pictures of Borras than of any other artist. There are about fifty of them, mostly on panel. His style is similar to that of his master: his heads are often striking, and his accessories finished with great care and minuteness. His coloring is colder than that of Joanes. Borrekens, John Peter Francis, born at Antwerp (1747-1827). A painter of landscapes, which were often -ornamented with figures and cattle by other masters. Borrekens, Matthew, born at Antwerp, 1615. An enoraver, who was chiefly employed in copying the plates of eminent engravers for print-sellers. He worked entirely with the graver, and imitated Pontius without equalling him. Borsum, Abraham van. A painter of landscapes, birds, animals, etc. His pictures resemble Rembrandt's in color. His drawings are highly esteemed in Holland, and sell for large sums. Borsum, Adam van. Flourished 1666. A painter of animals who imitated A. Vandermeer and Paul Potter. His color is good, and his drawing free and spirited. Borzone, Luciano, born at Genoa (1590-1645). Pupil of his uncle, Filippo Bertolotti. Painted history, but excelled most in por- BOBZONE — BOSCH. 125 traits. In the ch. of S. Spirito, Genoa, there is a "Baptism of Christ," and in S. Domenico a "Presentation in the Temple," by this master. He fell from his scaffolding in the Chiesa della Nunzi- ata, and was killed. Soprani says his house was tho resort of culti- vated people, and he himself a man of great attainments. Ho left a few plates etched from his own designs. His three sons, Gio. Ba- tista, Carlo and Francesco Maria, were all painters, and the latter excelled in-landscapcs. Bos or Boscbe, Jerome, born n A /T")'! <$ -J^ y OS ^^^ engraver. He represented ■^-' ^/ W.O yv T ' verv sina-nlar and trvntfiRnnp cnl-i- very singular and grotesque sub- jects, such as devils, spectres, etc. These are treated with wonderful ingenuity. He sometimes painted more serious subjects, such as the " Flight into Egypt," and " Christ bearing his Cross." A very singular picture of his represents " Christ delivering the ancient Patriarchs from Hell." Judas attempts to escape also, and is seized by devils, who suspend him in the air. There are so many works by this artist in Spain, that it has been thought he must have gone there. At the Koyal Gall., Madrid, there are the ' ' Fall of Lucifer and the Angels ; " " Adam and Eve driven from Eden; " and the " Triumphs of Death," which is a very singu- . lar picture. Death, scythe in hand, gallops on his white horse, driv- ing multitudes to the land of shades. The entrance is fortified by coffins, and guarded by skeletons. Behind Death follows a sort of dead-cart, to take up the slain. In the foreground there is a com- pany of revellers, and a king falls dead. The plates of this artist represent the same fantastic subjects. They are in the stiif Gothic style, and are much prized by collectors. His manner of represent- ing his bizarre conceptions was almost demoniacal. He founded a style which other artists adopted. Ills execution was careful and sharp. Among his works are, Berlin Mus., No. 563, " The Last Judgment;" Antwerp Mus., No. 41, "Temptation of St. An- thony." The family name of Bosch was Agnen; he was called Bosch from Herzogenbusch, the German name for his birthplace. Bos, Lewis Janssen or John, born at Bois le Due (1450-1507). A painter of small portraits, flowers, fruits, etc. He finished with extreme nicety, and the insects on his plants were painted with surprising truth. Bos, Gaspar van den, born at Hoorn (1634-1666). A painter of marine subjects. His storms and cahns, with ships, have consider- able merit in.color and finish. Bosch or Bossche, Balthasar van den, born at Antwerp (1681- 1715). Painted interiors with great success. His pictures were very popular. He also succeeded in small portraits. The Duke of Marlborou■' Antwerp, 1540. An engraver, I MJ> \J) , i !^\}) and one of the little masters. His portraits and small friezes of hunting and htlwking are his best works, and are esteemed for their neatness. He worked with the graver only. .^ Bruyn or Bruin, Nicholas, born at Ant- |V.ll2 /\ r^ [-A werp, 1570. Son of the preceding, under 1. Nl/ 1 Vw \JJ t whom he studied. He is an imitator of Lucas von Leyden. His plates possess con- siderable merit for the times in which he worked. Bruyn, Bartholomew de, flourished at Cologne from 1520 to 1560. He executed the wings of the large shrine on the high-altar of the ch. at Xanten in 1534. His portraits. No. 588, Beriin Mus., and one in the Cologne Mus., painted 1535, so much resemble those of Holbein as to be generally attributed to him. Nos. 112, 113, and 114, Munich Gall, representing the " Descent from the Cross," BRUYN — BUGIARDINI. 139 with wings, is a good Work. Berlin Mus., No. 639, is a work of his later time, in which he deteriorated; it is a " Madonna and Child," adored by the Duke of Cloves. He attempted in his last works to adopt an Italian style, gi-eatly to his disadvantage. Some of these pictures are in the Cologne and Munich galleries, and are often attributed to Martin Van Hemskerk. Bry or Brie, Theodore de, born at Lifege, 1528 ; died at Frank- fort, 1598. An eminent engraver. He imitated Sebald Beham. He worked almost entu'ely with the graver. His style was neat and free, and especially suited to subjects in which there are many figures, such as he frequently chose. He gave great spirit and ex- pression to his heads. He engraved the plates for the first four volumes of Boissard's " Roman Antiquities ; " the two others were finished by his sons, John Theodore and John Israel. In Frankfort Bry was a print and book seller. Buoklaer, Joachim, flourished 1550-1570. Pupil of Pieter Aerts- zen, whom he imitated closely. His kitchen and market scenes were very popular. " Christ before Pilate," No. 78, Munich Gall., is by Bucklaer. Bufialmacco, real name Buonamico Christofani. Vasari says he was born in 1262 and died in 1340; that he was a pupil of Andre^ Tafi : and Ghiberti bears out his statement that he was an excellent painter and able to outdo all others when he set his mind to it. Vasari' s account of him is very interesting. He seems to have been the wit and practical joker among the artists of his day. His fame has outlasted his works, for it is a matter of great doubt if any of these remain. Kugler says his existence is doubtful, and his life by Vasari a mere tissue of whimsical stories. Lord Lindsay, in his ' Sketches of the History of Christian Art," says: " A merry wag, a careless spendthrift, hving for the day without a thought of the morrow, and (as the phrase is) 'nobody's enemy but his own,' he drained the cup of pleasure to the lees and found misery at the bot- tom, dying, at the age of seventy-eight, a beggar, in the Misericordia, without a paul in his pocket to buy a coflin for his corpse or a mass for his soul, the type and mirror of a whole class of artists, whose folUes and vagaries throw discredit on genius, while a certain kindUness of heart renders it impossible not to pity while we blame them." Bugiardini, Giuliano, born near Florence (1471-1554). Pupil of Mariotto Albertinelli. Michael Angelo formed a friendsliip for him in the gardens of S. Marco, and he is one of those whom the great master attempted to employ as assistants in the Sistine Chapel. Bugiardini worked so long in an humble capacity, copying the drawings of others on panels, that when he came to work indepen- dently his powers of composition were dwarfed, and he could only master the simplest subjects. He sometimes seemed to imitate 1 40 BUGIARDINI — BUONAROTTI Leonardo. His portraits were as good as any of his works, and it is said Michael Angelo once sat to him. The Portrait is supposed to be in the Louvre, No. 526. Many of his works remain. The fol- lowing are some of them : Uffizi, No. 220; Leipzig Mus., No. 143; Bologna Pinacoteca, No. 26; Berhn Mas., Nos. 248 and 285, etc. There are many of his panels in Bologna; in the Colonna Pal., Rome, there are some, and a few in England, besides many in Italy not mentioned. Buister, Philip, born at Brussels (1595-1688). After studying in his native city he went to Paris, where he was somewhat distin- guished. He executed several sculptures for the park at Versailles, and the tomb of Cardinal De Rochefoucauld. This last was his principal work, and has been placed in the Musde des Monuments Fran(;ais. Bullinger, John Balthasar, born at Zurich (1713-1793). Pupil of John Simler, and later at Venice he studied with Tiepolo. He became an eminent landscape painter. He spent some time in Am- sterdam, and studied the best works there. He also executed several plates of considerable merit. Buuel, Jacques, born at Blois, 1558. Studied under Federigo Zucchero at Rome. One of the best French painters of his time. Some of liis best works were for the churches of Paris. Buonacorsi. See Vaga. Buonamici. See Tassi. Buonarotti, Michael Angelo, born in the castle of Caprese, March 6, 1475. His father was Ludovico Buonarotti, and his home was in Florence, but at the time of the birth of this son he held the office of podesta or governor of the towns of Caprese and Chiusi. His mother, also of good family, was called Francesca; and his grandmother, so well known as Madonna Alessandra, was still living at the time of his birth. When Ludovico Buonarotti returned to Florence, the child, Michael Angelo, was left at Settignano, upon an estate belonging to his family. His nursawas the wife of a stone- mason, and, for many years, pictures were shown on the walls of the house in which he had grown up which he had drawn as soon as he could use his hands. At the proper age he Avas placed in a grammar-school at Florence, where he became acquainted with Francesco Granacci, a noble youth, five years older than himself, and a pupil of Ghirlandajo. Granacci became his most intimate friend. Ludovico had desired this son to bo a scholar, and, to- gether with his uncles, harshly opposed his inclination to become an artist. But Michael Angelo was so determined that he carried his point, and, in 1488, was engaged to the Ghirlandaji for three years. At this time Domeiiico Ghirlandajo, who was one of the best mas- ters of Florence, was engaged in the restoration of the Choir of S. Maria Novella. Michael Angelo came, therefore, at the first, into BUONAROTTI. 141 the midst of great work. One day at the dinner hour Michael Angelo drew a picture of the scaffolding and all that belonged to it, with the painters at work on it. When Domenico saw the paper he was so astonished that he exclaimed, " He understands more than I do myself." His rapid progress soon excited the jealousy, not only of his fellow-pupils, but of Ghirlandajo himself. Michael Angelo's first picture was an enlarged copy of Schongaucr's plate of the " Temptation of S. Anthony." This plate is well known. In order to perfect himself in the representation of the fishy parts he constantly visited the fish-market, and made drawings there. He produced an excellent work, of which Ghirlandajo claimed the merit, as it was painted in his atelier. This picture is said to still exist in the Gall, of the Bianconi family at Bologna. Others believe that it is in the possession of M. de Triqueti, at Paris. The scholar soon proved that he knew more than his master, for it was the cusr torn for the pupils to copy the drawings which Ghu-landajo had made. Michael Angelo, one day, took one of these from the hands of a fellow-pupil, and with thick strokes corrected the lines of the master, in a manner which could not be objected to; after this he was refused the plates when he asked for them. About this time Michael Angelo made the acquaintance of Lorenzo dei Medici, then at the head of the government in Florence, and admittance was soon obtained for himself and Granacci to the gardens of S. Marco. In these gardens the art-treasures of the Medici were placed. There works of sculpture were arranged, and cartoons and pictures were hung, in buildings erected for the purpose. Numbers of young people were instructed tliere, and the old sculptor Bertoldo was their master. Michael Angelo's attention was now diverted from painting, and, making friends with the stone-masons, he obtained a piece of marble and some instruments. He first copied the mask of a Faun, but did not adhere closely to the original, for he opened its mouth so much, that the teeth could be seen. When Lorenzo visited the garden he praised Michael Angelo, but he also said, " You have made your Faun so old, and yet you have left him all his teeth ; you should have known that, at such an advanced age, there are generally some wanting." TTie next time he came, he found a gap in the teeth of the Faun, so well done that he was delighted with the work. (Now in the Uffizi Gall.) He sent immediately for the father of Michael Angelo. Ludovico, who had felt it a sufficient trial that his son would be a painter, was in despair at the thought that he might become a stone-mason. He refused to see the Duke. Granacci at length prevailed upon him to go to Lorenzo, but it was with the determination to asree to nothing. The manner of Lorenzo soon overcame him, and he returned home declaring that not only ms son, but he himself, and all that he had, was at the service of the Duke. Michael Angelo was at once taken into the palace; he was 142 BUONAROTTI. properly clothed, and had an allowance of five ducats a month for pocket-money. It was the custom of the Duke to give each day an entertainment. He himself took the head of the table. Whoever came first sat next him, and it often happened that Michael Angelo had this place. He was beloved by all the household, and Lorenzo often sent for him to show him stones, coins, and other valuable thino-s, and to talk with him of his own studies. Pohziano also advised him, and gave him the marble for his bas-relief of the " Battle of Hercules with the Centaurs." This work surprised every one, and is still to be seen in the palace of the Buonarotti family. Bertoldo, for his part, instructed liiin in casting in bronze. He executed a "Madonna" in the style of Donatello, and made drawings in the Brancacci chapel after the works of Filippo Lippi. Life in Florence, at this time, was almost the perfection of life. " Whatever great things happened in the world were known, dis- cussed, and estimated there. What was indifferent was crushed under the abundance of what was excellent. Exeellenco itself was not blindly accepted according to outward signs, but it was tested by understanding before it was admired. Stin-ing social life mingled uninterruptedly with the most serious tasks, and, as a wholesome contrast to the sweetness of this existence, came the keen, critical judgment of the Florentine public, who allowed themselves neither to be deceived nor bribed in matters of culture. This state of society was only to be met with in Florence, and chained the Florentines to their native city, where alone they found the true, healthful recog- nition of their own refined minds." Lorenzo was the head of Florence, and Florence the head of art, poetry, philosophy, and religious movements. Thus, in the house of the Medici, Michael Angelo, when his mind was pliant, and his character still to be formed, received an education than which, for an artist, none could have been better; and, at that time, among the Romanic nations, young people were free from the embarrassment which often attends that age, and were accustomed to condjjct themselves with ease under all circumstances, knowing nothing of the awkward, silent manner of the youth of more northern nations. The morals of Florentine society were as low as its cultivation was high, and in the same year in which Michael Angelo was admitted to the palace, Savonarola came to preach his crusade against the crimes of this wonderful city, and in the Lent of 1492 Lorenzo became suddenly ill. It was at this time that the effect of the preaching of Savonarola had reached its height, and even the great Duke felt that he could not die until he had seen this mighty preacher. It is probable that Michael Angelo was one of those who surrounded the bed of Lorenzo in his last hours. He was astounded by the death of his patron. He left the palace and arranged an atelier for himself in his father's house. At this time he executed a " Hercules " which is now lost. BUONAROTTI. _ 143 After a time he was taken again by Piero Medici into the palace, his old rooms were assigned to him, and he was received at his table. But Florence was no longer what it had been, and before lono- Michael Angelo, in the midst of political troubles, made his escape to Venice. ; There he met Gianfrancesco Aldovrandi, the head of a noble house of Bologna, who, when he heard that Michael Angelo was a sculptor, invited him to that city. He remained there nearly a year, during which time he executed the figures on a sarcophagus which contains the bones of S. Domenico in the ch. of S. Petronio. This commission, given to a foreign artist, but twenty years of age, so aroused the hatred'of the Bolognese artists, that they threatened vengeance on him. Michael Angelo returned to Florence. Dur- ing his absence everything had been changed. The name of the Medici was only heard coupled with curses. The pictures and statues of the garden of S. Marco had been scattered over the world. Many artists had left, and those who remained were struo'o'lincr to decide whether their exquisite works were the results of a God-given genius or of the power of the Devil. Michael Angelo was depressed by all tills, but Florence was his home. He prepared to remain there, and again found a Medici, called Lorenzo also, who became his patron. He was one who, having been persecuted by Piero, had fled to France, and returned in- thfi train of Charles VIII. Condivi says that at this time Michael Angelo worked upon some statues for Lorenzo, and also executed for himself a Cupid in marble. This statue led him in an unexpected manner to Rome, for, when it was finished, Lorenzo advised him to give it the appearance of an antique, and said he would himself send it to Rome, and obtain a large price for it. Michael Angelo did this and received thirty ducats. The secret of its origin, however, was not kept. The Cardinal who had purchased it sent a nobleman of his household to Florence, to investigate the matter. This man pretended to be in need of a sculptor, and invited Michael Angelo, among others, to visit him. He came, and when asked what work he had done, enumerated among others a " Sleeping Cupid." It was now ex- plained to him that in place of the thirty ducats which he had received, the Cardinal had paid two hundred for the work. Finding himself deceived, as well as a deceiver, he went with the nobleman to Rome. The latter promised to receive him into his own house, and assured him that ho would find a large field for his labor, and one in which much money could be obtained. The oldest writing in the hand of ^lichael Angelo is the letter which he wrote to inform Lorenzo del Medici of liis arrival in Rome. At this time he was twenty-one years old. In this letter he speaks of the beau- tiful things he has seen, but what these were we can scarcely tell, for the Rome of that day was not the city which we know. The first important work which he executed in Rome was the statue of 144 BUONAROTTI. the " Drunken Bacchus," now in the Uffizi Gall. It was executed for Jacopo Galli, for whom he also made the Cupid now in the Kensington Mus. But the work by which he passed from the standing of a good artist, to that of the most famous sculptor in Italy, was " La Pieth." It is almost hnpossible to judge of this where it now stands, in a chapel of S. Peter's. It is placed so high, and the light is so bad, that no satisfactory judgment of it can be formed. But Condivi says that from the time it was finished he was the first master in the world. This was done when he was twenty-four years old. In the same year, or the following one, he returned to Florence. During liis absence other great changes had taken place. Florence had joined with Venice, and matters seemed to be prosperous. Michael Angelo's first work after his return was a " Madonna," now in the ch. of Notre Dame at Bruges. It is life size, and one of his finest works. Another work of this period is a painting now in the Tribune at Florence, representing the " Holy Family." There was in Florence, at this time, an immense block of marble, which had been intended for a statue of a Prophet, to be placed outside the dome of S. Maria del Fiore. It had lain many years in the court-yard of the work-shops of the Cathedral. It had been offered to Donatello, but neither he nor any other sculptor had wished to undertake to make anything of it. Now Sansovino, lately returned from Portugal to Florence, desired to have this marble, and intended to join other pieces to it. Tlie consuls would not consent until they had asked Michael Angelo if he would not make something good out of the block. He had just undertaken to execute fifteen marble statues for the funeral vault of the Piccolomini family in Siena. But when he saw the magnifi- cent block at Florence he left the work for Siena, and declared him- self ready to undertake it without any addition. Accordingly the order was issued on the 16th of August, 1501. He was allowed two years for his work, and was to receive six gold florins a month, while the additional sum to be paid was left to the decision of those who had ordered the statue when it should be finished. On Mon- day the 13th of September, furnished with .i little wax model which he had moulded, now in the Uffizi, very early in the morning, he commenced his work. From first to last he executed the entire work, and iVi February, 1503, it was half completed. In the mean time another important political movement had taken place, which had thrown another work in the hands of Michael Angeloj for the Republic had received additional favors from France, on account of which they felt obliged to comply with the request of the Duke de Nemours, to have a bronze copy of the " David," by Donatello, which stood in the court of the Palace of the Government, and in the summer of 1502, Michael Angelo undertook the work. One hindrance after another prevented its completion for years, and BUONAROTTI. 145 when it was finished it was presented to another French noble, and at the present day nothing is known of it. In the spring of 1503 he also contracted witli the consuls of the wool-weavers guild for twelve Apostles, each eight and a half feet high. It had been found by this time that the master was not to be depended on, in regard to the time when his work should be finished. Therefore it was stipu- lated that one Apostle should be finished every year; that he should go himself to Carrara and choose the blocks, at the expense of the consuls; and that the price to be paid for the statue should be settled by arbitration. They also completed an atelier especially for him; and on the completion of each statue he was to receive a twelfth part of this house ; so that, when the whole were done, it should fall entirely into his possession. Although no contract could have been more promising, nothing was ever accomplished but the coarse sketch of Matthias, now in the court of the Acad, in Florence. With regard to the " David," he was enthusiastic, and so devoted to his work, that at the beginning of 1504 it was done. A meeting was called of the first artists of Florence, to consider where it should be placed. They met in the atelier before the statue, un- veiled for the first time. After much discussion, it was decided that the statue should stand wherever Michael Angelo himself desired. He chose the place next the gate of the palace, where the " Judith " of Donatello then stood. The statue weighed 18,000 pounds. The scaffolding to remove it was devised , by Cronaca, and consisted of a wooden frame-work within which the statue was suspended. The whole thing was laid upon oiled beams and drawn along by pulleys. On the 14th of May, at evening, the wall of the atelier was broken down, and the statue drawn into the open air. It took three days to move it, and during the night a watch was required, because stones were thrown at it, and there seemed to be a determination to destroy the work. Even the watch was attacked, and eight persons were arrested and thrown into prison. On the 18th of May it was successfully lodged in its place. The question of its removal has sometimes arisen because it has been thought that it should be pre- served by having a roof over it. But the Florentines consider it a good genius of their city, and would regard its removal as an evil omen. Grimm says, " The erection of this David was like an occur- rence in nature from which people are accustomed to reckon. We find events dated so many years after the erection of the Giant. It was mentioned in records in which there was not a line besides respect- ing art." At this time the rivalry between Michael Angelo and Leo- nardo da Vinci commenced. Nothing could be more dissimilar than these two men. Michael Angelo was so temperate that he truly said of himself in his old age, " Rich as I am, I have always lived like a poor man." Leonardo loved to surround himself with lux-| ury. Michael Angelo was bitter, ironical, and inclined to solitude. 10 146 BUONAROTTI. Although unwilling to injure the feelings of others, and even gentle in some aspects of his character, he was determined to be acknowl- edo-ed as the first where he felt it to be due to him, and in matters of art would allow none to interfere with his rights. Leonardo loved admiration, and kept a retinue of flatterers about him. He was not less self-willed, but seemed to play with his talents, and to seek for something which would entice him to exert his powers. In personal appeai-ance Leonardo was very handsome. His fine and expressive eyes and magnificent beard gave him an imposing presence. The head of Michael Angelo was broad, with projecting forehead, while the lower part of his face seemed too small for the upper portion. His eyes were small and light, and his nose, which had been crushed by Torrigiano in the gardens of the Medici, seriously disfigured him. It has been said concerning this occurrence that Michael Angelo provoked him, but others regarded it as the result of mere envy. Torrigiano fled from Florence, for Michael Angelo was carried home for dead. In February, 150-t, Leonardo had received the order to paint one wall of the hall of the Consiglio Grande. In spite of the fact that he had painted almost nothing, Michael Angelo deter- mined to compete with Leonardo, and secure the commission for the second wall. It was in this year that Raphael, attracted, it is said, by what he had heard of Leonardo and Michael Angelo, came to Florence. Thus the three greatest artists of modern times were met together. Rooms were assigned to Michael Angelo and Leo- nardo in which to prepare their cartoons', but in the midst of his work, the former was summoned by Julius II. to Rome. This was probably at the beginning of 1505. The Pope's attention had been called to Michael Angelo by Giuliano di Sangallo. But although he had commanded him with haste, it was some time before Julius gave him his first commission. This was for a colossal mausoleum to be built for himself. Michael Angelo sketched a design. Julius ap- proved it, and the Pope commanded him to select a place for its erection in the Basilica of S. Peter. A new Tribune had been com- menced, and he advised that it should be finished and the monument placed within it. The order was given to Sangallo, and Michael Angelo sent to Carrara to secure the marble for his great work. After many difficulties the marble was brought to the square and the whole city was amazed at the blocks. The Pope was deliglited, and had a passage made by which he could pass from the palace to the atelier of the sculptor without being seen. Just at this time, in 150G, the "Laocobn" was found and occupied the minds of all Rome. Michael Angelo was now considered the first sculptor in Rome, and other artists began to be jealous of him. During his second absence in Carrara, Bramante influenced the Pope against him, and declared ■ it to be an evil omen for him to build his tomb while living. It had , been the custom for Michael Angelo to be admitted, unannounced, BUONAUOTTI. 147 to the Pope at an-y. time. He now found a change. His new marble had arrived, also the workmen whom he had hii-ed in Florence. The Pope urged him no longer, neither would he give him money which he greatly needed. The master determined to understand matters, and to enter the palace. He was refused admission, and told by the servant that he had express commands that he should not come in. He went home, and wrote thus to the Pope: " Most Holy Father, I was this morning driven from the palace by the order of your Holi- ness. If you require me in future, you can seek me elsewhere than in Rome." He gave this letter to the cup-bearer of the Pope. He commanded one of his workmen to find a Jew to sell all he possessed, and to follow him with the money to Florence, while- he mounted his horse, and rode without stopping until he was on Florentine ground. The Pope sent quickly for him, and commanded that he should be brought back by force. But he was a Florentine citizen, and he threatened to have the messengers slaughtered if they touched him. They used every means to induce him to return, but he replied that he would neither return then, nor ever; that he had not deserved to be treated as a criminal; that he considered himself released from his former engagements with his Holiness, and that he would make no others. When he reached Florence he returned to his work upon the cartoon. The Pope immediately wrote to the Signiory, urging the return of Michael Angelo, and promising that he should be received into full favor. But the master doubted the truth of the Pope, and waited until another letter came. Then the gonfalonier sent for him and insisted that he should return to Rome, saying, " You have treated the Pope in a'manner such as the King of France would not have done," and declaring that they would not risk a war, and the safety of the state, on his account. Michael Angelo, mean- time had received offers from the Sultan to go to Constantinople, and was inclined to accept. A third letter came from Julius, and at last it was arranged that he should go in the capacity of an am- bassador, for then he would be protected by the Florentme Republic. Just at this time, however, Julius left Rome to begin a war, during which Michael Angelo completed his cartoon in Florence. It was the well-known representation of the "Bathing Soldiers," and fur- nished studies for a generation of artists, although it was never painted. There is, at the present day, but a small copy; and an en.^aving, by Marc Anton, giving a group of the figures; and another, by°A..ostino Veneziano, representing a still larger part of the whole. As for Leonardo's painting, it had perished before it was finidied for he had used oils, instead of painting alfresco. He had disagreed retf lA' ^""^ °^ ^^^ preceding, and in his day the most im- ^^ ~ fa " portant artist of Augsburg. He was realistic, and V ^^ succeeded in actual representations of common life and portraits, and yet was not without feeling for beauty. He had great versatility of talent; he painted religious subjects, and knightly or courtly representations in addition to the subjects before men- tioned. He also made many designs for wood-cuts, which are full of spirit. He imitated no one master, but rather formed a style of his own. Many of his works remain and are in Augsburg, Dresden Gall., Nuremburg, Munich, Vienna, etc. He had two distinct periods; the first extended to 1508, and in it he was German en- tirely; later, his tendency is to the Italian order, and is characterized by fuller forms, changed draperies, and more delicacy of treatment. That he painted landscapes well may be seen in No. 65, Munich Gall., a " S. John at Patmos." Byzes of Naxos, invented the cutting of marble tiles about the 50th Olympiad, or 580 b. c. . c. Cabal or Kabel, Adrian van der, born at Ryswick, 1631 ; died at Lyons, 1695. Pupil of Van Goyen, whom he left with the intention of visiting Italy. When he reached Lyons his works were so much admired, that it is said he remained there until his death. But we are also told that the associated painters at Rome called him Corydon and Geestigkeit, which would prove that he studied there. He painted landscapes with cattle and figures, and seaports. Some of these were fine, but his habits were irregular, and his pictures consequently very unequal. Cabezalero, Juan Martin de, born near Cordova (1633-1673). Pupil of Don Juan Carreiio. He had great reputation as a painter of history. His principal works are in the churches of Madrid. CACCIA — C AGUARI. 167 Cacoia, GugUelmo, born at Montabone (1568-1625). Called II 'Moncalvo, from his long residence in that place. He painted in fresco and oil. His coloring was gay, his style of form taken from Raphael; he especiaUy studied his landscape backgrounds. The Chiesa de' Conventuali, at Moncalvo, has a full coll. of his works. They were also known and prized in Milan, Pavia, Turin, Novara, and other cities. He had five daughters, two of whom were painters, Ursula and Francesca. The vtorks of the latter were mistaken for those of her father. He or the daughter Ursula founded a convent, into which the sisters retired. In this convent there are many pictures by Ursula, who died in 1678. Francesca died when fifty- seven, but the year is not known. Caccinoli, Gio. Batista, born at Castle Budrio (1635?-1675). Pupil of Domenico Maria Canuti. A painter of history of good reputation. Many of his works were for the churches oi^.ologna. Caffa, Melchiore, born at Malta, 1631; died at Koii^e, 1687. Studied under Bernini, and is said by some tfi^mate eguMled his master. He executed various works for the Romail^^churches. Tlie most esteemed is a marble group of " S. Thomas distributing Alms," in the Chapel of S. Agostino. Caffieri, Pilippo, born at Rome (1634-1716). His family were from Naples, and were allied with many noble houses of Italy. Caffieri went to Paris, at the request of Card. Mazarin, in 1660. He was employed in works for the royal palaces, and Colbert gave him apartments at the Gobelins. He was afterwards made sculptor and naval-architect to the king, and inspector of the marine at Dun- kirk. CafBeri, Jacques (1678-1755). Son of the preceding. His best works were busts in bronze. Caffieri, Jean Jacques (1723-1792). Son of the preceding, whom he much excelled. He executed many fine works. Among his larger ones may be mentioned a group of " Melpomene and Thalia," and a S. Silvia at the Invalides. His busts were better than his statues. Those of Corneille and Piron, at the Theatre Fran9ais, are by him. Cagliari or Caliari, Faolo, called Paul Veronese, born at Verona (1528-1588). Son of a sculptor, and pupil of Antonio Badile, his uncle, and a reputable painter. He lived mostly in Venice, and imitated Titian in color. He did not equal the latter in the perfection of his flesh tones, but that which particularly dis- tinguished him was the vitality and poetic feeling which he infused into his works. His gorgeous draperies, grand architecture, splendid vases and ornaments, varied costumes, and the i-epresentation of imposing scenes rendered his works most effective and masterly. Even his religious pictures have all these features, and are admirable scenes of earthly pageantry. Some of his more serious subjects, 168 CAGLIARI. however, are thrilling in their deep feeling and expression. Magnifi- cent effect seems to have been his chief aim, and this was attained by representing crowds of figures gorgeously attired, apparently in full enjoyment of happy prosperity. His pictures appeal to the senses more than the spirit, and his costumes are often indecent. Few of his early works are known. The ch. of S. Sebastiano, in Venice, where the master is buried, is rich in his works; there arc almost innumerable pictures by him en its walls and altars; of these three arc very large and represent scenes connected with the Mar- tyrdom of S. Sebastian. In the Louvre is the colossal " Marriage at Cana." This is 30x20 feet in size, and among its many faces arc the portraits of the artist and other prominent persons. Another large work in the Louvre is the " Magdalen washing the Feet of CAGLIARI. ] 69 Christ." The " Feast of the Levite," in the Acad, at Venice, is also large and rich in color, but less excellent than the others. In the Gall, at Dresden is the " Adoration of the Kings," which is extremely beautiful. The Holy Family are arranged^on one side, while on the other; the kings, arrayed with purple and gold, adoringly worship the Divine Child. The harmonious coloring, °tlie noble Ufe, and dignity of the figures, and the whole arrangement of the compo- sition, render it a masterpiece. Veronese decorated the Pal. of the Doge with many mythological and allegorical designs. He left a, great number of works. Many of them are in the Louvre, Brera, Dresden, and other European galleries, and the National Gall, has four of his pictures. His portraits were of high merit. He left two etch- ings ; they are shght, but masterly, and represent, — The Adoration of the Magi : Paolo Veronese, fee. Two Saints sleeping ; no mark. Liibke says, " He entered, indeed, upon Titian's heritage, and by his grand creative power and noble beauty upheld the banner of Ve- netian art, until the end of the century." Wornum remarks, " Paolo Veronese was the real master of Rubens. His works, however, have their defects: he was, as Algai-otti observes, careless in design, and in costume extremely licentious ; but these faults are completely con- cealed by the absorbing magnificence of his coloring, which, added to his noble fancy and inexhaustible invention, render his defects as a grain of sand in the balance." His son Carlo was his pupil, and seemed to have inherited his talents, but died when tweuty-six years old, in 1596. ENGRAVINGS AFTEK PAOLO VERONESE. Engraver, Aubin, Augustin de St. Jupiter and Leda. Engraver, Audran, Benoit, the younger. Pilgrims of Emmaus. Engraver, Bartolozzi, Francesco. The Judgment of Solomon ; afler a dran-ing. Engraver, Beauvarlet, Jacques Firmin. Venus lamenting Adonis. Engraver, Bloemaert, Cornelius. The Resurrection. Engraver, Brebiette, Pierre. The Martyrdom of S. George. Engracer, Cakacci, Agostino. Holy Family with SS. Anthony and Catherine. The Virgin taking two Monks under her protection. The Marriage of S. Catharine. The Crucifixion. Christ's Body, supported by the Virgin and an Angel. Martyrdom of S. Justiiia ; two sheets. Engraver, Colemans, Jacob. A Poet conjuring up Fortune. Portrait of P. Veronese. Engraver, Desplaces, Louis. La Sagesse Compagne d'Hercule. Engracer, Duchange, Gaspar. The Entombment ; fine. 170 CAGLIARI. Engraver, Duflos, Claude. Christ and the Disciples at Emmaus. Engraver, Dupuis, Nicholas Gabriel. Adoration of the Magi. Engraver, Goltz or Goltzius, Heinrich. The Last Supper, 1585. Engraver, Groensvelt, John. Adoration of the Magi ; 7. Groen.?- velt, fee. Engraver, Hansftangl, Franz. Susanna. Adoration of the Maci. Marriage at Cana. Christ bearing the Cross. The Concina Family before the Madonna. Engraver, Henriquez, Benoit Louis. Finding of Moses. Engraver, Honeck. The Presentation in the Temple. Engraver, Houbraken, Jacob. Portrait of Daniello Barbaro. Engraver, Jackson, John Baptist. The Presentation in the Tem- ple. Marriage of S. Catherine. Engraver, Jacob, Louis. Rebecca and Eliezer. Engraoer, Jeaukat, Edme. Finding of Moses; fine. Engraver, Jouillon, Fran9ois. Apollo and Marsyas. Mercury turning Aglauros to stone. Engraver, Kilian, Lucas. The Resurrection. Engraver, Kilian, Wolfgang. Baptism of Christ. Engraver, Kilian, Philip Andrew. Adoration of the Magi. Engraver, Lasne, Michel. Christ in Glory, with SS. Peter and Paul. Engraver, Lorenzini, Fra Antonio. The Annunciation. Bap- tism of Christ. Raising of Lazarus. Engraver, Mannl or Maenni., Jacob. Judith leaving the Tent of Ilolofernes. Child holding a Dog. Engraver, Matham, James. Visitation of the Virgin. Engraver, Matham, Theodorus. Marriage of S. Catherine, S. John presenting the Ring. Engraver, Miteli.i, Giuseppe Maria. The Rich Man and Lazarus. Engraver, Moyread, Jean. Rebecca and Eliezer. Engraver, Pizzr, ].,uigi. The Feast at the House of Simon. Engraver, Prf.isler, Johann Martin. Christ bearing his Cross. Engraver, Prevost, Zacharias. Marriage at Cana. The Feast in the House of Simon. Eiigrarer, Rainaldi, Francesco. The Rape of Europa. Engraver, Ravenet, Simon Francois. Venus and Adonis. Engraver, Saenredam, Jan. The Feast at the House of Simon. Engraver, Saiter, Gottfried. Marriage at Cana. Engraver, Scotto, Girolamo. Feast at the House of Simon. Engraver, Terwesten, Augustin, the Elder. Finding of Moses. Engraver, Thomassin, Henry Simon. Christ and the Disciples at Emmaus. Engraver, Vanni, Gio. Battista. Marriage at Cana. Engraver, Vendramini, Gio. Vision of S. Catherine. CAGLIARI — CALDARA. 171 Engraver, Villamkna, Francesco. Presentation in the Temple ; this plate was commenced by Agostino Carracci ; it is rare. Engraver, Visscher, Cornelius. The Ascension. Engraver, Volpato, Gio. The Feast in the House of Simon. ^ Engraver, Vorstkkman, Lucas. S. Helena seeing the Cross. Engraver, Wagner, Joseph. Enthroned Madonna with infant S. John and other saints. Engraver, ZuccHi, Andrea. S. John the Baptist. Cagnacci, Guido, born at Castel Durante (1600-1680). Pupil of Guido Reni. He merits honorable mention among Bologneso artists. He avoided all hardness, and so blended liis tints as to soften and round the limbs of his figures. The Emperor Leopold L was his patron, and he spent much time at Vienna. His works arc better known in Germany than in Italy. Cairo, Cavaliere Francesco (1598-1^74). Pupil of Morazzone, he became enamored of Venetian coloring, and studied the works of Titian and Paul Veronese. The result was an admirable style. One of his best works is the S. Theresa in S. Carlo in Venice. His pic- tures are also at Milan and Turin. Calabrese. See Preti. Calabrese. See Cardisco. Calandra, Gio. Batista. One of the first mosaists who wrought in the Vatican. On account of the injury to oil paintings in S. Peter's, resulting from dampness, it was determined during the reign of Urban VIII. to replace them by copies in mosaic. The first altar- piece was a S. Michael after Cesare d' Arpino, executed by Calandra. Calcar, Hans Von. Keal name, Hans Stephanus (1510-1546). Of the Italian School of painting. In 1536-37 he resided in Ven- ice, and studied under Titian, whom he so imitated that it is sometimes difficult to distinguish their respective works. Ifo histori- cal work known to be his temains. His portraits are fine and rare. Berlin Mus. No. 190; a man with a letter in his hand, at Vienna; and one in the Louvre, which has been ascribed to both Paris Bor- done and Tintoretto. Caldara, Polidoro, called Caravaggio from his birthplace (1495- 1543). This painter began life as a mason and was employed at the Vatican, where, in 1512, he became acquainted with Matturino, of Florence, who instructed him in drawing and made him his assistant in the decorative works in which he was employed. Together they executed fresco chiaro-scuri which were much praised, even by Ra- phael. These are known now only by the engravings from them by Cherubino Alberti, Galestruzzi, and others. In 1527, the sack of Rome interrupted their work, and the two painters were separated. Polidoro went to Naples, and from there to Messina, where he es- tabUshed a good reputation as an artist. In 1543, having made a comfortable fortune, he prepared to retuirn to Rome, but was mur- 172 CALDARA — CALLET. dered by his servant for his money. His body was placed on the steps of the house of a lady he had often visited. The servant was suspected and made to confess by means of the torture. His princi- pal work was done at Messina, and represented " Christ bearing his Cross." This with several small pictures of sacred subjects is now in the Stud] Gall., at Naples. His works have power, life, and passion, and he may be said to have originated the style which in later time formed the basis of the Neapolitan school. Calendario, Pilippo. Flourished at Venice about 1334. His prin- cipal work was executed for the Republic, and consists of the Por- ticos surrounding the -Square of S. Mark. He was largely rewarded by the state, and the Doge gave him one of his daughters in marriage. He did other good works in Venice, but -was at last executed as a conspirator. Calense, Cesare. Flourfthed about 1590. He attained a reputar ble rank as a painter. His knowledge of chiaro-scuro was good, and his style graceful. In the ch. of S. John Baptist, at Naples, is a " De- scent from the Cross " by this artist, which is fine. Caletti, Giuseppe, called Cremonese, born at Ferrara (1600?- 1660). An imitator of Titian. He spoiled his pictures by inappro- priate arrangements of design. Lanzi says, " He placed wild boars in the sea, and dolphins in the forests." Two of his best works are in the ch. of S. Benedetto at Ferrara. Call, John Van, born at Nimeguen (1655-1703). After copyino' the works of some of the best artists of his own country, he went to Kome, where he made a large collection of drawings of all the most picturesque views of the country surrounding that city. He settled at length at the Haguey where he died. His drawings are more prized than his pictures, and bring large prices in Holland, where they are placed in the best collections. Calloott, Sir Augustus Wall, born at» Kensington (1779-1844). A pupil of Hoppner, he at first practised portrait painting, but later devoted himself to landscapes. He has been called the English Claude. In 1837 he exhibited a picture of " Raphael and the Forna- rina," which was quite out of his usual style. "Milton and his Daughters" followed in 1840. The Queen conferi-ed knighthood upon him in 1837, and in 1844 he was appointed Conservator of the Royal Pictures. Calleja, Andres de la, born at Rioja (1705-1782). A Spanish painter of good reputation. His best works are in the churches of S. Philippe le Royal, S. Croix, the Treasury chapel, and the convent of S. Francis. Callet, Antoine Francois (1741-1823). One of the best French painters of his time. In the Louvre, there is a large repre- sentation of the "Four Seasons" executed by him for Louis XVI., and intended to be worked in Gobelin tapestry. Part of the ceilino' CALLET — CALVART. 173 of the Gall, of Apollo in the Louvre, and that of the Luxembourg, were by him. He also painted portraits of Louis XVI., Louis XVIII. and Count d'Artois. Callimachus. A Greek sculptor said to havo invented the Corinthian capital. The story is that about 550 b. c. a virgin died at Corinth, and her nurse, according to custom, placed a basket on her grave containing tlie viands that she loved best. It happened that the basket was placed upon an acanthus, the leaves of which grew up about it with so much grace as to attract the attention of Callimachus, and suggest to him that design which has been for cen- turies a prominent beauty in architecture. Pausaiiias describes a golden lamp which he made for the service of Athens, which would burn exactly a year without going out. He is also called the inventor of the art of boring marble, but it is believed that he perfected it only, as it must have been known befo*e his time. His fault was that he could never be satisfied with his works, and elaborated them until he spoiled them. On account of this he was called umilfiTExvog. T Callot, Jacques, born at Nancy (1593-1635). 1 WUIC^' fee. An eminent designer and engraver. He was of a u noble family from which he met great opposition in his pursuit of art. Twice he ran away in order to study. At length he was allowed to go to Rome in the suite of the envoy sent to the Pope by the Duke of Lorraine. He speedily arrived at eminence in his profession. He did not succeed with the graver, and confined himself to the use of the point. Louis XHI. employed Callot to engrave the principal battles and sieges of the French. Richelieu desired him to engrave the siege of Nancy, but Callot declared he would sooner cut off his right hand, than thus to record the calam- ity and disgrace of his prince and country. His prints number more than 1500. His drawings are much prized. His plates with small figures are the best. He often made several drawings of the same subject before he satisfied himself. Watelet had seen four different sketches for his celebrated " Temptation of S. Anthony." A com- plete list of his works is given in M. Heineken's " Dictionnaire des Artistes." Calvart, Denis, born at Antwerp (1555-1619). From the as- sociations of his life he may be considered as an Italian painter. He was one of those who, at Bologna, turned the attention of artists to landscape painting. He founded in that city the celebrated school in which Albano, Domenichino, and Guido studied. His excellence was such that ho may be regarded as the restorer of the Bolognese school, especially in color. His designs had many faults, were mannered, and his figures sometimes indecorous. He was of a turbu- lent and fiery disposition aqd temperament. He was, however, a most earnest and devoted teacher. His pictures may be seen in the churches of Bologna. He inscribed his name sometimes as Dionisio Calvaert, de Astvkrsa. 174 CAMASSEI — CAMPAGNOLA. Camassei, Andrea (1601-1648). Pupil oE Domenicliino and Andrea Sacolii. His works. may be seen in many public edifices at Rome : ' ' Triumph of Constantine, ' ' Baptistery of the Lateran ; " Assumption of the Virgin " in the Rotonda, and a " Pietk " at the Cappucini. Cambiaso, Luca, called also Luchetto da (Jenova, born near Genoa (1527-1585). Pupil of his father, Giovanni, whom he soon surpassed. He painted both in oil and fresco, and it is said that his impetuosity was so great that he sometimes executed his works with- out cartoon or sketch of any kind. His drawings are much esteemed. He was fruitful in invention and there is novelty in his designs. His Cupids and infant angels are boldly outlined, and suggest the study of Michael Angelo. His color is sometimes brilliant, but too fre- quently brown and dull. Some of his best works are in Genoa and that vicinity. His fame reached Spain, and Philip II. invited him to Madrid, where he went with his son Orazio in 1"583. He was employed in the Escorial and received 12,000 ducats for his fresco of "Paradise" on the ceiling of the choir of S. Lorenzo. Probably this was the largest sum that had then been paid for any modern work of art. After the death of Luca, Philip continued to employ Orazio, and settled a liberal pension on him. Cambio. See Arnolfo. Camerata, Giuseppe, born at Venice (1724 ?-l 803). An en- graver and painter in miniatui-e who was invited to Dresden, where he assisted in engraving the plates for the Gall., and was made en- graver to the court. Camilo, Francisco, born at Madrid, of an Italian family ; died 1671. Palomino praises him immoderately. He was the scholar of Pedro de las Cuevas. His works may be seen in various Spanish cities. His most celebrated one is his " Nuestra Seiiora de Belen " in the ch. of S. Juan de Dios at Madrid. Campagnola, Giulo. A Paduan who flourished about 1500. He is most entitled to notice as an engraver, aind there has been much discussion concerning him. Some of his plates are peculiarly done- The background is expressed by dots, and the figures, strongly out- lined, are finished by dots within. These plates prove this style not modern, as it is generally supposed to be. ■r^p. Campagnola, Domenico. Son of the preceding. A - „ pupil of Titian, he aroused the jealousy of that mas- ^■^ ' ter. His frescoes in the Scuola del Santo, and his oil pictures in S. M. del Parto established his right to good consideration. His more important works are at Padua; there are four Prophets, half figures, in the Acad, at Venice. He holds high rank as an en- graver, and his etchings and wood-cuts, mostly from his own desio-ns, are executed with a spirit and style which show the power of a master hand. ■ CAMPALASTRO — CANAL. 17? Campalastro, Ludovico, born at Ferrara. His best works are in the churches of that city. Campauna, Pedro, born at Brussels (1503-1570). "Went when very young to Italy, where he gained a good reputation, and in 1530 was invited to Spain by Charles V. His principal works are at Seville. Camphuysen, Theodore Raphael, born at Gorcum (1586- 1626 ?). Pupil of Dietric Govertze. An imitator of Paul Potter. The facts of his life are not known, and are variously stated by differ- ent authors. According to Smith, No. 527, Cassel Gall., represent- ing cattle life size, is by Camphuysen. Campi, Galeazzo. A Cremonese of little reputation, who flourished in the early part of the 16th century, and whose best work is his own portrait in the Florence Gall. Campi, Giulio, born at Cremona (1500-1572). Son of the pre- ceding. Head of the Eclectic school at Cremona. Ho attempted to unite the excellences of the Roman and more northern schools, and has been called the Ludovico Caracci of Cremona, although his reform must have preceded that of Ludovico. He admired Raphael, Titian, and Giorgione. His best works are in Cremona, Milan, and Mantua. Campi, Antonio, born at Cremona. Flourished about 1586. Brotlier and pupil of Giulio. He excelled most as an architect. His pictures were mannered. His best one is that of " S. Paul resusci- tating Eutychus," which was engraved by Agostino Caracci. Campi, Vincenzo, died 1591. Also brother of Giulio, and in- structed by him. His best pictures were those of still-life, but he was much inferior to his brothers. Campi, Bernardino, born at Cremona (1522-1592). Also brother of Giulio, and the greatest of the Campi. After studying under Giulio, and at Mantua, he went to Parma and Modena to study the manner of Correggio. Returning to Cremona he executed im- portant works, the best of which are in the ch. of S. Gismondi. In the cupola he painted an immense representation of the " Blessed of the Old and New Testaments." The figures are seven braccia high and are very numerous, each one being distinguished by an appropriate symbol. He completed this great work in seven months. The Campi were the best Cremonese artists of their time, but Uiey were extremely mechanical in their style. Canaohus. A sculptor of Sicyon. Lived probably at the begin- nino- of the 5th century B. c. He excelled more in technicalities and in the excellence of the separate parts of his works than in the grace and beauty of the whole. One of his most important works was a colossal brazen " Apollo " at Miletus. Of this we have copies in a statuette in the British Mus., and on Milesian coins. Canal or Canale, Antonio, called Canaletto, born in Venice, 176 CANAL — CANO. (1697-1768). A pupil of his father, who was a scene painter. He went early to Rome, where he assiduously studied the ruins of the ancient city. Returning to Venice, he astonished hi? countrymen by his magnificent views of the palaces and edifices of thjir city, and by his representations of festivals and carnival scenes, in some of which there are at least 200 figures. He went twice to England, where he was much patronized. His interior views were fine. His coloring in the latter was not brilliant, and in his Venetian pictures it is the gondolas with their gold and gay decorations which give the glare to the scene, his figures being often in neutral tints. He acquired a fortune. His works are very numerous and are in almost every collection. Some of his followers imitated him so closely that their works are sometimes mistaken for his own, and, indeed, there are large numbers of pictures similar to those of Canaletto. Candido. See Witte. Cano, Alonso, born at Granada (1601-1667). Architect, sculptor, and painter. He studied painting under Pacheco, Castillo, and the elder Herrera ; and sculpture with Martinez Montafies. His talents and versatile genius secured him a high place among artists; and his temper was such as led him to defend his rights against all new- comers. In 1637 he fought a duel, and escaped Madrid; and in 1644 his wife was found murdered in her bed. Cano was suspected of the crime, and, although he fled, was at length apprehended and put to the torture. He made no confession, and was released, judicially in- nocent. Ho still retained his place as painter of the king, and draw- ing-master to Don Carlos; and was, from time to time, employed on important works. He determined to remove to Granada and take priest's orders. Philip IV. appointed him to a canonry. He was still employed as painter and sculptor by private persons and religious bodies, and even went to Malaga to superintend improvements in the Cathedral. On account of his fierce temper he was deprived of his ofiice by the chapter, and was obliged to repair to the king in order to be reinstated. This occurred in 1659, and so oifended him that he would no more use his pencil or chisel in the service of the Cath. at Granada. He devoted the remainder of his life to religious and charitable works, and gave away his money as soon as received. His purse being often empty, he was accustomed to go into a shop and beg a pen and paper. He would then sketch a head, or an architect- ural design, and mark the price upon it. This he would give to a beggar with directions for finding a purchaser. Large numbers of these eleemosynary works were collected after his death. One of his strong characteristics was hatred of the Jews. He would cross the street in order to avoid them, and throw away a garment that had touched one of them. Entering his house, one day, he found his housekeeper bargaining with one of the despised race. He chased him out with great fury, sent his housekeeper away to perform quar- CANO — CANOVA. 177 antine, purified his house by re-paving the spot where the Israelite had stood, and gave the shoes, in which he had himself followed his tracks, to his servant. In his last sickness, he .refused to receive the sacrament from his attendant priest, because he had communicated with Jews; and, when they gave him a rudely sculptured crucifix, pushed it away. Being reproved, he answered, " Vex me not with this thing, but give me a simple cross, that I may adore it, both as it is in itself, and as I can figure it in my mind." " This being done," Palomino says, " he died in a manner highly exemplary, and edify- ing to those about him." Cano's architectural works were chiefly retablos, which were executed according to the taste of the day, loaded with heavy ornamentation. Very few of these remain; but the Louvre has a few architectural drawings, simple and elegant in style. He loved his chisel better than his brush, and the little of his wQrk which remains, proves him to have been excelled by no carver of Spain. When weary of painting he carved for refreshment. A pupil once remarked upon this strange method, when he replied, " Blockhead, don't you perceive that to create form and relief, on a flat surface, is a greater service than to fashion one shape into another ? " The masterpiece of his chisel, now remaining, is a Viro-in, about a foot high, in the Sacristy of the Cath. of Granada. In painting he was a ready draughtsman, yet was accustomed to borrow largely from the ideas of others, and defended the practice. Ilis works are the finest produced by any Spaniard without study in Italy. The Queen of Spain's Gall, has eight of his pictures. The ch. of Getafe, two leagues from Madrid towards Toledo, has six large pictures by Cano, adorning the retablo of the high altar. The Cath. of Granada was cruelly robbed by the French, but still retains some good altar-pieces by its artist-canon. The Cath. of Malaga boasts the " Virgin of the Rosary," in which the hands and feet are peculiarly beautiful, ^'his picture is fast decaying. The Mus. of Valencia has two pictures by this master. One of his most beautiful, and latest works, representing " Our Lady of Bethlehem," painted at Malaga for Don Andres Cascantes, was presented to the Cath. of Seville, where it still hangs in a small chapel, lighted only by votive tapers. It is finished with exceeding care, and is a worthy crown to his labors. The portraits by Cano, which remain, are few, but ex- cellent. The Louvre, the National Mus. at Madrid, and the Royal MuB., each possess one of these works. Canova, Antonio, born in Possagno (1757-1822). His father and grandfather .were stone-cutters. The former died young, and Antonio was left to the care and instruction of the latter. Works executed by Canova in his ninth year still remain. Not far from his home lived the Si^nor Gio. Faliero, who was accustomed to employ the old Pasino°Canova, for whom he entertained so great a regard that he sometimes invited him to spend a few days at his villa. Antonio ac- 12 178 CANOVA. companied his grandfather, became the friend of the young Giuseppe Faliero, and tlie favorite of the entire family. On one occasion when Canova and his grandfather attended a festival in the Villa Faliero, the ornament for the dessert was forgotten. The mistake being dis- covered almost the moment it was required, the servants applied to Pasino to assist them, for they feared the displeasure of the master. The old man could do nothing, but the young Tonin, as he was called, asked for some butter, and presently carved a lion. This being sent to the table attracted the attention of all, and Tonin was sent for. He received the praises of the whole company, and from this time the Senator Faliero became his patron. This anecdote is very pleasing, but it is probable that the talents of Canova were well known to Faliero before this occurrence. He placed the boy under the tuition of Giuseppe Bernardi, called Toretto, a Venetian sculptor, who had settled at Pagnano. Canova was at this time twelve years of age. He remained two years with this master, and during that time made many statues and models which are still preserved in the FaUero family, and in various collections. During an absence of his master he made the models, in clay, of two angels, which were his first really original work. He placed them in a conspicuous situation, and awaited the master's return with hope and fear. Toretto remained astonished before them, and exclaimed that it was truly a marvellous work. From these models the grandfather executed in pietra dura the two angels on the high-altar at Monfumo. About this time Canova executed his first representation of the human form in marble. He made small statues and used them as gifts for his friends. When he was fifteen his patron sent for him to go to Venice, and received him kindly into his own house. Canova desired to do somethinof for himself, and engaged to work the latter half of the day for Giuseppe Ferrari, nephew of Toretto. In a private letter Canova afterwards wrote, " I labored for a mere pittance, but it was sufficient. It was the fruit of my own resolution, and, as I then flattered myself, the foretaste of more honorable rewards." T^is fact places his genius before us in a strong light, for it is unusual that a youth of fifteen .should receive money, instead of paying it for instruction. In Venice a new field was open to his observation. He systematically divided his time; passed his mornings in the Acad, or in some Gall., his afternoons in the workshop, and the evenings in studies which had been neglected in his youth. The first commission which Canova received was from the Commendatore Farsetti, and consisted of two baskets filled with fruits and flowers, sculptured in "marble, and placed on the balustrade of the staircase which led to the picture- gallery, in the Pal. Farsetti, where Canova had spent much time in study. These works had no especial excellence, and prove that the powers of Canova were not extraordinary at that time. At the end of a year he went with the Faliero family to their summer home at CANOVA. 179 Asolo. Some time previous to this, liis patron, desiring to possess a good work of his, had given liim as a subject, a group of Orpheus and Eurydicc, and wislied him to represent the moment when the lover beholds her torn from his arms forever. Ho had worked upon this in his leisure hours, and took everything necessary for the work with him to Asolo, where he finished, in his sixteenth year, " Euryd- ice," his first original statue. It was executed in pietra di Costosa, and was the size of life. From this time Canova perceived a great deficiency in the models then used, for it was customary to make them many times smaller than the statue when finished. He deter- mined to make all his models, even those of colossal figures, of the exact size in which they were to be finished. After this time he oc- cupied a cell in the monastery of the Augustine friars attached to the ch. of S. Stefano. During the next three years, in addition to his studies, he was employed on the " Orpheus," and in executing a bust of the Doge Renier. He was accustomed, at this time, to study entirely from nature. Ho also gave much time to anatomy, and in later years made dissections with his own hand, in order to sketch, and frequently to model from important parts, or well-defined conforma- tions in particular instances. In 1776 his " Orpheus " was exhibited at the annual festival of the Ascension. It happened that at the same time the opera of " Orpheus " was brought out in Venice. The praise which ho then received was always remembered by Canova " as that which made him a sculptor," to use his own words; and his gratitude for it caused him, when created Marquis of Ischia, to choose the serpent and lyre, the mythological symbols of Orpheus and Euryd- ice, for his armorial ensigns. He soon received an order from the Senator Grimani for a copy of the " Orpheus," which was the first statue he executed in Carrara marble. Finding his workshop too small, ho removed to one in the street of S. Maurizio, where he con- tinued until his final departure from his native country. His next work was a statue of " ^sculapius," larger than life ; and it is said that but a short time before his death, he saw this work for the first time aiter it had left his atelier, and declared himself sorrowful that " Ms progress had by no means corresponded with the indications of excel- lence exhibited in this performance of his youth. ' ' He also executed a group of " Apollo and Daphne," never entirely finished. When twenty-two years old, he completed the group of " Dsedalus and Ica- rus ," for the Senator Pisani. This was intended as an out ward decorar tion of his palace, but when finished, it was considered too valuable, and was placed in the Gall, ah-eady made famous by the " Family of Darius " of Paul Veronese, and other excellent works. This may be considered his last work executed in Venice, as he went to Rome soon after his twenty-third birthday. He had been recommended by let- ters to the Cavaliere Zuliani, who then represented the Republic of Venice at Rome, and was the intimate friend of Faliero. He was an 180 CANOVA. enlightened and generous protector of the arts, and received Canova with great kindness. He soon arranged to have the model of " Dseda- lus and Icarus " displayed before the best artists and connoisseurs in Rome. The trepidation with wlaich Canova went to this exhibition, can easily be imagined. The praise which he received, and the aoknowledgm.ent of his merit, established his reputation. He had long desired to undertake a group on some heroic subject, and Zuli- ani procured him the marble, and promised that if no other purchaser appeared, he would give him the full value of the group when finished. The subject chosen was that of " Tlieseus vanquishing the Minotaur," the figures to be of heroic size. His workshop was in a part of the Venetian Pal. to which no one had access. He worked with untiring industry, studied in the museums and collections at Rome, and at daylight was often seen with his sketch-book or modelling ap- paratus before the statues in front of the capitol, or the colossal figures on Monte Cavallo. In the mean time his friends in Venice succeeded in obtaining for him a pension of 300 ducats from the government. While at work upon the " Theseus " he also finished a statue of "Apollo," which last was first exhibited at the same time with the " Minerva Pacifica " of Angelini, and in spite of the formidable com- petition, the " Apollo" received high praise. At length the " The- seus " was finished. Its existence was unknown to all save the ambas- sador. In order to give full effect to the first exhibition of this work, Zuliani gave an entertainment and invited all the most distinguished men of Rome. A model of the head of Theseus had been prepared by the artist, and attracted the attention of the guests. Various opin- ions were expressed regarding its form, its expression, and subject, and all agreed that it was an antique of great merit. In the midst of the talk, the ambassador said, " Come, let us end these disputes by see- ing the original," and the statue was unveiled before them. Eveiy- thing was forgotten in their surprise and admiration, and even the ar- tists, who afterwards pursued him with envious malice, praised him in that moment. Canova was often heard to say that death itself could not have been more terrible than his emotions during these oc- currences. With the completion of tliis work terminated the novitiate of Canova. From this time his fame was established. He was soon selected by Volpato to erect a monument to Clement XIV. , " the suppressor of the Jesuits, the collector of the Clementine Mus. , and the author of those elegant letters by which his family name, Gan-- ganelli, has been rendered famous over Europe." Canova hesitated in accepting this, feeling that his time should be controlled by those who had bestowed his pension. He went therefore to Venice, and laid the matter before the senate, who directed him to employ his time as was most profitable to himself. He now gave up his studio in Venice, and, as Zuliani left Rome at this time, he established him^ self in the Strada Babbuino, and opened that studio which is still the CANOVA. 181 resort of the lovers of art, of aJl nations. He now commenced to practise upon his long meditated design of making his original models of the dimensions of the projected work. In 1787, the monument of Ganganelli was first exhibited. It was much praised, even by Mili- zia, a bitter critic. This was followed by a monument to Clement XIIL, erected by his nephews in S. Peter's; and the mourning genius in tliis monument is one of the loveliest works of Canova. These two monuments employed the best part of ten years of the most vigorous time in his life. An engraving of the first monument had been dedi- cated to Zuliani, but Canova desired to give him some more substan- tial proof of his gratitude, and made for him a statue of Psyche; but Zuliani hesitated to accept it, and was only persuaded to do so with the understanding that the artist should receive from him a number of gold and silver medals, with Psyche on one side, and the head of Canova on the other, to distribute among his friends. In the midst of these arrangements, the ambassador died, and the heirs of Zuliani, displeased at his having given his works of art to the public library, refused to carry out his plans. Subsequently the "Psyche " was pur- chased by Napoleon and presented to the Queen of Bavaria. The fame of Canova extended to Russia, and most advantageous offers were made him to go to St. Petersburgh. He did not wish to do so, and excused himself on account of a commission from the Venetian senate. This was a monument to the Admiral Emo. Canova suc- ceeded so well in this that a gold medal was made by order of the senate and presented to him; while, at the same time, an annuity for life was voted him. In 1798, unable to endure the revolutionary frenzy at Kome, he retired to his native Possagno. Here he re- mained more than a year and employed his time in painting. Al- though we are not accustomed to associate his name with this branch of art, he was by no means a despicable painter, and his pictures, which Cicognara states as twenty-two, were more numerous than that. In May, 1800, his masterpiece, representing the Saviour just taken from the cross, surrounded by the Maries, S. John, Joseph of Arima- thea, and Nicodemus, was placed in the parish eh. of Possagno. This was the first of his many munificent gifts which made this, hum- ble church a splendid temple. After his return to Rome, his health being affected by continual application, he determined to leave the many orders which awaited him, and, in company with Prince Rezzo- nico, he visited Vienna and Berlin. He returned with restored health, and from this time enjoyed the reputation he had so well earned, and was constantly employed in the most important labors. His " Per- seus" was placed, by a public decree, in one of the Stanze of the Vatican, an asylum hitherto denied to modern art. This was a proud triumph for Canova. In 1802-03, he went to Paris at the request of Napoleon, to model the bust for a colossal statue, finished six years after. In 1810 he was called again to Paris to prepare a model for 182 CANOVA. the statue of Maria Louisa. In 1805, he went the second time to Vienna, where he modelled the bust of the emperor. With the ex- ception of these journeys, from 1800 to 1815, he never quitted Rome, and, in truth, scarcely left his workshop. In the last named year he was sent, in an official capacity, to Paris, for the purpose of re- claiming the works of art which had been taken from Italy, and be- longed to the patrimony of the Church. His exertions, and the suc- cess attendant upon them, should ever be remembered by Romans with gratitude. When his commission was happily accomplished he went to London. Here he was received with great distinction. The king honored him with several conferences, gave him a commission for a, beautiful group, presented him with rich gifts, and made him the bearer of private letters to the Pope. The joy in Rome when her works of art were restored, was increased when Canova himself' arrived. His entry there may be called a triumphal one, and took place on the 5th of January, 1816. He had been president of S. Luke's before; he was now made president of the commission for the purchase of objects of art, and of the Acad, of Archajology. In full consistory, the Pope ordered his name to be inscribed in the " golden volume of the Capitol," with the title of Marquis of Ischia, and a pen- sion of 3000 crowns a year was given him. Canova now designed to execute a colossal statue of " Religion," to commemorate the return from banishment of the Pope. He only waited for the proper au- thorities to determine where it should be placed; but this they would not do, and, through mutual jealousies, Rome was deprived of the magnificent gift. Canova was filled with sorrow and regret at this circumstance, but he determined that not only one statue, but his re- maining life and fortune, should be consecrated to religion; and he re- solved to erect a church at Possagno, adorned with many works of,, art, and that there his ashes should repose. In the summer of 1819, after many preparations, Canova arrived at his native town. On the 8th of July, he assembled his workmen and gave them a sumptuous entertainment. Many young shepherdes'ses and peasant girls had joined in the festivities, and assisted in the preliminary excavations. At the close of the day, each one received a present from Canova as she passed his seat to bid him farewell. On the eleventh of the month the religious ceremony of laying the foundation stone of the future churcli took place. An immense concourse, not only from the surrounding country, but from Venice, was present. Canova, habited in his robes as a Knight of Christ, and bearing the insignia of various other orders, led the procession. The occasion must have been most impressive, for all could not have passed away, who had seen this famous man, when, a poor boy, he attended the steps of his grand- father, the stone-cutter, now raised by the noblest distinctions. He consecrated his life and fortune to the service of God, and the bene- fit of his birthplace. Every autumn, Canova visited Possagno, en- CANOVA. 183 couraged and revorded the workmen, and changed from time to time, as seemed best to him, the detiiils of the previous plan. The expenditure he thus incurred necessitated great exertion, and he con- stantly undertook new commissions. One work of this time, tlie statue of Washington, is especially interesting " as the first piece of sculpture executed in the Old, and publicly commissioned in the New World; thus uniting, by die fame of one individual, the art of both hemispheres." (Hemes.) In his last winter he was more than or- dmarily diligent, engaged upon an equestrian statue of Ferdinand of Naples. On account of this work, in May, he went to that city, and ' there became ill. He returned to Rome where, for a time, he seemed to revive, and was able to resume his work. He arrived in Possagno on the 17th of September, and in October went to the Villa Faliero. A half century had passed since he had here indulged the dreams of youth, and he lingered lovingly on every favorite spot. Though con- stantly growing weaker he went to Venice, to the house of his" friend Francesconi, where, on the 13th of October, ho died. Solemn ser- vices were held in Venice when his bier was borne to the cathedral by the professors of the academy, attended by the most distinguished men in art, letters, or rank. His remains were then consigned to a deputation of priests from Possagno, and borne in a barge to Pos- tioma. From here they were taken to his temple, and on the 25th, the last honors were paid them. On this occasion, the crowd was so vast that they were obliged to deliver, the oration in the open air. The Venetian Acad, obtained the heart of Canova, to contain which, an elegant Uttle monument was erected in the hall of the Pal. of the Arts. The Venetian artists made arrangements to erect a cenotaph to him, and selected for it his own model of the tomb of Titian. In Rome a statue was decreed to him, and he was pro- claimed perpetual president of her chief academy. In personal ap- pearance Canova was not especially attractive. His hair was black and luxuriant, and his forehead of noble dimensions, but the outline of his features was neither grand nor extraordinary. His head was remarkably well set upon his shoulders, and his loose manner of dressing his neck permitted this to be seen. His whole air, manner, and dress was that of modesty, benevolence, and simplicity. There is a story that when he first arrived in Venice, he fell in love with a beautiful girl, somewhat older than himself, who came to draw in the Farsetti Gall. Day by day he watched her, until at last she came no more. At length her attendant appeared, and when he inquired for the loved one, she burst into tears and exclaimed, " I^a Signora Julia is dead." He said no more. Who Julia was he never knew, but, through all his life, whenever he endeavored to unite the purity of the angel with the representation of earthly beauty, the lovely Julia was in his mind. The habits of his life were very unostentatious. He arose early and worked late. He went little into pubUc society, 184 CANO VA — CANTAGALLINA. but almost always surrounded himself with a few friends at dinner. He entertained them cordially, but without display. He was very abstemious, and required rest even after his frugal meals. He joined in cheerful and light conversation, but avoided any subject connected with the arts, or anything that required mental activity. He re- tired to his chamber at eleven, and amused himself with a, book or pencil before sleeping. Some of his finest sketches were made at this time, a part of which have been published under the title of '' Pen- sieri." To describe one day, is to describe his whole life. His re- ligious character and generosity have been sufficiently portrayed. In professional intercourse, he was governed by the same rules that regu- lated his life. The progress of art through the achievements of others afforded him pleasure; envy and jealousy were unknown to him. At the same time he was severely just in the estimation of his own merits. He would not receive pupils, and no one could boast of being taught by him ; but he never refused to leave his own work to give his advice or assistance, or to visit the work of any other artist. To art he was" a willing and powerful patron, and he had executed, at his own order and expense, the numerous busts of distinguished per- sons in the Mus. of the Capitol. The following is a list of a por- tion of his works, with the dates of their execution : — 1772. Two baskets of fruits and flowers in marble, Farsetti Pal. 1773. Statue of Eurydice ; soft stone of Costosa. 1776. Orpheus ; soft stone of Costosa. 1779. Daedalus and Icarus ; Carrara marble, Pasini Pal., Venice. 1782. Theseus and the Minotaur. 1787. Tomb of Clement XIV., Rome, ch. of the Holy Apostles. 1792. Tomb of Clement XIII., Rome, 8. Peter's. 1793. Second statue of Psyche. 1794. Cenotaph of Admiral Enio. 1800. Perseus, with the Head of Medusa; Vatican. 1803. Colossal statue of Napoleon. 1805. Venus victorious; head of Pauline Bonaparte; Villa Bor- ghesc, Rome. 1811. Statue of Maria Louisa. 1817. Monument of Cardinal York. 1818. Sitting statue of Washington. 1822. PietJi in model. 1822. Seven reliefs for the Metopes of the temple at Possagno. These are but a small portion of his works. Cupid, Psyche, Venus, Adonis, Nymphs, etc., etc., were his favorite subjects and often repeated. CantagaUina, Remigio, born at Florence (1582-1630). An eminent designer and engraver, said to have instructed Callot and Stefano della Bella. His pen-drawings are much prized. The following are his principal plates: — CANTAGALLINA — CARAGLIO. 185 The Immaculate Conception; after CcUlot. Set of four Landscapes. 1G09. Set of six Landscapes. Set of twelve Landscapes; octagon; marked with cipher. Set of six Landscapes ; with cipher. 1624. Set of plates of the scenes of an Opera; after designs by Giulio Pai'igii. Set of plates called the Palazzo della Fama. 1608. Cantarlni, Simone, called 11 Posarese, born at Orpezza, 1612; died at Verona, 1648. After studying with other masters he became the pupil of Guido Reni. He came to be one of the very best Italian portrait painters. A head of Guido by Cantarini in the Acad, of Bologna can scarcely be surpassed in the world, fie was vain, and so disagreeable in disposition that he was obhged to leave Bologna, and went to Rome. His imitation of Guido is very apparent, and even more so in his etchings than in his paintings. He is very highly esteemed as an engraver. Cantofoli, Ginevra, bom at Bologna (1618-1672). Pupil of Elisabetta Sirani. Her pictures were historical and may be seen in several churches in Bologna. Canuti, Domenico Maria, born at Bologna (1620-1684). One of the most excellent pupils of Guido. He was employed in the public edifices of Rome, Bologna, and Padua. He also etched several plates in the manner of Guido. Capella, Jan Van de. A Dutch painter of marine views, born at Amsterdam, and granted the freedom of the city in 1653. Further than this his history is unknown. His pictures are much admired in England, and a large part of them are in that country. No. 10, Gall, of the Duke of Aremberg at Brussels, is by him, and represents the mouth of the Scheldt, with numerous vessels. His pictures are signed J. V. Capelle, but are not dated. He liked smooth seas best, with objects clearly reflected, and his skies are often red. He was a good colorist. Some of his works are winter landscapes with skaters on lake or river. Caracciolo, Giambattista, born at Naples (1580 ?-1641). Al- thou<»h in the main a follower of the Carracci, he was somewhat influenced by the NcUwaMsti. He is said to have been one of a cabal formed to exclude all masters from other parts of Italy from Naples. This association is said to have committed many crimes. Caracciolo went to Rome and studied the works of Annibale Carracci in the Farnese Pal. to so good a purpose, that some of his works done afterwards in Naples closely resemble those of Annibale. Some of his pictures are seen in the churches of Naples. Caraglio or Caralius, Gio. Giacomo, born at Verona, (n* (1512?-1570?). An eminent Italian designer and engraver Vt/ who was celebrated for his copper-plates from 1526 to 1551. From his stvle he is believed to have been a pupil of Mare 186 CARAGLIO — CARDUCCI. Anton. He executed some medals at the court of Poland which gained him much reputation, and he. was often employed to engrave gems. Caravaggio, Michael Augelo. See Amerighi. _ Cardi, Ludovico, called fV ^ TT r j-i T TK T T J Cigoli from the place of his T J Ls of the people. Webster, Clay, Everett, , Allston, Van Buren, Chief Justice Shaw, and other eminent men were perpetuated in his marble portraits. Thorwaldsen greatly praised some of his works. The early education of Clevenger was deficient, but his association with refined and cultivated people had its fullest legitimate eifeet upon him. He frankly confessed his need of knowledge, and never hesitated to ask what ho did not know. There was a genuine truthfulness and a sincere directness about him that endeared him to all with whom he came in contact. \\'hen in Florence, with his }oung family, with every opportunity and motive to work about him, he was prostrated by disease. His intense long- ing for his home led him to attempt to reach it. This he was not permitted to do, and from the midst of tlie broad ocean his spirit found free course to his eternal home. Cleyn, Franz, born at Rostock; died 1658. He was employed by Christian IV'. of Denmark, went next to Rome, and acquired the art of painting grotesques. James I. of England employed him at his tapestry manufactory at Mortlake. Some of his best works are in Holland House. He left a few etchings which resemble those of Hollar. Clint, George, born at Hexham (1770-1854). Son of a hair- dresser. After repeated trials of other pursuits, ho gave himself up to miniature painting and mezzotinto engraving. About 1816 he commenced his valuable portraits of the principal dramatists of his time. These embrace Kean, Charles Kemble, Young, Listen, Mat- thews, Macready, etc., in character. Many of these are at the Gar- rick Club. Ho also painted numerous other portraits. Clouet, or Cloet. Three artists of this name have been con- founded into one. Jehan the father went from Brussels and settled in Tours, in 1480. Jehan the son went with his fatlier to Franco, and became painter to Francis I. in 1518, and the portraits often credited to Francois belong to him. lie painted the equestrian poi-- trait of Francis I. in the Florence Gall., attiibuted to Holbein. He did not write his name on his works. Clouet, Francois, son of Jehan the younger, and called by his name, on account of his celebrity, was born at Tours (1510-1574). Ho succeeded his father as painter to the king, and was continued in that oQicc under Henry II. Ho painted numy portraits of tho royal family, nobility, and persons of celebrity. Clouet, Peter, born at Antwerp (160G-1GG8). An engraver, who studied with Spierre and Bloemaert, at Rome. After his return to Antwerp he engraved several plates after Rubens, which are much esteemed. Clovio, Giulio, born in Croatia (1498-1578). A pupil of Giulio Romano. He was a miniaturist or illuminator. His designs were CLOVIO - COELLO. 213 bad, but tu^ finish of Ms works wonderful. The "Farnese Brevi- ary," now in the library at Naples, is said to have occupied him nine years in the execution of its twenty-six miniatures. Codagora, Viviano. Flourished about the middle of the 1 7th cen- tury. Painted architectural ruins. Some of his works are in Eng- land, and many are in the collections of Naples. The fio-ures in his pictures were done by other artists. ° CoeUo, Alonso Sanchez, born at Benifayr6, early in the 16th century; died 1590. The first great portrait painter of Spain. Painter-in-ordinary to Philip II., and a great favorite of that kino>, who was accustomed to address him in his letters as his "beloved son." At Madrid, Coello lived in apartments to which Philip could go by a private door, to which he kept the key. He was in the habit of surprising him in his studio, or even when dining with his family. But Coello never abused this confidence, and remained a favorite, not only of the king, but of the court also. Gregory XIIL, Sixtus v., Card. Alexander Farnese, and the Dukes of Florence and Savoy, were also liis admirers and friends, and many royal and noble persons were accustomed to visit him and to accept his hospi- talities. Large as the expense must have been of maintaining a proper style of living under these circumstances, it is said that when he died he left a fortune of 55,000 ducats. He endowed a hospital at "Valladolid. Philip often called Coello his " Portuguese Titian," because he had lived at Lisbon, and his portraits, of wliich com- paratively few exist, are fine in color and graceful in design. He knew how to represent the repose and refinement which belong " to gentle blood and delicate nurture." He also painted sacred subjects, and there is a " Marriage of S. Catherine," by him, in the Royal Gall, at Madrid. Many of his pictures were burned in the Palace of the Prado. Lope de Vega wrote his epitaph, and called his pictures " Eternal scenes of history divine, Wherein for aye liis memory shall shine." His pictures in the Escorial were painted at the command of Philip, in 1582, and represent different saints at their altars, but a "Martyrdom of S. Sebastian," painted for the ch. of S. Jerome, at Madrid, is considered by many to- be his chef-d'ceuvre, and was praised by Cumberland for its " majesty of design, bold relief, and strong, masterly expression." Coello, Claudio, bom at Madrid between 1630 and 1640; died 1693. His father was a Portuguese sculptor in bronze, and intended to train his son in his own profession. He placed him in the school of Rizi, to study drawing, where he showed so much talent, that his master persuaded his father to allow him to be a painter. He was never weary of his pencil, and soon outstripped his fellow-pupils. While still under Rizi, he was employed to paint for churches and 214 COELLO — COLE. convents. He became the friend of Caireno, who obtained admis- sion for him to the Royal galleries, where he studied color by copy- ing Rubens, Vandyck, and Titian. He became the partner of Ximenez Donoso, and together they executed many frescoes. When Queen Maria Louisa made her public entry into Madrid, these two painters superintended the artistic arrangements of the great cere- monial. In 1683, Coello was called to Zaragoza, by the Archbishop, to paint in the collegiate ch. of the Augustines, and upon his return, in 1684, was ma'de painter to the king, and afterwards became painter-in-ordinary and deputy-aposentador. After the death of Rizi, in 1685, he painted the altar-piece for the Santa Forma. This was his masterpiece, and still hangs in the Escorial. It represents Charles II. and his court receiving the sacerdotp.1 benediction at the dedication of the altar. (For legend of the Santa Forma, see Fran- cisco Rizi.) This picture occupied him more than two years, and at its completion was received with great applause. During a few suc- ceeding years, Coello reigned supreme artist of Madrid. He painted portraits of the royal family and many notable persons ; he was ap- pointed painter to the Cath. of Toledo, and keeper of the Royal gal- leries. He felt, with reason, that he merited the honor of painting the walls of the Escorial; and so great was his sorrow and mortifi- cation when Luca Giordano was preferred to that work, that he threw aside his brushes and pencils, grew sad, and at length ill, and died a year later. The frescoes of Coello were not his best works, because too hastily done, but his oil pictures were finished with care, and are effective, graceful, and rich in tone. The picture at the Escorial is the best. The Royal Gall., Madrid, has two large compositions, Nos. 224 and 306, both representing the Virgin, with several saints. The sketches of Coello^ a few of which are in the Louvre, are highly esteemed. Cole, Thomas, born in Lancashire, England, 1801. His father was a woollen manufacturer, who came to America while Thomas was a child, and manufactured paper-hangings in Ohio. In mixino- pig- ments, the son took his first lessons in art. He was of an extremely sensitive temperament, had much taste for music, and fully appre- I'iated beautiful scenery. A portrait painter strayed into the village where he lived, and gave liim some instruction. At length, with his palette and other materials, his flute, and a httle Clothing, he started off, supported himself by playing his flute, and took his frugal meals by the roadside. After varied experiences, he made his way to New York. Here Durand and Trumbull were his friends. His views of the Hudson brought him good prices. During his life he made two visits to Europe, but he followed his art with unceasing devotion. Some of his autumnal scenes were exhibited in England, where they were considered as the invention of an extravagant Yankee. His allegorical pictures arc most celebrated, but it is in the landscape COLE — COLOGNE, 215 rather than in the figure that he excelled. He painted landscapes in England, Italy, and Sicily, but he loved best to represent the beauties of the New World. It has been well said that his brush performed the same service to our scenery, as Bryant's pen. Ho wrote from Italy, " Neither the Alps, nor the Apennines, nor even Etna itself have dimmed in my eyes the beauty of our own Catskills." His religious sensibility was shown in his pictures of the " Voyao-e of Life." He died at his liomc among, the Catskills when forty-seven years old. There is a singular coincidence connected with his serial pictures. " The Course of Empire " was painted for Luman Reed, who died just before its completion. His " Voyage of Life " was for Samuel Ward, whose own life was ended before the work was done. " The Cross and tlie World," he painted for himself, and the "Pil- grim entering Heaven " was scarcely finished when his own spirit was taken to that other world he had so recently contemplated. He painted but few portraits. His descriptions of scenery were charm- ing and full of artistic feeling. His " Mount Etna," and view of the "White Mountains" are in the Wadsworth Gall., Hartford; his " Course of Empire " in the Gall, of the New York Historical Soci- ety; the " Mountain Ford," " Kenilworth Castle," and the " "Voyage of Life " are in. the Gall, of John Taylor Johnston, New York city; the " Angel appearing to the Shepherds," in the Boston Athenaeum, and many of his pictures are owned by our most appreciative men, as will be understood from the fact that after his death sixty-three pic- tures were exhibited in New York, by the kindness of the owners. Colin, Alexander, born at Malines (1520-1612). His principal works are at Innsbriick, where he settled and received the appoint- ment of sculptor to the Archduke Ferdinand. In 1577, he exe- cuted the embellishments for a fountain at Vienna. Collantes, Francisco, born at Madrid (1599-1656). A painter of history and landscapes, which last were rich in color, and bold and masterly in style. Queen of Spain's Gall., very striking picture of " Ezekiel in the Valley of Bones," signed, Fran. Collantes, ft. 1630; same Gall., a landscape; Louvre, the " Burning Bush in Horeb." Collins, William, born in London (1788-1847). A very charm- ing painter of landscapes, rustic children, etc. His pictures are highly prized. They are excellent, whether considered as landscapes with figures, or as figures in a landscape. He was fond of such sub- jects as " The Sale of the Pet Lamb," " Shrimp Boys at Cromer," " Skittle Players," etc. He painted many subjects connected with fishermen and sea views, especially those of Cromer Sands. He visited France, Italy, Holland, Belgium, Germany, and the Shetland Isles. Towards the end of his life he painted some religious sub- jects. Cologne, Meister 'Wilhelm, of. Little is known of this old master, who is said by some to be the same as Wilhelmus de Herle, 216 COLOGNE — CONINCK. and to have settled in Cologne in 1370. The Limburg Chronicle of 1380 says, " In this time there was a painter in Cologne of the name of Wilhelm; ho was considered the hest master of all German Land; he paints every man, of whatever form, as if ho were alive." All the best old pictures of Cologne and vicinity have, on the strength of this, been credited to Meister Wilhelm. The oldest one is probably that at S. Castor, at Coblentz. It is a wall painting, commemorative of an Archbishop of Treves who died in 1386. Its original appearance cannot be even surmised, owing to the restorations (?) it has suffered. The altar-piece and wings which once adorned the ch. of S. Clara, and are now in the Cath. of Cologne, are far more satisfactorily asso- ciated with the great fame of Meister Wilhelm. It is probable that the centre portion only was his work. This represents the " Life and Passion of Christ." The pictures are on gold ground, the drawing feeble and incorrect, but the tints better. At S. Severin, there is a "Crucifixion" on the wall of the Sacristy, probably by the same hand. There are works attributed to him in the Museums of Cologne, Berlin, and Munich; in the Kational Gall., the Frankfort Library, etc. Colomia, Michael Angelo. See Mitelli. Compe, Jan Ten, born at Amsterdam (1713-1761). Pupil of Dirk Dalens. He painted landscapes and views of cities. One of the New Market at Amsterdam sold tor 2000 Dutch florins, at public sale. Conca, Sebastiano, born at Gacta (1676-1764). A pupil of Francesco Solimena, he strove only to acquire the prettiness of art. He was employed in Rome by Clement XI. Mengs says that by the introduction of his style at Rome, " he put the finishing stroke to the ruin of painting." Condivi, Ascanio. A pupil of Michael Angelo. Without suffi- cient talent to be known as a painter, his reputation is world-wide as the author of the life of the great master, published in 1553. Conegliano, Giambatista Cima da. His latest date on any known work is 1508 ; but he is said to have lived much later. He was one of the best of the Bellinesque painters. His coloring of some works is such that Kugler says it "glistens liko jewels." His chef- d'ceuvre is in the ch. del Carmine, at Venice, and represents the Vir- gin kneeling before the sleeping Child. He often introduced into the landscapes of his backgrounds the rocky height and castle of Coneg- liano. As a painter of sacred subjects he merits a worthy place in his age. Ho was very industrious, and his pictures are in most Euro- pean collections, and many arc in Venice in churches, and in the Acad. Coninck, David do (1636-1687). Pupil of Jan Fyt. His pic- tures are animated and powerful in color. They are rare. There are two of great merit in the Amsterdam Mus., representinof a Sta"- hunt and a Bear-hunt. CONSTABLE — COPLEY. 217 Constable, John, born at East Bergholt in Suffolk (1776-1837). A landscape painter. His favorite subjects were country lanes, stiles", and fields. He was passionately fond of quiet nature, and one con- spicuous characteristic of his works is their simplicity. He was ac- customed to give the effect of dew, and this, sometimes carried to an excess, gave a spotted appearance which is much criticised. The " Corn-field " and " Valley-farm," in the National Gall., are fine specimens of his pictures. Contarini, CavaUere GHo., born at Venice (1549-1605). An exact imitator of Titian. He painted many mythological pictures. His principal work, formerly in the Ducal Pal. of Venice, now in the Louvre, represents the Virgin with the Child; she is on a throne, sur- rounded by SS. Mark and Sebastian, and the Doge Marino Grimani kneeling. He was also an eminent portrait painter. Conte, Jacopo del, born at Florence (1510-1598). He lived much at Rome, and a few of his historical pictures are to be seen in churches there; but he especially excelled in portraiture, a branch of art much patronized in his time in Venice, Rome^ and Florence. Conti, Bernardino di. In the Berlin Mus., there is a fine por- trait of a Cardinal by this old artist; and in the Gall, of the Capitol, Rome, a picture of a boy, 1496. Cooninxloo, Giles, born at Antwerp (1544-1609). A landscape painter, who was well considered in his time. His pictures are spirited and his color is agreeable. Cooper, Samuel, born in London (1609-1672). An eminent miniaturist. His works were much admired during his life, and now have an honorable place in fine collections. His reputation extended to the continent. He lias been called " the Vandyck in little." But his impasto and fine fresh color remind one of Lely, more tlian Van- dyck, and there is a breadth in his works unusual in miniature. He painted many eminent persons. His wife was aunt to Alexander Pope, and was promised a pension (which she never received) for the pictures her husband had painted for the court. He was buried in Old S. Pancras. Coopse, Pieter. Little is known of this artist. He painted in the style of Backhuysen, and it is believed that njany of his pictures are attributed to the latter. No 230, Munich Gall., is called a Back- huysen, although the name of Coopse is on it. Copley, John Singleton, R. A., born in Boston (1737-1815). The father and mother of this artist emigrated from Limerick, Ire- land, to Boston. The father was descended from the Copleys of Yorkshire, and the mother from the Singletons of County Clare, both families of importance. When tlie subject of our sketch was eleven years old, his mother was married to Peter Pelham, a portrait painter, and mezzotint engraver. AVhitmore calls Pelham " the founder of these arts in New England." This marriage was an ad- 218 COPLEY. vantage to young Copley, since he not only received the instruction and advice of Pelham, but was surrounded by those who sympathized with him in his clioice of a profession. He was studious and quiet, and advanced rapidly. He attained eminence as a portrait painter in America, and lived in easy elegance, having married in 1 769 Miss Susau Clarke, the daughter of a distinguished merchant of Boston. A little later Copley sent to Benjamin West, in London, his picture of the "Boy witli a Squirrel " now owned by Mrs. James S. Amory, for exhibition at Somerset House. He sent no letter or name with it ; the rule of the exhibition excluded anonymous pictures, but West knew it to be an American work by the wood upon which it was stretched, and from the fact of the squirrel being such as belong to New England. The rule was set aside, and the picture so favorably received, that Copley was advised to go to England. He sailed in 1774, never to return. He went from England to the Continent, studied at Rome and Parma, travelled as far as Naples, returned to France, Germany, and Holland, studying constantly, and finally settled in London, where his wife and children joined him. Ho soon rose to distinction, was made an Associate of the Royal Acad, in 1777, and an Academician six years later. Many distinguished persons were among his sitters, and a portrait of three of the children of George HL , now at Buckingham Pal., is a fine example of his por- traits. He painted several large pictures, illustrative of events in English history, and some religious subjects. His portraits are full of dignity, and there is that in them which seems to assure us that they were truthful likenesses; his rich, subdued coloring is very effective. His life was most successful ; he had friends among the most eminent men on both sides of the Atlantic; his family were cul- tivated, and his son became eminently distinguished as the great Lord lyyndhurst. He was a man of strong religious sentiments, and of quick and earnest sympathy. The following anecdote shows us his American feeling. In 1782, Elkanah Watson was in London, and Copley made a full length portrait of him. In his journal, Mr. Watson says, " The painting was finished in most exquisite style in every part except the background, which Copley and I designed to represent a ship, bearing to America the acknowledgments of our in- dependence. The sun was just rising upon the stripes of the Union streaming from her gaff. All was complete save the flag, which Copley did not deem proper to hoist under the present circumstances, as his gallery was the constant resort of the Royal family and of the nobility. I dined with the artist on the glorious 5th of December, 1782. After listening with him to the speech of the King, formally recognizing the United States of America as in the rank of nations, previous to dinner, and immediately after our return from the House of Lords, he invited me into his studio; and there, with a bold hand, a master's touch, and I believe an American heart, ,Jje,attached to the COPLEY — COQUES. . 219 ehip the stars and stripes. This was, I imagine, the first American flag lioisted in Old England." Copley was buried in Croydon ch., near London. Many of his pictures are scattered over America, belonging to the descendants of those for whom they were painted. A number are of easy access to the public in the Boston Athenseum, where some are owned, and where from time to time they are put on exhibition by private indi- viduals. Heretofore there has been no satisfactory account of his works, but a book is about being published which will supply this de- ficiency. It is known that 269 oil paintings, 35 crayons, and 14 miniatures by liim are still in existence in this country ; a list of these will be given with a sketch of his Ufe, and other interesting facts. The title of the book is " A Sketch of the Life, and a List of some of the Works, of John Singleton Copley." It is written by Augustus Thorndikc Perkins, to whom I am indebted for the facts contained in this article. LIST or ENGR4.VINGS AFTEK THE WORKS OP COPLEY, AS GIVEN BY MR. PERKINS. Engraver, Dunkarton, Robert. The Children of George III. Abraham's Sacrifice. £n^auer, Earlom, Richard. Portrait of Admiral Viscount Dun- can. Portrait of Lord Spenser. Engraver, Green, N. Portrait of Hemy Laurens of South Caro- lina. Engraver, Green, "Valentine. Samuel and Eli. A boy rescued from a Shark. Engraver, Thew, Robert. Picture of the Copley Family. Engravers nol given. Portrait of President John Adams. Portrait of Lord Howe. Portrait of Admiral Bonington. Portrait of Lord Mansfield. Portrait of George IV. at a Review. A Head of Cop- ley; by himself. The Nativity. The Tribute Money. The Death of Earl Chatham.i The Death of Major Pierson. The Surrender of Admiral De Winter. The Siege of Gibraltar. Copley also made an engraving from one of his portraits. It bore the following inscription : " Rev. William Welsteed, of Boston, New England, cet. 58, 1753, J. S. Copley, ^iraif et fecit. Coques, Gonzales, born at Antwerp (1618-1684). Pupil of David Ryckaert, the Elder. His best works are groups of ladies, gentlemen, and children, with accessories, in the open air. These were probably portraits. They are admirably colored; his white draperies are exquisite, and he excelled in painting beautiful hands. He often introduced dogs, and so well were they done that the ad- miration of the beholder is divided between them and the children playing with them. His backgrounds were also well? done, but in 1 Engraved by Francesco Bartolozzi. — C. E. C. 220 . COQUES — CORNELISSER. these he was often assisted by other artists. " The Vorhelst Family," his chef-d'oeuvre, is in the Queen's Coll. at Buckingham Palace. Dresden Gall., No. 964, is said to represent his own family. His sin- gle portraits are, as a rule, inferior to his groups. He sometimes painted f/enre pictures, such as "La Lepon de Musique," in Lord Hertford's coll. . He was a true lover of art, and being rich, painted for pleasure rather than gain. His works are not numerous, and are very valuable. Cordieri, or Cordier, Nicholas (1567-1612). Educated in Rome as an engraver on copper. He preferred sculpture, and became disr tinguished in that art. Clement VIH. and Paul V. often visited his atelier. His works are in the Paulina, S. John in Lateran, and S. Gregorio in Monte Celio. Corenzio, Belisario. A Greek (1558-1643). He studied at Venice, under Tintoretto. Settled at Naples, where he gained great influence and a large fortune, and lived in elegant luxury. His works in that city are numerous. His style was the same as that of Tin- toretto, and large frescoes were his best eiforts. His pictures are also in some churches in Venice. He formed a cabal with Caracciolo and Ribera (called Lo Spagnoletto) for the purpose of excluding other Italian artists from Naples. They committed many outrages, and, it is said, the crime of poisoning those whom they could not be rid of otherwise. D'Arpino, Guido, Annibale Carracci, and, it is said, Domenichino, all suffered at the hands of these men. Coriolano. The name of a family of artists, mostly engravers, who flourished in the last half of the 16th and the early part of the 17th centuries. Cristofano was the most important, and engraved the portraits for Vasari's " Lives of the Painters," published in 1568. CorneUle, Michel, tlie Younger, born at Paris (1642-1708). More noticeable as an engraver than as a painter. His etchings are the admiration of collectors. They are correct in drawing, grand in composition, and masterly in execution. His S. Francis kneeling before the Cross is fine. The four following plates came into the hands of a Roman print-seller, Rossi, who put the name of Raphael on them; they are now scarce. The Deity appearing to Abraham. Abraham journeying with ]..ot. Abraham discomfiting the Army of the Confederate Kings. Abraham with his son Isaac setting out for the Sacrifice. Cornelisser, Cornells, called Cornells van Haarlem, from his birthplace (1562-1638). One of his best works is that by which he became known, and was executed for the Guild of Marksmen of Haar- lem. Berlin Gall., No. 734, " Bathsheba Bathing," is one of his cliefs-d' osuvre. In the Gall, at the Hague his "Murder of the Inno- cents " is most unpleasant. At Dresden there are mythological sub- jects by him, but although carefully finished, good in color, and full CORNELISSER — CORT. 221 of force, it is easy to see that the only talent he had was for the realistic, and portrait painting was his vocation. Corona, Iieonardo, born at Murano (15G5-1605). An artist no- ticeable for his copies of Titian, of which picture-buyers should beware, since they are sold as originals. Correggio. See AUegri. C^ £^ Cort, Cornelius, born at Hoorn, in Holland, 1536, \j t died at Rome, 1578. His first instructor was prob- ably Jerome Cock, for whom he engrared some, plates published under the name of that master. He first engraved after Dutch and Flemish masters; then went to Venice and resided in the house of Titian, and engraved some of his finest works. He next went to Rome, where he established a school. Before liis time there had been few large engravings. He greatly advanced his branch of art, and his plates are much valued by collectors. He. worked with the graver only. His execution was masterly and bold, his drawing correct, and his landscapes especially fine. Agostino Carracci was his pupil. The following is a list of liis best prints, not given in con- nection with the masters from whom he copied. PORTRAITS. Cornelius Cort. Henricus 11., Gallorum Rex; oval. Catherine de' Medici. Don Juan of Austria; oval, with ornaments. 1578. Marcus Antonius Moretus; oval. Andrea Alciati; oval, with ornaments. Roger of Brussels, painter. Theodore van Haarlem, painter. Joachim Dionaten'sis, painter. SUBJECTS AFTER HIS OWN DESIGNS. The Birth of the Virgin. 1568. Conception of the Virgin. 1567.' Presentation in the Temple. Repose in Egypt. 1568. Holy Family, S. Joseph presenting a Pear to the Ohiia, The Last Supper. 1568. He engraved this subject tiifice. A Crucifix held above a globe by Angels. The Resurrection. 1569. S. Theodore overcoming a Dragon. S. Catherine crowned by two Angels. S. Veredina kneeling before an Altar. Two Landscapes with Shipwrecks. BUBJECTS AFTER FLEMISH ARTISTS BEFORE HE WENT TO ITALY. Adam and Eve with the Serpent; after Michael Coxcie. The Resurrection; afler the same. loGS. 222 CORT. The Descent of the Holy Ghost; after the same. Christ Triumphant, with SS. Peter and Paul; after the same. Four plates of the Bich Man and Lazarus ; after Hemskerk. The Parable of the Vineyard ; after the same. Four plates of the Parable of the Talents; after the same. Six plates of the history of Noah and the Deluge ; after F. Floris. Six plates of the history of Abraham ; after the same. Six plates of the history of Jacob and Rachel; after the same. Ten plates of the labors of Hercules; after the same. Four plates of the history of Pluto and Proserpine; after the same. Bacchus and Venus;. 1566; after the same. The Immortality of Virtue, emblematical; 1564; after the same. The Descent from the Cross ; after Roger van der Weyde. S. Roch; after J. Speckatt. 1567. S. Lawrence ; after the same. S. Dominic reading; after Bart. Spranger. Holy Family with Angels ; after the same. Crowning of the Virgin ; after Giles Moestaert. 1565. The Acad, of Painting ; after Stradan ; fine. SUBJECTS ENGRAVED IN ITALY. After Girolamo Mutiano. S. Peter walking on the Water. 1568. Christ crowned with Thorns. Christ bearing his Cross. The Descent from the Cross, with two ladders. The Descent from the Cross, with four ladders. Christ appearing to the Maries. S. Jerome meditating. A set of seven landscapes with figures, cjflled " The Seven Peni- tents : " S. John Baptist, Magdalene, S. Jerome, S. Onophrius, S. Hubert, S. Francis with the Stigmata, and S. Francis in devotion. After Clovio. The Annunciation. Adoration of the Magi, in the form of an Altar. Virgin and Child; half length. Christ preaching in the Temple. Baptism of Christ. The Crucifixion between the two Thieves. Another Crucifixion; a grand composition. 1568. The Dead Christ, with the Maries. Entombment of Christ. Christ appearing to Magdalene. Conversion of S. Paul. S. George and the Dragon. CORT. 223 After Taddeo Zucchero. Creation of Adam and Eve. Presentation in the Temple. Nativity; a rich composition. Holy Family, with S. John and a Lamb. Miracle of the Loaves. Entombment of Clirist. Descent of the Holy Ghost. Martyrdom of S. Agatha. After Federigo Zucchero. Moses and Aaron before Pharoah. Birth of the Virgin. 1578. Conception of the Virgin. The Annunciation. 1571. The Nativity. 1568. Adoration of the Magi. Holy Family. FUght into Egypt. Woman taken in Adultery. Temptation of Christ. The Money Changers driven from the Temple. Resurrection of Lazarus. The Woman of Samaria. Christ on the Mount of Olives. Christ taken in the Garden. Death of the Virgin. Coronation of the Virgin. SUB.JECTS AFTER VARIOUS MASTERS. Parnassus; after PoUdoro da Caravaggio. Adoration of the Shepherds; after the same. Repose in Egypt; after B. Bassaro. Visitation of tiie Virgin to 8. Elizabeth ; after Marco da Siena, The Nativity; after the same. Adoration of the Shepherds ; after Paris Romano. Holj Family; after F. Baroccio. Baptism of Christ; after F. Salviati. The Marriage at Cana; after Lorenzo Sabbatini. The Last Supper; after Livin Agrt'sti. Stoning of Stephen; after Marcello Venusti. S. Jerome penitent; after Riccio da Siena. S. Jerome in the Desert, with two Angels; after J. Parmensis. S. Margaret of Cortona; after Tempesta. A dance of Dryads; after II Rosso. The Three Fates; after Giulio Romano. 224 COBT — COSSA. Cort, Henri de, born at Antwerp, 1742; died in London, 1810. Pupil of Antonissen and G. Herreyns. Many of liis pictures, which are landscapes, are in collections in England, in which country he lived many years. They are well finished, and have rich foliage, with cool, silvery skies. He was fond of openings in heavy foliage, with bright light or sunshine between, which discloses buildipgs and other objects in the distance. Corte, Juan de la, born at Madrid (1587-1660). Painter to both Philip III. and Philip IV. He excelled in battle pieces and per- spective views. Several of his works may be seen in Madrid. Cortese, Jacopo, called II Borgognone, born in Tranche Contd (1621-1676). One of the most celebrated battle painters. Pupil of Cerquozzi. Many pictures are attributed to Borgognone which are the work of his imitators. In the Borghese Pal. there are two of his original works. Others are in the Pitti Gall. Wlien in the height of his career, his wife died. He had not lived amicably with her, and was suspected of her murder. The sadness which- this accusation induced led him to become a Jesuit. Besides liis pictures he left a few etchings of battles, which are uncommonly effective in light and shade, and full of spirit. Cortona, Pietro Berrettini da, born at Cortona (1596-1669). One of the most prominent among that class of painters called machinistn. His works prove that he had great talent, in spite of their incorrectness and superficiality. He attempted to dazzle by great efl'eot rather than to satisfy judgment or good taste. He acquired a passing reputation by his inventive powers and ready execution, but is now more justly valued. He painted a ceiling in the Palazzo Barberini at Rome, and frescoes in the Pitti Pal. in Florence. Soine of his smaller pictures, good specimens of which may be seen in Paris, are pleasing in their bright, cheerful tints. Cortot, Jean Pierre (1787-1843). This sculptor excelled in design, but we find a want of deep feeling in expression. In the Chapelle Expiatore the group representing Marie Antoinette, sup- ported by Religion, is his work. He also executed a group in the pediment of the Palais des Deputes, symbolical of the glory of France, and the relief of " Napoleon crowned by Victory " on the Arc de I'Etoile. Cosimo, Piero di (1441-1521). Pupil of Cosimo Rosselli. Said to have rivalled Leonardo in his early Florentine days. He was of a gloomy temperament, which is shown in his works, ospocially in the " History of Perseus," in the Uffizi. His chiaro-scuro is good, but dejith of feeling is wanting in his pictures. His principal works are in Florence, but there are specimens in the Louvro, Berlin Mus., etc. Cossa, Francesco. Little is known of the history of this painter. His name first appears in the history of Ferrara in 1456. He went later to Bologna, where there are two works of his, justly celebrated. COSSA. 225 DEATH OF S. MAKY OF EGYPT. BY PIETBO DA CORTONA. One is an altar-piece in the Gall, of Bologna, representing the Madonna holding the Child on her lap, with a saint on each side, and one of the donors of the picture kneeling. It was painted in 1474. There is much dignity in his figures; his faces are of a noble type, his outlines clear, his extremities well drawn, and his draperies broad ; but there is a fixedness in all that suggests statues as models, rather than living and moving beings. His wall painting in the Barracano is only uncovered on days of high festival. It represents an enthroned Virgin within a highly ornamented arch. On each side of the throne angels hold candelabra, and lower down are figures of a male and female who look up to Mary. It is said that they were portraits of Gio. Bentivoglio and Maria Vinziguerra, and the picture was painted at the request of Bentivoglio. The Madonna was a miraculous one which Cossa restored, and added the portraits. It has been restored, so that portions only of Cossa' s work remam. These are the female in profile, the angels, the frame of the Virgiis and Child, and the arcMtecture. Both are remarkable works for their time. 15 226 COSTA — COUSIN. Costa, Lorenzo, born at Ferrara (1460-1536). There is doubt as to who were the teachers of Costa, but it is easy to tell his earlier from his later works by the change and improvement in them. He painted much in Bologna, and his works may be seen in the churches and gallery of that city. In Ferrara, too, in the Constabili and other collections, there are pictures of his, and in most large collec- tions in Europe. A "Dead Christ," at Berlin, is a good specimen of his manner. Among Bolognese artists he ranks next to Francia. He was his contemporary and co-worker. His color is less harmo- nious and delicate than that of Francia, but it is more powerful. In gome of his works the architectural parts are overdone, as was the rule in Ferrarese art. After the fall of the Bentivoglio, who had been his patrons in Bologna, Costa entered the service of the Gonzagas of Mantua, where he passed the remainder of his life, and executed as many more works as he had before done in Bologna and Ferrara. CosTway, Richard, born in Devonshire (1740-1821). An emi- nent miniaturist. He did not confine himself to that branch of painting, but nothing that he did outside of it compared in excel- lence with his miniatures, or added to his reputation. Small pictures of Venus, Cupid, etc., were his best subjects. There is a charming refinement in his miniature portraits of ladies, which are rather pale or delicate in color, and often in white dresses with light backgrounds. Cotan, Juan Sanchez, born at Alcazar de S. Juan, 1561 ; died at Granada, 1627. A painter monk. A pupil of Bias del Prado. His finest pictures were for the Chartreuse of Granada. He was also a mechanic, and in the habit of repairing the water-pipes and clocks of the convent, making alarums, etc. The Mus. of Madrid has a fine bodegon, or kitchen piece, by Cotan, in which is a huge garden thistle, lying on a table surrounded by vegetables, while birds and fruits hang above. Cotes, Francis, born in London (1725-1770). A portrait painter who is justly celebrated for his pictures in cjayon, in which he excelled. His painted portraits cannot be praised. Cotignola, GHrolamo Marches! da. Real name Marches! ; called Cotignola from his birthplace (1475-1550). Pupil of Francesco Francia. His pictures prove him to have been a great artist. He had two distinct styles. The first was that of his master ; the other showed the effect of Roman study, the works of Raphael, etc. To the first belongs a " Coronation " in the Berlin Mus. There is much sweetness in the heads, but the arrangement of the picture is stiff and void of grace. A " Madonna" with kneehng Monks, in same Gall, shows his later manner. Courtois, Jacques. See Cortese. Cousin, Jean, born at Soucy, 1501. A painter, sculptor, architect, and writer. Little is positively known concerning him. He was orici- COUSIN — COYPEL. 227 nally a glass painter, and executed works of this kind at Sens. He is celebrated for his picture of the "Last Judgment," in the Louvre. It is in minute, hard style. P. de Jode engraved it in twelve plates. He was the author of a book of portraiture, pub- lished in 1G03, in Paris. The monument of Louis de Breze, in the Cath. of Rouen, has been attributed to Cousin. It is a beautiful work of the Renaissance style, and is more probably that of Jean Goujon, rather than Cousin. Couston, Nicholas, born at Lyons, 1658; died at Paris, 1733. He studied at Paris under his uncle (Coysevox) , and took the grand prize at the Royal Acad, at twenty-three. He went to Rome, where he studied principally the works of Michael Angelo and Algardi. He made a copy of the " Hercules," which is now at Versailles. After his return to France, he was much employed. His works, though executed with spirit, are wanting in the purity of the antique. His most important production was a colossal representation of the " Junction of the Seine and Marne." He also executed a bronze statue, representing the river Saone, for the city of Lyons. Some of his works are in the Cath. of Notre Dame. Couston, Guillaume, born at Lyons (1678-1746). Brother of the preceding. He gained the grand prize of the Acad, and went to Rome. Returning to Paris, his reputation rapidly increased. Some of his best works were for the garden at Marly ; the bronze statue of the Rhone, at Lyons;, a bas-relief of " Christ with the Doctors," at Versailles ; and statues of Louis XIV. and Cardinal Dubois, in the Musee des Monuments Fran9ais. Couston, Guillaume, born at Paris (1716-1777). A son and pupil of the preceding. He took the grand prize and went to Rome, and, in 1746, was appointed Professor of Sculpture, and Keeper of the Sculptures in tlie Louvre. He executed the sepulchre of the father of Louis XVI. ; a bronze of the " Visitation " in the chapel of Versailles, in bas-relief ; and a statue of St. Roch in the church of that saint. For the King of Prussia he made statues of Mars and Venus ; and a fine marble group for the Jesuits of Bordeaux, repre- senting the " Apotheosis of St. Francis Xavier." Co^el, Noel, born at Paris (1628-1707). He was, when quite young, employed at the Louvre, and became an Academician in 1659." He was appointed director of the French Acad, at Rome, whither he went in 1672, and presided for three years with great honor. He painted the four easel pictures representing scenes in Roman history, now in the Louvre; they were displayed in the Rotunda and much admired. After he returned to Paris he was employed at the Tuileries, and when seventy-eight years old painted the Vault of the ch. des Invalides, which was one of his best works. He also left the following etchings: — The Virgin caressing the Child; two sizes. The Holy Family. 228 COYPEL -- CRAESBECKE. Coypel, Antoine, born at Paris (1661-1722). Son of the pre- ceding. This artist has been much admired by some, and severely criticised by others. His grace has been called that of the dancing- master, and his effects too theatrical. But he was very popular, was much employed in the royal palaces, and made painter to the Kincr. He also left a considerable number of etchings, some of which are very fine, and all are executed in a masterly and finished style. Coxcien or Van Coxcyen, Michael, born at Mechlin (1499- 1592). Pupil of Van Orley. He studied also in Rome, and became an imitator of Raphael; indeed, he has been called the Flemish Raphael. In the Antwerp Gall, there is a " S. Sebastian," and a " Triumph of Christ " by this master ; in the Mechlin Cath. a " S. Sebastian." His frescoes in the ch. dell' Anima at Rome are unim- portant. His chef-d' CEUvre was a copy of the " Adoration of the Lamb " by the Van Eycks. He painted this for Philip H. of Spain, and was two years in completing it. Much of it is well executed. He is said to have received more than £300, besides his living while at work on it. This picture was formerly in Madrid, but was taken away by the French. Some portions of it are in the Munich Gall, and some at Berlin. Coysevox, Antoine, born at Lyons (1640-1720). Before he was seventeen he had distinguished himself by a statue of the Virgin. He studied in Paris, aqd progressed rapidly. In 1667 he was engaged by Cardinal Furstenberg to go to iUsace to decorate his palace. This occupied him about four years. When he re- turned to Paris he executed a statue of Louis XIV. and was com- missioned by the province of Bretagne to make an equestrian statue of the same monarch. He became very eminent. Among his best works are : the tomb of the Cardinal Mazarin ; the tomb of the great Colbert, in S. Eustache ; the monument of Charles le Brun, in the ch. of S. Nicholas ; the statue of the great Conde ; the marble statue of Louis XIV. in the ch. of Natre Dame, etc. His bust by Lemoine is in the Musee des Monuments Franpais. Cozens, John, died 1799. A landscape painter and drawing- master. He left many drawings, admirably executed, which are now highly prized by connoisseurs. Craesbecke, Joost Van, born at Brussels, 1608. Pupil of Adrian Brower. He painted the same class of subjects as his mas- ter but did not equal him in color or execution. His works are very spirited. On account of having first followed the trade of a baker, and dying young (1641 ?), his works are rare. One of the best is in the Aremberg Gall, and represents his own atelier, with himself painting a group of men and women. This is undoubtedly his chef-d'ceuvre. Kugler says, " The arrangement is easy ; the heads full of life ; the keeping in a cool harmony, and, with decided light- CUAESBECKE — CRANACH. 229 ing, very delicate ; and the careful and spirited execution of solid impasto." Craeyer, Gaspard de, born at Antwerp (1585-1669). Pupil of Raphael Van Cpxis of Brussels. A contemporary of Rubens, who, it is said, admired his works. He was also the friend of Vandyck, who painted his portrait. Craeyer's pictures were mostly of Bibli- cal subjects. His color was subdued, but truthful ; he had a free, masterly touch, and his feeling for beauty sometimes borders on the ideal. He was much admired in his time, and fully occupied. Many of his works were very large ; they are well drawn, and, in spite of their formality, impressive by their dignity. In the Mus. at Ghent he may best be judged. The best picture of the number there, is the " Coronation of S. Rosalie by the Infant Christ." This picture was carried away by the French, and returned. The " Mar- tyrdom of S. Blaize," in same Mus., was his last work, executed when he was eighty-six years old. In the Munich Gall, there is an im- mense enthroned Madonna, with Angels, surrounded by Saints ; the lower figures are portraits of himself, his brother, sister, and nephew. He had no wife. His own head is fine. His portraits resemble those of Vandyck. The backgrounds of his pictures were sometimes executed by other artists. A Virgin and Child enthroned, with surrounding saints, in the Vienna Gall, is considered by some critics his chef-d'ceuore. It is full of tender feelings. Works of his are also in the Louvre, Brussels Gall., etc. T ^^ ^^^ ^p. Cranacb, Iiucas, born, at V c^SbT ^52P ^^1^ Kranach (1472-1553). His V-^ \^?^T ^3j'#'i«=%:i?^^^ He seemed careless of mere beauty, and his works are striking for their marked difference from those of his predecessors, especially in this, that he defined the forms beneath his draperies, and by use of the girdle, and other HELIEF. BY DONATELLO. In S. Antonio, Padua. means, made it possible to believe that the folds concealed the human figure. He executed numerous works. Among those remaining, the following are the most important : Reliefs in marble representing Dancing Children, executed for llie front of the organ in the Cath. of Florence, now in the Uflizi; bronze David, same Gall.; bronze statues of SS. Mark, Peter, and George, on the exterior of Orsanmichele ; the Magdalene in the Baptistery at Florence; bronze reliefs of two pulpits in S. Lorenzo, and a bronze Judith in the Loggia de' Larizi. DONATELLO - DOSSI. 251 At Padua, there is an equestrian statue of Francesco Gattamelata, which was the first one of importance in modern art, and is full of life and power. Many of his works are very excellent, but others, as the " Magdalene," are almost repulsive. He was much admired and patronized by Cosmo and Pietro de' Medicis. It is said that he con- sidered his " David," called Lo Zuccone (the bald head), his chef- d'oeuvre, and was accustomed to use as an affirmation, these words, . " By the faith I place in my Zuccone." Donatello was buried in the oh. of S. Lorenzo with great pomp. His resting-place was near that of Cosmo de' Medicis, that, as he said, ^' his body might be near him when dead, as his spirit had ever been near him when in life." See Brunelleschi. Doni, Adone or Done, born at Assisi, 1472. A pupil of Pietro Perugino, whom he at first imitated, but later changed to the Roman style. In the ch. of S. Pietro, at Perugia, there is an " Adoration of the Magi" by him, in his first manner. It is graceful. He also painted Sibyls in the ch. at Assisi. Donzelli, Piero and Ippolito. Many contradictory things have been written about these brothers. The full extent of what is known seems to be that they were sons of Francesco d' Antonio di Jacopo, bailiff { [^ I ^ Born at Herttskerk (1498-1574). The remaining works of this painter are not numerous, neither are they such as to cause regret of this fact. He attempted to imitate Michael Angelo, but his manner is repulsive, hard, and mannered. At one time Ids pictures were very popular in Holland, and some still remain at Delft and Haarlem. There is one of his works in tho Berlin Mus., and another in the Vienna Gall. Hemskerk, Egbert. There were two painters by this name, father and son. They painted the same subjects, drunken scenes and drolls, interiors of Dutch ale-houses with boors and the usual accom- paniments. There is some merit in their works, but they liavo been so much surpassed by Teniers and others, that they arc held in small esteem. These artists flourished in the middle of the 1 7th century. Hendreks, 'Wybrand, born at Amsterdam (1744-1830). He painted a variety of subjects, but his best works are flower pieces and dead game, resembling those of Weenix. All his pictures have con- siderable merit, and are seen in fine collections. In the Amsterdam Mus. there is a view of Haarlem, by Hendriks. Herlen, Frederick, died 1491. This artist is important from the fact that he carried the art of the Van Eyck school into upper Ger- many. He was an imitator, and his works so much resemble tliose of Rogier van der Weyden, that it is probable the latter was his master. His chief works are in the churches of Ndrdlingen and Rothenburg (on the Tauber). Hernandez, Gregorlo, born at Pontevedra, 1566; died at Valla- dolid, 1636. An eminent sculptor in the reign of Philip IH. He never quitted Valladolid after he went there to study, except when 328 ■ HERNANDEZ — HERRERA. he went to Vittoria to execute a high-altar in the ch. of S. Miguel, and to Plaseencia for the same purpose. Bosarte called him the " sculptor of rsiligion." Stirling calls his style tender and graceful, and his works full of devotional feeling, and says, " They seem to have been executed under the influcnue of the same pious inspiration which warmed the fancy of Juni, and guided the pencil of Factor." Many of his works are in the Mus. of Valladolid, where, of course, they lose much of the effect which they had when in the chapels for which they were designed. Hernandez was devout in character, and accustomed to works of charity, and often provided decent burial for the poor. A largo bas-relief of the " Baptism of Christ," now in the Mus., is one of the finest specimens of Spanish sculpture. The last twenty years of his life he passed in the house where Juni had lived. At his death his body was embalmed and buried, according to his will, in the monastery of the Carmen, where, in the principal diapel, his portrait hung many years. Herp, Gerard van, 1604. Pupil of Rubens, he painted moderate sized genre subjects. He was a good draughtsman and colorist. A picture of " Monks distributing Bread,"' by Van Herp, is in the National Gall., and other works of his are in the Berlin Mus. and Aremberg Gall. Herrera, Francisco de, the Elder, born at Seville (1576-1656). Pupil of Luis Fernandez, but he adopted not the style of any other painter; he was original, and probably the most remarkable artist who studied in Andalusia only. He had no timidity, used large brushes, laid on color in masses, and produced vigorous ami effective results. His violent temper drove away his children and pupils. He could engrave, on bronze, and made false coins. When his forg- eries wore detected, ho took refuge with the Jesuits. While in their convent he painted the story of S. Herraengild, one of the patron saints of Seville. When Philip IV. saw it he gave him his liberty. His picture of S. Basil is in the Mus. of Seville, and his " Last Judgment " hangs in its original place in the ch. of S. Ber- nard. In 16."jO Herrera went to Madrid and found Velasquez, one of his runaway pupils, in great favor there. Herrera, Francisco de, the Younger, born at Seville (1622- 1G85). Son and pupil of the preceding. He passed six years in Italy and became a very fine painter. He was as ill-tempered as his father, and very jealous. He sometimes painted his name on his pictures on a representation of a piece of paper torn by rats. Tliese were intended to represent other artists. At Seville he was appointed director of the Acad, of which Murillo was president. This did not please him, and ho went to Madrid. Stirling says he was made Superintendent of Royal Works, but died of chagrin because he was not made painter to Charles H., as he had been to Philip IV. Some of his best works are in the churches and convents of Madrid. HEREERA — HILTON. 329 He painted flowers, fish, and still-life, and on account of his fondness for reproducing the finny tribes, the Italians called him " II Spagnolo de gli Pesci ' ' Hersent, Louis, born at Paris, 1777. His portraits of eminent persons are numerous, and these, as well as his historical and poetical subjects, are seen in tlie richest French collections. He was a mem- ber of the Institute, of the lioyal Acad, of Berlin, and an oflicer of the Legion of Honor. His wife, whose maiden name was Manduit, was also a good artist. Some of her works sre in tlie galleries of the Luxembourg and at Eontainebleau. Heusoh, Willem de, born at Utrecht. Died 1712 (?). Pupil of* Jan Both, he imitated him almost perfectly. The small figures in his landscapes were usually supplied by other artists. His works are rare in public collections. There is one in the Louvre, one in the Vienna, and one in the Cassel Gall. He also executed thirteen etch- ings, which resemble the works of Both as much as his paintings do. Heusch, Jacob de, born at Utrecht (1657-1701). Nephew and pupil of the preceding, he was not his equal. One of his works is in the Vienna Gall. Heyden, Jan van der, born at Govinchem (1637-1712). His pictures arc architectural, and represent well-known Dutch build- ings, palaces, churches, etc., or the canals of Dutch towns with houses on their borders. He finished his works with exquisite care. The figures were supplied by Van der Velde and other painters. Smith gives a list of 158 pictures by Van der Heyden, which is a larire number when we consider his manner of finish. Many of his works are in England, but most large European collections have spec- imens of his painting, and all his views are well selected, warm in color, and admirable in arrangement. Highmore, Joseph, born in London (1692-1780). He was a man of large acquirements, and wrote an excellent work on Perspec- tive. He was more successful in portraits than in historical pictures. His picture of the poet Young is at All Souls College, Oxford. Hilliard, Nicholas, born at Exeter (1547-1619). He distinguished himself as a miniature painter during the reign of Queen Elizabeth, and was also a favorite of King James I. , who gave him an appoint- ment as drawer of small portraits and embosser of medals. Hilton, William, born at Lincoln (1786-1839), 'An English his- torical painter. Unfortunately he used some method of mixing his colors which is fast destroying his works. He gave much time to tlie study of anatomy, and represented such subjects as gave good oppor- tunity for the display of the human figure, such as the rapes of Proser- pine, Europa, Ganymede, etc. He had much taste in design, and his color was brilliant and harmonious. He became a member of the Royal Acad, in 1819, and keeper of the same in 1827. One of liis best works is " Edith discovering the Body of Harold." It is in the Vernon Coll., and is perishing rapidly. 330 HIRE — HOEFNAGEL. Hire, Laurent de la, born at Paris (1606-1656). Painter of his- torical subjects. His works are in tlie Louvre, and (some of the best) in the ch. of tlie Carmelites at Paris. His pictures are star- tling in the brilliancy of their coloring, and he introduced fragments of fine architectural remains, large plants, and other objects, which added to their effect. His drawing of the figure was correct, and often graceful. Hobbema, Mindert. Of the life of this celebrated painter scarcely more can be said than that he was living in 1669. He divides with Ruysdael the honor of being the best Dutch landscape painler. His works long remained unappreciated, but now sell for enormous sums, one having brought £4000. Many of his best works are in England and in private collections. The specimens seen in Continental gal- leries are ordinary, and he cannot be judged by them. One of the best is in the Berlin Mus. The National and Dulwich galleries have each one of his works. The figures in his pictures were often ex- ecuted by Adrian Van de Velde, Philip Wouvermans, and other distinguifhed artists. His color is warmer and more golden than Ruysdael's, and he is more fond of sunshine. His impasto is solid. His foliage is exquisite, and the representation of a, variety of trees _ gives variety of tone. His single trees are less lofty and grand than Ruysdael's, but more individual. He often painted villages sur- round.;d with trees, and water-mills sometimes make a prominent feature. He represented ruined castles rarely; wheat fields, mead- ows, and small pools more frequently. His foregrounds are very fine, and he was able to finish in detail without sacrificing general effect. Hodges, ■William, born in London (1 744-1797). Pupil of Wilson. He accompanied Captain Cook around the world, and lived some time in India. His pictures embrace views in many different coun- tries, and are well selected and picturesque. Hoeck, Jan van, born at Antwerp (1598-1651). After studying with Rubens he went to Rome ; he then painted much for Ferdinand II. at Vienna, and on his return to Antwerp was principal painter to the Archduke Leopold. His " Christ on the Cross," in the Cath. at Bruges, is one of the best pictures in Belgium. He painted both history and portraits, and was a good colorist and correct draughts- man. Hoecke, Robert van, born at Antwerp, 1609. He painted bat- tles, camps, troops, and military scenes. His pictures are in the Ber- lin and Vienna galleries. He drew well, understood perspective, and had a spirited touch. He also etched a set of plates. These are slightly done, but are skilful and pleasing. Hoefnagel, Jooris, born at Antwerp (1545-1600). Pupil of Hans Bol, whom he much excelled. He travelled much, and made very numerous drawings in different countries. These comprise evefy possible variety of subject. He decorated manuscripts in the old HOEFNAGEL — HOGARTH. ' 331 manner. A Roman migsal illuminated by him is in the Imperial Li- brary at Vienna; he feboted on it eight years. He also illustrated a book with all kinds of animals, birds, and fishes. One of his single pieces is in the Library at Brussels. His works are in the spirit of his time, and void of interest in their design, but their execution and finish are wonderfully painstaking and skilful. Hoekgeest, G. or C. Nothing is known of the history of this artist. Two fine pictures of the interior of the new ch. at Delft, painted by him, are in the Mus. at the Hague. They are equal to the best art of his country. Hoet, Gerard, born at Bommel (1648-1733). He first assisted his father, who was a glass painter, tlien studied with Warnar Van Rysen. After various ups and downs, he settled in Utrecht, where he founded an academy of design, of which he was director. . His pictures are very well esteemed, especially the cabinet sizes. His design is correct and his color agreeable. Hofland, Thomas Christopher, born in Nottinghamshire (1777- 1843). An excellent landscape painter. He excelled in depicting stirmy skies and seas. It is to be regretted that so few of his works remain. Hogarth, ■William, born in London (1697-1764). The name of this painter is first in the history of British art, and he ranks with the eminent masters of his class in all countries. He was as eminent as a satirist, as he was as an artist, for he presented the lessons to be drawn from the follies of his time, more powerfully with his brush than any writer could do with liis pen, or any preacher with his ser- mons, even had he a thousand voices. In 1712 Hogarth was ap- prenticed to a silversmith, and in engraving armorial bearings, the grotesque creatures ho copied assisted to strengthen liis natural love and aptness for the ridiculous. After 1718 he was much occupied in engraving for the booksellers. In 1730 he 'married the daughter of Sir James Thornhill, witliout that painter's consent. At that time he painted small genre subjects and portraits. In the latter depart- ment, he was quite successful, but his ' patrons discovered what he well knew, that he was better fitted for something else. Soon after his marriage, he commenced his famous series of the " Plarlot's Prog- ress." When some of these were sliown to his father-in-law, he de- clared that a man who could paint- such pictures, could maintain a wife who had no portion. They were Soon fully reconciled to each other. The " Harlot's Progress," the " Eake's Progress," and "Mar- riage i la Mode " were painted from 1 734 to 1 744. The satire of these works is immense; the costumes are excellent, and the painting good. He managed his interiors well; he gave them breadth, and the furni- ture and other accessories were exactly and strikingly rendered with- out becoming too prominent. His works of this kind are almost numberless. No place in society, no phase of life escaped his brush. 332 HOGARTH. Lord Orford says, "It would be suppressing the merits of his heart to consider him only as a promoter of laughter. I think I have shown that his views were more generous and extensive. Mirth colored his pictures, but benevolence designed them. He smiled like Socrates, that men might not be offended at his lectures, and might learn to laugh at their own follies." In 1753 he published a book called " The Analysis of Beauty." It is a matter for congratulation, that many of his works are in public galleries where all the world may see them, and that so many of his own plates exist, by means of which the lover of art can enjoy what the best engravings of his works by MARKIAGE A. LA MODE. BY HOGASTH. In the National Gall. other artists can never give. The following list comprises the largest part of his own engravings : — Portrait of himself, with two figures and two Cupids. 1720. A print emblematical of the South Sea Bubble; W. Hogarth, inv. et sculp. 1721. Thirteen plates for Aubrey de la Motraye's Travels in 1723. Seven small prints for Apuleius' " Golden Ass." 1724. Fifteen Head-pieces for Beaver's " Military Punishments of the Ancients." Burlesque on Kent's Altar-piece in S. Clement's. 1725. A Masquerade invented for the use of ladies and gentlemen, by the ingenious Mr. Heidegger. 1725. HOGARTH. 833 A just view of the British Stage. 1 725. Twelve prints for " Hudibras; " large sot. 1726. The small set (17) with Butler's head; this head is that of J. B. Monnoyer, tlie flower painter. Mary Tofts, the rabbit woman of Godalmin. 1726. Rich's triumphant entry into Covent Garden. 1728. Sarah Malcolm, executed in 1732 for murder; W. Hogarth, ad vivum pinxit et sculpsit. This portrait was painted two days before her execution. , . A Midnight Modern Conversation. 1733. Southwark Fair. 1734. Tlie Harlot's Progress; six plates. 1733 and 1734. The Rake's Progress; eight plates. 1735. The Sleepy Congregation. 1736. The Distressed Poet. 1736. The Lecture ; datur vacuum. 1 736. The f6ur Times of the Day. 1 738. Strolling Actresses in a Barn. 1 738. The Enraged Musician. 1741. Marriage j» la Mode; engraved under the direction of Hogarth, by Sootiu, Ravenet, and Baron. 1745. Portrait of Martin Folkes, Esq. 1 745. Simon, Lord Lovat; an etching. 1746. Garrick in the character of Richard III. ; engraved by Hogarth and Grignion. 1746. The Stage-coach, an Election Procession in the yard. 1747. Effects of Industry and Idleness; twelve plates. 1 747. The Gate of Calais; " Oh the Roast Beef of Old England 1 " By Hogarth and Mosely. The March to Finchley; L. Sulivan, sc, W. Hogarth, dir. 1748. Portrait of Hogarth with a pug dog. 1 749. The Stages of Cruelty; four prints. 1751. Paul before Felix ; scratched in manner of Rembrandt. 1751. Moses brought to Pharaoh's Daughter ; Hogarth and Sulivan. Columbus breaking the Egg. 1 755. Four prints of an Election; 1755; Hogarth, Grignion, La Cave> and Aveline. Portrait of Hogarth painting the Comic Muse. 1758. The Cockpit. 1759. The Five Orders of Periwigs. 1761. Credulity, Superstition, and Fanaticism. 1762. The Times; two plates. 1762. John Wilkes, Esq.; drawn from life, and etched by Hogarth. 1763. The Bruiser; C. Churchill in the character of a Russian Hercules. 1763. The Good Samaritan. 334 HOGARTH — HOLBEIN. The Pool of Bethesda. Sigismonda. The Analysis of Beauty ; two plates. Hogenberg. This is the name of several engravers v?ho flourished during the last half of the 16th century. It is believed that one of them executed the first portrait that was engraved in England; but the honor is a matter of dispute between Remigius and Francis Hogenberg. They all engraved portraits and illustrations for books. The other names were John and Abraham. Holbein, Hans, called Old Holbein. There is very little known of this painter. In the Mus. at Augsburg, there is a picture dated 14.59, inscribed Hans Holben, C. A.; attributed to a painter who was probably the grandfather of Hans Holbein, the Younger. This pic- ture has little interest as a work of art, and represents the Virgin, life-size, seated on a bank, holding the Child. Another work by this same master is dated 1499, and has some interesting facts con- nected with it. In 1484 Pope Innocent VIII. granted certain indul- gences to the nuns of S. Catherine, at Augsburg, providing that they should pay their devotions at the altars of the seven ancient basilicas of Rome. But he allowed that pictures of these churches should an- swer the same purpose as the churches themselves. Tlie nuns there- fore, when they rebuilt their convent in 1496, ordered a series of these pictures which were to be so beneficial to them. Old Hans Holbein represented that of S. Maria Maggiore. The picture is of the average excellence of the German artists of the 15th cen- tury. The signature and date are on two bells; on the first is Hans Holba, the name being finished with in on the second, and the date 1499. In the picture is a tomb-stone, on which is an H. Nothintr whatever of circumstance or fact can be related with any certainty of this artist, and many authors have even doubted his existence. Holbein, nans, the Father, born about 1459, and probably the son of Michael Holbein, a leather dresser. There is a panel paintino- at Hampton Court, dated 1512, called "Holbein's Father and Mother," believed to represent this Hans Holbein the father, and his wife. In the register of taxes for Augsburg, the name of Hans Holbein, Maler, occurs eleven times between 1494 and 1516. The earliest known work by him is a " Madonna and Child with Angels," in the Moritz Capelle, at Niirnberg. There are three of his pictures in the Augsburg Gall., representing the " Basilica of the Vatican," the " Trinity," and a large picture in three parts containing the " Transfiguration," with the " Feeding of the Four Thousand " on one side, and the " Casting out a Devil " on the other. His pictures are numerous in many churches and galleries, such as Munich, Frank- fort, Basle, and Schleissheim. But in the Cath. of Augsburg, his ability is displayed at its best in the four works painted in 1493, for the old Abbey of Weingarten, in Wiirtemberg. These have been HOLBEIN. 835 restored and fitted up with rich, gilt Gothic carvings, and placed over four altars in the body of the Cath. He executed an immense number of pictures for churches and religious houses. When these houses were suppressed, his pictures were scattered, and his serial works are now separated. In one saloon of the Munich Pinakothek, there are sixteen works on panels, by this Holbein. The date of his death is not known. He was living in 1521, and in 1524 his name was registered among the deceased artists. Holbein, Sigmand, brother of the .preceding, and also an artist. But one painting with his signature is known, although others are assigned to him. He was a bachelor, and Hans Holbein, the Younger, with his sisters, inherited his property. His will was dated in 1 540. The time of his death is not known. Holbein, Ambrose. This artist was either the brother or half- brother of Hans Holbein, the Younger. He was admitted a member of the guild of painters at Basle in 1517, and it is supposed died soon after. Four pictures attributed to him are in the Mus. at Basle. A picture in the Belvedere Gall, is also ascribed to. him, and upon some wood-cuts and drawings the monogram of an A. H. is believed to be his. ■r |-* T-) J Holbein, Hans, the Younge.?j I [ j XJTL ^"""^ ^" Augsburg, 1494 or 1495; died in London, 1543. A drawing of the year 1509 is the earliest known work of this painter. He was instructed by his father and his reputed uijcle, Hans Burgk- mair. Bj the time he was fifteen he received independent com- missions. The Augsburg Gall, has four compositions which are his earliest known works, about 1510. In the same Gall, are pictures extending to 1516 in which his advance is remarkable. The precious picture of his father and mother, dated 1512, has already been referred to. The " Martyrdom of Sebastian," in the Pinakothek at Munich, a very interesting early production, could not have been' painted later than 1516. It is a triptych five feet in height and seven in width. The " Execution of S. Sebastian" is the centre picture. The right wing represents " S. Barbara," and the left " S. Elizabeth of Hungary giving Drink to the Sick." This last is a fine picture and much superior to any work of Hans Holbein, the Father. In the Imhof Coll., in the Mus. at Berlin, are three volumes of the early drawings of this painter, executed from 1509 to 1516. For his early years they are just such an illustration as the Windsor portfolios are of his later time. About 1516 he removed to Basle. The works which have been ascribed to him in that city are innumerable. In truth, almost everything which was painted there has been, first or last, credited to him, and it is only at a comparatively recent time that his works have been separated from the mass. In England, too, for a time, nearly every portrait of the reign of Henry VUI. was 336 HOLBEIN. attributud to Holbein. In 1517 he was called to Lucerne to decorate a house which was still in existence in 1824. The library of Lucerne has sketches of all the compositions painted there. He also executed works for the Augustines of Lucerne and for the parish church in Altorf. He entered the guild of painters and took up the rights of citizenship at Basle, in 1519. It was in this year that Charles V. became Emperor of Germany, and that Hol- bein formed his friendship with Boniface Amerbach. Holbein's portrait of the latter, dated this year, is one of his very best ; and his very remarkable .picture, now at Lisbon in the Pal. of the King of Portugal, called the " Fountain of Life," was also painted in 1519. In 1521 Hans Holbein was commissioned by a council of Basle to decorate the new Eath-house or Town Hall. These works, which represented historical and Scriptural scenes, have been de- stroyed, and the Mus. of Basle possesses very insignificant fragments. The easel pictures which he painted at Basle are rare, and it is a reasonable supposition that at this time he was often employed as a house-decorator and a designer for stained glass and silver work ; indeed, designs for these various styles of work are preserved in the museum. His more prominent pictures of this time are Jacob Meier and his wife, 1516; " Adam and Eve," 1517; portrait of Dr. Amerbach, 1519; one of John Froben, the printer; one of the cele- brated Erasmus; a life-size picture of " Christ lying in the Tomb," 1521 ; the very remarkable portraits of his wife and two children, 1525 or 1526; ajd an exquisite portrait of himself, a drawing in body-color, painted when he was twenty-one. The years 1523 and 1524 are not accounted for. He probably made many drawings for stained glass, and prepared drawings for wood-cuts. In the hall of designs, at Basle, there are ten sets of drawings for the " Passion of our Lord." His preparation for the " Dance of Death " must also have occupied much time. Among his friends at Basle, Froben, the ■ printer, and the celebrated Erasmus deserve especial mention. The former employed him somewhat for book illustrations, and he made various portraits of both. That of Erasmus* writing, at Hampton Court, was a fine work. The ohe of most reputation is at Longford Castle in Wiltshire. One at Windsor was painted in 1537, and it is said that in 1525, the year in which Luther married the nun, Cather- ine Bohra, Holbein painted both these remarkable characters. But this needs confirmation. The character of Holbein has been repre- sented in a most unfavorable light. That he was a drunkard, the number and quality of his works seem sufficiently to contradict. The prominent remaining charge against him is his separation from his wife. He married Elizabeth Schraid, a widow, with one son named Franz. The picture called " Holbein's Wife and Children," already mentioned, probably represents Franz, and Philip, .the son of Holbein. The mother is a coarse-looking, unattractive, middle-aged HOLBEIN. 337 woman. It is said that Holbein was driven from Basle by hia wife's temper. He occasionally visited her, and probably contributed to THE BUEGOMASTEB MEIEK MADOSNA. BY HOLBEIN. Dresden Gall. Ler Support at all times. The Meier Madonna, in the Dresden Gall., commonly considered the masterpiece of Holbein, is believed to 22 338 HOLBEIN. have been painted a short time before he went to England. Hol- bein has been considered as the painter of the "Dance of Death," both at Basle and Berne. The true authors of these pictures are now known to have been Kluber and Nicholas Manuel, but it is believed that Holbein made a set of designs for engravings of this subject, which appear to have been first published at Lyons in 1538, although they must have been prepared much earlier. There were forty-one cuts in all. His Old Testament cuts appeared at the same time with the " Dance of Death." These are all assigned to the time when he was in Basle, on account of the leisure he is known to have had. Want of employment is the only reason Erasmus gave for his going to England. He arrived thereat the close of 1526, bearing a letter of introduction from Erasmus to Sir Thomas More, who at once received liim with kindness. The principal painter in England at that time was ]>uke Hornebolt, who persuaded Holbein to take up miniature painting. 3 527 was the year in which Henry Vni. fell in love with Anne Boleyn. This was the first year of Holbein's occupation in England, but he does not appear to have entered the King's service until after 1530. In the mean time he painted Sir Thomas More's family and friends, among whom were Archbishop Warham and Sir Henry Gilford, both fine and important pictures. In 1528 he painted Sir Thomas and John Godsalve, on the same panel, now at Dresden; and the astronomer Kratzer, sur- rounded by his instruments, now in the Louvre. It is not probable that Holbein ever painted Queen Catherine or Cardinal Wolsey. The pictures of More and his family are very numerous. The most imposing one of Sir Thomas is that formerly owned by Mr. Farrer. There is a story connected with one of these portraits of More which relates that on the day of the death of the ex-chaneellor, after Henry VIII. had reproached Anne Boleyn, who had never for- given More for refusing to be present at her wedding, she looked at this picture and exclaimed, " Oh, me! the man seems to be still alive ! " and, seizing it, threw it into the-strget. Eventually it was taken to Rome and was in the Palazzo de' Crescenzi. Wornum says of this, "Though it may not be true, it is not a bad story." Hol- bein returned to Basle in 1530, and completed the frescoes in the Town House. This being done he returned to England. When or how he was first introduced to the King is not exactly known. The superb portrait of George Gyzen, at Berlin, was painted in 1532. In Ruskin's description of this picture he calls it inexhaustible. For the merchants of the steel-yard Holbein executed two pictures called " Riches " and " Poverty." These were probably painted in 1532, and perished at Whitehall in 1698; but in the British Mus. there is a drawing, considered the original of the " Riches," and both pictures are known by plates. In 1532 Holbein was summoned to Basle by a council of the city. He received this communication, HOLBEIN. 339 it is believed, when at Calais witli the court on the occasion of the celebrated meeting called the Field of the Cloth of Gold. After 1533 Holbein rarely dated his pictures, and there is no authentic portrait by him of Anne Boleyn or her daughter, the Princess Eliza- beth. To this year belongs the picture called the " Two Ambassa- dors," supposed to represent Sir Thomas Wyatt and some learned friend. They are standing by the side of a double table, one in a magnificent dress, the other in a doctor's cap and morning-gown. It is not his most refined picture, but the largest, atid that on which he labored most. In 1536 the fine portrait of Sir Richard Southwell, in the Uffizi Gall., was painted. The portrait called Jane Seymour, in the Belve Jcre Gall, at Vienna, is one of the fine, small half- lengths that Holbein often executed. The picture of Mr. Morett, in the Dresden Gall., has until lately been attributed to Leonardo da Vinci. It is, in truth, one of the finest of Holbein's works. It is not known whom it represents. Thomas Morett was a distinguished jeweller who served Henry VIII., and was a friend of Holbein, who often worked con amore. The original drawing of this picture was discovered in 1860, and is now hung beside the picture. The first payment made to Holbein as in the service of the King occurred in 1538. After this time Holbein painted many portraits of the Royal family. In the same year he was sent to Brussels for the purpose of painting a portrait of the Duchess of Milan, whom the King had been recommended to make his fourth wife. Her ladyship allowed him a sitting of three hours, in which he made a sketch which has ■ been thought to be a small panel, with the head and hands of the Duchess, now at Windsor. According to the laws of Basle a citizen could not enter the service of a foreign sovereign without the con- sent of the council. In the autumn of 1538 he visited his home and obtained permission for two years longer residence in England. Great exertions were made in Basle to retain liim there, but at length a document was made out permitting him to remain two years longer in England, upon the condition that at the end of that time he should settle in Basle, and should receive _a pension for life of fifty florins a year. Just as the two years expired his uncle Sig- mund died and left him property in Berne, and this was taken pos- session of by .Franz Schmid in behalf of his mother. After this time there was no motive for Holbein to return to Basle; but the ofScial document prepared and addressed by the council of that city to Henry VIII., is most complimentary to the artist, and such an one as could scarcely have been written for a man of immoral char- acter. The King became very fond of Holbein and treated him with much generosity. After 1537 he had a painting-room in the Pal. at Whitehall. In 1539 he was sent to the Duchy of Cleves to paint a portrait of Anne, daughter of the Duke, who was married to the King in 1540. It is believed that Holbein flattered this picture, for 340 HOLBEIN, when the King came to see the lady he liked the picture much better than the original, from whom he was divorced immediately after marriage. Walpole went so far as to say that " Holbein, by practising the common flattery of his profession, was the immediate cause of the destruction of that gi-eat subject (meaning Cromwell), and of the disgrace that fell on the Princess herself." The half- length picture of Anne, in the Louvre, is a homely face, but an agreeable one; and the fact of its being on parchment has induced many to believe that it is the original picture, taken by Holbein during the marriage negotiation. Among the other important pic- tures painted by Holbein arc the portraits of the Duke of Nor- folk; Sir Anthony Denny ; and numerous pictures of Henry VIII., and his family in groups, portraits, and miniatures. There also remain various drawings of ornamental designs, among which that for the Jane Seymour cut is important. One of his last works was the portraits of the barber-surgeons, which represents the King granting a new charter to that society. On the 7th of October, 1543, Holbein hastily prepared his will, on account of the plague which was raging. He died between the 7th of October and the 29th of November of the same year, but of the circumstances of his death or burial noth- ing is known. There is an anecdote that at one time, when Holbein passed through Strasburg, he visited a distinguished painter without making himself known. He went next day when the artist was out, and painted a fly upon the picture on the easel. When the master returned he noticed the fly, and attempted to drive it away. He found he could not do so, and when, on inquiry, he learned who had been there, he sought Holbein all through the city ; but he had already left for England. When he was painting at Whitehall there came to his studio one day a nobleman who forced himself into the room, although the artist told him that he was engaged in painting the portrait of a lady for the King. Holbein was so anory that he seized the man and threw him down-stairs. Without waiting to see what had happened, he rushed to the King and confessed what he had done. The King bade him wait in his apartment until he learned more of (he matter. Almost immediately the nobleman was brought in on a chair, much injured in body and temper. He com- plained bitterly to the King, who made light of the matter, when the nobleman lost his temper and threatened to take the law into his own hands. This roused the anger of the King, who exclaimed, ' ' Now you have no longer to deal with Holbein, but with me, the King. Do you think this man is of so little consideration with us ? I tell you, my lord, that out of seven peasants I can, if" I please, any day make seven earls; but out of seven earls I could not make one such- artist as Hans Holbein." The Earl besought his pardon, and the King warned him that if he attempted any violence on the j)ainter, either himself or through others, he would treat it as an HOLBEIN — HOLLAR. 341 offence against his own royal person. As an engraver on wood Holbein deserves especial notice. Before leaving Switzerland he was employed by the most celebrated publishers of his time in Basle Zurich, Leyden, and Lyons. His wood-cuts of the " Dance of Death " are his most important works. When complete, t^iere are fifty-three prints ; but it is rare to find more than forty-six. They are small, upright pictures, surrounded by a border. His Old Tes- tament prints numbered ninety, and the best impression of them was published in 1539 at Lyons, by the brothers Tresohel. These two series have been often reproduced. That engraved by Hollar in 1789 is finely executed. That by Dance, in 1833, is also excellent. Holbein also made wood-cuts for a catechism executed in 1648. This work is extraordinary and rare. It was republished at London in 1829. The " Pastime of the People, or the Chronicles of Divers Realms, and most especially of the Realm of England," printed first in i5?9, was republished by Dibden in 1811. Very few copies exist. In an illus- tration of the Revelation of St. John, published by T. Wolif in 1523, twenty-one wood-cuts of the Apocalypse are attributed to Holbein. A celebrated wood-cut of an upright figure, under a decorated gate, called Erasmus of Rotterdam, has been more recently printed ; for the copper still exists. In the first and second impressions there were Latin inscriptions which have been omitted more recently. His ' ' Moriae Encomium " has been frequently printed. It consists of plates after his humorous drawings, and is by no means among his best produc- tions. There are also many title-pages, symbolical alphabets, etc.; and the following portraits : — Prince Henry Frederick; full length. Thomas Egerton, Viscount Brackley, Lord Chancellor. Sir John Hayward, Kt., LL. D. Martin Billingsley, writing master. Giovanni Floris, Italian master to Anne of Denmark. Michael Drayton ; prefixed to his works. Holland. See Dance. [^^\rnl Hollar, 'Wenoeslaus, born at Prague (1607- _-»T3 V\Lt 1677). This eminent engraver was the pupil VVT ' LliAlJ of Matthew Merian. In 1636 the Earl of Arundel met Hollar in Cologne, and considered his talents so re- markable that he engaged his services, and took him to England, where he made many plates, a large number being from the pictures in the Arundel Coll. On the breaking out of the civil war of 1645, the Earl removed to Antwerp, and thither Hollar also went and con- tinued to engrave from the pictures of his patron. The Earl went to Italy, and Hollar worked for the booksellers, but his pay was so small that he ventured to return to England in 16^2. Charles H. was restored at length, and he hoped for better days, but the plague broke out, and he was reduced to great misery. He was afterwards 342 HOLLAR — HONTHORST. sent by the king to make drawings of Tangier, but his pay was only • £100. He died in the depths of poverty; the bailiffs even wont to take his bed, but he begged them to leave it until he could die, which was not long. His prints number nearly 2400. They are very much sought by collectors and arc very dear, especially some which arc scarce. The prices given for these are enormous. His portraits and landscapes are very fine, as are also his costumes of women, furs, shells, insects, etc. HolloTway, Thomas (1748-1827). An English engraver, princi- pally known for his engravings after the cartoons of Raphael. Their execution is very elaborate, but connoisseurs prefer the freer manner of Dorigny. He engraved much for books and magazines. Hondekoeter, Melchior, born at Utrecht (1636-1695). He was descended from a noble family, his great-grandfather being Marquis of Waterloo. Giles Hondekoeter, his grandfather, and Gisbert, his father, were both artists. Melchior received his first instruction from his father, after whose death he studied with Jan Weenix, his uncle. He painted birds and animals, alive and dead. His live birds are his best works, a;nd are very excellent. His drawing is good, and he is true to life. It is said that he had a fine cock so well trained that he would keep any position his master wished, long enough to be painted. liis pictures are in the Louvre, and all the large German galleries. The Amsterdam Mus. has nine, and that of the Hague has four. Hondius, Abraham, born at Rotterdam (1638-1695). He lived many years in England. His favorite subjects were dogs. He ac- quired a good reputation, but his pictures are open to grave criti- cism. His drawing is incorrect and his color not pleasing. His very rare etchings do him more honor as an artist than his pictures. Tliere are ten of these. Honthorst, Gerard, born at Utrecht (1592-1662). Pupil of Abraham Bloemaert. He went to Rome, and acquired the manner of Caravaggio. His pictures found favor in Remo and on account of his fondness for painting night scenes he was called Gherardo dalle Notti. After his return to Holland he opened a school which was well attended, and his reputation having reached Charles I., that king invited him to England. He only remained six months, but during that time painted several historical pictures. He was also hon- orably employed by the King of Denmark and the Prince of Orange. In his later years he painted many portraits. His wonderful facility in the use of the brush enabled him to execute a large number of works, and these are seen at the Louvre, in Munich Gall., at the new Hdtel de Ville of Amsterdam, Berlin Mus., etc. They embrace sub- jects from sacred and profane history, mythology, allegory, and genre designs. Honthorst, Willem. Flourished in the middle of the 1 7th cen- HONTHORST — HORREMANS. 343 tury. Brother of Gerard. Many of his portraits arc in the Prussian royal residences, and resemble the works of his brother. Hoogh, Peter de. Nothing is known of the history of this painter. His works are dated from 1658 to 1670. He painted interiors and conversations, and was remarkable for his effects of sunshine; in fact, he may be considered the painter of full, clear sunlight. He often represented two rooms, the figures being in the first, and the second full of sun ; even the dust in the air can almost bo seen. In this no other master approaches him. His impasto is excellent, and his touch very delicate. His out-of-door scenes arc usually in a court-yard or garden, and are very picturesque. About 100 pictures are known by this master, and many of these are in private collections in England. The Louvre, Amsterdam, and Munich galleries have specimens, as have also the Van der Hoop Coll., at Amsterdam, and the Landauer Briiderhaus at Nuremberg. Hooghe, Romeyu de, born at the Hague about 1638. An en- graver of some merit. He left a considerable number of works, some of which are in good' estimation. Hoogstraeten. There were three painters of this name. The father, Theodore or Dirk, painted landscapes and still-life. The sons, Samuel and John, painted a variety of subjects. Samuel was the most noted, and was born at Dort (1627-1678). He painted genre subjects, marine views, animals, and still-life. His touch was deli- cate, his color clear and agreeable, and he painted with great care- fulness. The Vienna and Hague galleries have attractive works by this master. Hopfer, David, Jerome, and Lambert. Three engravers of Nuremberg who flourished about the middle of the 1 6th century. They signed their plates with a hop-blossom between the initials (for their oame means hop-plant), and this was mistaken for a candle- stick by some, and they were called the Masters of the Candlestick. Their plates are stiff and of no great merit, but some of them are prized on account of their rarity. Hoppner, John, born in London (1759-1810). A fine colorist and portrait painter. He also painted a few fancy subjects, oi which the " Sleeping Nymph " was one of the best. His state portraits were especially good, as he gave great richness to the robes, and man- aged them well. He loved to represent his lady sitters in rustic cos- tumes. His landscape backgrounds are fine, and he was accustomed to employ his leisure in making chalk sketches, which were very beautiful. Horremans, John. There were two artists by this name, father and son. Both died in 1759. They painted similar subjects, con- versation pieces. The characters in the pictures of the father were usually peasants, while those of the son were from the higher walks of life. Their works sometimes suggest a thought of Hogarth. They 344 HOEREMANS — HOUBRAKEN. are not uncommon in England, and are in the Antwerp Mus., and the Cassel and Dresden galleries. Hoskins, John. The name of a father and son, both miniaturists of the reign of Charles I. The works of the father are very ex- quisite, those of the son not as fine. The father used a monogram, the son the simple initials J. H. The father died 1 664. I S Hoxibraken, Arnold, born at Dort, 1660. He painted portraits and small historical subjects, and wrote a biographical account of the Dutch artists. lie also made some etchings, but is more celebrated as the father of the succeeding artist, than for his pictures. Houbraken, Jacob, born at Dort, 1698. This eminent engraver ■especially excelled in portraits, of which he made a great number. HOUBRAKEN — HUCHTENBURGH. 345 His plates are not all of the same excellence, but some of them have not been surpassed. His drawing is correct, and his execution deli- cate, while his stroke is bold, and his color brilliant. Houdon, Jean Antoine, born at Versailles (1741-1828). At the age of eighteen, he gained the grand prize for sculpture, in the French Acad., and went to Rome, where he remained ten years. He was invited to America by Franklin, and executed the statue of Washington and the bust of Lafayette, for the Capitol at Richmond, Virginia. His statues of young gu-ls were very mOch admired. For the use of the French Acad., he made two representations of the human frame without the skin, which showed great knowledge of anatomy. His principal works were a statue of "Morpheus; " a "Diana," for the Empress of Russia; statue of Voltaire, for the peristyle of the French theatre; busts of Rousseau, D'Alembert, Marshal Ney, Napoleon, Josephine, and others, and a statue of Cicero. Houston, Richard. This engraver excelled in mezzotint, and in the chalk manner. He executed a large number of portraits and various other subjects, many of which are much esteemed. Howard, Henry, born in London (176971847). A painter of portraits and fancy or historical subjects, which were all highly poetic. After studying in Italy, and visiting Vienna and Dresden, he settled in London. He became Professor of the Royal Acad, in 1833, and delivered very excellent lectures there. Most of his fancy subjects are in private collections. Huber, John Rodolph, born at Basle (1668-1748). He studied in Italy, and became a painter of considerable merit. In 1696 he re- ceived the aijpointment of court painter to the Duke of WUrtemberg. He painted some historical subjects and some ornamental pictures for the palace, but was chiefly employed on portraits, of which he painted So many that he was called the Tintoretto of Switzerland. Huchtenburgh, Joon Van, born at InD T V/|-R Haarlem (1646-1733). He studied under ■* -•— ^ Jan Wyck, then went to Rome, and re- turning, stopped in Paris and received instructions from Van der Meulen. He painted landscapes, hunts, and battle-pieces. The latter were his best works. About 1708 he received commissions from Prince Eugene, and an excellent picture of that Prince on horseback is in the Hague Gall. Others are in the Louvre and Amsterdam Mus. His chef-Jan (died 1 708) painted in the manner of Jacob Ruysdael with much power, but his works are scarce. There was also Nicholas (born 1684), who painted in the style of Teniers, and Theodore (born 1620), an engraver whose plates arc etched with freedom and spirit. Ketel, Cornells, born at Grouda (1548-1602). A reputable por- trait painter. He went to England and painted Queen Elizabeth, and many other persons. He also painted the Company of Marks- men of Amsterdam, and other groups. Keuleii or Ceulen, Jausons Van. Said to have been born in England of Dutch parents. He was a, good portrait painter of the time of Charles I., and it is probable that many portraits now in Eng- land, and attributed to Vandyck, were by Van Keulen. Keux, John Le, born in London (1783-1846). An eminent archi- tectural engraver. He executed plates for many fine works, ainong which are Neale's Westminster Abbey; Britton's Architectural An- tiquities, Cathedrals, etc.; and the first volume oi Neale's Churches. Keyset, Theodor de. Flourished 1625-1660. Very little is known of him, but he left some good portraits, large and small. One of the latter is in the National Gall. An Archery Company is in the new HStol de Ville at Amsterdam, and at the Hague there is a fine work representing the "Burgomasters of Amsterdam Deliber- ating upon the Reception of Mary deMedicis," in 1638. Keyzer, Henry de. A portrait painter whose works are in the Amsterdam Mus. Kierings or Cieiincx, James, born at Utrecht (1580-1646). A painter of landscapes in which Poelemburgh was accustomed to paint the figures. He went to England, and was employed by Charles I. to make views of his country houses. Elilian. Zaui mentions twenty engravers of this name. Lucas Kilian was the first of a family of them who flourished from 1600 to 1750. He was the pupil of Dominic Custos, and also studied in Italy. His son Wolfgang, and his grandsons Philip and Bartholomew, were also engravers; and another, named Wolfgang Philip, and still another, Philip Andrew, were of the same family. Lucas and Bar- tholomew were eminent, and their works are much admired. King, Charles B, born at Newport, Rhode Island (1786-1862). This artist lived at Washington in the winter, and his studio con- tained many portraits which are valuable as likenesses rather than as works of art. This is especially true of some portraits of Indians. He was a lover of art, and donated several thousand dollars and some pictures to Redwood Library, Newport, and left a sum of money, the interest of which is expended for musical instruction in the public schools of his native city. , KISS — KOBELL. 355 Kiss, Augustus, born at Pless (1802-1865). Educated at Berlin. This sculptor executed a great number of busts, groups, figures, and bas-reliefs in stone, bronze, and plaster. He also copied the works of antiquity, and those of the sculptor Schinkel, after whose designs he made the reliefs for the gable ends of the ch. of S. Nicholas, in Potsdam. His first great work was the " Amazon Struggling with a Panther," now in the Berlin Mus. This established his reputation everywhere. His other important statues are those of Fredei-ick the Great, Frederick William III,, and the group of " S. Michael and the Dragon." His works are much admired, but he sometimes sacrifices good taste to energy of action. Klerck, Henry de, born at Brussels, 1570. Pupil of Martin do Vos. His pictures are seen in some of the churches of Brussels, and throughout the Low Countries. They have considerable merit. Elomp, Albert. Flourished 1602-1622. His landscapes are sometimes mistaken for those of Paul Potter. One of these is in the Brussels Gall. Kneller, Sir Godfrey, born at Lubeck (1646-1723). A rival of Lely in portraiture. He had the honor of painting eight crowned heads, and an almost innumerable number of other persons. He studied under Rembrandt, Bol, Carlo Maratti, and Bernini. His pictures are full of mannerism. There are two very distinct opinions of his excellence, some admiring him very much, and others criticis- ing him with great severity. He painted very rapidly and often prostrated his talent for the sake of gain, but his carefully finished works show what he might have done, had he regarded fame more and money less. His design was correct, and he was especially skil- ful in painting the hair. His groups of children are, perhaps, his best works, and some pictures in which he has represented his female sitters as Madonnas, have considerable merit. A monument to his memory was executed by Rysbrach, and placed in Westminster Abbey. KnoUer, Martin, born at Steinach in the Tyrol; died 1804. Pupil of Troger in Vienna, and Kaphsiel Mengs at Rome. He be- came one of the best German historical painters. He worked in both oil and fresco. He excelled in depicting violent action. His color is best in his frescoes. His works are in the convent of Ettal and in that of Gries in the Tyrol; in the Town Hall of Munich and in the Gall, of that city; and in the Vienna Gall, there is a portrait gf Joseph Rosa, a former director of that gallery. Kobell, Ferdinand, born at Manheim (1 740-1 799). A good land- scape painter and engraver. His etchings number more than 230. Kobell, William, born at Manheim (1766-1834?). Son of the preceding. He also painted landscapes, and engraved. His etchings and aqua-tint engravings are much esteemed. Kobell, Franz, born at Manheim (1749-1822). Said to have ex- S56 KOBELL — KRAFFT. ecuted more than 10,000 pen sketches and drawings of landscapes and buildings. Kobell, Hendrik, born at Rotterdam (1751-1782). A painter of marine subjects which were well esteemed. j Kobell, Jan, born at Utrecht (1782-1814). A son of the preced- ing, and a good painter of animals. His pictures are much esteemed. He also left a few etchings and drawings. The latter are very valu- able. Kobell, Jan, Jr., born at Rotterdam (1800 ?-1838). Cousin of the preceding. A cattle and landscape painter. His paintings and drawings are very valuable. Kdninck, or Coninck, David de, born at Antwerp (1636-1687). Pupil of Jan Fyt, and also a painter of hunts, animals, and kindred subjects. He was powerful in color, animated in conception, and masterly in touch. His works are rare. There are two excellent ones in the Amsterdam Mus. Koniug, Salomon, born at Amsterdam (1609-1674?). An imi- tator of the manner of Rembrandt. He so closely followed that mas- ter that his pictures were often mistaken for his, though there is an inferiority manifest to one experienced in judgment. Koning painted a variety of subjects, and his works are seen in some English gal- leries, and the Berlin Mus. He also etched some plates which are decidedly Rembrandtish in effect, and are executed with a very light point. Koningh, Philip de, born at Amsterdam (1619-1689). One of the best scholars of Rembrandt. He painted portraits and land- scapes. The latter arc especially fine, and very valuable from their rarity and excellence. His finish and impasto are admirable; his color warm and clear, and the sense of distance which he gives is very fine. His works were adorned with figures by Lingelbaeh,. and with animals by Dirk van Bergen. Some of his finest works are in private English collections. Tlie Amsterdam, Hague, and Arem- berg ga.lleries have specimens; the latter is _a chef-d'ceuvre. In the Painters' Gall, at Florence there is a fine portrait of himself. Kraflft, Adam. An old sculptor of Nuremberg, believed to have been born there about 1430; he died at the Hospital of Schwabach in 1507. His early history is unknown. His first works in Nurem- berg arc the gable over the entrance hall of the Frauenkirclie, 1642, and the Seven Stages (at which Christ fainted under the cross), on the way to the Johannis Cemetery. The first gives no promise of his later excellence, but the latter are full of strong expression. The city of Nuremberg (especially the ch. of S. Sebald) is rich in the sculp- tures of Krafft. He had great power of conseption, and while there was a certain stoutness to his figures which was coarse, he o-ave a touching expression to the face, and sometimes reached a depth of feeling amounting to inspiration. That he could well represent the KRAFFT — KUI'ETZKY. 357 ordinary events of life is seen in the relief of the " Public Scales," in which the weigher stands observing the beam. Beneath it is written, " To thyself as to others." Another man adds a weight to one scale, and the merchant who is to be taxed puts his hand reluctantly into his money bag. A " Burial of Christ," in a chapel 'of the above- named cemetery, is said to have been his latest work, and executed in 1507. From 1496 to 1500 he was employed upon the Stone Sacra- mentsgehause for the ch. of S. Lawrence. This is one of his most artistic works, and is 62 feet in height. The lower structure is sup- ported by the kneeling figures of Krafft and two of his associates. A slender Gothic pyramid rises from this, adorned with bas-reliefs and ONE 01' THE SEVEN STAGES OF THE PASSION OF CHRIST. BT ADAM KEAFFT. statuettes. He was very industrious, and used liis left hand as readily as his right. He was accustomed to spend his holidays in drawing with Peter Vischer, whose works, together with his own, render Nu- remberg a place of great interest. Krug or Krugen, Iiucas, called the " master of the pitcher " from his mark of the letters L. K. with a pitcher between them; His plates are very rare, and very good for the time in which he worked) about 1516. Kupetzky, Johann, born in Upper Hungary (1666-1740). He studied with the Swiss painter Klaus, but a long residence in Italy had great effect on his style. He painted historical subjects and portraits, and the latter became very popular in Vienna; they are, Lt-K 358 KUPETZKY — LAGUERRE. however, somewhat affected in design. Few of his works are seen in public galleries. There are specimens in those of Vienna and Berlin. He was painter to the Emperor Joseph I., and was invited to England by George II., but declined to go on account of his health. Laer, Pieter van, born at Laaren (1613-1675). He went to Rome while still young, and was called there Bamboccio, on account of his singular form. He remained sixteen years in Rome, and was the friend of Claude and the Poussins. He painted all sorts of sub- jects, but more especially peasants with their cattle. He also repre- sented peculiar effects of light and shade, such as moonlight on one aide, and a torch-light on the other. His drawing was good, and the hands and feet sometimes finished with great delicacy. His color is at times clear, but many of his pictures are dark and smoky. His works are rare. They may be seen in the Louvre, Dresden, Vienna, and Cassel galleries. Those in the latter collection are fine speci- mens. Van Laer also etched twenty plates, mostly of animals; they are well executed, but his horses are badly drawn. Lafond, Charles Nicholas Raphael, born at Paris, 1727. Pupil of Regnault. He is well considered among modern French artists. His works are numerous, and are seen in both public and private collections. His subjects are various; poetical, Scriptural, and his- torical. Iiafosse, Charles dela, born at Paris (1636-1716). Pupil of Le Brun. He distinguished himself by his works at the " Invalides." He went to England, where he was well received and employed. His easel pictures arc superior to his decorative works. He was Chancel- lor of the French Acad, at the time of his death. Lagren€e, Louis Jean Francois, born at Paris (1724-1805). Pu- pil of Carl Vanloo. He obtained a prize and was sent to Rome with a pension, when quite young. After his return to Paris his reputa- tion caused him to be appointed director of the Acad, of S. Peters- burg. In 1781 ho was made director of the French school at Rome, and there executed his best works, most of which have been en- graved. His subjects arc from sacred and profane history, and from the ancient poets. Napoleon gave him the cross of the Legion of Honor, and at the time of his death he was Professor-Rector of the School of Fine Arts, and honorary conservator and administrator of the Museum. Laguerre, Louis, born in Paris (1663-1721). Pupil of Le Brun. He wont to England and assisted Verrio. They painted many halls and staircases. Pope mentions both these artists thus : — " Where sprawl the saints of Verrio and Laguerre." LAIRESSE — LANINI. 859 Lairesse, Gerard de, born at Lifege (1640-1711). He has been called the Poussin of Belgium, and he was indeed an imitator of Niccolo Poussin, but he imitated him from a distance. His pictures aro frequently cold in color, and when warm they are heavy. His execution is careful; his heads are in imitation of the antique profile, and somewhat monotonous; his figures are affected and fraquently too short. He was most unsuccessful in Biblical subjects. His works may be seen in the Louvre, Berlin, and Cassel galleries. He etchcil a largo number of plates from his own designs, with spirit and fret'- dom, and his lights are so arranged that the eye is immediately fixed on the principal figure. L^nbert, Georgo (1710-177'5). An English landscape painter. Some of his pictures were painted in conjunction with Hogarth. Some of his landscapes are small, brilliant in color, and the trees are agitated by the wind. Lana, Iiudovico, born at Modena (1597-1646). He painted many reUgious subjects. His female figures are fine, and his landscape backgrounds very good. His works are best studied in his native city. Laucret, Nicholas, born at Paris (1690-1743). An imitator of Watteau in his choice of subjects. His peasants courting, his women and children, are all well done, and his landscapes are pleasing. His interiors are well managed, and the accessories not too prominent. His handling is more broad and free than that of most painters of this class of pictures. Laadini, Taddeo. The sculptor of the Fontana della Tartarughe, in Bome, executed in 1585. Lanfranco, Gio, born at Parma (1581-1647). One of the latest noticeable pupils of the Carracci/ His best works were cupola paint- ings, and of these those of S. Andrea della Valle in Eome and 'the Tesoro in Naples are the best. His greatest merit is in his color; he is a mere machinist, introducing abrupt lights and shades, unnec- essary foreshortenings,' faces without expression, and groups arranged entirely according to precepts rather than nature. And yet he was one of the best of the painters of this class. When his subject al- lowed a merely naturalistic conception, he succeeded best. Among his finest works are " S. Louis feeding the Poor," in the Acad, of Venice, and the " Liberation of S. Peter," in the Colonna Pal. at Rome. His " S. Cecilia," in the Barberini Pal., is one of his worst productions. He also executed a number of etchings in a masterly manner. Lanini, Bernardino, born at Vercelli (about 1508-1578). Pupil of Gaudenzio Ferrari and an imitator of Correggio. His chief excellence was in his dehcate chiaro-scuro. His best works were his frescoes, and of these may be mentioned the Sibyls and other works in the Cath. of Novara. One of his pictures is in the National Gall., . London. He was much employed at Milan. 360 LAPO — LAWKENCE. Lapo, Arnolfo (1232-1300). A Florentine architect. His re- maining works attest his skill. Among them are the Cath. of S. Ma- ria del Fiore at Florence ; the marble tribune in S. Paolo at Rome, and the tomb of Card. Bruges in S. Domenico at Orvieto. Largilli^re, Nicholas, born in Paris (1656-1746). Pupil of An- toine Goubeau. He painted a variety of subjects. He was received into the French Acad, on account of his portrait of Charles le Brun, which was engraved by Edelinck. He went twice to England, and was for some time the assistant of Sir Peter Lely. Ho often painted landscapes, animals, and still-life, and used these subjects as acesso- ries to his figilre pictures. Lasinio, H Conte Cavaliere Carlo, born at Trevigi, 1757. An excellent modern engraver. He made many engravings for books, illustrating the works of the old painters, such as " L'Etruria Pittrice," the ' ' Remains of the Campo Santo at Pisa, "and the " Storia della Pittura Italiana. ' ' La'sne, Michael (1595-1667). This engraver was one of the first of his country (France), who distinguished themselves as engravers. His works arc numerous. Lastman, Pieter, born at Haerlem (1562-1649). He studied in Rome, became famous, and was summoned to Copenhagen to deco- rate a church. His best points^were vigorous color and great knowl- edge of chiaro-scuro. Rembrandt was once his pupil. He executed some etchings from his own designs, which are now rare. Launitz, Edward von der (1 797-1869). Disciple of Thorwald- sen. He was an earnest student of the antique, which conduced to the formation of his noble style. The Guttenburg monument at Frankfort is his most important work, and is one of the most valu- able of all the public monuments of Germany. The theatre of Frank- fort" was decorated by him, and there arc other statues of his in that city. Lauri, Filippo, born at Rome (1623-1694). Ho painted a variety of subjects, and many of liis works have beeij engraved by English engravers. His bacchanals are his best pictures. He was on the whole a pleasing painter, and the figures which ho added to the land- scapes of other artists wcro much admired. Lawrence, Sir Thomas, born at Bristol (1769-1830). This re- markable portrait painter commenced his career as an artist by mak- ing sketches in chalk when little more than a baby, and when ten years old was really a painter in crayons at Oxford. He used oil colors at seventeen, and in 1791, though younger than tho ago re- quired by law, ho was made an associate of the Acad. After the death of Sir Joshua Reynolds he was .appointed painter to the Kinof, and was but twenty-two when he painted portraits of the King and Queen. He was elected a Royal Academician in 1794, was knighted in 1815, and became the President of the Acad, in 1820. He was LAWRENCE — LELY. 361 also a member of many foreign academies, and a Chevalier of the Legion d'Honneur. The Waterloo Gall, at Windsor is a splendid monument to his memory. There are very opposite opinions of his merits as a painter. By many he is admired, and by many he is ac- cused of having founded an ' ' evil style," and encouraged all sorts of mannerisms and faults. As usual, there is truth on both sides, ffis early works arc the most satisfactory ; they are rich in color and well arranged. His sketches of heads, with the canvas about them un- touched, are very fine, and seem to have been done almost instantly, and never to have been retouched. He was so much the fashion that he was forced to found a school, and many of the pictures called his were mostly -executed by others. His portraits of women and chil- dren arc tar bettor than those of men. Lazzarini, Gregorio, born at Venice (1655-1 7S0). At first a barber's apprentice, he became a distinguished painter, and has been called the " Raphael of the Venetian School." His works may be seen in his native city. Iteal, Don Simon de Leon, bom at Madrid (1610-1687). Pupil of Pedro de las Cuevas. He was distinguished for his liistorical sub- jects and portraits, and was appointed court painter.' His works are still seen in Madrid. Iiebrun, Jeau-Baptiste Topiuo. This artist was condemned to death in 1801 oji account of a conspiracy against the First Consul. ' His picture of the " Death Of Caius Gracchus" was purchased for the Mus. of Marseilles, his native city. Iiebrun, Madame E. L. Pupil of Joseph Vernet and Greuze, and a good pqrtrait painter. She was a member of eight academies be- sides that of France. She also painted some half allegorical subjects. Lecomte, Felix, born at Paris (1737-1817.) A sculptor who gained, the grand prize, visited Rome with the royal pension, and returned to Paris to make a good reputation. He was Professor in the Acad, of Sculpture, before his death. His statue of F^ndlon in the Hall of the Institutej is considered his masterpiece. LeeuTW. Bryan gives an account of five painters and engravers of this name, none of whom were very celebrated. They all flourished in the last half of the 1 7th century. ' Peter van der Leeuw imitated Adrian van de Velde with good success. Leffevre or Fevro, Claude, born at Fontainebleau (1633-1675). Portrait painter. Lefevre, Robert, born at Bayeux (1 756-1831). Painted portraits and fancy pictures. One of his works in the Louvre is signed, Robert le Fecre jnvt. et pxit. Lelie, Adrien de, born at Tilbourg (1755-1820). He painted portraits and cabinet pictures, which are much prized in Germany and Holland, and are seen in the best collections. Iiely, Sir Peter. Real name Peter van der Faes, 'Jorn at Soest. 362 LELY — LENAIN. in Westphalia (1618-1680). He went to England and became the most celebrated portrait painter after Vandyck. His " Beauties at Hampton Court" are too well known to require mention. He has been accused of mannerism in the treatment of the eye, but the ladies of his time affected the appearance which he gives : " The sleepy eye that spoke the melting soul." His pictures of men are not equal to those of women. The backgrounds of many of his works were painted by others. He was knighted by Charles H., and became very rich. He painted a portrait of Cromwell, who said to him, •' Mr. Lely, I desire you will use all your skill to paint my picture truly like me, and not flatter me at all; but remark all these rough- nesses, pimples, warts, and everything as you see me, otherwise I will never pay you u, farthing for it." There are a few historical pic- tures by Lely in private collections in England. He also etched a plate of a " Shepherd and Shepherdess.'' He was buried in Covent Garden, where there is a monument to his memory, with his bust by Gibbon. Lembke, Johann Philip, born at Nm-emberg (1631-1713). A painter of military subjects. His color was clear and vigorous, his conception spirited, and his execution free. His principal works are in Stockholm, where he was summoned as court painter, but there is a fine " Skirmisli " in the Gall, at Vienna. Lemoine, Francois, born at Paris (1688-1737). One of the finest decorative painters of France. He advanced rapidly in his youth, and became a professor of the Acad, in 1733. He had visited Italy in 1724 for the first time, and on his return, painted his "Apotheosis of Hercules." This work is in oil upon canvas, 64 by 54 feet in size. The clouds which form the base or ground of the picture cost, it is said, 10,000 francs for ultramarine. There are 142 figures in it, and it is probably the most magnificent piltura di mac- china of the decorative period in wliich it was executed. It was fixed to the ceiling of the Salon d'Hercule, at Versailles. On account of it, Louis XV. appointed Lemoine painter to the King, but did not give him all the ancient honors of that office. This fact, together with adverse criticisms of other artists, and the death of his wife, brought on an insanity, in which he took his own life about ten months after the completion of this great picture. Lempereur. This the name of several French engravers, of whom Louis Simon (1 725) was the most eminent. He was a mem- ber of the Acad. , and his plates are excellent in their execution. His wife, Catherine Elizabeth, was also a good engraver. Lenain, Louis, Antoine, and Mathieu. These three brothers are scarcely distinguishable in their works, for the simple name of Lenain is common to all. They painted genre subjects and were good portrait painters, especially in miniature. They were all mem- bers of the Acad. Louis and Antoine died 1648, and Mathieu in 1677, at a great age. Their works are in the Louvre. LENS — LEPBINCE. 363 Lens, Andries Cornelis, born at Antwerp (1739-1822). A painter of little merit, as may be seen by his pictures in the Antwerp and Brussels museums. But he may be remembered as having scorned to be a inember of S. Luke's Guild of Painters in Antwerp, and on his recommendation, this ancient society, to which Rubens and Quentin Massys had belonged, was dissolved. Leochares, sculptor of Athens. Flourished about B.C. 372-338. His masterpiece was the " Rape of Ganymede." Pliny says he made the eagle appear sensible of the value of the treasure he was bearing and to whom he bore it, so that he was careful not to wound the boy with his talons. The original was in bronze, but has been copied on gems and in marble frequently. The best existing one is half life-size, of marble, in the Museo Pio-Clementino. The one in o^,^w m\iu r^r; born at Basle (1593-1651). This eminent designer and engraver married a daughter of Theodor de Bry, by whom he was instructed and advised. It is said that Merian instructed Hollar. His best plates are views of the environs of Heidelberg, Stuttgart, Schwal- bach, etc. He also engraved portraits and some other subjects from his own designs. A large plate of the " Last Supper," inscribed, Accepit Jesus panein, is very scarce, as is also another of " Human Life," inscribed. Tabula Cehetis, continens totius vilm humance dis- cripdonem. Merian, Matthew, the Younger, born at Basle, 1621. Son of the preceding, and pupil of Sandr.art, Rubens, and Vandyck. A reputa- ble painter of portraits and historical subjects. Merian, Maria Sybilla, daughter of Matthew, the Elder, born at Frankfort (1647-1717). Her father died when she was but four MERIAN — MESSINA. 405 years old. Jacob Murel, her step-father, taught her to paint flowers and fruit, and at length placed her under the instruction of Abraham Mignon. She became an excellent artist, and excelled in represent- ing insects, butterflies, etc., in various stages of development. She married an artist, John Andrew Grafi" of Nuremberg, and in 1679 published a book illustrated by herself, giving a history of the insects of Europe. In 1698 she went to Surinam, and in 1705 published her second ■ book describing the insects of Surinam. Her daughter, Dorothea Graff, was also an engraver, and made twelve plates for a later edition of the latter book. The British Mus. possesses two large books of the drawings of Maria SybiUa. Messina, Antonello da, born at Messina (about 1414-1493). There have been great discrepancies in the accounts of this impor- tant old painter, but the following, culled from all, is as nearly correct as possible. His family were painters for generations under the name of the Antonii. His . grandfather and uncle are men- tioned in the " Memorie de' Pittori Messinesi," and his father, Sal- vadore d' Antonio, was an architect and painter. The latter was his first instriiotor, and sent him when young to Kome to complete his studies. From Rome he went to Palermo, whence he went to Mes- sina', and painted (as is believed) at this time the " Virgin and Child," in tempera, on panel, now in the Museo Peloritano of that city. He next went to Naples, probably about 1438, and became the pupil of Colantonio del Fiore. This master and other painters of his school had some knowledge of the use of oils, but did not understand the method of Van Eyck. Antonello saw somewhere a picture by John Van Eyck, and immediately determined to go to Bruges and learn his great secret if possible, which he did. His visit to Flanders is fully proved by an old MS. which says, " Antonello Van Sicilien would not leave Flanders without bequeathing to it an example of the mode of coloring in oil which he learnt from John Van Eyck. It is said that he presented a picture to the ch. of S. John (S. Bavon of Ghent), for this reason." After Van Eyck died, Antonello returned to Messina, and soon went to Venice. Here he was much employed, and painted many portraits. He seems to have acquired Flemish finish and execution, but his tints were more harmonious and beauti- ful. From this time his Italian tendencies seemed to strengthen as his later works show. It has been said that he taught Domenifio Veniziano to paint in his manner, and that he was murdered by An- drea Castagno for possessing the secret, but this is now known to be false as regards the murder, and no works in oil done by Veniziano exist. In 1465 Antonello returned to Messina, where he received pupils, the best of whom was his son or nephew, Salvo d' Antonio. About this time he executed his most important works. In 1473 he went again to Venice and received important commissions. He was at one time in Milan, but whea is not precisely known. He was also 406 MESSINA — METSU. in Treviso in 1490, but returned to Venice, where he died, and was buried with great pomp by the artists who honored his memory for having brought to Italy the oil painting of John Van Eyck. There is a story, hardly creditable, that Gio. Bellini went to Antonello dis- guised as a nobleman, and desired him to paint his portrait, and thus became possessed of his secret. His most important works are at Berlin; namely, a male portrait of 1445; a " S. Sebastian," 1478; and a "Madonna and Child," which especially illustrates the Ve- netian coloring. Other works of his are a fine male portrait, in the Loavre; a " Crucifixion," in the Acad, of Antwerp; a half figure of Christ, in the National Gall., 1465; a reading Madonna, in the Acad, of Venice; a " Dead Christ mourned by Angels," at Vienna; a male head,- in the Uffizi; a weeping Nun, in the Acad, of Venice; and a " Christ bound to a Pillar," in the Manfrini Gall, of the same city. Metsu or Metzu, Grabriel, born in Leyden, 1615; still alive in 1667. One of the most charming painters of genre subjects. It is .certain that he formed his style after Terburg. It is not known with whom he. studied. He was the intimate friend of Jan Steen. Most of Ids works are small — a few por- traits are almost the only exceptions — and arc excellent, a matter of surprise in a little master. His whole manner is ele- gant, almost unex- ceptionable. His color is best in his earlier and middle time, later it is cold. He did not finish so extremely as some artists, and thus has more freedom and expression. He loved to paint people in high life, but also represented fairs, At the Hague. , , ., marlcets, maid - ser- vants, etc. Smith gives a list of 160 pictures by Metsu. Many of these are in private galleries, especially in England, where very high prices have been paid for them. They are also seen in the Louvre, Hague, Dresden, Van der Hoop, Munich, and Berlin galleries. The A SPOETSMAN. BY METSU. METSU — MIERIS. 407 " Woman taken in Adultery," in the Louvre, and " Justice," at the Hague, are interior works for Metsu, and show that historical, or allegorical subjects were not his forte. But these galleries have other fine works of his. Meulen, Anton Frans van der, born at Brussels (1634-1690). Pupil of Peter Snayers. He was made painter to Louis XIV., and accompanied that king in his campaigns for the purpose of represent- ing his. battles, victories, etc., with perfect truth. Considering the sameness and want of grace of his subjects, his pictures are remark- ably fine. TJiey are numerous, and contain many portraits of Louis and other notable men. His color was good, and his execution mas- terly. Many of his works are in the Louvre, some fine ones at Mu- nich, Buckingham Pal., and Petworth. Meyer. Bryan's Dictionary gives an account of eleven painters and engravers of this name. Of these the most important was Felix, born at Winterthur (1653-1713). Pupil of Ermels, of Nuremburg. He travelled in Italy and on his return made himself a reputation for decorating apartments. He was employed by several princes of the empire for this purpose. He also etched some plates from his own designs. Meyering, Albert, born at Amsterdam (1645-1714). A reputa- ble painter whose works are not often seen in galleries. The Berlin Mus. has two landscapes with bathing nymphs' and dancing children. He also left twenty-eight etchings of considerable merit. Mlcliau, Theobald, born at Tournay (1676-1755). A painter of landscapes with numerous figures, small, and well composed, but poorly colored. Two of these, a summer and a winter scene, are in the Vienna Gall. Miel, Jan, born near Antwerp (1599-1664). He went to Italy and was associated with Andrea Sacchi. His tastes led him to the gro- ■ tesque, and he introduced something of this. in a religious subject he was painting with that artist. This caused them to separate, and Miel studied the pictures at Parma and Bologna. After he returned to Rome, he executed religious and historical works with good suc- cess, but his scenes from low life must be admitted to be his best pic- tures. His works are not numerous. They are in the Louvre, Dresden, Berlin, Vienna, Florence, and Madrid galleries. He also executed some etchings with masterly execution and charming effect. Mierevelt, Michael Janse, born at Delft (1567-1651). A good portrait painter. His works are said to have numbered 5000. His groups are not equal to his single heads, some of which are very fine. His pictures are in the H6tel de Ville at Delft, the Dresden, Mu- nich, and other galleries. His son Pieter was also a portrait painter. Mieris, Frans van, born at Leyden (1«35-1681). Gerard Dow called him the " prince of his scholars." He is very little inferior to his master, and some writers prefer his works to those of DoW. 408 MIEEIS — MIGNON. His pictures are very small, and their subjects are often from the higher classes of life. Smith names 140 pictures of his. The Munich Gall, is richest in his works, and Dresden, Vienna, Florence, and St. Petersburgh have good examples, but the Louvre and English col- lections are less fortunate. The Hague has a beautiful " Boy blowing Bubbles." " The Tinker," of the Dresden Gall., and " The Charla- tan," at the Uffizi, are masterpieces. His portraits of himself and family are fine. Indeed, all his works are full of artistic merit and charming effect. He was fond of Jan Steen, though not so dissipated as he; still, he often passed his evenings with his friend, and upon one occasion, when going home, fell into the sewer, which some workmen had left uncovered. Here he must have perished but for the timely aid of a cobbler and his wife, who took him out and kindly cared for him. Not long after he carried the good couple a picture of his best manner, saying that the person they rescued had sent it. He recommended them to sell it to Cornelius Plaats. The woman went, expecting a small sura of money, and was surprised to find herself possessor of 800 florins ! Mieris, "Willem van, born at Leyden (1662-1747). Son of the preceding, to whom he was much inferior. His best efforts are copies of his father's subjects. The Dresden Gall, has twelve of his works, and they are seen in various collections. Mieris, Frans van, the Younger. Son of Willem (1689-1763). A painter of the same subjects as the above, but far weaker in draw- ing, coloring, etc. Mignard, Nicolas, born at Troyes (1605-1668). He was called D' Avignon on account of a long residence there. He was invited to Paris through the influence of Card. Mazarin, and employed at the Tuileries. He also painted many portraits, and executed several etchings in a spirited manner. Mignard, Pierre, born at Troyes (1610-1695). Brother of Nico- las, and called " the Roman," from having lived twenty-two years in Rome, where he was patronized by the Popes Urban VIII., Innocent X., and Alexander VH. He was an imitator of Annibale Carracci. His portraits were excellent, but his larger works were characterized by a false, theatrical eff'ect, which destroyed all his influence as a true artist, and helped to hasten the decline of painting which fol- lowed in the nexf century. Louis XIV. invited him to return to France. He frequently painted the portrait of the King and many noble persons. The cupola of Val-de-Grace was his chief fresco in France. He painted twelve frescoes at S. Cloud. In 1664 he was made President of the Acad, of S. Luke at Rome. In 1690 he suc- ceeded Lc Brun as court painter, and was elected Chancellor of the Acad. His portrait of Mme. de Maintenon is in the Louvre. Mignon, Abraham, born at Frankfort (1639-1697). A second- rate painter of flowers, fruit, insects, etc. His works are in many MIGNON — MOLA. 409 galleries, public and private. He approaches in stj'le to Jan D. de Heem, who was one of his instructors. He failed entirely when he attempted dead animals life-size, but some of his small pictures at Munich and Dresden are excellent. Mind, Gottfried, born at Berne (1768-1814). A celebrated painter who excelled in representing cats and bears. Most of his works arc in water-colors, and are wonderful in their imitation of the soft, velvety skins of cats, etc. When a boy he carved animals in wood, which were as much sought after as his drawings. His works have been lithographed with great delicacy and nicety. His original pictures are rare, especially in this country. I only know of one, which belongs to W. E. Doggett of Chicago. Minderhout, Hendrik, born at Antwerp (1637-1696). A painter of seaports and marine subjects. His works are seen in the princi- pal collections of Flanders. /^ r^ J^ Mitelli, Agostino, born at Bologna (1609- \-4\ Jfj-i Cjiyi 1660). He painted many years with M.- A. ^Yl [ ^ \. Colouna. Their principal works were fres- coes in Bologna, Parma, Modena, Genoa, and Madrid, where they were invited by Philip IV. Colonna executed the figures, and at Madrid painted his celebrated " Pandora." Mocetto, Gtirolamo. A disciple of » J -r-i "Q r\ 'W ^i°' Bellini, who flourished from 1490 J~"JQ__lir/ \ , t° 1514. He is best known as an en- graver, but there are glass windows painted by him in S. Giovanni e Paolo at Venice, and pictures at San Bia- gio, at Verona; at the ,Vicenza Gall., and the Modena Mus. His plates are very rare, and this constitutes their worth. Bartsch de- scribes eight, and does not include several which other judges attrib- ute to him. TVTT TVrCir' "TC^ Modena, Wlcoletto da, bom at y\\ rc\S> [?sT^ Modena about 1460. It is known ' ' ' that he painted perspective and architecture, but he is famous as one of the earliest engravers of Lombardy. His manner proves that' he was not instructed, but studied out his own method. Bartsch describes more than sixty of his prints, and Bryan twenty-six not included in Bartsch or any writer previous to him. Moine. See Lemoine. Mol, Peter van, born at Antwerp (1599-1650). An imitator of Rubens. His works, though inferior, are sometimes ascribed to that master. His pictures are in the Louvre and Antwerp Mus. Mola, Pier Francesco, born at Coldra (1609-1665). A good ar- tist of the Bolognese school. His historical subjects are excellent, and his single figures fine, especially in color. Some of his large landscapes are grand in composition, and he excelled in glowing 410 MOLA — MONAMY. evening lights. His light and shade are always fine. His works are seen in public galleries, and are in many private collections in Eng- land. We have a few spirited etchings by him. Mola, Jean Baptiste, born about 1616-1661. Pupil of Simon Vouet and Francesco Albano. His landscapes are very pretty and his portraits good. He also executed a few etchings. Molenaer, Jan. Flourished 1625-1660. Dutch painter of scenes from peasant-life. His works are full of humor and anima- tion. The Berlin Mus. has one of his best pictures, a ballad singer with a group in the open air. Bartsch mentions an engraving of his which is very rare; another is in the British Mus. Molyn, Pieter, born at Haerlem, about 1600. One of the early landscape painters. His works are rare in public galleries. A good picture by him, of two cottages with rich woods, is in the Berlin Mus. He also left four good etchings of landscapes with figures. Molyn, Peter, called Tempesta, from his pictures of sea-storms, and Peter de Mulieribus from his many mistresses, born at Haerlem (1637-1701). Son of the preceding. He painted wild animals re- markably well, the result, perhaps, of a nature sympathetic with theirs. He became a Papist and went to Rome and married there. He went later to Genoa where he loved a Genoese lad)-, and hired assassins to murder his wife. His crime was discovered, and he was imprisoned many years; after his escape, he deserted his second wife, and became a fashionable painter at jNIUan. Some of his best works were done in prison. Plis pictures arc in the Dresden and Vienna galleries. Mommers, Hendrik born at Haerlem (1623-1697). The works of this painter are rare in public galleries. That of Berlin has one not at all pleasing, representing a, bare landscape with several figures. Momper or Mompert, Josse de, born probably at Antwerp (about 1559-1635). A fantastic landscape painter. His color is not always truthful, and his treatment is slight. His works are numerous in public galleries. He was skilful with the etching point. The figures in his foregrounds were often the work of other artists. Monaco, Don Lorenzo. A Camaldolese monk, who was an ex- cellent artist about 1413. He resided at Florence. Several of his works remain. One bearing his name is in the Abbey at Ceretto. Tt is very large, 15 by 12 feet, with three pinnacles, pilasters, etc. The central subject is a " Coronation of the Virgin," and there are numerous other figures and subjects. One of his best preserved works is in Santa Trinitk, Florence, in the Bartolini chapel; others are in the Acad, of Florence, the ch. of Monte Oliveto, and in the National Gall. His works display the characteristics of art in his time. Monamy, Peter, born at Jersey (1670-1749). An indifferent painter of marine pictures. MONCALVO - MONTELUPO. 411 Moncalvo. See Caccia. Moui, Louis de, born at Breda (1698-1771). A painter of kitch- ens and kindred subjects. His works are seen in choice collections, and have considerable merit. Monnicks or Momiix, boi-n at Bois-le-Duc (1606-1686). The works of this master are pleasing. He painted landscapes, market scenes, etc. He introduced ruins, elegant arches, etc., with good taste. Houbraken says that Urban VIII. admired him so much that he retained liim thirteen years in his service. Monnoyer, Jean Baptiste, called Baptiste. Born at Lille (1634- 1699). A flower painter, who was the fashion in his day. Le Brun employed him at Versailles ; he was a member of the Acad., and was invited to England where he spent nineteen years and died. Many of his pictm-es are at Hampton Com't, and though not of the best, are still good. Mont, Del. See Delmont. Montagna, Bartolommeo, born at Brescia or of Brescian parents. Flourished from 1480 to 1523. He lived at Vicenza, and in 1491 was called its best painter; and he was, indeed, a fine master. Many of his works remain, and his progress can be traced in them; the first show the formality of the artists about him ; then come changes re- sulting probably from the effect of the Bellini ; then at length he visited Padua, where, under the influence of the works and followers of Mantegna, he brought out his full power. Many of his works are in the Gall, of Vicenza, and there this progress is illustrated. His pictures are also in the Lochis-Carrara Gall., at Bergamo; in the churches of Padua; in the.Brera, Venice Acad., Louvre, etc. Montagna, Benedetto, born at Vicenza. Flourished about 1500. Son of the preceding, whom he did not equal as a painter. He is noticeable as an engraver, and his prints are valued for their age and rarity, more than for excellence. They are weak and imperfect, but are almost the first engravings from the Venetian states. There are about fifty prints attributed to him, many of which bear his name. Montanes, Juan Martinez, born at Alcald la Real ; died at Se- ville, 1650. Having studied sculpture under Pablo de Roxas, he re- moved to Seville. He was one of the best sculptors of Spain. He usually colored his own statues, and they were well done. He ex- celled especially in carving cherubs and children. The ch.-. of S. Lorenzo has the high-altar and patron saint which Montanes exe- cuted, and the ch. of S. Juan de la Palma, the draped figure of S. John. The Mus. of Seville has a kneeling figure of " S. Dominick scourging himself," and a " Crucifixion,", which is a fine specimen of the work and style of Montanes. Stirling thinks if it were of Carrara marble, it would rival the " Crucifix " of Cellini. Montelupo, Raffaelle da (1503-1570). This sculptor left an un- finished autobiography, which is of great interest; if it could have 412 MONTELUPO — MORALES. been completed, it would have been of mncli value on account of his association with the men and events of his day. He was a pupil and assistant of Michael Angelo, and worked in the Medici chapel and on the monument to Julius II. Together with Nanni Bigio, he executed the seated Popes in the choir of S. M. Sopra Minerva, at Rome. He was architect of the Castle of S. Angelo. Montorfano, Gio. Donato, born at Milan. Flourished 1495. The principal reason that this rather inferior Milanese master is known to US is, that he painted a " Crucifixion " on the wall opposite to that on which Leonardo painted his "Last Supper, "in the refectory of S. Maria delle Grazie ; and those who go there can but notice this work of Montorfano. There are many figures, and a formal line of saints is a great fault in its composition ; the figures are correctly drawn but are not beautiful in expression, and the whole effect is stiff and unar- tistio. Montorsoli, Fra Gio. Angelo (1600-1563). Pupil of Michael Angelo. He led a wandering and restless life, and imitated his mas- ter in sculpture as closely as a weaker mind can follow a stronger one. He became a monk and a member of the Servi, at Florence. He executed portions of many works, ornamented the ch. of the Do- rias at Genoa, executed two handsome fountains at Messina, etc. He had no great excellence. Moor, Karel van, born at Leyden (1656-1738). Pupil of Gerard Dow, Abraham van den Tempel, and Franz van Mioris. He painted sacred and profane history in large and small pictures, but his portraits were his best works. He imitated Gerard Dow in his small pictures, and etched a few portraits from his own designs, among which were those of Dow and Mieris. Morales, Luis, called " the Divine," born at Badajoz (1509-1586). School of Estremadura. The first Spaniard who had a place amomr the masters of painting in Europe. Little is known of his lif^ About 1564 Philip II. sent for him. He appeared in a dress so magnificent as to displease the King, who Ordered that he should be paid a sum of money and dismissed. But Morales declared that he had spent all he had, with the object of coming before Philip in a dress befitting the dignity of the King. This reconciled the monarch. His pictures were all of sorrowful, religious subjects. Few of them have left his native country. The Louvre has one of " Christ bear- mg liis Cross," which resembles " Christ crowned with Thorns," in the Queen of Spain's Gall., which last is, perhaps, his clief-d' muvre. Some of his works are at Cordova and Seville, and they are found in the churches and convents of .Estremadura, but they are now rare. He always painted on panels. He finished with great care, but his drawing was often incorrect, and his colors sombre and sometimes cold. He excelled his Spanish contemporaries. When the Kino- visited Badajoz in 1581, he saw the artist in a very different garb MORALfiS - MORGHEN. 413 from that in which he had appeared at court. " Morales, yon are very old," said Philip. "Yes, sire, and very poor," he answered. Philip commanded that he should have 200 ducats of the crown rents of Badajoz for his dinner. Morales exclaimed, " And for supper, sire?" This aptness pleased the King, and he added 100 ducats more. Badajoz has named for him the street in which he lived. Morando, Paolo, horn at Verona (1486-1522?). One of the best painters of Verona before the time of Paul Veronese. He was a disciple of the Moroni, as his works show. Fine specimens of this master's manner are in tho National Gall., but most of his works are in Verona. More orMoro, Sir Anthony, born at Utrecht (1519-1576). This excellent portrait painter was a pupil, in early life, of Jan Schoreel. He went to Rome, but after his return became an imitator of Hol- bein. He went to Spain and was sent to Portugal to make portraits of the King and Queen, and afterwards to England to paint a picture of the Princess Mary for Philip. He returned to Spain with Philip after the death of Mary, but on account of a personal freedom which he took with the King (he daubed his hand with carmine), he was warned to leave the country, and he went to the Netherlands. Many of his works were burned in the Pardo. His own portrait is in the Painters' Gall, at Florence. His works may be best studied at Vienna, but are seen in other public collections. Morel, Bartoloni6. A Spanish artist of the reign of Philip H. He made the bronze statue of Faith which is a weather-vane upon the great belfry of Seville. He also made the lectern of the choir of the Cath. of Seville, and the beautiful candlestick called the Tenebrario, in the same cathedral. This is of bronze, and modelled like that of Solomon's Temple. Morelli, Gio. Battista, died 1665. Pupil of Algardi at Eome. He was summoned to Spain to assist with his talents at the palaces of Aranjuez and Madrid, at which latter place he died. /• Moreelzee, Paul, born at Utrecht (1571-1638?). /,Ay3 S Painter, architect, and engraver. His portraits were a) A his best works. Some of his wood-cuts are now scarce. .yy ' They are executed, in chiaro-scuro, and are pleasing in eflfect. One of his pictures is in the Berlin Mus. Moretto. See Bonvicino. Morgenstern, Ludwig Ernst, born at Rudolstadt (1737-1819). Painter of the interiors of churches. His works are rare. Two are in the Stadel Institute, Frankfort. Morgben, Raphael, born at Florence (1758-1833). This most celebrated engraver of modern times was the son of an engraver, and commenced the practice of his art very early in life. His first important works, seven plates from the Masks of the Carnival of 1778, were completed when he was twenty years old, and he was 414 MORGHEN — MORONI. then placed under the instruction of Volpato at Rome, whose daughter he afterwards married. He worked for a time in con- junction with Volpato, and assisted him in engraving the " Parnassus " of Raphael and other important works. His best known plates are the "Aurora,"' after Guido; tlie "Last Supper," after Da Vinci; the "Transfiguration," and the "Madonna della Seggiola," after Raphael; and many portraits which are very fine. Palmerini, one of his pupils, published an account of all his works. Raphael Morghen was accustomed to give Palmerini an impression from his plates in all their different stages of advancement, and this collection was purchased for £1200 by the late Duke of Buckingham, and is one of the most valuable and complete in the world. Morin, John, born at Paris (1612-1666). This fine engraver left many valuable plates, among which the portraits are especially fine. They are etched in a masterly manner, with freedom and taste, and are much esteemed. Morland, George, born in London (1763-1804). Son of an artist, he early showed liis talent for painting. It is said that his father, from mercenary motives, forced him to work continually, and rewarded him by the indulgence of his appetite for rich food and drink. His character was pitiful, and there are no alleviating points in it; he was literally as ranch a brute as those he painted. His subjects were those of rustic life, and his pictures contain many animals wonderfully well painted, but his pigs surpass all. The latter part of his life he became careless and slovenly in his manner, but the pictures of his best time are masterpieces in their way, and are sold at large prices. Moro, H. See Torbido. Moro, Gio. Battista d'Angeli, born at Verona (1512-1568?). Pupil of Torbido, whose daughter he married. He was a rival of Paul Veronese, and they painted together in the Cath. of Mantua. His best works are in the churches of Venice and Verona. Morone, Domeuico. An old painter of. whom no authentic ac- count can bo given. He was born at Verona, in 1442, and his name is mentioned a few times in the records of the city, but he is espe- cially interesting on account of his son. Morone, Francesco, born at Verona (1473-1529). A fine painter who executed many works. He was the pupil and assistant of his father, but seems to have studied the works of others. In drawing he resembles Mantcgna, in color jNIontagna, and he imitated the softness of the Umbro-Ferrarese school. His works are too numerous for any attempt at a description of them. His master- pieces are in Verona in S. Maria in Organo, and pictures of liis are seen in the Brera, Lochis-Carrara Gall., Bergamo, Berlin Mus., National Gall., etc. Moroni, Gio. Battista, born at Albino, near Bergamo (1510- MORONI — MOYA. 41 5 1578). Pupil of 11 Moretto, and as a portrait painter second only to Titian. It is said that when the Borgamose applied to the latter for their portraits he was wont to tell them to go to Moroni if they would have good pictures. His historical works are unimportant, but his portraits ai-e in many galleries. His own likeness is in the Berlin Mus. Mortimer, John Hamilton, born in Sussex (1739-1779). An artist of great talent and power, but his paintings are few, and he is better known for his etchings than for other works. He lived too fast to live long. He was the pupil of Hudson, and the teacher and friend of Reynolds. His picture of " S. Paul preaching to the Britons," at High Wycombe, is well known. The " Battle of Agin- com-t," and the " Meeting of Vortigern and Rowena" are the sub- jects of pictures exhibited in 1779. He was elected a member of the Acad, just before his death. His etchings are well esteemed. Morto da Peltri. See Luzzo and Giorgione. ' Mostaert, Jan, born at Haerlem (1474-155.5). A good painter whose works are in the Mus. at Antwerp, the ch. of Notre Dame at Bruges, and in some private collections. His portraits were excel- lent, and all his figures are portrait-like in effect. Moucheron, Frederik, born at Embden (1633-1686). Pupil of Jan Asselyn. He lived some time in Paris and settled at length in Amsterdam. He painted landscapes indifferently well. Some of his later works have figures executed by A. van de Velde and Lingel- bach. His works are seen in public galleries. Moucheron, Isaac, born at Amsterdam (1670-1744). Son of the preceding, whom he imitated but did not equal. Seven of his works ai-e in the Dresden Gall. He left a number of good etchings from his own designs. Mount, William S. He may be called the comic painter of our country. His subjects are rustic genre, and in them ho has done full justice to the humorous side of the negro's character. The names of some of his pictures are sufficient to indicate his manner : "BargaininK for a Horse; " " Turning the Grindstone; " " Raffling for a Goose; " " Farmer's Nooning; " " Dance of the Haymakers," etc. Moya, Pedro de, born at Granada (1610-1666). A pupil of Juan de Castillo. A desire to travel induced him to enlist as a foot-soldier in the Flemish army. Amidst the bustle of spldier-life he copied the pictures of the Low Countries. The works of Vandyck fascinated him, and, in 1641, Moya went to London to become the scholar of Sir Anthony. The Spaniard was kindly received, but to his great sorrow, his instructor died within six months. His improvement had been such as to astonish Murillo when he returned to Seville. His works are very rare. In the Louvre there is a large " Adoration of the Shepherds." It is spirited and pleasing, and has something 416 MOYA — MUNOZ. of the softness and grace which Murillo perfected. Mr. Fprd has a remarkable picture by Moya, formerly at Seville. It represents a girl caressing a dusky swan, and, without doubt, illustrated the fable of Leda, and was originally a nude figure, but probably for fear of the Holy Office, the painter threw over her a saffron-colored robe, and added a cat, a pigeon, and a spaniel, thus converting the heathen myth into a Christian maiden surrounded by her pets. Mudo. See Navarrete. Mulinari or Molinari, Stefano. Flourished 1775. An engraver of many plates after the best Italian masters. Muller. This is the name of a number of German engravers who lived between 1550 and the present time. John, born at Amsterdam about 1570, was a pupil of Henry Goltzius, and an eminent artist. His plates are numerous. John Gottfried, born at Bernhausen (1747-1830). He only engraved thirty-three plates. His " Madonna di Seggiola " is considered by some superior to that of Raphael Morghen. A " S. Catherine," after Da Vinci, and a " S. Cecilia," after Domenichino, are among his best prints. Christian Friederich von, born at Stuttgart (1783-181G). Son of the preceding. He left but few plates, for after he had executed but a small number he was commissioned to engrave the " Madonna di San Sisto," and to this work devoted his life. He labored so constantly as to destroy his health, and did not live to see a finished print from it. The proof arrived a few days after his death, and wa.s suspended above his body on the day of his burial, as the "Transfiguration" had been placed near that of Kaphael. Several others of the same name are less important. Muller, William John, born at Bristol (1812-1845). A land- scape painter, principally remarkable for his numerous fine sketches made during a, iourney in Egypt, up the Nile, and in Lycia, After his death these were sold for £4360. Mulready, William, born at Ennis, County Clare, Ireland (1 786- 1863). He showed his inclination for art very early, and when thirteen years old had the good fortune to meet with the sculptor Banks, who took him into his studio and befriended him. From this time his improvement and advance kept pace with his years, and he became an eminent artist of genre subjects. " The Sonnet," " First Love," "The Wedding Gown," "The Fight Interrupted," "The Wolf and the Lamb," and '• The Barber's Shop," arc titles of a part of his pictures, and suggest his style of art, in which he ranks next Wilkie among British painters. Muiloz, Sebastian, born at Navalcarnero (1654-1690). He stud- ied first under Claudio Coello, and then passed some time in Rome. In 1684 he painted with his former master in the Cath. of Zaragoza. When he went to Madrid his works became popular, and he was employed in the Alcazar. In 1688 he was made one of the painters MUNOZ — MURILLO. 41V to the King. He deserves especial notice as the last good painter of Castile. He fell from his scaffolding, and died, in 1690. His picture of S. Sebastian was taken to Paris, but is now " the pride of the National Mus. of Madrid." A portrait of Mufioz by himself is in the ^ueen of Spain's Gall., No. 312. Murand, Emanuel, born at Amsterdam (1622-1700). Pupil of Philip Wouvermans. He painted l)utch farm-houses with great perfection. His works are rare in publjc galleries. The Amsterdam Mus. has one. Murano, Andrea, Giovanni, and Antonio da. Three old painters' of the Venetian school of the 15th century. Pictures by all of them are in the Acad, of Venice. Murillo, Bartolome Estevan, born at Seville (1617-1682). As soon as he had learned to read and write he was placed under the care of Juan de Castillo. By him he was taught not only the use of the pencil and brush, but also how to grind the colors, prepare the canvas, and perform all the mechanical parts of his calling. He improved so rapidly that in a short time he painted as well as Castillo himself. When he was twenty-two years of age his master removed to Cadiz. His parents were either dead or too poor to assist him, and he was compelled to support himself by painting for the Feria, or market. Tliis was held on Thursdays, and it was customary for artists to go there with their pictures, carrying also their brushes and colors, and making alterations to suit the taste of the purchasers. A few of the pictures supposed to belong to this early time of Murillo are in striking contrast with his later works, as they hang side by side in the Mus. of Seville. In 1642 Murillo's desire to travel was aroused by observing the improvement of Moya, who had studied in Flanders and England. By means of painting and selling a large number of pictures, which were bought by American traders for ex- portation, he obtained money to go to Rome. When he reached Madrid ho went to Velasquez, then paijiter to the King, and begged for advice and letters of introduction. Velasquez, pleased with the answers to his many questions, invited him to his house, and pro- cured him admission to the Boyal galleries. Here he passed two years in copying the works of Ribera, Vandyck, and Velasquez. At the end of that time his patron considered him ready for Rome, and offered to assist him in the journey. But Murillo determined not to leave his beloved Spain, and returned to Seville early in 1645. In considering the merits of this master it should be remembered that he had never seen the antique models which the artists of Italy were wont to study. All that is comprehended in the word antique was unknown to him, for he left Madrid before the purchases of Velas- quez had been placed in the Alcazar, and the only glimpse of classic art wliich he obtained was through the Italian pictures in the Gall, of Madrid. His ideas, his models, and his mode of expression were 27 418 MURItLO. purely Spanish. About the time of his return to Seville he was em- ployed by the Franciscans to paint eleven large pictures for their convent. The price they paid him was small, but they gave him an opportunity to make his name, and their house, famous throughout Spain; and from the time that these pictures were displayed to the throngs who came to see and criticise, the name of Murillo was placed first among the painters of religious subjects in Spain. In 1648 ho S. JOHN. BY MUIULLO. Madrid Mus. was married to a rich and noble wife, and was enabled to become the social leader and patron of his order. From this time his works were sought by all the religious houses of Seville. He painted series for the Cath., for the ch. of S. Maria la Blanca, and. at length, his won- derful works for the Hospital do la Caridad. He also painted for the Capuchins without the walls, and, at the time of lais death, was engaged in a convent at Cadiz, where he fell from a scaffold and re- ceived the injuries which proved fatal, wliile painting the upper part MTJRILLO. 419 of the large picture of the " Marriage of S. Catherine." The princi- pal group remains as it was left by him, and may still be seen in the convent, now a hospital, at Cadiz. He lived long enough to reach Seville, to arrange his worldly affairs, and died in the midst df his friends. He was buried in the ch. of Santa Cruz, beneath a picture of the " Descent from the Cross," before which he was accustomed to perform his devotions. This was in accordance with his own de- sire. His grave was covered with a slab, on which was carved, by his direction, his name, a skeleton, and two words, Vive Moeitv- RVS. The French destroyed this church, and its site is now covered with weeds and debris. Murillo's pictures may be divided into three classes : his first or earlier manner may be styled cold {frio) ; his second, warm (calido); and his latest, vapory (vapwoso). To the first period belong his pictures of beggar-boys, peasants, and subjects from common life. Both his later periods were especially devoted to religious subjects. In the first his outlines became softer, and the figures rounder; than in his early works; but to the last, or vapory period, belongs that beautiful atmospheric effect in which the dis- tinctness of the outline is lost, or shaded off, as in nature. Murillo excelled in the management of drapery, in light clouds, flowers, and transparent waters ; and, while he must yield to some Italian painters in knowledge of the accurate rules of art, he was endowed with the power to touch the heart, to awaken tender emotions and religious sympathies. He has jiistly been called " the painter of the Concep- tion," and has represented this subject with unrivalled grace and tenderness. He has varied the age, the style of beauty, and the sur- roundings of the Virgin, in almost numberless pictures; but all breathe the same purity and spotless innocence ; all are the fitting representation of that Mother of Christ who holds so high a place in the religion of the South. It was such pictures as those of Murillo that inspired the cloistered devotees, as they gazed upon them, day by day, to do their penitential work, and to suffer even death itself, with the hope' that in the future they should be received with appro- bation by this sweet Mother of their 'God. He also painted a few portraits, which are of great beauty and value; and in the front of the church of the Hospital of Charity there are five large designs, wrought in glazed tiles, for which he is said to have made the draw- ings. He found time in 1658 to prepare for the establishment of an academy of art at Seville. There was much labor involved in this, but he was at last successful, and the first meeting for the purpose of instruction was held in 1660. In character MuriUo, like Velasquez, was the favorite of his patrons, and found his friends among his fel-' low-artists. He had much good sense, was moderate in temper, and wholly wanting in Andalusian egotism. Towards the poor he prac- tised the charity which his pencil taught; and his epitaph is by no means untruthful, when it says that he lived as one about to die. 420 MUBILLO. The following is a list of a, portion of his principal works, and the places where they now are : — Moses striking the Kook in Ho- reb. The Miracle of the Loaves and Fishes. S. Juan de Dios, carrying a Sick Man. The Guardian Angel. The Saviour in his Youth. The Baptism of Christ. JSight Saints; busts; life-size. S. Ferdinand, armed; full length. Tlie Annunciation. Three pictures of the Immaculate Conception. La Virgen de la Servilleta. S. John the Baptist in the Des- ert. Adoration of the Shepherds. S. Bouaventura and S. Leander. S. Thomas of Villanueva giving Alms at the Door of his Ca- thedral. SS. Justa and Rufina. Portrait of a Bare-footed Friar. Two Landscapes. The Last Supper. The Annunciation. Three pictures of the Immaculate Conception. Our Lady of the Rosary. The Holy Family. S. John Baptist, as a Child, with a Lamb. Adoration of the Shepherds. Christ crowned with Thorns. Two pictures of the Crucifixion. Conversion of S. Paul. S. Jerome reading. 8. Jerome in the Desert. The Porciuncula. S. Francis de Paula. Old Woman spinning. Gypsy Girl. Tlic Annunciation. Seville, Hospital of Charity. Seville, Cathedral. Seville, Public Mus. Seville, Ch. of S. Maria la Blanea Madrid, Queen of Spain's Gall. Paris, Louvre. MUUILLO. 421 Joseph interpreting the Dreams. Paris, Louvre. Our Lady of the Immaculate Con- ception; painted for the ch. of S. Maria la Blanca. " " Our Lady of the Rosary. " " Three pictures of S. Joseph and the Infant Saviour. " " Four Sketches of the Prodigal Son. « « S. Augustine, with a Child, on the Seashore. " " S. Augustine washing the Feet of Our Lord. ' « S. Thomas of VUlanueva; two pictures. ' « Beggar Boy hunting Vermin on his Person. '■ Portrait of Don Andres de An- drade. Murillo in his Youth. ■ '' A large coll. of drawings executed on paper. Jacob's Dream. The Assumption of Our Lady. S. Joseph leading the Infant Sav- iour. S. Joseph holding the Infant Sav- iour. The Flight of the Holy Family; two pictures. The Nativity of Our Lord. Adoration of the Shepherds. S. Florian. Martyrdom of S. Peter the Do- minican. A Girl in a Green and Red Dress. A Gentleman dressed in Black; called the Brother of Murillo. A Landscape with a Ruined Cas- tle on a Wooded Hill. The Annunciation of Our Lady. Our Lady of the Immaculate Con- ception. -The Madonna, with the Child on her Knee. S. John de la Cruz. St. Petersborg, Hermitage Amsterdam, Public Mus. The Hague, Gall, of the King. 422 MURILLO — MUTINA. Our Lady, with the Infant Sav- iour ; ' two pictures. The Virgin, with the Saviour on her Lap. Girl, with a Basket of Fruit. S. John Baptist as a Child. S. Joseph and tlie Infant Saviour. The Holy Family. A Girl. Our Lady with the Infant on her Lap. Two Boys seated on the Ground. Two Boys throwing Dice, with a Dog eating Bread. Two Boys eating Bread and Fruit, with a Dog by their side. Tlie Holy Family. S. John Baptist as a Child, with a Lamb. Four drawings on Paper. S. Anthony of Padua, kneeling, with the Saviour in his Arms ; Ufe-size. Florence, Pitti Pal. Dresden, Royal Gall. Vienna, Imperial Gall. Vienna, Esterhazy Gall. Munich, Leuchtenberg Gall. Munich, Pinakothek Gall. London, National Gall. (t u it Print Room, British Mus. Berlin, Royal Mus. ENGRAVINGS AFTKR THE WORKS OP MURILLO. Engraver, Ardell, James Mc. The Virgin, with a Glory of An- gels ; fine. S.Jerome kneeling before a Crucifix ; fine. S. Francis de Paula. ■ Enr/raver, Carmona, Immanuel Salvador. Virgin and Child; half-length. Engraver, Dean, John. S. Anthony of Padua. Engraver, Haldou, John Louis. La Toilette du Savoyard. Engraver, Major, Thomas. The Good Shepherd. Engraver, Spjlsbury, Inigo. Flight into Egypt. Engraver, Strange, Sir Robert. The Infant Jesus plaiting a Crown of Thorns. 1787 (?) Muscher, Michiel van, born at Rotterdam (1645-1705). A pupil of Van Temple, Motsu, and Van Ostade. He painted small conversations and portraits which are excellent. They are seen in some public galleries. Musis, Agostiuo de, called Agostino Veneziano. Born A at Venice (about 1490-1540 ?). An eminent engraver and a pupil of Marc Antonio, whom he followed with success without being his equal. He engraved many plates after Raphael. Fine impressions of his plates are very rare. Mutina or Modena, Thomas of. In 1357, the Emperor Charles MUTINA — MYRON. 423 IV. employed this painter at the castle of Carlstein. In the chapel of the castle, two of his pictures still remain. Another work in the altai- recess of S. Catherine's chapel, at Carlstein, is doubtlessly his. It represents a Madonna between an Emperor and Empress, and is a picture of great sweetness. A Vera loon in the Cath. of Prague, is attributed to him, and a Virgin and Child with two warrior saints in the Belvedere, Vienna, is inscribed with his name. Muziano, Girolamo (1528-1592). A Brescian artist, who studied under Romanino. He became one of the best imitators of Michael Angelo. His chief work was " S. John preaching to the Monks in the Desert," in S. Maria degli Angeli, at Rome. Myn, Herman van der, born at Amsterdam (1684-1741). He first painted flowers and fruit, and afterwards portraits. He resided some years in London. Many English families have his pictures, which are rare in public gal- leries. He had one daughter and five sons wlio practised painting in London ; of these Gerhart and Frans were the most successful. Mytens, Daniel, the Elder, born at the Hague (about 1590-1656 ¥) An excellent portrait painter, who preceded Vandyck in England. Some of his works are at Hampton Court, and in other EngUsh galleries. Vandyck painted his por- trait, and it is one of the "Centum Icones" published at Antwerp in 1645. Myron. This celebrated Greek sculptor was a native of Boeotia, and born about B. c. 430. He was remark-l able for his difficult attitudes! and his power to represent/ a variety of forms. Most on his statues were in bronze. The two most wonderful works which he did were the " Discobolus," and a Cow, of which many writers speak. It was at Athens, and carried to Rome, it was placed in the temple of Peace. The praise awarded it proves it to have been perfect in its MABBLB COPY OF MYBOH'B BRONEB PISK- THHOWEK. Maesimi Pal,, Rome- 424 MYRON - NARDI. way. Of the quoit- thrower, we have several copies; that in the Massimi Villa, at Rome, is undoubtedly the best, and was found on the Esquilino, in 1782; others are in the British Mus., Hadrian's Tiburtine Villa, tlie Vatican, and tlie Capitoline Mus. In tliis work, he liad full scope for the exercise of his power to portray manly vigor and strength. This is true of another statue in the Vatican repre- senting IMarsyas regarding the flutes which the goddess rejected. The representation of a momentary action renders the " Discobo- lus " wonderfully effective, and wc feel as if we must see the throw made, and the tense muscles relaxed, before we can leave it. It is an example of the highest Greek art, in the representation of the ph)'s- ieal frame and difficult action, but it has no intellectual depth or thought. N. Nahl, John Augustine, born at Berlin (1710-1785). A sculptor who receive ^^::* ^wn>'H'mM Palmaroli, Pietro. The picture restorer who, in 1811, transferred the celebrated " Descent from the Cross," by Daniele da Volterra, from the wall to canvas. He also transferred and restored many Bther pictures, a list of which is given by Nagler. Palmezzano, Marco, born at Forli (1456 ?-1537 ?). A disciple of Melozzo of Forli. His pictures may be called geometrical. He illustrated the system which came to perfection under Correggio, the Carracci, and other barocchi. His drawing was correct and sculptural; 442 PALMEZZANO — PAPA, there is no flow of drapery, no atmosphere, no feeling for color. In ornamentation, such as tracery of stems and leaves on pilasters, fig- ures supporting vases, etc., he was skilful and tasteful, but generally speaking, his pictures are lifeless and angular, with little charm of color. Many of his works are seen in European galleries. Forli is especially rich in his pictures, and among the most important of his labors are the frescoes in S. Girolamo. Forli, and the altar-piece in Orfanotrofio delle Michelline at Faenza. All his works have been attributed to his master, but it is now proved that great mistakes have been made in this way. Palomino. See Velasco. Panetti, Domenioo, born at Ferrara (1460-1511 ?) His pictures are precise and i-igid. Garofalo was his pupil, but after he visited Rome, Panetti studied his works with attention, and much improved his manner. The " Maries weeping over the Dead Christ," in the Berlin Mus., is the only work of his in any European Gall., of which I know. Panicale, Masolino da, born at Florence (1403-1440). This painter is well known by his' frescoes in the Carmine, and is reputed to have been tlie teacher of the great Masaccio. Masolino was a pu- pil of Ghlberti and Stamina. His own fame seems to have been lost in that of Masaccio, although his frescoes referred to above have been attributed to the more distinguished pupil, which proves a great resemblance of general effect and execution. Other works by Maso- lino have been brought to light in the college ch. of Castiglione d'Olona, near Milan. Pannels, WiUem, born at Antwerp about 1600. A painter and engraver, who is best known by his clever etchings, which are prin- cipally after Rubens, and his own designs. His drawing is often in- correct, but he had much vigor and spirit in e.xecution. Pannini, Gio. Paolo, born at Piacenza (1691-1764). An eminent painter of architectural subjects. His perspective was fine, and his works characterized by correctness and precision. He also introduced figures into his compositions. As a colorist, he cannot be especially commended. His works are numerous in the private collections of England, and are also seen in some palaces at R«me. They have been engraved by a number of excellent engravers, such as Lem- pereur, Le Bas, Bartolozzi, and others. Pantoja, Juan de la Cruz, born at Madrid (1551-1610). This artist may be called the portrait painter of kings, for he was much employed by Philip H. and IH. in painting numerous pictures of themselves and their families. Many of these are still seen in the galleries of Spain. Papa, Simone, 11 Vecchio, born at Naples (14307-1488). Said to have been a pupil of 11 Zingaro. Worthy of notice on account of his imitation of the style of the Van Eycks. S. Michael, with PAPA — PARROCEL. 443 other saints and the donors of the picture, is perhaps his best wori; it is in the Museo Borbonico. Fapa, Simone. il Giovine, born at Naples (150G-1569). Notice- able for the simplicity of his style among the Neapolitan mannerists of his day. His best works are in the ch. of Monte Oliveto at Naples. Pape, Adrien de. This artist is almost unknown, but his two pictures in the Hague and Berlin museums prove him to have been one of the best ijenre painters of his time. He has been called a scholar of Gerard Dow. Fapias. A sculptor of Cyprus who; together with Aristeas, made the two statues of centaurs in the Capitoline Mus. They are of dark gray marble, and were found in the villa of Hadrian at Tivoli in 1746. They are supposed to be of the time of Hadrian, and as better statues than these have been found representing the same subject, it may be that thej' are not original works,- but copies. They are inscribed, APICTEAC KAI IIAniAC A*POAICIEIC, and are of a good style of execution. Papillon. The name of a family of wood-engravers who flour- ished from 1680 to 1775. The younger, Jean Baptiste Michel, was the more important. He attempted a revival of wood-engraving and wrote a history of that art, but it is comparatively worthless since the publication of better books on the same subject. Parcellis, Jan, born at Leyden (about 1597-1641). A mediocre painter of marine views. Parcellis, Julius, born at Leyderdorf, 1628. Pupil of the fore- going but a much better artist ; indeed, his pictures are sometimes compared favorably with those of Willem van der Velde. His works are rare ; there is one in • the Berlin Gall. Both father and son signed their pictures with the initials, /. P. Pareja, Juan de, born in Spanish America (1610-1670). The slave and color-grinder of Velasquez, he became secretly an artist, and on one occasion, when King Philip visited the studio of his master, he displayed a picture he had painted, and threw himself at the feet of his Majesty, begging pardon for his audacity. Both the King and Velasquez treated him most kindly, and it is said that he served his master until his death, althougli he was emancipated from slavery. He succeeded best in portraits. His works are not numerous; the most important are the " Calling of S. Mattliew," in the Royal Gall, of Spain; the portrait of a Provincial of a religious order, in the Imperial Gall, of Russia; and a few others, at Madrid and Toledo. A portrait of Pareja painted by Velasquez was in the Gall, of Lord Radnor. Parrocel, Joseph. The most important member of a family of painters and engravers who flourished in France from 1670 to about 17511. There are two battle scenes by .Toseph Parrocel in the old Coll. of the Louvre. Charles, Ignatius, Pierre, and Stephen, were of the same family, but all mediocre artists. :444 PASS — PASSEROTTI. ^ \^/ Pass or Passe, Crispin de, tho Elder. This eminent engraver was the head of a family of artists, for hi' had three sons and a, daughter who received their instruction from him and practised the art of engrav- ing. The father and the son William were tlie most skilful artists, and their prints are much esteemed. The accounts of the life of the father are very unsatisfactory. The only thing upon which all agree is that he was instructed by Coornhaert. He went to England, but it is not known at what time. William resided in that country thi' greater part of his life. The portraits of these engravers are thcii- most valuable prints. Crispin (the Younger), Simon, and Magdalene are the names of those not yet mentioned. Crispin left very few plates; those of the others are reputable, but not equal to the works of the father and the elder brother. Passeri, Giambattista, born at Rome (1610-1679). He was a fond lover of Domenichino, with whom he lived at Frascati. He also painted the portrait of the great master (now in the Uffizi), and pronounced liis funeral oration. Passeri was more a genre than an historical painter. Pie was president of the Acad, of S. Luke at Rome, and wrote upon art with great correctness. His chief work was called " Vite de Pittori, Scultori, e Architetti, che lianno lavo- rato in Roma, e che son morti dal, 1641, al 1673." Passerotti, Bartolomeo, born at Bologna (1520-1595). Pupil of Jacopo Vignola, with wliom he visited Rome. After his return to Bologna he established an Acad., and Agostino Carracci was one of the pupils there. He excelled most in portraits, and by some has been esteemed second only to Titian in this department of painting. He was mucli employed for the Bolognese churches, and in them his altar-pieces are still seen. He studied anatomy very thoroughly, and left materials for a treatise on that subject. He had four sons who were artists. We liave an account of a remarkable picture painted by Passerotti for Gio. Battista Deti. It i-epresented Homer on the seashore with a gypsy, a dog, and some shells, while a large number of sailors in a boat are propounding a. riddle to the great Greeks. Homer was painted with Passerotti's own features. There are now two portraits of Passerotti in Europe, one being in the Florence Gall, and the other in a family picture in the Dresden Gall. Not long since a third one was found in an auction room in Boston. It has this inscription : — Bakto«o Passerotti FECI r>I SUA MANO SUA EFFIGE, DICTA D'ANI 51 IN BOLOGUA. donato da esso a Mesek Gio. Batta. Deti, Adi 9, A.D. 1571. PASSEROTTI — PATRAS. 445 Which translated read's, " Bartolomeo Passerotti painted with his hand his likeness at the age of 51 years, in Bologna. Presented by him to Mr. Giovanni Battista Deti on the ninth day of tlie year 1571 ; " and if genuine (which I have not heard doubted), it is a dis- eovery of a real treasure. The inscription decides the time of his birth, which was not before known. So few of his portraits remain that it is difficult to do him justice, for we know not whether they are of his best style. The other works of his in Bologna have no espe- cial merit, but the mannerists of his time were more excellent in por- trait than in historical painting, for the reason that they were obliged to adhere to nature and lay aside their affectations in a good degree. It is seen by the inscription that this picture was painted for the same Deti for whom the Homer was done, and was probably a gift made in gratitude for his patronage. Passerotti was also a good en- graver, and left a number of etchings. Bartsch describes fifteen of these and mentions others, and does not claim to give a complete catalogue. He says these prints have been much esteemed and have become very rare ; more than two are seldom found in any one Coll., however rich. - Fatavinus. See Avibus. Patel. ITie name of two landscape painters who flourished in the latter part of the 17th century. They were father and son, and the former was the superior artist, although it is sometimes difficult to decide between them, as many of the pictures are not signed. The works of Patel are not uncommon in England, and are seen in the Louvre. The elder seems to have imitated Claude with good success. There are pictures of the " Four Seasons " in the Louvre, attributed to the son. Pater, Jean Baptists Joseph, born at Valenciennes (1696-1736). The works of this painter are too rare to be very well known. He chose the same class of subjects as Watteau, namely, fStes champg- tres and other merry scenes. His figures are especially pretty, and many of his heads are so nicely finished that they may be called fine miniatures. His landscapes are well arranged, but their color is not always pleasing; still the whole effect of his pictures is extremely satisfactory. Patinier, Joachim, born at Dinant (1490-1545). This painter may be called the founder of the landscape painting of the Nether- lands. He first made the representation of nature the principal part; and figures the accessories of his works. His earlier pictures are very defective in perspective, overloaded with details, and altogether unsatisfactory; his later ones are more truthful, and have a better feeling for effect. He was a man of dissolute habits and low tastes, and yet Albert Diirer was very fond of him and painted his portrait. His pictures are in the Antwerp, Brussels, and Vienna galleries. Patras, Lambert. A bronze caster of Dinant who flourished 446 PATRAS — PEALE. about 1112. The font at Liege from whict the illustratio-i is taken is a very important work of its kind. The bronze workers of Dinant were so skilful that in adjacent provinces all workmen in that art were known as Dinandiers. Pauditz, Christopher. A native of Lower Saxony. Died 1666. He was an imitator and perhaps a pupil of Rembrandt. He was much patronized by Albrecht Sigismund, Duke of Bavaria, and Bishop of Freising. "Christ driving the Money-changers from the Temple ' ' in the Cath. of Freising is the most important work by Pauditz. In the Gall, of Munich are two pictures of a " Wolf de- stroying a Lamb," one of which was painted by this artist in compe- tition with an artist of Nurnberg. Neither one of them is excellent; that of Pauditz is the better of the two, but the judges did not so de- iOl5e.5. BAP TiSTA iI!lTll/ilJW)*HIIJJWIll«II ".^Br r'u—r. t .- RELIEF ON A BAPTISMAL BASIK. BY I/AMEEItT PATRAS, AFTER A. D. 1112. In S. Barthelemy, Li^ge. cide, and it is said that he died in consequence of his disappointment and mortification. Pautre, Jean le, born at Paris (1617-1682). This engraver left an immense number of plates, probably 1500. They represent archi- tectural designs, ornaments, altars, tombs, fountains, etc., and are executed with extraordinary facility. Peale, Charles Wilson, born in Chesterton, Maryland (1741- 1826). The life of this painter was quite remarkable, and full of interesting experiences. He possessed an unusual mechanical genius, and could work in leather, wood, or metal. The museum which he established in Philadelphia illustrated his enterprise and his desire to do good to all. But his decided taste was artistic, and he made pic- tures which proved his talent, before he received any instruction. He PEALE — PENCZ. 447 studied under a German in Philadelphia, and with Copley in Boston. He then went to London and was instructed by West.. During the Revolution he commanded a corps of volunteers, but at odd times in camp he painted portraits, and that of Washington as a Colonel of Virginia troops is the first authentic likeness of that great man, and was executed in 1772. This picture is well known from the numer- ous copies and engravings of it. He painted fourteen different pic- tures of Washington, the last one in 1783. For some time he was the only well-known portrait painter of America, and sitters came to him from all parts of the country, Canada, and the West Indies. He was versatile in his talents, and " sawed his own ivory for hjs minia- tures, moulded the glasses, and made the shagreen cases." His son Rembrandt says of him, " His likenesses were strong, but never flat- tered; his execution spirited and natural." His last work was a full- length portrait of himself at the age of eighty-three years. His most interesting works are in Independence Hall, Philadelphia, and number 117 in all. Other •aluable works of his are in the Acad, of PhiladeliDliia; in the Coll. of Joseph Harrison of that city, and in the GaU. of the New York Historical Society. Peale, Rembrandt, born in Bucks County, Pennsylvania (1787- 1860). While young he was associated with his father, then studied with West in London, and spent a long time in Paris engaged in making portraits of eminent persons for his father's museum. He painted two historical subjects which were exhibited, " The Roman Daughter" and the " Court of Death," but devoted himself to por- trait painting. When but eighteen, Washington paid him the com- pliment to sit to him, which so overcame him that he was forced to seek the assistance of the presence of his father. Later in life he made a portrait of Washington which is considered by many the best one ever painted, and of which Chief Justice Marshall said, " It is more Washington himself than any portrait I have ever seen." For a long time he was the only artist who had seen Washington. He made this picture from Houdon's bust and his recollections of his great subject. There have been many copies of it by himself and others. Some of his works are in the Philadelphia Acad, and the Gall, of the New York Historical Society. Pellegrini, Qio. Antonio (1675-1741). His father was a glover of Padua who lived in Venice. The artist is claimed by both cities. He was distinguished in France for frescoes executed in a hall of the H6tel de Mazarin (now t"he Library). His principal work is in San Mosfe at Venice. ^r^ Fencz, George, born at Nuremberg (1500-1550). (l) T) One of the best scholars of Albert Diirer; indeed, in I Q^ engraving he is first among them. He went to Italy, where, in the study of the works of Raphael, he modi- fied his manner, but still remained original and Netherlandish. His 448 PENCZ — PENNI. historical works are very rare; there is a " S. Jerome " in the Chapel of S. Maurice, at Nuremberg, which is an excellent picture; a " Venus and CupiJ." in the Munich Gall., is graceful and pleasing. His por- traits are more numerous, and some of them are masterly. Among the best are three in the Berlin Mus. , one in the Landauer Briider- haus at Nuremberg, and that of Erasmus of Rotterdam at Windsor Castle. He studied engraving under Marc Antonio, and closely attained to the excellence of that master, as may be seen in his plate of the " Taking of Carthage," after Giulio Romano, the only engrav- ino- he made after any composition not his own. His plates of por- traits were very fine ; a series illustrative of the story of Tobit are tender and beautiful, a German conception, treated with Italian grace. Bartsch describes 126 prints by Pencz, and Nagler adds three to the list. Pennacchi, Pietro Maria, born at Treviso (1464-1528). The earlier works of this painter are really remarkable for their German type, and some of them have been mafked with the monogram of Diirer. He went to Venice, and his manner so changed that it is difficult to believe the later works of his life to be by the same hand. Most of his pictures are in Treviso and Venice. One of his early style is in the Berlin Mus., and represents the Saviour supported in the tomb by two angels. It is remarkable for its patient finish and its ugliness. ^ Pennacchi, Girolamo di Pier" Maria (1497-1545). Son and pupil of the preceding, whom he surpassed. His pictures are principally in Treviso, Venice, and Bologna, in which last city he painted much for the churches. His works are rare in public galleries; the National Gall, and the Hermitage have pictures by him. After his early studies in Venice, he modified his manner by familiarity with works of Raphael and other painters, but he always remained essentially Venetian. He was a, friend of Sansovino, Titian, and Aretino, and some particulars concerning him are con- tained in letters of the latter. During his last stay in Venice, 1535- 1538, he painted many palaces; in 1542 he was appointed architect to Henry VIlI. of England, and made plans for a residence for that King. In 1544 he was made an engineer, and commanded the works in the siege of Boulogne. He was throwing a portable bridge over one of the ditches before that place when he was killed by a cannon- ball. Penni, Gianfraiicesco, born at Florence (1488-1528). A favorite pupil of Raphael's and one of the heirs to his estate; he also acted as his steward, and on this account was called II Fattore. He assisted Raphael in many important works, such as the Cartoons, the pictures in the Loggic of the Vatican, the story of Cupid and Psyche at the Farnesina, and others. He left very few original works, but he executed fine copies of the works of his master. With PENNI — PEKEYRA. 449 Giulio Romano he was employed to finish the " History of Constan- tine," commenced by Raphael. The "Baptism of Constautine " and the " Donation of Rome to Pope Sylvester " were by Penni. The Marquis del Vasto invited him to Naples, where he died from the effect of the climate. Penni, Luca. Brother of the preceding. He studied a short time under Raphael and then with Perino del Vaga. He went to Eng- land in the reign of Henry VIH., and then to France, whore he painted with II Rosso. After his return to Italy he applied himself to engraving, chiefly after H Rosso and Primaticcio. Penny, Edward, born at Knutsford in Cheshire (1714-]791). Pupil of Hudson and Benefiali. His best works were small portraits, which were much admired. He was one of the original members, and the first professor of painting in the Rcyal Acad. He read an annual course of lectures there until 1783, when he resigned on account of his health. Some of his historical subjects were en- graved, and the print of the " Death of General Wolfe " had a large sale. Pepyn, Martin, born at Antwerp (1.575-1647). He was but a second-rate artist, as may be seen by his works in the Antwerp Mus. Some of his heads, however, are elevated in expression, animated, and life-like. A female portrait in the Aremberg Gall, is one of his best pictures. Pereda, Antonio, born at VaUadoKd (1599-1669). Pupil of Pedro de las Guevas, and a great historical painter in his day. His drawing was correct, his color Venetian, and he painted with a beau- tiful impasto. There are now but few pictures which can be posi- tively called his ; two in the Madrid Gall., one in the Esterhazy Coll. at Vienna, and three or four at Munich, are nearly all that can be named with assurance. It is said of him that having married a lady of rank, who insisted upon having her duena ahvays with her, and not being able to afford such an appendage, he painted an old lady with spectacles, sitting and sewing; all visitors saluted her as they passed, and believed her too deaf or too discreet to notice their move- ments. Perelle, Crabriel,.born at Paris (1610-1675 ?). An eminent en- n-aver. He was assisted by his sons, Adam and Nicholas. Perelle used both the point and graver, and executed with much taste. His best plates were landscapes. He composed in a pleasing manner, and made a variety in his pictures by the introduction of ruins and various accessories. Pereyra, Manuel "(1614-1667). A Portuguese sculptor who set- tled at Madrid, and became so distinguished as to be considered one of the most talented artists of- his nation. His works were numerous. One of the best is a statue of Christ in the ch. of the Rosary at Madrid. He became blind, but continued to model, and it is said 29 450 PEREYRA — PERTJGINO. that a statue of S. Jolin, wliicli was executed from his model, made without sight, was one of his finest works. Perugino, Pietro, born at Citta della Pieve (1446-1524). His father's name was Christoforo Vannucci, who was of respectable family, but had a number of children to provide for. The little Pietro was apprenticed to a master in Perugia before he was nine years old, and took his name from that city. He became the asso- ciate of Piero della Francesca, and at length in Florence probably studied under Verrocchio together with Leonardo, whose friend he was. Perugino is considered the founder of that style of painting MADONNA. BY PERUGINO. In the Pitti Gall., Florence. which Raphael perfected. He brought his figures out from the back- ground, rounded them and threw them into bold relief by means of strong shadows. He did not huddle numerous figures together, as had been the custom in Florence, but produced well arranged and more complete groups. Considering his advance upon what had preceded him, it is scarcely possible to say too much in his praise; and yet his works leave so much to be desired. The truth is, that by nature he was rough ; by some he is accused of being intensely mercenary, of atheism, and the most unlovely traits ; but it is not necessary to be- lieve all this in order to account for the want we feel in his pictures; it can all be explained in the fact that he did not conceive in his soul PERUGINO — PEBUZZI. 451 the spiritual, or even the most tender view Of his subjects. How then could he do more than he has done ? In technicalities he ex- celled, and did much to make ready for that great master who, in the thirty-seven years he had to live, had no time to work up to tlie ex- cellence which Perugino, as his teacher, was able to impart to him. The works of his middle life are the best, for in his later years his pictures are unceasing repetitions of the same subject, and have no charm of sufficient depth to awake the best and truest emotions of the heart. The Umbrians were all characterized by simplicity and devoutness in their pictures, and were noticeable beyond their con- temporaries for their brilliancy of color; in all these points, Peru- gino maintained the reputation of his school. The wall painting in the Sistine chapel, representing the " Delivery of the Keys to S. Peter;" the Madonna and four saints in the Vatican Gall.; the "Descent from the Cross," in the Pitti Gall. ; the " Adoration of the Magi," in S. Francesco del Monte at Perugia; and the " Virgin adoring the Child," in the National Gall., arc among his best works, but there is no public collection of any importance in Europe without the pictures of Perugino, and many are in private galk'ries. Feruzzi, Baldassare, born at Siena (1481-1537). In 1501 he was employed to paint in the cathedral, which proves his early ability. In 1504 he went to Home, where he eventually became a famous ar- chitect and painter. His life was eventful and fuU of interest, and deserves to be studied at greater length than it is possible to give it here. The building of the Villa Farnesina for the Siena banker, Chigi, has perhaps done more than any other work of his to give him a great and lasting i-eputation. He was its architect, and also exe- cuted many of its decorations. Time has so destroyed or defaced them, that now we can scarcely judge of their merit, but the high praise they gained for him in his own art-favored time is well known to us. He was a man of great compass; an architect, mathematician, thorough master of perspective, a sculptor, and a painter. We can- not say that he was classic, and yet he approaches being so, just as Etruscan art is related to that of Greece. He does not stand on a level with Leonardo, Michael Angelo, and Raphael, but he presses hard upon them. He did much work in Rome; adorned the fronts of palaces, painted frescoes, etc., etc., but he can be best studied by us in S. Maria della Pace, where he labored about I.^IT. Here he painted numerous scenes from the Old Testament, and the Virgin with SS. Catherine and Brigitta. These show the hand of a great master, and in painting, he seemed to have reached his utmost height, for he never excelled them. In 1520 he succeeded B,d.phael as archi- tect of S. Peter's. In the next year, he visited Bologna, where he made designs for various architectural works. During the sack of Rome, 1527, Peruzzi was seized, and plundered of all he possessed. At length he made his way to Siena, and was engaged by the gov- 452 PERUZZI — PHIDIAS. ernment at a salary of five scudi per month. While there, he wai uhiefly employed in revising old fortresses, or planning new ones. In 1535 he returned to Rome and devoted himself exclusively to archi- tecture until his death, two years later. The few pictures he painted while in Siena only show his decline from the height he attained in S. Maria della Pace. His paintings are rare in galleries ; there arc some attributed to him that are of doubtful origin. Peruzzi was the last great Sienese painter. He was buried near Raphael in the Ro- tunda at Rome. Pesaro, or II Pesarese. See Cantarini. Fesello. There were two artists of this name. There are very conflicting accounts o£ the elder, concerning his name and time of birth. By some he is called Francesco, and by others Giuliano. Several authorities agree that he lived from 1380 to 1457. He painted animals mostly, and is said to have kept numbers of them in his house — even wild beasts — for the purpose of painting from nature. Francesco Pesello, called Pcsellino, born at Florence (142G-1457), was a son of the preceding and a pupil of Fra Filippo Lippi. His works are very rare, but may be seen in the Florentine Acad., the Louvre, and the Liverpool Institution. There is also a gradino in the Casa Buonarotti, at Florence, representing stories in the life of S. Niceolo. He had variety of invention, animation, and force, and a highly finished execution. Pesne, Jean, born at Rouen (1623-1700). An engraver who is more remarkable for the exactness with which he imitated the difFerent masters after whom he engraved, than for any agreeable traits of his own. He left a large number of plates, many of them after the works of Nicoolo Poussin. Peters, Bonaventura, born at Antwerp (1614-1653). A painter of marine views. His works have a poetic character, but are not always true to nature. They are very rare in galleries, although Vienna is an exception in this, and has five of his pictures. Peters, Jan, born at Antwerp (1625-1677). Brother of Bona- ventura and a painter of similar subjects. Petitot, John, the Elder, born at Geneva (1607-1691). A cele- brated enamel painter. Some of his miniature copies of the portraits of Vandyck were very beautiful. He was a favorite of Charles I. and Louis XTV. Many of his miniatures are in the Mus. at Paris. He requested permission of Louis to return to Switzerland, which was granted him, after an absence of thirty-six years or more. Bordier, a brother-in-law of Petitot's, was his assistant, but his fame is lost in that of Petitot, who may be called the inventor of enamel painting, as he first brought it to perfection. John Petitot, the Younger, was very inferior to his father, by whom he was instructed. Phidias, born at Athens about 500 B. c. Son of Charmides. He first turned his attention to painting, but afterwards to sculpture, PHIDIAS — PIGALLE. 453 and became the greatest artist (in this department) that the world has ever seen. He was a favorite with Pericles, and in the works which he had executed for the adornment of Athens Phidias found full scope for his powers. Many of his statues were chryselephantine, and the two most wonderful ones were the " Minerva " of the Par- thenon, and the " Olympian Jupiter " at Elis. His adornment of the Parthenon was wonderful in beauty of design and execution, and if any work of his hand still remains, it must be seen in some of the statues and relievi which ornamented the exterior of this temple. These are wonderfully beautiful and truthful ; they display a perfect knowledge of anatomy, a skilful management of drapery, and a grand simplicity of style. They are also worthy of notice for the perfect management of relief shown in them, both of alio as seen in the metopes, and of basso in the frieze. The crowds of figures, both walking and riding, with animals for sacrifice, etc., etc., cannot be too much commended in their arrangement. He was accused of various crimes by the enendes of Pericles, was imprisoned, and died, it is said, of poison. Phillips, Thomas, born at Dudley in Warwickshire (1770-1845). An eminent portrait painter. Some of the most noted men of his time sat to him, such as Lord Byron, Lord Brougham, Tom Moore, Southey, Coleridge, and many others. In 1824 he succeeded Fuseli as Professor of Painting in the Acad., which office he held eight years. His portraits have been called " the Vandycks of England." Piazza. The name of a family of artists of Lodi who flourished from 1490 to 1556. Albertino and Martino were the elder ones, and never rose above mediocrity. Some of their works are still seen in Lodi. Calisto, son of Albertino, was the most excellent artist of his name. He was a pupil of llomanino of Brescia. Some of his earlier pictures are in this city, but his best works are in Lodi in the ch. "deir Incoronata." They represent scenes in the life of S. John Baptist, and are characterized by great purity and depth of senti- ment. Pioart, Etienne, born at Paris (1631-1721). TMs engraver was called "the Roman." He has left a great number of plates. He was employed to engrave (together with other artists) the pictures in the King of France's Coll. His plates are not without grave faults. Pigalle, Jean Baptiste, born at Paris (1714-1785). This cele- brated sculptor first established his reputation by his statue of Mercury, but his chef-d'oeuvre is the tomb of Marechal Moritz of Saxony, in the ch. of S. Thomas at Strasburg. The soldier is represented in his own costume, about to enter a tomb, on one side of which stands Death as a skeleton, and on the other side Hercules mourning. An impersonation of France endeavors to hold him back from the tomb, and a Genius attends with an inverted torch. There are also many emblems and military trophies as accessories. This 454 PIGALLE — PINTURICCHIO. sculpture has been engraved several times. Pigalle was mucli em- ployed by Mine, de Pompadour, of whom he made a statue. His finest work in Paris is the tomb of Comte d'Harcourt, in Notre Dame. Pilgrim, Hans Ulrich, or Hans Ulrich Vaechtlein. Known as " the Master of the crossed Staves," was a skilful engraver. The time of his birth is unknown. It is believed that he lived principally in Strasburg. In Germany he is considered the inventor of engrav- ino- en cammeu. Eleven of his plates are known, and are exact in de- sign and well executed. Pilon, Grermain, died 1590. A French sculptor whose works are seen at the Louvre, the ch. of S. Denis, etc. Pineda, Bernardo Simon, is principally known as the architect of the Hospital of Charity at the time of its rebuilding. He employed the chisel of Roldan in sculptural decoration, and defrauded him in his division of the payments. Pineda was also much employed in the Cath. of Seville, when it was prepared for the reception of S. Ferdi- nand. Pinelli, Bartolommeo, died 1835. An engraver who resided chiefly at Rome. His etchings of Roman history, Italian costumes, manners, etc., are numerous and well known. He also etched views in the neighborhood of Rome, with groups of banditti, to the number of 200. His drawings in chalk and water-colors are much esteemed and are very spirited in execution. Pinturicchio, Bernardino, born at Perugia (1454-1513). He was often called Sordicchio, from his deafness and insignificant appear- ance, but Pinturicchio was liis usual name. He was a partner of Perugino. His earlier works no longer exist. He never perfected himself in the use of oil mediums, but was confined almost entirely to tempera. He went to Rome and probably labored with Perugino in the Sixtine chapel. He afterwards executed almost numberless fres- coes in the churches and palaces of that city. He was first patronized by the Revere, and then by the Piccolomini. For Alexander VI. he decorated the Apartamento Borgia in the Vatican ; five of these rooms still remain in their original state. His pictures in the Castle of S. Angelo have been completely destroyed. During his engagements in Rome he went twice to Orvieto for the execution of commissions there. The amount of his labors was surprising, but is explained by his great facility of execution and the employment of many assistants. He was not original in his compositions ; he loved landscapes, but he cumbered them with too much detail; his figures of virgins, infants, and angels have a certain coarseness; he used too much gilt and ornamentation; his draperies were full, but often badly cast; his works are either too gaudy or very sombre, no pleasing medium seem- ing to suggest itself to him; his flesh has the red outlines of the earliest tempera; and yet with all these faults he painted at a time when the great precepts of art were well known, and his works are PINTURICCHIO — PIOMBO. ^455 good exponents of skilled labor in art without any striking or excep- tional power in the artist. It is scarcely possible here to give more than a list of the churches in which he painted; in Kome they were the Araceli, S. Cecilia in Trastevere, Santa Croce in Gerusalemme, and S. Onofrio. In 1496 he returned to Perugia and undertook an altar-piece for S- Maria de' Fossi (now S. Anna), to be completed in two ycai's. This is the most finished of his works, and more full of feeling than any other. He next adorned the collegiate ch. of SpcUo; these works are fast disappearing from the effects of damp- ness. He was next called to Siena by Card. Francesco Piccolomini, to decorate the Library of the Duomo. Here he painted the coiling in a variety of designs, with the shield and arms of the Piccolomini in the centre ; and the walls with ten scenes from the life of ^neas Sylvius or Pius II. This work was commenced in 1503, but was in- terrupted by deaths in the family of his patron, and was not com- pleted until 1507, he having filled various other commissions in the mean time. It is said with great probability that he was assisted in the Library by tlie young Raphael, and some critics have been wont to attribute the best features of all Pinturicchib's pictures to aid from the same source. But this should not be so. They were associated more or less, without doubt, and it is not improbable that Raphael was one of the many assistants whom the master hired in Perugia for his work in Siena; but there are many reasons why the credit of the best of Pinturicchio should not be given to Sauzio, who certainly does not need any such praise. There are many circumstances connected with certain cartoons, many similarities of figures in the works of the two masters, which make us feel sure of their association, but these Siena frescoes are conceived in the system of Pinturicchio. Thia library is one of the few Italian halls that retain their original oharao^ ter. The frescoes are discolored and injured in parts, but are, on the whole, fairly preserved. It is probable that after the completion of these works the master went to Rome, and returned to Siena in 1509 with Signorelli, who stood as godfather to the son born to Pinturicchio in the beginning of that year. He then probably entered the service of Pandolfo Petrucci. His last authentic picture is now in the Palazzo Borromeo at Milan, and is a cabinet size of " Christ bearing his Cross.^' It was painted in 1518, the year of his death. Dreadful stories have been told of the manner in which his wife Grania treated him. It is said that when very sick she left him to die of starvation, but this lacks confirmation. His works are seen in all large, and in some smaller collections of Europe. Fiombo, Fra Sebastiano del, real name Luciani. Born at Yen- ice (1485-1547). In early life he was destined by his father to be a musician, but he decided for himself to be a painter, and gained his knowledge of his art from Gio. Bellini and Giorgione. He excelled in coloring and in breadth of chiaro-scuro. From the very first it 456 PIOMBO. was evident that he lacked the gift of composition, and though he struggled manfully, this want and that of elevation seemed to define the position he must hold as a painter. This inability to design great subjects did not affect his power to paint portraits; his works •in this department were magnificent. That of Andrea Doria in the Doria Pal., is by some considered the finest portrait in the world. I believe it is no longer to be seen by travellers. A cardinal in' the Stud] Gall, at Naples, a female portrait in the UfBzi, one in the National Gall., and one in the Stadel Mus. at Frankfort should be mentioned. The last two are claimed to represent Giulia Gonzaca, the most beautiful woman in Italy. In 1.533 Ippolito de' Medioij who was madly in love with her, sent Sebastian with an armed force to Fondi to paint her portrait; it was completed in a month, and was sometimes called the best that he had painted. The picture was sent to Francis I. at Paris, but its present place is not positively known. The fame of his portraits is all his own, but this is not true of his other works, for it is said that after he went to Rome, Michael Angelo assisted him with designs which he magnificently colored. They were certainly ardent friends, and there were some good rea- sons for it. They were alike in temperament, impulsive, and real- istic; they loved nature alike; they hated Raphael together; they equally detested monks and friars ; they both loved out-door sketch- ing for a recreation ; they were alike in tlieir muscular forms, and both were left-handed. Sebastian went to Rome by invitation of Agostino Chigi ; he first painted in the Farnesina, which Peruzzi had designed, and, together with Raphael, had adorned for the luxm-ious banker. Here the inferiority of Sebastian was apparent, and he en- deavored to improve by study under Buonarotti. It is said that on account of the growing fame of Raphael, Buonarotti determined to assist Sebastian, and so designed for him to color. Card. Giulio de' Medici gave orders to Raphael and Sebastian for pictures of the same size ; they were the ' ' Transfiguration "and the ' ' Resurrection of Lazarus." When completed they were exhibited, and even by the side of the transcendent beauty of Raphael's work, the "Lazarus" was much admired. It is certainly in the very spirit of Michael Angelo. It was one of the important works of the 16th century. It was sent to Narbonne by the Cardinal, and is now in the National Gall. After the death of Raphael, Sebastian was called the first painter in Rome. His works were numerous ; some fine ones are in Madrid and St. Petersburg; many are in Venice, and they are seen in several Continental galleries. When he was made pionihatore it was necessary for liim to be an ecclesiastic, and his name of Luciano was given up for that by which he is best known, Fra Sebastiano del Piombo. He wrote to Michael Angelo, " If you were to see me as an honorable lord, you would laugh at me. I am the finest ecclesiastic in all Rome. Such a filing had never come into my mind. But God PIOMBO — PIRANESI. 457 be praised in eternity 1 He seemed especially to have thus decreed it. And, therefore, so be it." It is not strange that he should have been thus resigned to a high office with the salary of 800 seudi a year I It is said that Sebastian and Michael Angelo disagreed con- BAISIKG OF LAZARUS. BY SEBASTIAN DEI. PIOMBO. In the National Gall. , cerning the painting of the " Last Judgment," which caused a con- tinued coldness between them, but this needs confirmation, and may well be doubted, since Vasari did not mention it. , Firanesi, Gio. Battista, born at Venice (1721-1779). An emi- 458 PIRANESI — PISANO. nent designer and engraver of ruins, architectural subjects, etc. He has been called the ' ' Rembrandt of Architecture," on account of his admirable management of light and shade, which gave force and vigor to his works. His pictures of ancient ruins are not always exact, as his imagination was indulged to some extent, even in rep- resenting what was before him. He was of a fiery temper, and dis- agreed seriously with Lord Charlemont, so that ho cut out the arms of that nobleman where he had engraved them in his plates, and sub- stituted other designs in their places. He was a member of the London Society of Antiquaries. His son took his father's plates to Paris, where he went as minister for the Roman Republic. After the son's death in 1810, they were purchased by Didot, but now be- long to the government of Rome, and are in the Vatican. They number nearly 2000. His son Francesco and his daughter Laura also engraved the same class of subjects as did the father. Pisauello. Real name Vittore Pisano. Bom at Verona. There is much uncertainty concerning the birth, education, etc., of this painter. It is said that he painted with Gentile da Fabriano in the Lateran, and that he died in 1451. Many of his works are pre- served in Verona, his native city, and show him to have been a graceful and attractive painter. Pisano, Niccola, born at Pisa (about 1206-1278). According to the custom of his time he was both architect and sculptor. At the early age of fifteen he was appointed architect to Frederic H , with whom he went to Naples. In the service of this sovereign he passed ten years, and then went to Padua, where he made the design for the Basilica di S. Antonio. The first known attempt which he made as a sculptor resulted in his alto-riUevo of the ' ' Deposition from the Cros?," which now fills a lunette over a door of the Cath of S. Mar- tino at Lucca. This is most excellent as the work of an untutored artist, as he was at that time, and it shines by comparison with -tvorks of his contemporai'ies which are near it. Tlie statuettes of the Mis- ericordia Vecchia at Florence are of about the same merit as this bas-relief. In 1248 Niccola went to Florence to assist the Ghibel- lines in their work of destruction ; he was commissioned to overturn the tower called -Guardamorto, in such a way as to destroy the Bap- tistery ; he overturned the tower, but it did not fall in the anticipated direction, and we may believe that this was in accordance with his intention, although it was attributed to a special miracle, by Villani. During the twelve succeeding years he was employed in makin"f de- .signs for the building and remodelling of many churches and palaces. The ch. of Santa TrinitA at Florence is one of the best known of his works of this period. In 1260 Niccola established his fame as a sculptor by the magnificent pulpit which he executed for the Baptis- tery at Pisa. Of course marks of his comparative inexperience can be found in this work, but taken all in all it almost challenges criti- PISANO. 459 cism. His next work was the " Area di S. Domenico," at Bologna, which is now svirrounded with a maze of beautiful sculptures of which the " Area " is the centre, and is of great interest as illustrating the art of the ISth century. In 1266 Niccola went to Siena to make tho pulpit for the Duomo. This is similar to that of Pisa in many ways, but not as effective, because surrounded by other objects of interest, and in a larger space, while at Pisa the pulpit seems almost the only thing to attract lihe attention. In 1269 he was commissioned to build the Abbey and Convent of La Scorgola, which are now in ruins. In 1274 he commenced the fountain of Perugia, which was his last work. The authorities of the city made severe laws for its preservation, and it was considered the most precious possession of the city. In 1278 Niccola died, after a life of great usefulness, for his influence had been felt through all Italy. His services could 460 PISANO. never be estimated; he had founded a new school of sculpture ; had put behind hira the standards of barbarism; in architecture, too, the same may be said, and in the words of Mr. Perkins, " He was truly a great man, one to wlioni the world owes an eternal debt of gratitude, and who looms up in gigantic proportions through the mist of five centuries, holding the same relation to Italian art which Dante holdp to Italian literature." In his life he was respected and loved by all who came in contact with him, be it as patron, friend, or servant. Pisano, Gio., born at Pisa (about 1240-1320). He seems to have inherited much of his father's genius, but had an entirely different taste. Gothic architecture was his choice, and he was fond of exag- geration and fantastic action and expression in sculpture. He worked much under Niocola, and assisted him with the Perugian fountain. As early as the making of the Siena pulpit, he was a master in his own right, and went in 1268 to Naples to fulfil a commission from the Franciscans there; he also designed the Episcopal Palace. After the death of Nicoola, the Pisans were anxious to have Giovanni remain in his native city, where he executed important works. The ch. of S. Maria della Spina was the first example in Italy of the pointed architecture, and is a most pleasing one. In 1278 he was chosen to build the Pisan Campo Santo ; it was the first and the most beautiful one of all Italy. It is too well known to be described in our limited space, but it seems that nothing could have been more fitting for its purpose than the plan which he adopted. Many of the sculptures here were also by his hand. The representation of Pisa was the first attempt at making large statues in Italy, since the days of Con- stantino. It is a strange, and in many respects an unlovely work; and yet it has great intensity of expression in its principal figure, and displays the originality of Giovanni. He gained much reputa- tion from this, and in 1286 went to Siena, where he was commis- sioned to build the fa9ade of the cathedral. The people of Siena were very desirous that he should fix his home there ; the magistrates made him a citizen and exempted him from taxes for life ; but he remained only three years, and went next to Perugia. In this city he made a monument to Urban IV., which no longer exists. From this time, he devoted himself almost wholly to sculpture. At Arezzo, he made the shrine of S. Donato for the cathedral, which cost (including jewels, for the Madonna, enamels, and silver bas-reliefs) 30,000 florins. It was a superb work of art. His next work was done as a rival to "II Tedesco," a sculptor who had made a pulpit for the ch. of S. Gio- vanni at Pistoja, which was much praised. A new pulpit was also to be made for the ch. of S. Andrea, and there were those in Pistoja who had so admired Niccola Pisano that they desired to have his son to do it; he excelled his rival in every way, and fully supported the reputation he had already gained. Our artist now went to Florence. This was a prosperous time there, and Giovanni remained two years; riSANO — POILLY. 461 but in spite of his reputation, he received but oije order during that time. In 1305 he was commissioned to make the monument of Pope Benedict XI., still remaining in S. Uomenieo at Perugia ; and some- what later, another monument of S. Margaret in the ch. of that saint, at Cortona. The general arrangement of the two was similar, and in both cases angels were holding back curtains and regarding the figures with sorrow. In 1312 he commenced rebuilding tlie Cath. of Prato. Ho did not live to see it completed, but his designs were carried out with precision. He had neither the dignity nor the feel- ing for beauty which Niccola so largely possessed; but his style is uncommon and very dramatic, and could not have belonged to a man of inconsiderable genius. He had many pupils, among whom was the distinguished Andrea Pisano. Fisano, Andrea (1270-1345). His works as an architect were very few, and as a sculptor, they were not numerous. He spent some time in Venice. He gained a great reputation as a bronze- caster, and was intrusted with the execution of the gates to the Bap- tistery of Florence. On this work his fame almost entirely rests. They arc now displaced by Ghiberti's gates, but when they were completed in 1339, all Florence was in an ecstasy regarding them, and the Signory went in state to praise him, and did him the honor to make him a citizen. It was not the custom of the Signory to leave the Palazzo Veechio in a body, except on the most solemn and im- portant occasions. He may be regarded as the reviver of bronze sculptuire, which had constantly declined from the antique, and in which no work had been produced at all comparable with the gate of Andrea Pisano. Pitau, ITicholas, born at Antwerp (1633-1696 ?). An engraver of historical subjects after various masters. His plates were numer- ous and are htld in well deserved estimation. Ploos. See Amstel. Poccetti. See Barbatelli. Poel, Egbert van der. Flourished about 1660. Many of his pictuj-es are rude and false in efFect, but a few are surprisingly bet- ter. The best were conflagrations. His works arc seen in the Louvre, Amsterdam Mus., and the Mus. at the Hague. Poelemberg, Kornelis, born at Utrecht (1586-1660). Pupil of Abraham Bloemaert ; he visited Rome, where he adopted, as far as he was able, the elegance of the Italian school. He represented many stories from sacred history and from mythology, with nude figures in richly colored landscapes. His execution was extremely labored and finished. His least commendable feature is his drawing. His works are in nearly all European galleries. The " Annunciation to the Shepherds," in the Louvre, is one of his best pictures. Poilly, Francis, the Elder, born at Abbeville (1622-1693). This eminent engraver, whose works are deservedly esteemed, left about 462 POILLY — POLYCLEITUS. 400 plates, including those executed by his pupils under his super- vision. Nagler describes 170 which he believes to be entirely his own. They are so uniform in style, that it is difficult to select a chef-d'oeuvre. The choice seems to depend upon the taste of each one who judges. That of the " Flight to Egypt," after Guido, and the " Holy Family," after Kaphael, are almost universal favorites. " S. Charles Borromeus administering the Sacrament," after Mignard is very fine. There were several other engravers of the same name and family. Polidoro. See Caldara. Pollaiuolo, Antonio and Piero, born in Florence in 1433 and 1443. Antonio died in 1498, but the time of Piero' s death is not known. They were goldsmiths and workers in bronze and silver ornaments, and also painters. Their pictures were much affected by their other occupations, and seemed to be copies of their other works ; even the colors were such as to suggest bronze and silver ornaments. These brothers excelled especially in the knowledge of anatomy, and it is said that Antonio was the first artist who dissected the human body in order to know how to represent it. Their most ex- cellent productions represented contests of strength and muscular action, such as " Hercules and Hydra," and the '■ Death of Antaius." This is less true of Piero than Antonio, but applies to both. Antonio is celebrated as the best goldsmith of his time, and he received many important commissions from church and state. He was constantly in communication with Lorenzo de' Medici regarding his art and matters related thereto. He made bronze monuments for the Popes Sixtus IV. and Innocent VIH. The first is now in the Chapel of the Sacrament in S. Peter's. In painting, their model was Andrea del Castagno. It is difficult to separate their works and say to which of the brothers particular ones belong, but it is safe to say that those which are most pictorial in character were done by Piero. Their masterpiece is, without doubt, tho " S. Sebastian " in the National Gall. It is a fine work, without being refined or in the least idealistic; it has been unduly praised by some writers. The " Archangel and ' Tobit," in the Gall, of Turin, is an excellent example of their manner. Their pictures are in the different galleries of Florence, in Berlin, Munich, and Modena. PolyoleituB, the Elder. This celebrated statuary was probably a native of Sicyon and a citizen of Argos. He was the pupil of Ageladas and fellow-pupil of Phidias and Myron. His time was, as nearly as can be told, B.C. 452-412. Tho difference between Phidias and Polycleitus was, that the former was perfect in his representations of the gods, and the latter in those of men, and each one was preferred before the other according to the taste of the person Judging. Polycleitus received the highest encomiums of praise from Plinj', Cicero, Dionysius of Halicarnassus, Quintilian, etc. He POLYCLEITUS. 463 was a worker in marlple and bronze, an arohiteet, and a toreutic artist. He also wrote a treatise on the proportions of the human body, called Kai/av, and made a statue of the same name, in which his theory was exemplified. Regarding his works which remain there has been much discussion. I agree with Lubke, who believes HEAD OF JTINO. Ludovisi Villa, Eorae. the Berlin " Amazon," and the copy in the Braccio Nuovo, to be Polycletan ; the head of Juno, in the Villa Ludovisi, is attributed to this artist; we give an engraving of it, but doubt its being by Poly- clSitus. He had many pupils, and exercised great influence upon the school of Argos. 464 POLYDORUS — PORTA. Polydorus. See Agesander. Ponte, Francisco da, Jacopo da, Francisco da, Gio. Batista da, Leaudro da, Girolamo da. See Bassano. Pontius, Paul, born at Antwerp about 1596. Pupil of Lucas Vorsterman. He was one of the very best Flemish engravers, and his plates are much esteemed. He made many engravings after Rubens and Vandyck. He seemed fully to imbibe the spirit of Rubens, who was his friend, and, in truth, he adapted himself . wonderfully to whatever artist he copied. Pontormo. See Carueci. Ponzio. This sculptor is the " Maitre Ponce " of the French, and probably identical with Ponce Jacquio. His works are at the Louvre and at S. Denis. Pordenone, Gio. Antonio Iiicinio Regillo da, born at Porde- none (1484-1539). He was of the same class of painters as Gior- gione and Titian, and may perhaps be called a rival of the latter. His composition was very simple; his heads rarely speak of deep passion ; and his chief excellence was color. He painted flesh with a marvellous softness. His portraits were fine, and he frequently represented several persons on one canvas. We have very few easel pictures by Pordenone, and those which are attribU|ted to him in gal- leries, are oftentimes proved not to be his, or are under so much doubt, that it is unsafe to risk a list of them. The " Glory of S. Lo- renzo Giustiniani," in the Acad, of Venice, is one of his finest works. Much has been said of the " Woman taken in Adultery," in the Ber- lin Mus., but it is so repainted (the heads of the Saviour and the Woman being almost new), that it can do little honor to any artist of the 16th century. His frescoes at Venice have nearly all perished. Porta, Baccio della, Fra Bartolommeo, or 11 Frate, born at Savignano (1469-1517). He was a pupil of Cosimo Roselli in Flor- ence, and lived near the gate of S. Piero, from which circumstance was derived his name of della Porta. He was the intimate friend of Mariotto Albertinelli. He had acquired great fame for the beauty of his Madonnas, and had been commissioned to execute a fresco of the " Last Jud'iniont " in the Convent of S. Marco, about the time when Savonarola went to Florence to preach against the sinfulness of the city. Bartolommeo became the earnest friend of the preacher, and was so carried away by his influence, that he burned all his studies and drawings of profane subjects and those which repre- sented nude figures. He abandoned his art, and spent his time in the society of the enthusiast. When at length Savonarola was seized, tortured, and burned, Bartolommeo took the vows of a Dominican friar, and left his unfinished pictures to be completed by Albertinelli. During four years he led a most austere life, never touching his pencil. His superior then commanded his practice of his art, and he resumed it with languor and entire want of interest. About this PORTA. 465 time Raphael arrived in Florence; he was but twenty-one, but already a great painter; he visited the friar's cell, and a deep friend- ship between the two was the consequence ; to this we owe the after wBrks of Fra Bartolommeo. Raphael instructed him in perspective, and he in turn gave new ideas of drapery to Raphael. Fra Bar- tolommeo was the first to employ lay figures in the study of drapery; he also imparted to Raphael his mode of coloring. The examination of the works of, these painters will prove that from this time both of them produced more excellent pictures than they had done before; the friar had caught an intellectual grace from his young friend, and Raphael had advanced in color and drapery. About 1513, Fra THE DESCENT FKOM THE CBOSS. BY FRA BAKTOLOMUEO. In the Pitti Gall. Bartolommeo was allowed to go to Rome. This visit was doubtless a deep joy to him, but the beauties of what he saw so far exceeded his imaginations, that he seems to have been stupefied; he made no attempt to equal or excel the artists about him, and only commenced two figures of SS. Peter and Paul, which Raphael finished after his return to Florence. When once more in his convent, Bartolommeo showed the benefit he had received, and executed the "Madonna dejla Misericordia," now at Lucca, and considered by jnany as his most important work. It had been said that he could do nothing gi;a,nd; he now painted the " S. Mark" which is in the Pitti Pal., and is so simply grand as to be compared to the remains of Grecian nrt. He only lived four years after going to Rome, and died at a time 466 PORTA — POURBUS. when his powers seemed daily increasing. His character was im- pressed on all his works ; when Savonarola was seized he hid him- self, and vowed that if he escaped he would become a monk. This want of courage and energy we must admit, but he was enthusiastic, devout, and loving in his nature. His saints and virgins are tender, mild, and full of sweet dignity, and if we characterized his pic- tures in one word, holiness is that we should use, for it is that which they most express. His boy angels were beautifully painted, and his representations of arcliitecture were rich and grand. His works are rare. Besides those we have mentioned, the " Presentation in the Temple," in the Vienna GaU., is most important. The Louvre lias two of his pictures and the Berlin Mus. one, but he is best studied in Florence, where the larger number of his works remain. Porta, Guglielmo della. One of the ablest sculptors among the followers of Michael Angelo. His most important work was the monument to Paul III., in the tribune of S. Peter's. Two statues of " Peace " and " Abundance," which formerly made a part of this work, are now in the Farnese Palace. Potter, Paul, born at Enkhuysen (1625-1654). " One touch of Nature makes the whole world kin." The truth of this finds proof in the sympathetic pleasure with which thousands have regarded the eminently truthful representations of Nature by this artist. His works are made up of few objects — an open landscape, a few ani- mals, perhaps a shepherd, and this is almost all. He settled at the Hague early in life ; he had there full opportunity for such studies as he wished to make. -Later he removed to Amsterdam, and this is attributed to the folly of his wife, to whom he was devotedly attached;, it is said that she had many admirers, and was detected by her hus- band in listening to one; he threw a net, which he can-ied, over both,, and exposed them to the ridicule of friends ; soon after he removed to Amsterdam, where he died and was buried. He had a dauo-hter three years old, when he died. He was remarkable for the early age at which he attained great excellence. Though he lived so few years, he left many works; 103 pictures and 18 etchings, besides nume-ous drawings and studies of a variety of subjects. Perhaps no one work of his is so well known as the " Young Bull," at the Haj;ue. Two other pictures of the same year (1647) are in private collections. The Cassel GaU., Amsterdam Mus., the Louvre, and the Imperial Gall, of St. Petersburg, all have his works. In the Berlin cabinet of engravings there are four books of his studies, in their original boar-skin bindings. That he was more successful with cat- tle and sheep than with horses is plainly seen in his etchings. Among these "Le Vacher " and " Le Berger " may be particularized for excellence; but all are fine. Pourbus, Pieter, born at Gouda (1510-1584). He went early to Bruges, which city has many of his fine works. In an age of excel- POURBUS — PODSSIN. 4G7 lent portrait painters, he ranked very high, and his historical subjects show the hand of a good master. He was much considered in Bruges; he served as Dean of the Corporation of Painters, and after his death, his widow was pensioned by the town. His son, Frans Pourbus, the Elder, born at Bruges (1540-1580), and his grandson, Frans, the Younger, born at Antwerp (1570-1622), were also good portrait painters. FouBsin, Nicholas, born at Andelys in Normandy (1594-1665). He studied first with Varin, then worked with Nicholas Duchesne, and at length, in 1624, went to Rome, where his career as an artist commenced in reality. He entered the school of Sacchi, and re- ceived some instruction in that of Domenichino, but he formed his style by the study of the antique and of Raphael. It is often said MOSES AT THB SPRING. BY N. POUSSIN. that his works resemble a painted rilievi. He beeame almost an an-^ cient in his modes of thought, from familiarity with their history and customs. When first in Rome, he was in great poverty, but at length began to be known and employed. His fame reached France, and Louis XIII. invited him to return to bis own country. He was given apartments in the Tuileries, and received many honors, but he longed for Rome again. He made the plea of going for his wife, and as the King soon died, he never returned. Although he re- ceived more orders than he could fill, he asked prices so moderate that he was never rich; but he did not desire to be so. When a rich cardinal pitied him for his lack of servants, he replied by pitying him 468 POUSSIN — PRATT. for his abundance of them. His portrait painted by himself is in the Louvre. The " Seven Sacraments," of which he painted two series (both now in England), are among his important works. His " Bac- chanalian Dance," National Gall., is a masterpiece, and in this class of subjects his power was truly wonderful. He is accredited with most perfect knowledge of the imitation of antiques by Sir Joshua Reynolds and other writers on Art. Foussin, Gaspar. Real name, Gaspre Dughet. Nicholas Poussin had married his sister, and was the teacher of Gaspar, who for these reasons was called by his name. Born in Bx)mo (1613-1675). He showed so much taste for landscape painting that Nicholas led him to devote himself to that especially. His pictures have a dark, solemn effect, from the use of very dark backgrounds. Pradier, James, born at Geneva (1790-1832). This artist was little fitted for religious representations, as is seen in his works for S. Clotildo and the Madeleine, but he excelled in representing purely sensual female beauty. The fountain of Nismes is a masterpiece; the drapery is noble and distinct in treatment, and the lines beautifully arranged, while the figures and the whole form of the work is fine. The serious and comic Muses of the Fontaine Molifere are excellent. Of hia female figures we may mention his Psyche, and Atalanta, and the despairing Sappho, his last work. His Prometheus, erected in the garden of the TuUeries in 1832, is an example of how grand and spirited he could be. There are works of his in the Louvre designed after the antique, which are good in composition and arrangement of lines, and display great technical skill. Prado, Bias del, born at Toledo (probably 1540-1600). He painted many pictures for the churches and convents of Toledo and Madrid. In 1593 the Emperor of Morocco desired Philip to send him a painter. Philip made answer that in Spain they had both ordinary and excellent painters, and asked which he would have. The Moor haughtily replied, " Kings should always have the best." Pliilip sent Bias del Prado. He remained, several years and so pleased the monarch that he sent him home with generous gifts. He excelled in painting fruits and flowers, and was accustomed to put garlands around his pictures of Madonnas and Saints. In the Acad, of S. Ferdinand, at Madrid, there is a picture by Prado, of the Vir- gin, with the Infant, seated on clouds. Beneath is a tower, and a nun and a man in a black dress aro kneeling in prayer. In the Queen of Spain's Gall., there is a picture of Mary, Infant Christ, and S. Joseph, attended by SS. John and Ildefonso. This was probably a votive picture given to some shrine by Alonso do Villegas, who is represented as adoring the Virgin, who regards him kindly. Pratt, Matthew, born in Philadelphia (1734-1805). He painted signs in a manner which won for him much praise, and also made good portraits of the leaders of American life in his day, which pos- PRATT — PREVITALI. 469 sess much historical interest rather than great merit, when artisti- cally considered. He escorted the bride of Benjamin West (to whom he was related) to London, and gave her away at the altar. He then studied four years with West, and painted portraits of several emi- nent persbns. After his return he occupied an honorable position in his native city, and assisted Peale in establishing his museum. He made portraits of many prominent members of the Philadelphia Con- vention of 1788. Praxiteles. Probably born about 392 b. c. Ho was a celebrated sfculptor in bronze and marble, but his most famous works were of the latter. He loved to repre- sent beauty, youth; and dreamy happiness. His representations of Venus and Cupid are most praised by those who write of him. Of the first we can judge only by Cnidian coins. It was considered worth a journey to Cnidus to see his Venus, and when King Nicomedes of Bithy- hia offered to pay all their debts for this one statue, the Cnidians refused. There are existing copies of his works which make us fully realize what the origi- nals must have been. Among these are the Cupid in the Vat- icah; a Satyr in the Capitol, Rome ; an Apollo in the Louvre, and another in Florence, Trib- une of Ufflzi; and a statue at Naples caEed Narcissus, Pan, arid' Bacchus, by different Crit- ics. Freti, Cavalier Mattia. Called II Calabrese. Born at Taverna (1613-1699). One of the less important Nnturalimi. Pupil of Guercino. He chose gloomy subjects; his composi- tion was copious, his design bold, and his use of heavy shad- ows very effective. . Previtali, Andrea, born at Befgamo; Flourished from a satyk. after peaxiteles. 1506 to 1528. A pupil of Gio. Capitol, Rome. 470 PEEVITALI — PULIGO. Bellini, and a follower of his manner. His works are quite numer- ous. The most important are in Bergamo; an altar-piece in S. Spirito is one of the best. The Manfrini Gall, at Venice, the Berlin Mus., and the National Gall, have his works. Primaticcio, Francesco, born at Bologna (1490-1570). He studied with Innocenzio da Imola and II Bagnacavallo, and was the assistant of Giulio Romano six years. His principal works were frescoes at Fontainebleau , many of which are now destroyed. These were an enormous labor; Primaticcio made the designs entirely, and much of the painting was done by Niccolo dell' Abate. Francis I. gave Primaticcio the large revenues of the Abbey S. Martin in Troyes, Champagne. This artist was retained in the service of Henry II., Francis II., and Charles IX. It has been said that the taste and standard in art was improved in France by Primaticcio, Abate, and II Rosso, but this is doubtful. Their design and compo- sition, though brilliant, were not true; they had far more science than feeling, and sacrificed everything to freedom and ease of design. The works of Primaticcio are rare out of France. Procaocini, Ercole, born at Bologna (1520-1591). A patient and careful painter of no great power. He held up to his pupils the best masters, and stoutly opposed the mannerisms of liis time. He was the founder of the eclectic school at Milan established by his sons. Correggio was their model. Procaccini, Camillo (1546-1626). A mere machinist who turned out pictures in the most extraordinarily short time. Some of his works were, however, worthy of a better master. " S. Roch admin- istering to the Sick of the Plague," at Dresden, is one of his best pictures. Procaccini, Giulio Cesare (1548-1618) The best painter of his family. Ho imitated Correggio with success, and some of his cabi- net pictures have been passed for the works of that master. There are many works of his in the churches and galleries of Milan. Prud'hon, Pierre, born at Clupy (1758-182.S). He studied in Borne, where lie became the friend of Canova. He returned to Paris in 1 789. Ho was not as fond of the imitation of the antique as was then the fashion to be, and it was some time before his talents were recognized. He was the teacher of the Empress Maria Louisa, and a member of the Institute of France. His picture of " Crime pur- sued by Justice and Vengeance," in the Louvre, is one of his most admired works. Constance Mayer was his pupil and friend. She committed suicide in 1821, and from that time Prud'hon was afflicted with a fixed melancholy. Puget, Pierre (1622-1694). A follower of Bernini, whose sculp- tures are seen at the Louvre and at Versailles. Puligo, Domenico, born at Florence (147.5-1527). This artist was older than Andrea del Sarto, and had studied under other PULIGO — QUERCIA. 471 masters, but he seems in the end to have attempted to imitate him, and so well succeeded that his pictures are sometimes mistaken for those of that master. He is not a pleasing painter, and shows no deep love of art; he painted for money, and was a sensual man. He is said to have died of the plague, contracted in a low place which he visited. , Fulzone, Scipione, called Gaetano, born at Gaeta (1550-1588 ?). A portrait painter of such excellence that he has been called the "Vandyck of the Roman school." He also painted some historical pictures, the best of which are in Home. Pynaoker, Adam (1621-167i3). This painter went when young to Italy. His pictures are landscapes, but many of them are enli- vened with figures and animals. His remaining works are few, probably because he spent much time in adorning the rooms in Dutch houses, which was then the fashion. Many of the large European galleries have specimens of his works. He usually adopted a epol tone, for which reason he excelled in morning scenes. Smith estimates the number of his pictures at sixty-nine. Q. Quaglio, Dominik, born at Munich (1787-1887). This artist commenced as a scene-painter, but afterwards devoted himself to architectural painting, in which he became eminent. His pictures of cathedrals, and his architectural views in South Germany, are admirable. QuellinuB, Arthur, born at Antwerp, 1607. Pupil of Duquesnoy. He executed the sculptures which decorate the magnificent Town Hall built in Amsterdam in 1648. The interior figures are simple and noble in style, and those of the exterior are vigorous and natural. He was one of the most able and imaginative sculptors of his time. Quellinus, Erasmus, born at Antwerp (1607-16 78). An educated man and the friend of Kubens and Gevartims. It is said that he was at one time professor of philosophy, but his love for painting induced him to vacate his chair. His pictures were very unequal in excel- lence. They are seen in the churches of Antwerp, and some of the best are in the Mus. of that city. QilellinuB, John Erasmus. Son of preceding, born at Antwerp (1629-1715?). He visited Italy, and became an imitator of Paul Veronese. He used immense canvases. The " Coronation of Charles V. as King of Rome," in the Vienna Gall., and the "Pool of Be- thesda,"in the Antwerp Mus., are two of his best works; the former is much the best. Quercia, Jaoopo della (1374-1438). Son of a goldsmith, in whose art ho was educated. He possessed an inventive mind and 472 QUERCIA — RAIMONDI. independent spirit, and when he devoted himself to sculpture, he threw off many of the old traditions, and embodied his own Ufelike conceptions of nature. He labored in Ferrara, Siena, Lucca, and Bologna; in the latter city he made the sculptures for the portico of S. Petronio. They are in his best manner, and among the most attractive works of his time ; they were done in 1425. Jacopo was one of the applicants for the gates of the Baptistery of Florence, which were given to Lorenzo Ghiberti. Querfurt, Augustus (1696-1761). Born at Wolfenbiittel. Pupil of his father and of Rugendas. He imitated Wouvermans. His works may be seen in the Vienna, Dresden, and Berlin galleries. He was the inferior of Rugendas in composition, but superior to him in impasto, transparency of color, and carefulness of execution. R. Raeburn, Sir Henry, born near Edinburgh (1 756-1823). A por- trait painter of good reputation. Some of his best works are in the National Gall, of Scotland. Raibolini. See Francia. Raimbacb, Abraham, born in London (1776-1843). An en- graver whose best plates are after the works of David Wilkie. They are well suited to their subjects, and are boldly engraved. Raimondi, Marc Antonio, born at Bologna (1487-153!!'). This very eminent engraver studied the art of niello under Francesco Francia, and commenced engraving by copying the works of that painter; he also copied after Mantegna and Diirer, but perfected his drawing under Raphael, who favored him greatly, and allowed him to engrave his drawings. Together, Raphael and Raimondi exerted great influence upon the art of engraving, apd the works of that time have never been excelled in drawing and clearness of outline, though much surpassed in gradation of tone and delicacy of model- ling. It should be remembered that it was from the drawings, and not the finished pictures, of Raphael that Marc Antonio worked. He was especially remarkable for the exactness with which he copied; he seems to have been willing to lose himself entirely in the master he reproduced. His life may be said to have been devoted to multiplying the works of Raphael. He also executed a few plates after Michael Angelo, Mantegna, Bandinelli, and Giulio Romano. He was imprisoned on account of some plates after the designs of the latter, which were so indecent as to enrage Clement VH., and it was with difficulty that his release was obtained by some of the cardinals and Bandinelli. In 1527 he was in full favor in Rome, when he RAPHAEL. 473 was driven away by the sacking of the Spaniards. He was plundered and fled to Bologna. His last work was done in 1539, and he is said to have been killed by a nobleman of Rome because he had engraved a second plate of the "Murder of the Innocents," contrary to his agreement. His works are numerous, and in selecting them great attention should be paid to the different impressions, for some of the plates have been retouched by those who have had them, until they are greatly changed. The best impressions have no publisher's name. Heineken gives a complete cataldgue of his prints. , Ramenghi. See Bagnacavallo. Raphael Santi, bornat Urbino, on Good Friday, 1483. Son of Gio. Santi, a good painter, who executed many pictures for the churches in the March of Ancona, in Urbino, and the surrounding country, and also wrote a biography in rhyme of his patron, the Lord of Urbino, which is now preserved among the MSS. in the Vatican. The mother of Raphael died in 1491, and his father in 1494, leaving him with a step-mother, to whose care, together with that of his uncle, Don Bartolommeo Santi, the boy was consigned. It cannot be doubted that he received his first instruction in painting from his father, who took him to Cagli, between 1492 and 1494, where he was painting a chapel with frescoes. Luca Signorelli and Timoteo Viti were his first teachers in painting, and the latter is said to hai^e painted the portrait of Raphael at twelve years old, in the Borghese Gall. It was probably in that year of his age that he was placed in the school of Perugino, at Perugia. Rumohr says this master was characterized by " stainless purity of soul, by the highest aspirations, and by feelings sweetly sad and enthusiastically tender. He was now at the zenith of his fame and surrounded by many distinguished pu- pils." Raphael soon proved himself the best of all. His sketch-book of this time is in the Acad, of Venice, and a little picture of the " In- fant Christ with S. John," on a gold ground, is preserved at S. Pietro Maggiore at Perugia, as a relic of his pupil days. , He soon began to assist Perugino in important works, and his hand may be traced in many pictures of that master. In 1499, a quarrel having arisen be- tween his step-mother and guardian, he returned to Urbino and suc- ceeded in establishing a family peace which was lasting. In 1-500 he received his first independent order, which consisted of a banner for a procession, and a " Crucifixion," with four saints in adoration. Both of these remain. The latter is in England. He also executed other works before he returned to Perugia. In this latter city he now began to work entirely in the style of Perugino. To these days belong a Madonna, and the " Adoration of the Magi," in the Berlin Mus.; a " Sleeping Knight," in the National Gall.; the " Adoration of the Kings," at Copenhagen ; and about twenty other small paint- ings. In 1504 he went to Cittii di Castello, where he painted the Sposalizio, now the ornament of the Brera. In the same year he re- 474 EAPHAEL. turned to Urbino and painted, for the Duke Guidobaldo, " Christ on the Mount of Olives," now in England; and " S. George and the Dragon," and " S. Michael overcoming the Mgnster," in the Louvre. About this time Raphael assisted Pinturicchio by making cartoons for his paintings in the Library of the Cath. at Siena. The fame of the cartoons of Michael Angelo and Leonardo da Vinci reached his ears and drew him irresistibly to Florence. Here a new world was open to him, and he studied not only the works of Leonardo and Michael Angelo, but also those of Masaeoio. We now find ourselves at the commencement of Raphael's second period, in which he attempted to throw aside the influence of Perugino. This master was absorbed in reflecting upon the glories of the next world, and in his works attempted to represent the perfeotness of fervent feeling. Raphael now attempted to represent human life in its variety, and character in its individuality. To this time in Florence we may attribute the " Madonna del Granduca " now in the Pitti Gall. ; the Madonna sur^ rounded by three Children, in the Berlin Mus. ; and a portrait of a youth of eighteen or twenty, one of the ancestors of King Louis of Bavaria. In 150o Raphael was compelled to return to Perugia to execute the commissions which he had there, one of which was the altar-piece now at Blenheim. In these days at Florence many dis- tinguished artists, young and old, were accustomed to assemble in the evening in the studio of Baccio d' Agnolo. There many things re- lating to art were discussed. For these meetings and all the advan- tages of Florence he pined. Perugia seemed so small and narrow, that he soon left it again. At the house of Agnolo he expressed him- self freely, and he made many friends there, among citizens as well as artists. He received commissions from them, and to this time be- long the " Madonna del Cardellino " or Goldfinch, in the UflRzi; the Holy Family with the Fan Palm, and the portraits in the I'itti Pal. of Angelo Doni and his wife. From Florence he went to Bologna to make the acquaintance of Francesco Francia, and to execute a com- mission for the governor of that city. At this ^me Duke Guidobaldo had gathered about him, at Urbino, a circle of the most brilliant and intellectual people of Italy. Thither Raphael now went, and made friends there, most of whom were true to him while he lived. Among them were Pietro Benibo, Andrea Doria, Giuliano dei Medici, Bernardo da Bibbiena, and Count Castiglione. He painted for the Duke " S. George, on Horseback, killing the Dragon," now at St. Petersburg; the portraits of the Duke and his wife, also, and other pictures. In 1507 he completed, at Perugia, the " Entombment of Christ," now in the Borghese Pal. at Rome. In this picture may be seen distinctly the influence of the study he had made of Michael Angelo, Leonardo, and other artists. The Christ, in truth, might almost have been painted by Michael Angelo himself. Again he went to Florence, and soon after painted the " S. Catherine of Alexandria," RAPHAEL. 475 now in tihe National Gall. ; also the Madonna of the Tempi family, now at Munich, for which Louis of Bavaria paid 16,000 scudi. Several other pictures soon followed, among which are " La Vierge au Linge," at Paris ; " La Belle Jardiniere," in the Louvre; and the Madonna with two Children, in the Esterhazy Gall. He became ac- , quainted at this time with Fra Bartolommeo. He was strongly attracted by him, and studied much with him. He learned to ar- range his drapery better, to lay color more broadly, and to use car- mine with skill. He had commenced the "Madonna del Baldac- chino," now in the Pitti Pal., when he was summoned by the Pope to Rome. This was in 1508. Goethe says, in speaking of Raphael at this time, " Preceding masters had only conducted youth to the threshold; he alone needed to but raise Ms foot to enter within the temple." At Florence he was the greatest painter of his time. He needed only the patronage of such a man as JuUus to become the ar- tist that he afterwards was. Julius desired that the Vatican should be a kind of city, and every branch of art was put in requisition for its adornment. In the state apartments Raphael executed the "Parnassus," the " Disputa del S. Sacramento," the "School of Athens," and fifteen small pictures representing Poetry, Philosophy, Theology, etc., which obtained for him the title of " the philosophical painter." These wonderful works are too well known, and have been too often described, for a word to be added. No one can see them and consider the age of the artist, who in these for the first time attempted large pictures, without wonder and admiration. Many stories have been told of the disagreement between Raphael and Michael Angelo, but we cannot doubt that they must have honored and appreciated each other, although they may have appeared like enemies. Certain it is that Raphael was full of what Vasari calls " the might of his noble nature." He made friends everywhere, and at his appearance, even among painters, ill-humor was banished. Vasari also said, " Nature, having been conquered by art through the hand of Michael Angelo, was in Raphael conquered by art and man- ners together." The influence of such a man is well known. Even the Pope and the most noble men in Rome sought his friendship. He lived, as no artist had lived before, in the luxury of wealth; and Michael Angelo alone avoided him. The never-ending dispute re- garding the merits of these two men is well disposed of by Groethe. He says, " Such disputes have not perplexed me, because I have always let them alone, and occupied myself with more immediate examination of all that is valuable and estimable." Not long after Raphael went to Rome, there is reason to believe that he formed an attachment which endured through life. A small house, No. 20 Con- trada Santa Dorotea, is shown as the birthplace of his beloved one, said to have been the daughter of a turf-burner. Passavant says that she was called Margarita. We know not why, she is gen- 476 RAPHAEL. erally called the .Fornarina. It is pleasant to believe her to have been the same maiden who was in his house at the time of his death, and for whom he provided in his will. Wo can be certain of nothing regarding this story, but we do know that the same female figure ap- pears in many of his pictures, and may reasonably be thought the portrait of one he loved, if not of her whom we call the Fornarina. Her picture is in the Barbarini Pal. at Rome. It represents her sit- ting in a grove, partly dressed, as if just coming from her bath; her right hand presses a transparent garment to her bosom ; her left hand rests on her lap, and on the arm is a gold bracelet with the name of ilaphael inscribed upon it. Can it be that by this he indicated that the beautiful girl was all his own ? It is said that at one time she drew him so completely away from his work that his friend Chigi at last devised the plan of bringing her to his scaffold, where she sat the whole day by his side. On the back of some of his sketches for the painting of the " Disputa," which are still preserved, four sonnets are written. Three of these are at Oxford. They are full of ardent affection, but the last one ends with the expression of the desire to regain his peace and resume his labors. He was never married, although he did not refuse the hand of Maria di Bibbiena, who was proposed to him. The marriage was constantly postponed, as some say because he hoped to become a cardinal, while others maintain that the maiden died, which is ngt positively known. According to his will her remains were to be placed beside his own as his betrothed, and the inscription proves that this was done. To the year 1511 be- longs the " Madonna di Foligno ; " to 1512 the " Prophet Isaiah," on a pillar in the eh', of S. Augustine ; and many other smaller works were done while he proceeded with the decoration of the second hall in the Tatican. This hall is called La Stanza d'Eliodoro. The pic- tures in it are intended to illustrate the divine protection of the church. The subjects are the " Expulsion of Heliodorus from the Temple," the '-Miracle of Bolsena," the "March of Attila," the " Deliverance of Peter from Prison," " God, appearing to Noah," " Abraham's Sacrifice," " Jacob's Dream," and " Moses at the Burn- ing Bush; " also various small allegorical figures, Hermai, Caryatidae, which serve as socle pictures under the frescoes. He also executed pictures in the window recesses, which are defaced or have been now repainted. For his work here Raphael received £335. Only the first two of these pictures were finished during the life of Julius II. The " Mass of Bolsena" is, without doubt, the most celebrated of these works. It is a representation of the legend that a priest who had doubted the miracle of transubstantiation was brouo-ht back to o the faith by the flowing of blood from the host, while he himself was celebrating the mass at Bolsena. These pictures might also be con- sidered as having a secular as well as religious meaning, for the Pope in the picture of the " March of Attila " was a likeness of Leo. X., RAPHAEL. 477 who in 1513 had succeeded in expelling the French from Italy. The socle pictures, too, representing Protection, Peace, Commerce, Plenty, etc., conveyed a delicate compliment to the rule of Leo X. To Julius n. the praise may be given of having developed the genius of both Michael Angelo and Raphael, by giving them the opportunity of executing such extensive works as they alone were able to do. And yet much of the glory has been given to Leo X. , in whose reign the plans of Julius were perfected. Raphael painted more and greater works in five years for Julius II., than he did in seven years for Leo. In 1815-16 Raphael was employed upon the colored car- toons for ten tapestries representing events in the history of the Apostles, to be executed at Arras. These were intended for the lower hall of the Sistine chapel ; but seven of them remain, and are in the Mus. at South Kensington. The year before his death Francis I. ordered of Raphael the cartoons for twelve other tapestries which were completed by Giulio Romano and others. From 1514 until the time of his death the principal paintings of Raphael were the follow- ing : The remainder of his paintings in the Vatican, not before mentioned; the Gate leading from the Stanza della Segnatura to the Stanza di Torre Borgia; portraits of many eminent persons, among which were several members of the Medicean family; a portrait of a violin player, 1518, in the Pal. Sciarra Colonna is most attractive, and represents a favorite companion of the Pope ; the Prophets and Sibyls, in a Chapiel of S. Maria della Pace; " Galatea," now in the Villa Farnesina; " S. Cecilia," now at Bologna; " Vision of Eze- kiel," Pitti Pal.; " Marriage of Alexander with Roxana," Borghese Gall.; " Lo Spasimodi Sicilia; " the Sistine Madonna; the '''Trans- fiffuration of Christ; " and a large variety of Holy Families, Madon- nas, and various other religious subjects, many of which are known by names derived from their distinguishing traits, such as " The Ma donna with the Candelabra," "The Perla," "La Sacra Faraiglia della Lacerta," etc. The more important of these pictures are well known by fine engravings, especially those of Marc Anton, for some of which, according to tradition, Raphael assisted with graver and file in the preparation of the plates. The " Lo Spasimo " was painted for a church in Palermo. The ship which was carrying it was wrecked, and all on board perished. The case containing this pic- ture alone floated into the port of Genoa, and was recovered before the water had penetrated it. ■ There was great joy Jn the whole city, and when the monks of Palermo claimed their treasure, the Genoese would not give it up until the Pope commanded them to do so. It is now in the Mus. of Madrid. The Sistine Madonna, so called from the representation of S. Sixtus with S. Barbara in the lower part of the picture, it is said was originally painted for the monks in Piacenza, to be used for a drappellone, that is, a procession standard, but it was the chief altar-piece in the church uiitil, in 17,53, it was purchased for 478 RAPHAEL. the Dresden Gall, for 40,000 Roman scudi. It is almDst universally- acknowledged that in this work the wonderful genius of Raphael is most directly exhibited. It is full of spirituality, and marvellous in its sublimity, and yet a more simple arrangement could scarcely be conceived. It is pyramidal in form, and while perfect in symmetrical grace, corresponds exactly to the mathematical division known by the ancients as the sectio aurea. This picture was painted entirely by Raphael, which was a rare occurrence in the latter years of his life. His last work, the " Transfiguration of Christ," .was unfinished at the time of hi? death. The figure of the Saviour, the demoniac boy, the father, the figure of S. Andrew, and the kneeling female in the foreground, are the only portions of this work in which the brush of Raphael can be recognized with certainty. Raphael died on Good Friday, which was also his birthday, 1520. All Rome was filled with sorrow for his death, and crowds surrounded his house, where the body was laid out on a catafalque, encircled with torches, while the " Transfigm-ation " stood behind it. The ceremonies at his burial were magnificent. He was buried, as he himself had chosen, in the Pantheon of Agrippa. He had also arranged that a statue of the Virgin should be executed by Lorenzetto and placed over his sepul- chre. The epitaph, written by Bembo,- concludes with these words : ' ' This is that Raphael by whom nature f earad to be conquered while he lived, and to die when he died." By his will' he gave all his works of art to, Giulio Romano and Francesco Penni. He provided gen- erously for the Fornarina. His house in Rome was given to Bib- biena. He ordered that a house should be purchased with 1000 scudi, the revenue of which should pay for twelve masses to be said monthly on the altar of his burial chapel. These have been discon- tinued since 1 705, on account of the insufficiency of the rent of the house. The rest of his property was inherited by his relatives. One hundred and thirteen years after tlie death of Raphael, Pope Gregory XVI. permitted his grave to be opened. His body was found in a tolerable state of preservation, and entire. A second funeral ceremony was celebrated, which was attended by eminent artists and men of rank, who moved about the church in a procession, bearing torches, while beautiful music was chanted by an invisible choir, and his body was again consigned to its resting-place. ENGRAVIN'GS AFTER THE WORKS OF UAPHAEL. Engraver, Albkrti, Cherubino. The Presentation. The Resur- rection. The Holy Family; 1582. Jupiter and Ganymede; 1580. The Graces and Venus leaving Juno and Ceres. Engraver, Alix, John. The Holy Family. Enjrayer, Anderloni, Pietro. The Holy Family. Ihelncendio di Borgo. The Heliodorus. The Flight of Attila. Engraver, AuDOUiN, Pierre. La Belle Jardiniere. EAl'HAKL. 479 Enyraver, Audran, Gerard. Thirteen Hieroglyphioal Figures, in the Yatican. Fifteen plates called Emblems — or Cupid and Psyche, in a Loggia in the Farnese Garden. Moses in the Burning Bush. S. Paul and Barnabas at Lystra. Tlie Death of Ananias. The Descent of the Saracens in the Port of Ostia. Engraver, Audran, John. Our Saviour in the Bark, preaehino'. Engraver, BADALOCCHro, Sisto. Fifty-one plates after Biblical subjects, painted in the Vatican. Engraver, Baillu. Heliodorus driven iT;om the Temple. Engraver, Bautoli, Pietro Sante. Three sets of friezes, forty- two plates in all. A set of ornaments in figures, forty-three plates, inscribed, Parerga atque ornatnenla in Vaticani, etc. The Adoration of the Magi. Engraver, Beatrici, Niccolo. Joseph explaining the Dream, marked with cipher and his name ; one of his best plates. Christ de- livering the Souls from Purgatory, with the names of Raphael and Beatrici. The Ascension, with cipher; 1541. S. Michael over- coming the Evil Spirit; marked N. B. L. The Temple of Fortune; marked with cipher. Engraver, Beham, Bartel. Apollo causing Marsyas to be flayed; marked with a B. on a die. Christ giving his Charge to S. Peter; same mark. Engraver, Berger, Daniel. The Virgin Mary. Engraver, Blokmaekt, Cornelius. S. Luke painting the Virgin and Infant. The Adoration of the Shepherds. Engraver, Blooteling, Abraham. The Marriage of S. Catherine. Engraver, Bonasoni, GiuUo. Noah coming out of the Ark. Joseph sold by his Brethren. The Cup found in Benjamin's Sack; with the names of RafiEaelle and Bonasone. Christ meeting S. Peter. S. Cecilia. The Rape of Europa. Venus, attended by the Graces. Engraver, Borcht, Henry van der. The Dead Christ, supported by Joseph of Arimathea, from a drawing by Parmigiano, after RafEaelle; 1645. Engraver, Boulanger, John. The Virgin of the Pinks. A Bust of the Virgin, inscribed. Mater amahilis. Engraver, Brebiette, Peter. The Holy Family, with S. John. Engraver, Bruyn or Bruin, Nicholas de. S. Cecilia. Engraver, Bos or Vanden Bosch, Cornelius. Moses breaking the Tables of the Law; 1550. Moses Presenting the Law to the People; 1551. Engravir, Carraoci, Agostino. The Holy Family, with S. John. Engraver, Caraglio or Caralius, Gio. Giacomo. Holy Family. Another Holy Family, with S. Elizabeth. Engraver, Carpi, Ugo da. Jacob's Ladder. David with the Head of Goliath. The Murder of the Innocents. Christ preaching on the Steps of the Temple. Elymas struck with Blindness. The 480 RAPHAEL. Death of Ananias The Descent from the Cross. The Dead Christ in the Lap of the Virgin. S. Jolin in the Wilderness, ^neas carrying Anchises. A Sibyl reading, with a Child holding a Torch. . Hercules strangling Antaaua. Raff'aelle and his Mistress. Engracer, Cavalleriis, Gio. Battista. The Animals coming out of the Ark. Moses showing the Tables of the Law. Tlie Miracle of the Loaves. Christ appearing to S. Peter. Battle of Constan- tine and Maxentius. The Murder of the Innocents. Engraver, Chambers, Thomas. Raffaelle's Mistress. Engraver, Chateau or Chastbau, William The Miraculous Draught of Fishes. Engraver, Cherbau, Jacques. The Holy Family. La Belle Jardiniere. The Transfiguration. Engraver, Cochin, Charles Nicholas, the Elder. Alexander and Roxana; after a drawing by Raphael, in the Crozat Coll. Engraver, Colignox, Francis. The Flight of Attila. Engraver, Cohnkille, Michel, the Elder. The Holy Family, with S. Elizabeth. The Murder of the Innocents. Christ appearing to Magdalene. Engraeer, CoRT, Cornelius. The Transfiguration. The Battle of the Elephants. The Battle of Constantine and Maxentius. Engraver, CossiN, Louis. The School of Athens; large plate. Engraver, Couvay, John. The Virgin and Infant; DUectus mens, etc. S. John in the Desert. Engraver, Cunego, Domenico. La Fornarina. Galatea; from the Barberini Pal. The Entombing of Christ. Engraver, Dorigny, Sir Nicholas. Nine plates of the seven planets, and the creation of the sun and moon; after the paintings in the Chigi Chapel in La Madonna del Popolo. The Cartoons in eight plates, including the title. Twelve of the history of Cupid and Psyche, and the Triumph of Galatea, including the title; after the paintings in the little Farncsian Gall. The Transfiguration. Engraver, Duflos, Claude. The Entombing of Christ. S. Michael discomforting the Evil Spirit; for the Crozat Coll. Engraver, Edelinck, Gerard. The Holy Family, with S. John, S. Elizabeth, and two angels ; after the picture by Raphael which is in the Coll. of the King of France; very fine. The first impressions are before the arms of Colbert, the second are with the arms, and in the third the arms have been effaced, but the frame in which they were inserted remains. Engraver, Edelinck, Nicholas. Portrait of Card. Julius de' Medici. Portrait of Count Balthasar Castiglione. Engraver, Eredi, Benedetto. The Transfiguration. Engraver, Fidanza, Paolo. Mount Parnassus. The Mass of Bolsena. Engraver, Flipart, Jean Charles. The Virgin and Infant; for the Crozat Coll. Christ on the Mount of Olives ; for the Crozat Coll. RAPHAEL. . 481 Engraver, Franco, Batista, called II Semelei. The Donation made to the Church by the Emperor Constantine. Enyraver, Galle, Cornelius, the Elder. The Virgin caressing the Child. The Entombment of Christ. Engraver, Gaultiek, Leonard. Thirty-two plates of the history of Cupid and Psyche. Engraver, Ghisi, Giorgio. Portrait of Julius II. The Holy Family ; half-length. School of Athens ; two sheets. The Dispute of the Sacrament. An emblematical subject, sometimes called "Raphael's Dream," and sometimes " The Melancholy of Michael Augelo;" 1561. Engraver, Ghisi, Diana. The Holy Family, with S. John pre- senting a billet. Engraver, Gregoui, Carlo. The Maries at the Sepulchre. Engraver, Gribklin, Simon. The Cartoon; seven small plates. Engraver, Jacoboni, Gio. Batista. The Holy Family. Engraver, Kirkall, Edward. The Cartoons of Raphael, in eight plates. The Bust of the Saviour. Engraver, Lanfranco, Cavaliere Gio. A part of the plates en- graved conjointly with Sisto Badalocchio, from the paintings in the Vatican called " Haphael's Bible; " fifty -one prints besides the titles. Engraver, Langlois, John. S. Luke painting the Virgin. Engraver, IjARMESSIn, Nicholas de, the Younger. Portraits for the Crozat Coll. ; Raphael and Jacopo Pontormo (half-lengths) ; Federigo Carondeletto; Cardinal Pole. Subjects for the Crozat Coll. . S. Michael vanquishing the Evil Spirit; S. George and the Dragon; S. John the Evangelist; The Holy Family; Madonna and Child; Vision of Ezekiel; Christ Bearing his Cross. Engraver, Lombard or Lombart, Peter. S. Michael subduing the Demon. Engraver, Mannl or Maennl, Jacob. S. Margaret treading on the Dragon. Engraver, Maratti, Carlo. Heliodorus driven from the Temple; in two sheets. Engraver, Matham,, James. The Holy Family, witlOfi. Ann. Mount Parnassus, with Apollo and the Muses. Engraver, Mazztjoli, Francesco, called II Parmigiano. S. Peter and S. Paul healing the Lame Man ; fine. Engraver, Morghen, Raphael. The Mass of Bolsena. The Transfiguration. The Madonna della Seggiola. Engraver, Morin, John. The Virgin with the Child on her knee, holding a bouquet of flowers, inscribed, Dilecius mens mild. Engraver, MoRO, Gio. Batista d'Angeli. The Holy Family, with S. Elizabeth and S. John. Another Holy Family. Engraver, Musis, Agostino de, called Agostino Veneziano. The Creation, engraved in. conjunction with Marco da Ravenna. The 31 482 . RAPHAEL. Sacrifice of Isaac. The Benediction of Isaac, dated 1522; very scarce. Same subject dated 1524. The Israelites passing the Dead Sea. The Israelites gathering the Manna. The Archangel Michael. S. Jerome with the Lion. Tarquin and Liicretia. The Death of Lucretia. Vulcan giving Cupid's arrows to Venus; 1530. Venus riding on a Dolphin, with Cupid holding a Torch. Apollo and Daphne. The Triumph of Silenus, marked A V, on a tablet. Hercules destroying the Nemean Lion. Engraver, Natalis, Michael. Holy Family. Engraver, Ottaviani, Gio. Four plates from the pictures in La Farnesina. Jupiter and Ganymede. Juno on her Car. Neptune on the Ocean. Pluto and Proserpine. Evgracer, Pavon, Ignatius. La Madonna del Trono. La Ma- donna di Foligno. La Viergo au Papillon. La Vierge au L'Oiseau. The Transfiguration. Engraver, Pazzi, Pietro Antonio. The Assumption of the Virgin. Engraver, Peirolrri, Pietro. Portrait of the Fornarina. Engraver, Perac, Stephen. The Judgment of Paris. Engraver, Perrier, Francis. Ten plates of the angels in the Farnesina. Two plates of the Assembly of the Gods, and the Mar- riage of Cupid and Psyche; from paintings in the Farnesina. Engraver, Pesnk, John. Holy Family. Engraver, Picciosi, Matteo. S. Luke painting the Virgin. Engraver, Pitau, Nicholas. Holy Family, with S. Elizabeth and S. John; very fine. Engraver, Poilly, Francis, the Elder. The Vision of Ezekiel. The Holy Family, with Christ standing upon a Cradle. The Virgin lifting up a Veil to show the Sleeping Christ to S. John. Engraver, Pueisler, John Martin. The Madonna della Seggia. Engraver, Prestel, John Gotleib. The Descent from the Cross. Engraver, Raimondi, Marc Antonio. Adam and Eve. Noali sacrificing after leaving the Ark. God appearing to Noah. God appearing to Isaac. Joseph and Potiphar's Wife. David cutting off the Head of Goliath. David taking up the Head of Goliath; very scarce. The Murder of the Innocents. The Holy Family; usually called " The Virgin with the Long Thigh." The Virgin seated, with a palm-tree in the background; called " The Virgin of the Palm." The Virgin seated near a cradle, presenting the Child to S. Anne; called "The Virgin of the Cradle." The Virgin seated on a Chair, embracing the Infant. The Virgin holding the Infant, and reading. The Virgin and Child; to whom Tobit, ac- companied by an Angel, is presenting a Fish. The Virgin in the Clouds, holding the Infant Jesus. Christ seated between two Col- umns, upon the Steps, with the Virgin and Mary Magdalene; called " The Virgin with the Steps." Mary Magdalene^at the Feet of Christ in the House of Simon the Pharisee. The Last Supper; RAPHAEL. 483 called " La Piece des Pieds." The Taking down from the CroBs. The dead Christ laid on the Sepulchre, with the Virgin with her arms extended. The same composition, in which the Virgin appears younger, and has one of her arms naked; called " The Virgin with the Naked Arm." The Dead Christ with his Head on the Knees of the Virgin, with the Holy Women, two of the Disciples, and Nicodemus. Christ with a Glory, between the Virgin and S.' John, and, below, S. Paul and S. Catherine; called " The Five Saints." The Death of Ananias. Elymas struck blind. S. Paul preaching at Athens. S.' Cecilia with Mary Magdalene, S. Paul, and two other Saints ; there is a shadow on the neck of S. Cecilia, from which it is called " The S. Cecilia with the Necklace." The Martyrdom of S. Felicita. A set of thirteen plates of Christ and the Apostles. The Books, ot the Sibyls put into the Tomb of Numa Pompilius. The Rape of Helen, .tineas saving Anchises from the Burning of Troy. Venus appearing to Mneas in the form of a Huntress. The Death of Dido. The Death of Lucretia. The Battle of the Sabre. Three of the Angels of the Farnesina; representing Venus caressing Cupid, Cupid and the Graces, and Mercury descending from Olympus. The Judgment of Paris. Vulcan, Venus, and Cupid. The Triumph of Galatea. Mount Parnassus. The two Sibyls. The Pest; called "H Mor- betto." Engraver, Ravenna, Marco da. A set of twelve plates of Biblical subjects from paintings in the Vatican. The Transfigu- ration. The Last Supper. The Holy Family; called " The Vir- gin with the Long Thigh." A set of thirteen plates of Christ and the Apostles. S. Michael discomfiting the Evil Spirit. The Rape of Helen. Venus quitting Juno and Ceres. The Triumph of Gal- atea. The Assembly of the Gods. Venus on the Water, seated on a Shell. Venus under a Tree, taking a Thorn from her Foot; called " The Venus with the Rabbit." Polyphemus pursuing Galatea. Galatea, on a Shell, flying from Polyphemus. Engraver, Raymond, John. The Holy Family; a circular plate. Engraver, Richomme, Joseph Theodore. The Triumph of Gala- tea. Five Saints. The Holy Family. Adam and Eve. Engraver, Rota, Martino. Christ appearing to S. Peter; 1568. , Engraver, Roussellet, Giles. The Holy Family, with S. Elizar beth and S. John, presenting Jesus with a Bird. La Belle Jardi- niere. The Holy Family, with S. Elizabeth, S. John, and two An- gels. S. Michael discomfiting the Evil Spirit. Engraver, Sadellek, Egidius or Giles. The Virgin and Infant. Engraver, Sanuto or Sanutus, Giulio. The Marriage of the Virgin. Apollo and Marsyas, after Correggio ; with the Parnassus, after Raphael. Engraver, Scalbeeg, Peter. The Entombing of Christ Engraver, Schiavone, Andrea. S. Peter and S. John healing the Lame Man. 484 RAPHAEL. Engraver, Schuppen, Peter Van. The Virgin and Child; 1661. Engraver, Scotto or Scotti, Girolamo. The Virgin in the Clouds, with the Child in her arms. Madonna di Foligno. Mater pulchrsB dilectionis; after a picture by Raphael, discovered at Genoa in 1823. Engraver, Selma, Fernando. La Madonna del Pesce. The Vir- gin and Child. Engraver, Simoneau, Charles. The Holy Family, with S. Eliza- beth and S. John. The Virgin and Child, with S. John. Engraver, Sihani, Elisabetta. The Holy Family; inscribed, Elizabelha Sirani, sic incisum exposuh. Engraver, Strange, Robert, Sir. S. Cecilia; 1771. Justice: 1765. Meekness; 1765. Engraver, Tardieu, Peter Alexander. Christ overcoming Lu- cifer. Engraver, Testelin, Henri. The Holj- Family, in which Angels scatter Flowers. S. Michael vanquishing Satan. Engraver, Thomassix, Philip. A set of plates called " Christ and the Apostles." S. Margaret. S. Cecilia. School of Athens. The Disputa. The Defeat of the Saracens in the Port of Ostia. In- cendio del Borgo. Engraver, Thomassin, Simon. The Miraculous Draught of Fishes. The Transfiguration. Engraver, Vaillant, Wallerant. S. Barbara. Engraver, Valet or Vallet, William. The Nativity. The Holy Family. Melchisedec bringing Presents to Abraham. The Last Supper. Engraver, Vallee, Simon. The Transfiguration. S. John in the Desert. Engrai-er, Vangelisti, Vincenzio. The Madonna and Child. Engraver, Vicentino, Gio. Niccolo. Hercules killing the Lion. A Sibyl reading a Book. Engraver, Vico, Vicus, or Vighi, Emea. The Entombing of Christ; 1548. Engraver, Victoria, Vicente. Virgin and Child in the Clouds, with a Glory of Angels, S. John, S. Francis, and S. Jerome below. Engraver, Villamena, Francesco. The Holy Family, with S. John, S. Elizabeth, and S. Anne; 1602. Same subject, engraved at Rome; 1611. A set of twenty Scriptural subjects from the Vatican, called " Raphael's Bible." Engraver, Volpato, Gio. Four Sibyls; from paintings in the ch. of S. Maria della Pace. Tlie Marriage of Alexander and Roxana. Illuminated Plates : The School of Athens; The Disputa; Helio- ilorus; Attila arrested by S. Peter and S. Paul; S. Peter delivered from Prison; Mount Parnassus; Incendio del Borgo; The Mass of Bolsena. EAPHAEL — RE AD. 485 Engraver, Vorstkkmak, Lucas, the Elder. The Holy Family. The Entombing of Christ. S. George. Engraver, Vouillemont, Sebastian. Murder of the Innocents. Christ with the Disciples at Eramaus. Mount Parnassus. Em/raver, Vuibert or Wibert, Remi. Adam receiving the forbidden Fruit. The Judgment of Solomon. Apollo and Marsyas. Rauch, Christiaii, born at Waldeck (1777-1857). This eminent sculptor was a follower of Schadow, and as artist and teacher car- ried out the style of that master. The statue of Queen Louise at Charlottenburg is one of the finest productions of modern sculptors. In Berlin are his statues of the Generals Scharnhorst and Biilow; the reliefs on the pedestals are of classic beauty. These were done be- tween 1815 and 1822, and his advance in design and expression of life may be seen by comparing them with the grand Friedrichs monument (1839-1851), which is not far from them. This last is one of the very finest works of modern times. Other important works by Rauch are the statue of Bliicher, at Breslau; that of August Hermann Franke, at Halle; that of Diirer, at Nuremberg; the monument to Maximilian I., at Munich; and six marble " Victories " for the WaJ- halla. He also executed many marble busts of great excellence. He combined a happy and truthful embodiment of individual character with fine technical treatment, and yet he seemed to elevate the indi- vidual characteristics to the greatest nobleness of which they were capable, thus giving a satisfactory portrait and a more satisfactory efiect. Late in life he made a model for the marble group of " Moses supported in prayer by Aaron and Hur," but as a, rule he avoided religious subjects. .^ ^^ Ravenna, Marco da, real name Marco Dente. l\/r\ TM Born at Ravenna about 1496. One of the best pu- ■^ '■*-*^ Wv pjjg gf Marc Antonio Raimondi. He did not equal his master in firmness of touch and precision of drawing, but was, after all, a good engraver. It is believed by some that the second plate of the " Murder of the Innocents " was executed by this artist. If so it is his chef-d'muvre, but it is very doubtful. Us"3,lly he was a mere copyist of his instructor, and failed in imitating him in his most finished works. Ravestyn, Jan, born at the Hague (1580-1657). This portrait painter executed, two very large pictures, which are in the Town Hall at the Hague. His smaller works are seen in many private col- lections in Holland. His heads are full of life, but somewhat coarse; his handling is skilful, but his color is usually too red. Razzi, called II Soddoma. See Bazzi. Read, Thomas Buchanan, born in Chester County, Pennsylvania (1822-1872). When but seventeen years old he entered the studio of a sculptor in Cincinnati, intending to devote himself to sculpture,., for life; but painting soon proved the more attractive to him, and 486 READ — EEINAGLE. he practised sculpture only as an amateur. His bust of General Sheridan will be remembered as an ornament of his studio in Rome. In 1841 he went to New York, then to Boston, and settled in Phila- delphia in 1846. He visited Europe first in 1850, since which time he has lived in Florence and Rome, passing some intervals in Cincinnati. His pictures and his poems have the same charac- teristics, as might be expected. They are full of aerial grace and delicacy; an exquisite refinement and an ideal charm mingle in all . he did. And yet he sometimes wrote with the spirit we find in " Sheridan's Ride," and painted with such force as is seen in •' Sheridan and his Horse." His portraits are too well known to require praise. Some of his most charming pictures are his " Un- dine," " The Lost Pleiad," and "The Star of Bethlehem." i His poems have gained him an honorable place among the minor poets of America, and many of them are widely known, though none so well as the " Sheridan's Ride," which has received the largest praise of all. His first poems were published in Boston in 1847 ; his " Lays and Ballads " in 1848, and an -illustrated edition in 1853. In 1855 " The Now Pastoral " was published, and " The Home by the Sea " followed the next year. In 1860 a collective edition of his works was issued, and since then his writing has been but occasional. For about five years before his death ho had scarcely left Rome, 'and the eflf'ect of the climate told upon his health very seriously. He de- termined to come home, and when in Liverpool contracted a cold, which ended in plouro-pnoumonia, and he died May 11th, only a few days after his arrival in New York. His sufferings on the voyage were intense, and although he rallied a little after landing, and had hopes himself of reaching Cincinnati, where he ardently desired to go, his strength continually failed until he passed beyond all journeys. His friends are in all lands, and he was dearly loved for his sweet disposition and cordial manners, as he was much admired for his intellectual gifts and attainments. The society he graced in Rome will feel his loss deeply, and his Americanffriends cherish his mem- ory with true affection. Regillo. See Pordenone. Reinagle, Philip (1749-1833). A landscape and animal painter of some merit. He spent considerable time in painting the " Sports- man's Cabinet," a collection of dogs. These were engraved by John Scott. Richard Ramsay Reinagle, son of Philip, was a successful landscape painter (1775-1862). He resided several years in Italy, and brought to England a great number of sketches, from which he composed his pictures. Greorge P. Reinagle (1802-1835), son of R. R. Reinagle, was a painter of sea pieces, but is best remembered for ' Mr. Claghom of Philadelphia (a generous friend and patron of Mr. Read) ha.s in his Coll. several pictures by this artist, executed during his successive visits to Italy, and showing his progress from time to time. EEINAGLE — REMBRANDT. 487 his drawings of ships, sea-fights, etc. , on stone. He was present at the battle of Navarino, and painted several works representing that engagement. Rembrandt van Ryn, born at Leyden (1607-1669). This great painter was not intended by his parents for the profession which he chose. He was placed in a good school at Leyden, but very early manifested such a talent for drawing and such a love for it, as ex- eluded everything else from his thoughts. He was therefore placed under the instruction of J. J. van Swanenburg, of Leyden. It is al.so said that he was taught by Pieter Lastmann and Jacob Pinas. If the influence of any master can be seen in the works of Rembrandt, it would be that of Lastmann, but he so entirely originated his own manner, that we scarcely realize that he was ever taught at all. At the early age of twenty-two he established himself in Amsterdam, where he Uved until his death. He had already attracted much attention, and received numerous commissions. In 1634 he married Saskia Nilenburg, a wealthy young lady of very respectable con- nections. She lived but eight years after her marriagei and bore two children, but one of whom, Titus, survived her. The years of this marriage were undoubtedly the happiest portion of Rembrandt's life. Saskia left her entire fortune to her husband, stipulating only that her son should be well educated, and should receive a marriage por- tion. Rembrandt married again, and had two other children born to him, as is proved by the records of Amsterdam, but the name or position of his second wife is not known. There is very little material .for a biographical sketch of this master. It has been by some supposed that he knew nothing of antique or Italian art, but we now know that his strongest passion was that of collecting works of art and curiosities; indeed, his pursuit of these things, and his willingness to pay large sums for them, was the cause of his ultimate poverty. In the Court of Insolvency at Amsterdam is the catalogue of his ooUection, and this simple and hastily written paper throws much light on the history of Rembrandt. Besides a rich collection of weapons, armor, costumes, and utensils of different nations, he had a number of antique sculptures, such as the " Laocoon," a " Cupid," and busts of Homer and Socrates; of pictures, he had those of the Dutch and Netherlandish schools from the earliest dates, and a small number by such Italian masters as Giorglone, Palma Vecchio, Raphael, and Michael Angelo. His engravings were numerous and from the works of Titian, Andrea Mantegna, Vanni, Baroccio, Tempesta, the Carracci, Guido, Spagnoletto, and others. The list also mentions " a parcel of ancient rags of various colors." With this knowledge, we can no longer feel that Rembrandt did not choose his spbjects and their treatment from a decided preference and love for them, and with sufficient, knowledge of what had been done by other artists, in other nations and times, to be able to decide under- 488 REMBRANDT. standingly for himself. He wished only to represent what he saw, and of what he saw it was ever the most striking and unusual feature which seemed to remain with him. We are too apt to say of an unusual thing that it is not natural; but if we were more acute in our observations, we should soon find that nothing can be too strange to be natural, and especially when, as in the case of Rembrandt, the great effects are those of light and shade. Have we not all seen a landscape on a dull day, with no sun and no shadow, that seemed tame and featureless ? And have we not seen the same place again when the sun threw out that clump of trees, and shimmered on that brook until it was rippling silver, and left all else dark and cold, — so cold and so dark that the great rock is blacker than black, and the grass beyond the sunshine brown in place of green, — and we wonder why we did not see that there was character and " points " here before ? Now, this is just what Rembrandt did. He put such effects of light and shade as he had seen, and nothing else. He gave in every work " points "to fix our eye, and though all else was finished with ex- quisite skill, and would bear examination just as the flowers and grass in the shade of our real landscape would do if' we went to them, still we do not care to search them out. The one great interest holds us and is enough. His technical powers were marvellous; his freedom, spirit, and breadth of manner had no example before him. In spite of all these advantages, he painted ugly and even vulgar heads ; he disregarded all rules of art in costume and acces- sories ; he parodied ideal and mythological subjects, and painted the coarse and common men about him to represent the personages of Scripture story ; but with all there is a simplicity, truthfulness, and earnestness that holds and satisfies us. At diiferent periods he used different lighting and handling; e. (jr., before 1633 he used such clear daylight as is seen in the " Anatomical Lecture," now at the Hague; the flesh tints are warm and clear, and there is a certain fusion in spite of the free and careful touch. Ever after this period he pre- ferred the light of which we have spoken,*, enclosed Ught, so to speak; that which leaves great masses in shadow, and breaks over certain objects; his touch, too, became very spirited and more dis- tinct; his flesh tones were more golden, and therefore less natural. It was in 1656 that his money matters became so involved that his house and his precious collection were sold. We can imagine the grief this must haye been to him, and yet his works do not show it. The large picture of " Jacob blessing the Sons of Joseph," in the Cassel Gall., was painted in this year. The etchings are no less wonderful than the paintings of this great master. He has been called the " Prince of Etchers." He did not use the etching needle alone, but the dry point also, and sometimes finished with the graver. He established a new school of engraving, and by his own genius alone invented a process of which the charm is indescribable. His REMBRANDT. 489 consummate management of light and shadow, together with his free handling of his point, produces wonderful results; he makes a con- fusion, but brings a surprising and perfect eft'ect out of it. Both as a painter and engraver his portraits are of the very highest excel- lence. His domestic scenes are full of spirit, and have an irresistible r^ BAPE OP GAUYMEDE. BY EKMBRANDT. Dresden Gall. power, and his compositions of a higher order seem to have been executed by a magic needle. Such are the plates of ' ' Christ heal- ing the Sick," and the " Raising of Lazarus." The first of these is known as the " Hundred Guilders Print," that being the price set upon it by the master. A good impression of it is now worth about nine times that sum. Of his portraits in etching; those of Jan Lutma, 490 REMBRANDT. Burgomaster Six (his great patron), and of himself are the most remarkable. It is very hard to select, in the space we have, the pictures or engravings of which to speak, for he left about 600 of the first and 400 of the latter, and they embrace all possible conceptions of such subjects as he represented. His works are in all large naileries. The following is a partial list of the more important ones : The " Night Watch " (his largest picture) and the " Trustees of the Staalhof," in the Amsterdam Gall. ; the " Anatomical Lecture" and the " Presentation in the Temple," in the Hague Gall.; the " Descent from the Cross," cabinet, Munich Gall. ; the " Woman taken in Adultery," a " Descent from the Cross," and a fine portrait of a Rabbi, in the National Gall.; a " Holy Family," the " Family of Tobit ador- ino' the departing Angel," the " Good Samaritan," two " Philos- ophers " (so-called), two portraits of himself, and another of a beau- tiful youno- woman, in the Louvre; the well-known " Ganymede," at Dresden, and a number of pictures in the Cassel Gall., among which are the large picture of "Jacob blessing Jo.seph's Sons," already mentioned, and a fine portrait of a female in profile. The Berlin Mu?. has the picture of " Prince Adolphus of Gueldres threatening his Father in Prison ; " this is important among Rembrandt's works from profane history. Besides all these, the galleries of St. Peters- burg and Vienna are rich in his pictures, and a large number are scattered through England in private galleries; and those of the magnificent Coll. of the Six family, in Amsterdam, should not be forgotten. This great artist gave expression to his feeling for nature in some rare landscapes. Most of these are in private hands. I have seen but one, in the Cassel Gall. It has a magnificent sky; in the foreground is a bridge, and on an eminence the ruins of a castle are seen. The color is glowing, and the whole composition charm- ing, just as we should expect when we think of his landscape etch- ings. The last home of Rembrandt was on the Rozengracht, where he died. He was buried in the cemetery of the Westerkerk, and the registered cost of the bm-ial fees is but fifteen florins. ENGRAVINGS AFTER THE WORKS OF REMBRANDT. Engraver, Amstel, Cornelius Ploos van. A Woman looking out of a Door; Rembrandt, del, P. Van Amstel, fecit; 1764. A Young Man, with a Hat on, looking out of a Door; same inscription; both fine. Enr/raner, Ardell, James Mc. Interior of a Chamber, with a Woman reading and a Child in a Cradle; fine. The Angel and Tobit. The Tribute Money. Rembrandt's Mother reading. Engraver, Baillu, . S. Anastatius reading. Engraver, Bernard, Samuel. The Nativity. Eiigrarer, Brinckman, Philip Jerome. The Repose in Egypt; Rembrandt, inv., Brinckman, fee. REMBKANDT. 491 Engraoer, Campion, Charles, Gomte de Tersaii, and his brother Joseph Andre. Abraham aiid Isaac. Job and his Wife. Engraver, Chatelain, J. B. A Landscape. 'Engraver, Corbutt, Charles. The Old Kabbi. Engraver, Danzel, Jerome. A'n Old Man; half-length. Engraver, Kaulom, Richard. A Portrait of Rembrandt. Rem- brandt's Wife; Rembrandt, pinx. Elijah restoring to life the Widow's Son. The Presentation in the Temple. Susanna and the Elders. . Engraver, ExSHAU, S. A Bust of an Old Man, with a Round Hat; Rembrandt, inv., C. Exsliau, fee. ; 1758. The Head of an Old Man, with a Beard; same inscription and date. Joseph and Poti- phar's Wife; Rembrandt, pinx^, Etttihau, fee. aqua forte ; scarce. S. Peter's Bark in the Storln ; same inscription, scarce. Engraver, Greenwood, John. Christ with Nicodemus. Christ among the Doctors. Rembrandt's Father. Engraver, Haid, John Gotffiried. Abraham oflFering up Isaac. Engraver, Haid, John Elias. The Nativity. The Raising of Lazarus. Engraver, Houbraken, Jacob. The Sacrifice of Manoah. Engraver, Houston, Richard. An Old Man with a Beard; fine. A Man seated, with a large Hat on his Head; fine. Bust of a Woman, called " The great Jew Bride." An Old Woman plucking a, Fowl. A Man holding a Knife. The Pen-cutter. Th^ Philoso- pher in Contemplation. The Gold-weigher. Christ and the Samari- tan AVoman. Engraver, Janota, John George. Bust of a Toung Man. Engraver, Landkreb, Ferdinand. Samson and Delilah. Engraver, Lawrie, Robert. The Incredulity of S. Thomas. Engraver, Leeuw, William de. Tobit and his Wife. David playing the Harp before Saul. The Portrait of Rembrandt's Wife. A Lady 'with a Vtiil; half-length; inscribed, Marianne. Engraver, Lepici^, Bernard. Vertumnus and Pomona. Engraver, Marcrnay, Anthony de Ghuy. Tobit recovering his Sight. The Lady with the Pearl; an oval; 1768. Engraver, Moreau, John Michael. The Bath of Bathsheba. Khgraver, Oeser, Frederic. Saul and the Witch of Endor. The Presentation in the Temple. Enffraver, Pethbk, William. The Rabbi. An Officer in Armor, An Old Man with a Beard. The Lord of the Vineyard. Engraver, Ravenet, Simon Francis. The L6rd of the Vineyard. Engraver, Read, Richard. A Portrait of a Dutch Lady. Rembrandt's own Plates. Portraits of himself : — Rembrandt with his mouth open. 1G30. The Busts of Rembrandt and his Wife. 1636. 492 EEMBRAXDT. A Bust of Rembrandt; highly finished. 1638. His Portrait, with a Crayon in his Hand. His Portrait in a Persian Habit. 1654. There are in all twenty-seven portraits of Rembrandt by himself. The above are the most interesting. Old Testament Subjects ; — Adam and Eve in Paradise. 1 638. Abraham sendihg away Hagar. 1637. Abraham and Isaac. 1645. Joseph relating his Dream. 1638. Jacob lamenting the Death of Joseph. Joseph and Potiphar's Wife. 1634. The Triumph of Mordecai. Tobit and the Angel. 1641. New Testament Subjects : — The Annunciation to the Shepherds. 1634. The Adoration of the Shepherds; three different impressions. The Circumcision; fine. The Presentation in the Temple. 1630. The Flight into Egypt. 1658. Same subject in the manner of mezzotinto. Same subject in the style of Elsheimer. The Holy Family. 1654. The Little Tomb. The Tribute Money. Christ driving the Money-changers from the Temple. Christ and the Samaritan Woman. Same Subject, with Samaria in the distance. 1634. The Raising of Lazarus. 1642. The Great Resurrection of Lazarus. The first impressions of this print arc scarce, and the figure running away is bareheaded. In the second he wears a cap. Christ healing the Sick; called " The Hundred Guilders Print." The great Ecce Homo. 1636. Tlie Descent from the Cross. 1633. Christ presented to the People. 1 655. The Crucifixion. 1658. Th(( Entombing of Christ. Christ with the Disciples at Emmaus. 1643. The Good Samaritan. The first impressions have the tail of the horse white. . SS. Peter and John at the Gate of the Temple. The Baptism of the Eunuch. 1641. The Death of the Virgin. 1639. . Devout Subjects: — The Stoning of Stephen. 1635. REMBRANDT. *^'* 8. Jerome sitting near the Trunk of a Tree. 1654. S. Jerome kneeling. 1634. S. Jerome writing in a Book. 1648. 8. Jerome; an unfinished plate. 8. Francis praying; 1657; very scarce. Various Subjects : — The Hour of Death. Youth surprised by l)eath. 1639. The Marriage of Jason and Creusa. 1648. The Star of the Kings. A Lion Hunt. The Blind Bagpiper. The Spanish Gypsy. The Rat-killer. 1632. The Goldsmith. The Pancake Woman. 1635. The Jewish Synagogue. 1648. The Corn-cutter. The Schoolmaster. 1641. The Mountebank. Travelling Peasants. A Jew with a high Cap. 1639. The Astrologer. The Philosopher. The Persian. 1632. The Skater. Beggars ; — Several small plates of Beggars; some of which are scarce. Group of Beggars at the Boor of a House. 1648. Academical Subjects : — A Student drawing from the Model called " The Statue of Pvg- malion." The Bathers. 1631. A Woman before a Stove. Four different impressions. A Woman with her Feet in the Water. Landscapes ; — Bridge of the Burgomaster Six. 1643. View of Amsterdam. The Sportsman. The three Trees. 1642. Landscape, called " The Milk Pails." A Village near the High Koad; arched. 1650. The Coach Landscape. Village with a Square Tower; arched. 1650. A Large Landscape, with a Cottage and Barn. 1641. A Village seen in the distance. 1641. ^"^^ KEMBRANDT. Landscape wi'h Cattle; arched. Landscape with an Obelisk; arched. The Mill of Rembrandt's Father. 1641. The Gold-weigher's Field. 1651. Landscape, with a Cow drinking. Portraits of Men : — An Old Man with a large Beard. A Man with a Crucifix and Chain. 1641. J. Antonides Vander lAnden, Professor of Physic. Janus Silvius, minister, of Amsterdam. A Young Man meditating. 1636. Manasseh Ben Israel. 1636. Dr. Faustus. Kenier Hansloo, minister of the Anabaptists. 1641. Clement de Jonge, print-seller. 1651. Abraham France. The Old Haaring. The Young Haaring. 1655. John Lutna, goldsmith. 1656. John Asselyn, painter. Epliraim Bonus, a Jewish physician. Wtenbogardus ; oval. 1635. John Cornelius Silvius. The Banker, or Gold- weigher. 1639. The Little Coppenol, the Writing-master. The Great Coppenol. Impressions of this plate with the white or unfinished background are very scarce. The Advocate Tolling. The Burgomaster Six. 1647. Fancy Heads of Men : — Three Oriental Heads; inscribed Rembrandt VeneCiis. 1635. An Old Man with a large Beard. A Bald-headed Old Man. 1630. A Young Man, half-length, in profile. Bust of an Old Man with square Beard and velvet Cap. 1637. The Turkish Slave. The Philosopher with the Hour-glass. Portraits of Women : — The Great Jewish Bride. The Little Jewish Bride. 1638. Two portraits of Old Women. A Young Woman reading. 1634. An Old Woman in an Oriental Dress. 1631. Rembrandt's Mother. 1631. Rembrandt's Wife. . An Old Woman sleeping. REMBRANDT — RENI. 495 An Old Woman with Spectacles. The above are but a part of the prints made by Rembrandt, and there is a variety of studies and sketches, some of which are very fine, and very scarce. Engraver, Savery or Savrt, Solomon. Christ driving the Money-changers out of the Temple. Engraver, Schiavo.nktti, Luigi. The Portrait of Berchera. Engraver, Schmidt, George Frederic; The Portrait of Rem- brandt. Christ restoring the Daughter of Jairus. Lot and his Daughters; very rare. The Young Jewess and her Father. The Mother of. Rembrandt. The Young Lord. Old Man with the Beard. Engraver, Spilsbuky, Inigo. Abraham sending away Hagar. Engraver, Tischbein, John Henry, the Younger. A Mountain- ous Landscape. Engraver, Watson, Thomas. Jupiter and Mercury with Philemon and Baucis. Engraver, Wood, John. A Firelight. !i-v Reni, Guide, born at Bologna (1575-1642). Son of a ( h|^ professor of music, he early began to practise playing upon the flute, but soon chose to adopt the profession of a painter. His first instructor was Denis Calvart, whom he lefl in order to enter the school of the Carracci, where he beckme the favorite of Ludo- vico. When the pictures of Caravaggio began to attract attention, the Carracci were thoroughly alarmed for the fate of true art, and Annibale in a lecture laid down the rules which he considei'ed the basis of the highest type of painting. This discourse made a great impression upon Guido, and he determined to govern himself by it. Soon the excellence of his works was noticed, and he was upbraided by his teachers for insolence in attempting to establish a new system; Ludovioo at last dismissed him from the academy. Guido soon after painted a " S. Benedetto in the Desert," for the ch. of S. Mii^hele in Bosco; some of Ludovico's finest works were in the same church, but that of Guido did not .suffer by contrast. He went to Rome with Albano. His first picture painted there, the " Martyrdom of S. Cecilia," won for liim great praise, but it gained him the enmity of otlier artists. The power of Caravaggio was so great at that time that when Card. Bor;rhese commissioned Guido to paint a picture of the " Crucifixion of S. Peter," he stipulated that it should be done in Caravaggio' s manner. Guido did not break the letter of the agree- ment, but the spirit of his work made it very unlike those of the other master. His success called out the hatred of his enemies; even Albano deserted him ; but the bitterness of Annibale Carracci, who was then employed at the Farnesina, was the most important of all, for his invectives being repeated would injure him even with pos- 496 BENI. terity. He gained a new triumph in his decoration for Paul V. of the private chapel of Monte Cavallo. He had some disagreement with the Pope's treasurer, and returned to Boloj,Qa. He then painted several pictures in his native city, the most celebrated being the " Murder tff the Innocents," for the ch. of S. Domenico. Paul V. was anxious for his return to Eome, and when he went he was employed at S. Maria Maggiore. His finest work in Kome, which is also orenerally considered his chef-d'oeuvre, is the " Aurora" in fhe garden house of the Palazko Rospigliosi. This is well known by the engravings of Morghen and Frey. After his work was finished at S. Maria Maggiore, he returned to Bologna and was obliged to refuse many commissions, so great was the number he received. . When he sent his " S. Michael" to the Cappuccini at Rome, he wrote, "I wish I had had the wings of an angel, to have ascended into Paradise, and there to have beholden the forms of those beatified spirits from which I might have copied my archangel; bnt not being able to mount so high, it was in vain for me to search for his resemblance here below; so that I was forced to make an introspection into my own mind, and into that idea of beauty which I have formed in my own imagination." It is said, indeed, that his beauty and grace was always drawn from the same source ; that he was accustomed to pose his color grinder, and drawing the outline from him, and arranging the lights and shades as he saw them, he supplied the beauty from his own idea of it. But the life of tliis master was degraded by his passion for gaming, and at last he sent forth unworthy pictures for the sake of gain ; he was, however, reduced to great distresses, which brought on the fever of which he died. With the exception of Do- menichino he is considered the most worthy of the disciples of the Car- racci. There is much grace and beauty in his works, but they are wanting in vigor and strength; this is especially true of his male figures. There is also a tiresome sameness in his female heads, which seem to be modelled after the antique Niobe. His heads of Christ want dignity, and his Virgins are «nly pretty women ; in short, his characteristic seems to be an exalted and beautifial concep- tion of beauty, without individual life or interest — an empty abstrac- tion. In the last days he multiplied Madonnas and Cleopatras and kindred subjects, which are to be seen in many collections. In ad- dition to those already mentioned, some of his more important works are a " Madonna della PietJi" and a " Mater Dolorosa " at Bologna; SS. Paul and Anthony, the hermits, in the Berlin Mus. ; a " Fortune," an allegorical picture, which is several times repeated, and is in the Schleissheim, Berlin, and Capitol (Rome) galleries. The Louvre has a large number of his works. He also left a considerable number of etchings which have the same characteristics as his paintings, and are executed with much grace and freedom. RENI. 499 ENGRAVINGS AFTER THK WORKS OF GUIDO RENI. Engraver, Aliamet, Fran9ois Germain.' The Circumcision; oval. Engraver, Andriot or Handkriot, Franz. A Magdalene. Madonna and Bambino. Engraver, Aubert, Michel. S. Francis; arched. Engraver, Audran, Gerard. The Magdalene ; half-length. Engraver, Atjdran, Benoit. The Kape of Dejanira. Engraver, Addran, John. S. Andrew led to Crucifixion. The Martyrdom of S. Peter. Engraver, Baillu. S. Michael vanquishing Satan. Engraver, Bause, John Frederick. Artemisa. The Head of Christ. Engraver, Bella, Stefano della. Three Children carrying a Pla- teau. Engraver, Bernard, Samuel. The Flight into Egypt. Engraoer, Bolognini, Gio. Batista. The Murder of the Inno- cents. S. Peter made Pope. The Crucifijfion, after the picture of the Capuchins at Bologna. Bacchus and Ariadne; in three sheets. Engraver, Boulangek, John. The Virgin, with the Child asleep. The Virgin and Child, with S. John kissing his Foot. Engraver, Boullongne, Louis. The Rape of Helen. Engraver, Cantaeini, Simone. Fortune with her Foot on a Globe; G. Renus in. §• fee. Engraver, Canuti, Domenico Maria. S. Francis praying; Dom. Ma. Canuti, fee. Engraver, Cesi or Cbsio, Carlo. S. Andrew led to Martyrdom, prostrating himself before the Cross. Engraver, Chereau, Francois. The Crucifixion. Engraver, Coriolano, Bartolommeo. S. Jerome meditating before a Crucifix. Herodias with the Head of S. John. The Virgin, with the Child asleep. The same subject in chiaro-scuro; very fine. Engraver, Coriolano, Gio. Batista. The miraculous Image of the Virgin, painted by S. Luke, held by three Angels. Cupid sleep- ing; in chiaro-scuro. Engraver, Cunego, Domenico. A Head of Magdalene. Engraver, David, Jerome. The Virgin of the Kosary; 1633. Engraver, Ddelos, Claude. Bust of the Virgin. Engraver, Dupuis, Nicholas Gabriel. The Death of Lucretia. Engravir, Earlom, Richard. Cupid bound. Simeon receiving, the Infant Jesus. Engraver, Edelinck, Gerard. The Virgin sewing, with the Child asleep in a Cradle surrounded by Angels, called " La Couseuse ; " fine. Engraver, Faucci, Carlo. Cupid. 500 RENI. Engraver, Fkey, James. The Archangel Michael. The Four Fathers of the Church. Aurora ; in two sheets. Bacchus consoling Ariadne, after the departure of Theseus. Engraver, Frezza, Gio. Girolamo. The Descent of the Holy Ghost; scarce. Engraver, Gregori, Ferdinando. Venus sleeping. S. Sebastian; half-length. Engraver, Kassel, Theodore. Susanna and the Elders. Engraver, Lorenzi, Fra Antonio. S. Domenic taken up to Heaven. Enyraver, Michei., John Baptist. Adoration of the Shepherds. Engraver, Morghen, Raphael. S. John in the Wilderness. The Aurora. Engraver, Nicolet, Benedict Alphonsius. S. Apollonia. Engraver, Pasqualini, Gio. Batista. The Aurora. Engraver, Picart, Stephen. The Birth of the Virgin. Engraver, Poilly, Francis the Elder. Flight into Egypt. The Adoration of the Shepherds ; in an octagonal border. Christ in Gcthsemane. Engraver, Pkkisler, John Martin. David and Abigail. Semir- amis putting the Crown of Ninus on her Head. Engraver, Ravenbt, Simon Francis. Painting and Design. flits own Plates. The Bust of Pope Paul V. ; Paulus V. Pont. opt. max. The Holy Family, the Virgin seated with her Face toward the Child. The Virgin with the Child asleep on her Breast ; engraved in three different manners. The Virgin embracing the Child, and holding a Book in her Hand. The Virgin with the Child giving his Hand to S. John. The Holy Family, with two Angels scattering Flowers; enoraved in four different manners. ' S. Christopher bearing Christ on his Shoulders. S. Jerome praying in a Cave, with a Book and Crucifix. The Virgin seated in the Clouds with SS. George, Francis, Law- rence, and others. Bartsch describes sixty etchings by Guido. Engraver, RotissKLLET, Guido. The Annunciation. Four plates representing three of the Labors of Hercules, and his Death. Engraver, Schdlze, John Gottfried. The Ecce Homo. Engraver, Sharp, William. The Doctors of the Church. Ecce Homo. Engraver, Sirani, Gio. Andrea. A Sibyl. Engraver, Strange, Sir Robert. Penitent Magdalene ; 1762 and RENI - REYNOLDS. 501 1778. The Death of Cleopatra; 1777. Fortune flying over a Globe; 1778. Venus attired by the Graces; 1759. The Chastity of Joseph; 1 769. The Holy Virgin ; 1 756 (?). The Angel of the Annnuciation; 1756 (?). The Annunciation; 1787 (?). The Offspring of Love; from the Coll. of the Marquis of Westminster; 1766 (?). Tlie Mag- dalene; 1753. Death of Cleopatra; 1758. Cupid sleeping ; 1766 (?).. Liberality and Modesty; 1755. Engraver, Toere, Plaminio. The Patron Saints of Bologna. The Virgin and Patron Saints of Bologna ; very rare. Samson. Engraver, Traballesi, Giulio. The Circumcision. Engraver, Vaillant, Wallerant. Judith. Engraver, Valet, William. The Holy Family. Engraver, Valk or Valck, Gerard. Cupid asleep. Engraver, Visscher, Cornelius. Susanna and the Elders. Retzsch, "Priedrich August Moritz, born at Dresden (1779- 1859). This artist is best known for his engravings illustrative of the works of Goethe, Schiller, and Shakespeare. He was a true lover of nature, and would much sooner roam the woods with dog and gun, than be employed in any ordinary pursuit. His friends urged him to enter the Acad, of Dresden, and after he had acquired the mechanical knowledge necessary, the wild, poetic word-pictures of the above-named writers seemed to be the inspiration he required to bring out all his powers. He was an original and poetic artist. Reynolds, Sir Joshua, born at Plympton in Devonshire, 1723; died in 1792. When quite young he displayed such a talent for drawing, and made likenesses of his relatives and friends with such success, that, in 1740, his father sent him to London to study with Mr. Hudson, a portrait-painter. He remained with him three years, in which time his ability had so excited the jealousy of his teacher as to render his situation unpleasant. He returned to Devonshire, and, after a time, established himself at Plymouth Dock. In 1749, by invitation of Captain Keppel, he sailed for Leghorn, and from there proceeded to Rome. He was three years in.Florence, Venice, etc. All this time he studied carefully the works of the great masters. Soon aflter his return to England, he was acknowledged to be the best painter in that country since the days of Vandyck. In 1768 he was made President of the Royal Acad., and soon after the King bestowed on him the honor of knighthood. Although it was not a part of his duty to read lectures to the academy, he continued to do so until 1790, when he took his leave. During these years he also sent 244 pictures to the various exhibitions. In 1781 and in 1783 he made excursions to the Netherlands and Holland. In 1784 he exhibited his celebrated portrait of Mrs. Siddons. In 1786 he was commissioned to paint a picture for the Empress of Russia, the subject, size, and price being left to his own decision. He painted the "Infant Hercules strangling the Serpent." 'When Alderman 502 REYNOLDS. Boydell undertook to 'establish his Shakespeare Gall., Sir Joshua chose three subjects for himself, the "Death of Cardinal Beaufort," "Macbeth with the Witches," and " Puck," which last is one of his happiest efforts. In I 782 he experienced a slight shock of paralysis, but was afterwards quite well uiitil 1789, when his sight was so defective that he feared he might become blind, and from this time relinquished thte use of the brush. He was sick about three months before his death, and died on the 23d of February, 1792. His remains, after lying in state at the Royal Acad., were buried at St. Paul's, near the tomb of Sir Christopher Wren. As a portrait painter, and particularly as a painter of children, he is almost un- equalled, but in historical or poetical compositions he falls far below the standard of excellence. It was his custom to receive six sitters daily. He kept a list of those who were sitting, and of those who were waiting for an opportunity to be painted. He kept prints engraved from his portraits and sketches in a large portfolio, and submitted it to his sitters. When they had chosen the position which they wished, he copied it on the canvas, and painted the likeness to correspond. At the height of his success he was accustomed to paint a portrait in four hours. His sitters' chairs moved on casters, and were raised a foot and a half above the floor. He worked standing, with great rapidity, and used brushes with handles eighteen inches long. His sister pre- ^ sided over his house- hold, and he lived gen- erously, receiving com- pany to dinner almost daily, and among his visitors were the best men of the time. His friendship for Dr. John- son continued through life. Percy, Goldsmith, Garrick,and the Burkes were frequently his guests. The day be- fore Johnson died he said, "I have three requests to make, and I beg that you will attend to them, Sir Joshua : forgive me £30 which I borrowed of I^AK, A STUDY. BY SIK JOSHUA REYNOLDS. , , ,, . you, read the bcnp- tures, and abstain from using your pencil on the Sabbath Day." Sir Joshua made and remembered these promises. Reynolds was REYNOLDS. 503 very skilful in compliments. He painted his name on the oorder of Mrs. Siddons' garment, in her picture as " The Tragic Muse." The actress went near to examine it, and, seeing the name, smiled. Sir Joshua bowed and said, " I could not lose the opportunity of sending my name to posterity on the hem of your garment." He placed great value upon old pictures, and said of Titian, " To possess a'really fine picture by that great master, 1 would sell all my gallery, , — I would willingly ruin myself." In his eulogy on Reynolds, Burke says, "In full affluence of foreign and domestic fame, admired by the expert in art and by the learned in science, courted by the great, caressed by sovereign powers, and celebrated by distinguished poets, his native humility, modesty, and candor never forsook him, even on surprise or pi'ovocation ; nor was the least degree of arrogance or assumption visible to the most scrutinizing eye in any part of his conduct or dis- course." Good prints of the pictures of Sir Joshua Reynolds were made by many contemporary engravers, but Jfine impressions, and especially proofs, are becoming rare. Among the best are the follow- ing:— ENGRAVINGS AFTER THE WORKS OF REYNOLDS. Engraver, Ardei-l, James Mc. Earl of Bath. Admiral Boscawen. Mrs. Bastard. Duchess of Buccleugh. Lady E. Montague. Horace Walpole. Engraver, Doughty, WiUiam. Dr. Johnson. Engraver, Dickenson, W. Sir Joseph Banks, Lady Crosby. Mrs. Mathew. Mrs. PeUiam feeding Chickens. Bishop Percy. Engraver, Dixon, John. Mrs. Blake as Juno. Duke of Leinster; 1775. Dr. Robertson. Ugolino. . , Engraver, Fisher, Edward. Lady Sarah Bunbury; full length, very fine. Garriek between Tragedy and Comedy. Admiral Keppel. Lord Ligonier. Miss Palmer as Hope nursing Love.' Marquis of Rockingham. Engraver, Green, Valentine. Duke of Bedford, with his Brothers and Miss Vernon. Sir W. Chambers. Sir J. Reynolds, as President of the Royal Acad. Marchioness of Salisbury. Three Ladies Wal- degrave. Engraver, Ha ward. Mrs. Siddons. Prince of Wales, leaning on his Horse. Engraver, Houston, Richard. Marquis of Granby. Duchess of Ancaster. Francis Charteris. Engraver, Jones, J. Boswell. Erskine. Fox. Sir Abraham Hume. Engraver, Marchi, G. Goldsmith. Mrs. Crewe and Mrs. Bou- verie. Engraver, Sharp, William. John Hunter. The Holy Family; two plates, one large and one small. Engr.aoer, Sherwin, John Keyse. The Fortune Teller. 504 REYNOLDS — EIBEBA. Engraver, Smith, John Raphael. Lord R. Cavendish. Mr. Dun- das. Mrs. Musters. Duke of Orleans. Archbishop of Armagh. Banished Lord. Engraver, Watson, Thomas. Lady Bampfylde. Mrs. Crewe. Lord Errol. Lady Melbourne and her Son. Bishop Newton. Resignation. Engraver, Watson, James. Lord Amherst. Mrs. Abington. Dr. Beattie. Edmund Burke. Dr. Hawkesworth. Dr. Johnson. Duchess of Marlborough and her Daughter. Countess of Walde- grave. Reynolds, Samuel William (1774-1835). This celebrated mezzotinto engraver executed no less than 300 plates after the works of Sir Joshua Reynolds, besides numerous portraits and historical subjects after other masters, almost entirely modern painters. He was skilful as a designer of landscapes, and made some sketches in oil. Ribalta, Francisco, born at Castellon de la Plana (1551-1628). This artist is the head of the school of Valencia, and one of the best historical painters of Spain. He first studied in the city of Valencia, where he fell in love with the daughter of his master; her hand was refused him by the father, but the young couple parted with mutual vows of constancy. He spent several years in Italy, and when he again went to Valencia had no difficulty in obtaining his bride. He has been compared as an artist with Domenichino. The Spanish painters were given to the representations of extremes ; either ex- cruciating agonies or transporting ecstasies were most frequently their subjects ; they seem not to have had as much middle ground as other nations. Ribalta is no exteption to this rule. Valencia is richer than any other place in his works; many of them are in the Colegio Patriarca, in a chapel, where his " Last Supper " plays an important part in the ceremonies of Corpus Christi. His " Nailing to the Cross " shows plainly its superiority to its surroundings in the Museo. Another famous work of his, also in the Colegio, is S. Vicente de Ferrer on his sick-bed visited by -the Saviour and several saints. There is a picture by Ribalta in the chapel of Magdalene College, Oxford. He painted many fine portraits of the prominent persons of Valencia. Out of Spain his works are very scarce. Ribalta, Juan de, born at Valencia (1597-1628). Son of Fran- cisco. They died the same year. Juan gave proof of his powers at eighteen, when he painted the " Crucifixion" now in the Mus. of his native city. There is confusion concerning the separation of the works of the father and son. Juan painted more than thirty por- traits of the notables of Valencia for Don Diego de Vich, who gave them to the convent of S. Jerome. Tliere is a work of his in the Dresden Gall, representing Pope Gregory XV. surrounded by Car- dinals. Ribera, Josef de, called II Spagnoletto, born at Xativa, 1588; RIBERA. 60.5 died at Naples, 1656. His parents placed him at tlia University of Valencia to study a profession, but he, following his inclination, entered the school of Francisco Ribalta. It is said that his earliest works were noticed for their excellence. He was at Rome when very young, living in extreme poverty. Clothed in rags, he lived on crusts, and spent his time in copying the frescoes he could see in the streets. He arrested the attention of a Cardinal who took him home and provided for his comfort. But Ribera found himself less inclined to work than before, and soon returned to his life in the street. The Cardinal, angry at this, called him an ungrateful little Spaniard, and invited him to return to his house. When Ribera declared that he needed the spur of poverty to make him a good artist, the Cardi- nal admired his resolution, and the story being repeated attracted the attention of other artists to him, and he was called II Spagnoletto. He imitated the works of Caravaggio, and carefully studied those of Raphael and the Carracci. He likewise visited Parma and Modena, '"' and some of his works show the effect of the study of Correggio, for which he there had an opportunity. He quarrelled withDomenichino at Rome, and at length removed to Naples. Here, for a time, he studied with Caravaggio. A rich picture dealer, who employed him, so admired his genius that he offered him his daughter in marriage. Ribera accepted, but ease and prosperity seemed now to stimulate, rather than hinder, his exertions. He chose the most painful sub- jects, and depicted them with a horrible reality. His " Flaying of S. Bartholomew " attracted the attention of the Viceroy Don Pedro •Giron, who appointed Ribera court painter. The Neapolitan artists were much chagrined at the advance of the Spaniard, and began to court his favor as much as they had before derided him. He entered into a conspiracy with Belisario Corenzio and Gianbattista Cara9ciolOj by which they prevented the employment of other artists to paint the chapel of S. Januarius. They used fraud, violence, and even murder, and drove away the Cavaliere D'Arpino, Guido, Gessi, and, finally, Domenichino. After all this Ribera painted but a single altar-piece. His two companions died, and the chapel was finished by Lanfranco. The Neapolitans have a tradition that Don Juan of Austria, when in Naples in 1648, met the daughter of Ribera, admired her beauty, and carried her to Sicily. He afterwards forsook her, and she entered a convent at Palermo. Ribera and his wife, not able to sui-vive this disgrace, disappeared from Naples, and his end was unknown. But Cean Bermudez declares that in 1630 he was made a member of the Acad, of S. Luke, that in 1644 Innocent X. sent him the cross of the Order of Christ, and he lived in elegance and respectability at Naples, and died in the midst of riches and honor. Few Italian ar- tists were better known in their own country, and his pictures were very popular. He painted immense numbers, many of which were sent to Spain. His works are now familiar to all Europe, from 506 RIBERA — RICCIO. Madrid to St. Petersburg. His best point was in the delineation of anatomy. His pictures now in the Queen of Spain's Gall, are " S. Bartholomew," before mentioned; " Ixion on the Wheel; " "Jacob's Dream," etc. At the Escorial there is a picture of " Jacob watering the Flock of Laban; " in the Cath. of Valencia, an " Adoration of the Shepherds; " and at the Louvre, a frightful representation of Cato of Utica. He painted many portraits, which are scattered through the collections of Europe. He also left about twenty etch- ings which Bartsch reckons among the most remarkable engravings in aqua-fortis. The following are his principal plates : — The Martyrdom of S. Bartholomew. The Penitence of S. Peter. The Dead Christ extended on a Linen Cloth. S. Jerome, with an Angel blowing a Trumpet. S. Jerome reading, with a Skull on the Ground. Bacchus made drunk by Satyrs. Portrait of Don John of Austria on Horseback. ENGRAVINGS AFTER THE WORKS OF SPAGNOLETTO (RIBERA). Engraver, Ameti.l^r, Bias. S. Gregory performing a Miracle. Engraver, Balestra, Gio. Archimedes. Engraver, Daull:^e, Jean. Diogenes with the Lantern. Engraver, Fischer, Joseph. Christ with the Doctors. Engraver, Forke, Simon. Jacob tending Laban's Flock. Engraver, Ingouf, Francois Robert. Adoration of the Shepherds. Engraver, Louis, Aristide. Mater Dolorosa. Engraver, Pitteri, Gio. Marco. S. Peter delivered from Prison. Ricci, Antonio, called Barbalunga, born at Messina (1600-1649). A pupil of Domenichino. He is one of the best painters of Sicily, and founded a school at Messina after he returned from Rome. Ricci, Sebastiano, born at Belluno (1659-1734). A decorative painter who executed many works in England in the days of Queen Anne. He was a feeble imitator of Paul Veronese. Ricci, Marco, born at Belluno (1680-1730). Nephew of the pre- ceding. He painted landscapes in the manner of Titian, and also etched several plates from his own designs. Ricciarelli. See Volterra. Riccio, Andrea, real name Briosco, called Riccio from his curly hair (1480-1532). His manner of sculpture was grotesque and ex- travagant. His works were overloaded with ornament and detail until the design was lost in the mass. His chief works were two re- liefs from the life of David, in the choir screen of S. Antonio of Padua ; the famous candelabrum, eleven feet high, in the same church ; a monument to two physicians of the Delia Torre family of Padua, and four bronze reliefs in the Acad, of Venice, which seem to belong to his early period. EICCIO — RIETSCHEL. 507 Riccio, Domenico, called Brusasorci. Born at Verona (1494- 1567). He has been called the Titian of Verona, but he was no more than a mediocre painter. His best works are in his native city, where they aj-e much valued. His son, Felice (1540-1605), was fond of painting on marble, which he did with great skill. His pictures on oriental alabaster were especially pleasino'. Ridolfi, Cavaliere Carlo, born at Vicenza (1602-1660?). This artist is better known for his writings than his pictures. He has been called the " Venetian Vasari," and was the principal authority concerning Venetian artists down to his own time. He wasUess mannered in his painting than most of his contemporaries. The " Visitation," in the ch. of the Ognissanti, in Venice, is his chef- (Poeucre. He also painted many portraits. Riemensclineider, Tilman, born at Osterode in the Harz Moun- tains, probably about 1460. He went to Wiirzburg, where he rose to the rank of head Burgomaster in 1520. In 1525, after the Peasant's War, he was deprived of his office, and until his death in 1531, he lived in retirement. His works in sculpture are numerous, and the major part of them are in Wiirzburg and its immediate vicinity. The monument of the Knight Eberhard von Grumbach, in the ch. at Rimpar, was probably his earliest work. In 1495 he was commis- sioned to execute for Bamberg Cath. a magnificent monument to the Emperor Heinrich H. and his consort Kunigunde. This was not completed until 1513, and is one of his principal works. The figures of the Emperor and Empress lie on a large sarcophagus; they are more than life-size, are good portraits, and furnish an excellent rep- resentation of the fantastic 1 5th century costume. Upon the sarcoph- agus five scenes from the lives of the imperial pair are depicted with great attention to technical execution ; the figures are also graceful, but there is a lack of dramatic life and free action. We have not space for a list of his works, which embrace many monuments and religious subjects. A haut-relief representing the " Lamentation over the Dead Christ," in the ch. at Maidbrunn, is probably his latest work. It is executed in sandstone. The Nicodemus is believed to be his own portrait. Rletschel, Ernst (1804-1860). A pupil of Raueh. He went to Rome, and settled in Dresden after his return. He executed the statue of King Friedrich August of Saxony for the Zwingerhof at Dresden, when but twenty-seven years old. His chief excellence was (like his master) that of the delineation of character in portrait statues. Those of Lessing, at Brunswick, Luther, at Worms, and Goethe and Schiller, at Weimar, are of the highest type of this branch of sculpture; that of Weber, at Dresden, is also admirable in its delicate simplicity. The group of the " Virgin and Dead Christ," which he executed for the Friedenskirche at Sans Souci, is a beau- tiful expression of the deep religious feeling of this master. His 508 RIETSCHEL — RIZI. smaller representations of mythical subjects, and his reliefs, are full of charming grace. Of his statues of Luther and Lessing, Liibke says, he " has produced with imperishable power, in monumental form, the intellectual and moral ideals of the nation, in the persons of their noblest representatives." Rietsohoof, Jan Claasze, born at Hoorn (1652-1719). A pupil of Backhuysen, whose style he imitated with success. Though infe- rior to his master he ranks high among the second class of painters of the Dutch school. Two of his pictures, one a calm, and one a stormy sea, are in the Amsterdam Mus. Rigaud, Hyacinthe, born at Perpignan (1659-1743). The most distinguished French portrait painter of his time. He often portrayed the King, Louis XIV., and had many of the illustrious personages of Europe for hid sitters. In his day the French Acad, did not recog- nize portrait painters, and Rigaud was admitted as a special honor, submitting only a sketch of the Crucifixion. His pictures are too uniformly finished, and lack freedom of handling. He was unfortu- nate in the costume of his time; if he could have painted nature in- stead of perukes, his works would certainly be more pleasing now. They are numbered by hundreds. Riley, John, born in London (1646-1691). A good portrait pqjnter, and one of the best in England at the time of his death. He was very modest; Walpole says he might have made a great name, had he possessed one quarter as much vanity as Kneller. His por- traits of the Lord Keeper North at Wroxtou Abbey, of Bishop Bur- net, and of Dr. Busby, were among his best works. Rincon, Antonio del, born at Guadalaxara (about 1446-1500). The first Spanish painter of distinction. It is believed that he studied in Italy. He painted the portraits of Ferdinand and Isabella the Catholic, but these works are now known only by copies. His prin- cipal remaining pictures are seventeen compositions of the Life of the Virgin ; these are in the ch. of Robledo de Chavela, near the Esco- rial, as one goes from Madrid to Avila. Rizi, Fray Juan, born at Madrid, 1595; died at Rome, 1675. Son of Antonio Rizi of Bologna. His mother was a Spanish woman. Pupil of Mayno. He was early distinguished, and painted six pic- tures of the Passion of Christ, and Martyrdoms of Saints, for tlie convent of Mercy. In 1626 he took the cowl of S. Benedict at the monastery of Monserrate. The next year he went to study theology at the College of San Vicente, at Salamanca. One hundred ducats were required yearly from each student. The Abbot refused to re- ceive Rizi for want of the money, but at length allowed him two days in which to obtain it. In that time he painted a " Crucifixion," which relieved him of his difficulty, and he continued to pay for his education by means of his brush. He returned to his convent, where he held several oflices, and was at last made Abbot of Medina del RIZI — EOBBIA. 509 Campo. His fame was so great that all the houses of his order wished for him as an inmate. For his brethren at Burgos he did some of his best works. He painted there a picture of " 8. Scolastica reading." It was a portrait of a young girl whoso dower as a nun Rizi paid with the price of his labors. His fame reached even to Rome, in which city he entered the famous convent of Monte Cas- sino. The Pope wished to see him, and made him a Bishop, but he died before taking possession of his crozier. In the Queen of Spain's Gall, is a picture by Rizi of " S. Francis receiving the Stigmata." Hizi, Francisco, born at Madrid (1608-1685). Pupil of Vincenzo Carducho. We have no account of his early works. On account of a picture he had painted of the Cath. of Toledo, he was appointed to the office of its painter ia 1653. In 1656 he was appointed one of the painters of Philip IV., and Charles H. gave him the key of deputy- aposentador as a reward for the "Fable of Pandora," which he had painted in the Hall of Mirrors in the Alcazar. In 1684 Charles IF. employed him to make a design for a new ■■ Itar, to be dedicated to the relic at the Escorial, known as the Santa Forma. This was a sacramental wafer which, according to its legend, was dashed by heretics from the high-altar of the Cath. of Gorcum, and trodden under foot. By this means three rents were produced, from which drops of blood issued. One of the heretics was converted by the sight, and, together with the Dean of Gorcum, he carried it to a convent at Mechlin. It was afterwards taken to Vienna and Prague, and in 1592 seut as a present to Philip II. Since that time, on fes- tival days, it has been shown, stained with the blood, " to the com- fort of CathoUc believers, and to the confusion of their adversaries." Rizi designed the altar, which was finished under his superintend- ence, and was making a sketch for a picture to be placed above it when he died; it was finished by his pupil, Claudio Coello. Many of his pictures exist in the churches of Madrid. The Royal Gall, has but one, a portrait of an unknown Knight. Many of his works are also in the National Mus. Rizzo, Antonio. This artist is first made known to us by the monument to the Doge Francesco Foscari, in the ch. of 8. M. de' Frari, at Venice. He labored here in 1457 with Pietro Rizzo, sup- posed to be his father. A new manner is foreshadowed in this, which is perfected into the full Renaissance style in a second monument to Doge Niccolb Trou in the same church. This is the work of Anto- nio, and is an enormous labor in the abundance of plastic work. There are nineteen colossal statues, besides medallions and other re- liefs. The portrait statues are true to life, though hard and angular in outline. Antonio also executed marble statues of Adam and Eve for the Doge's Pal. about 1471. Robbia, Luca della, born at Florence (1400-1481). This cele- brated sculptor was apprenticed at an esirly, Eige to the best goldsmith 510 ROBBIA. of Florence ; but he soon began to model in wax witli an ardor so unusual that it is surprising to find so little remaining of the work done before he was forty-five years old. The only memorials of that time are the bas-reliefs in the side of the Campanile towards the Duomo, and two unfinished reliefs in the Uffizi. The first represent Music, Philosophy, Geometry, Grammar, and Astronomy; Plato and Aristotle; Ptolemy and Euclid; and a man playing the lute. The unfinished ones are the Imprisonment and Crucifixion of S. Peter. In the Ufiizi are also the reliefs rjade for the balustrade of an organ in the Duomo. These were undertaken in. 1445, and most decidedly establish his claim to high rank among Italian sculptors. They suf- MADONNA IN TEKRA-COTTA. BY LUCA DELLA EOBBIA. fer nothing from theu* present position, which gives an opportunity for minute examination of them. They represent youths dancing, singing, and playing on musical instruments. It has been said that Luca studied with Ghiberti, but this needs confirmation; he how- ever learned bronze casting from some one, as he made the doors of the sacristy of the Dijomo. He executed one of the finest of the many cinque-cento tombs for the Bishop Benozzo Federighi of Fie- sole. A portion of the decorations of this tomb were enamelled tiles painted with fruits and flowers in their natural colors. In this en- amel painting Luca excelled, and he made it so prominent that it has been known as Kobbia ware, but he did not by any means invent it, ROBBIA — RODE. 511 as Vasari says, for it had been used by the ancient nations, and from time to time by the Italians also. Luca made some changes by color- ing his enamel for certain portions of the backgrounds, such as the plants, draperies, etc. He left many of these works, which are beau- tiful, but we cannot afford room to give a list of them. There are twelve medallions representing the Months, in Kensington Mus., sup- posed to have been executed by Luca for the decoration of a writing cabinet for Piero di Cosimo ae' Medici. One of the most beautiful of all these works of his is the " Coronation of the Virgin " in the altar-piece in the ch. of the Osservanza near Siena. Andrea, the nephew of Luca, had worked much with him, and by his will shared his property with another nephew, Simone, who was a shoemaker. After his death his secret of enamelling was carefully guarded by his family, and was a fortune to them. They made a system of poly- chromatic architecture. Andrea and his son, Luca II., were em- ployed eleven years in decorating the Ceppo Hospital, at Pistoja, with a frieze which represents the Seven Acts of Mercy. The effect of this enamel painting is brilliant. Pope Leo X. employed Luca II. to pave the Loggie of the Vatican with colored tiles. Gio- vanni and Girolamo, brothers of Luca II. , also worked in Robbia ware, and the latter went to France and was much employed by Francis I. in decorating his chateau de Madrid, in the Boia de Bou- logne. Robert, Louis Iieopold, born at Neufchatel (1794-1835). This artist excelled in depicting genre or real life scenes. His especial want was excellence of color. The sentiment and action of his, pic- tures is good. He -is best known by three pictures representing the life of Italy at the different seasons : that of spring is the " FSte of the Madonna del Arco; " summer is the " Reapers of the Pontine Marshes ; " winter at Venice, the " Departure of the Fishermen of the Adriatic; " the fourth was not finished, when he died ^ his own hand, sitting before his easel, in Venice. The spring and summer scenes are in the Louvre. Robetta, born at Florence and flourished about 1520. By some critics he is considered merely a goldsmith, but his prints certainly entitle him to a place among the early engravers of Italy, of which he may be called the last. He was a member of the club of artists called La Cismpagnia del Pajunla. About thirty prints remaining now are attributed to him, and are more valuable for their rarity than any other quality. Robnsti. See Tintoretto. Rode, Christian Bernard, born at Berlin (1725-1 797). The most noted native historical painter of the time of Frederick the Great. He was much employed in decorative works, by that monarch. His ceilino's at Sans Souci are among the best of them. He also left 150 etchings of little value. 512 ROELAS — ROLD AN. Roelas, Juan de las, born at Seville (1560-1625). Palomino called Roelas a doctor, for he took a degree in medicine before he determined to become a painter and went to Venice to study. After Ms return to Seville he was constantly employed, and many works of his remain in that city. His coloring was excellent, his knowledge of anatomy perfect, and his composition good. The Royal Gall, of Madrid has but one picture by him — a small one, representing Moses striking the Rock ; it is called '■ The Calabash," from a woman drinking eagerly from a gourd. In the ch. of S. Isidore at Se- ville is the picture of the death of that saint, which is considered his greatest work. The S. lago in the Mus. of Seville represents the saint as riding over the Moors, and is full of fiery spirit; it is a chef- d'cEuwe ; several other fine pictures of his are in the same collection, but some critics think the " Conception," in the Acad., better than these. Roepel, Conrad, born at the Hague (1679-1748). Pupil of Con- stantin Netscher. He painted portraits for a time, but at last de- voted himself to fruit and flower pieces. He imitated the manner of Jan van Huysum very successfully. His pictures are in the Dresden and Cassel galleries. Rogman, Roland, born at Amsterdam (1597-1685). The rare landscapes of this master are much like those of Rembrandl , and are mistaken for the works of the latter. Two of his pictures are in the Cassel Gall. He also left thirty-three plates etched carelessly with a slight hand. Rokes, Hendrik Martenz, called Zorg. Born at Rotterdam (1621-1682). It is not known with whom this painter studied, but his subjects are like those of Brower. His composition, drawing, and execution are good; better than his color. A " Fish-market," in ihe Van der Hoop Coll. at Amsterdam is one of his best works. There are also excellent kitchen scenes and similar subjects in the Louvre, Munich, and Dresden galleries. Roldan, Pedro, born at Seville (1624-1700). A member of a distinguished family, and the last of the great carvers of Spain. Among the first of his celebrated works was the high-altar in the chapel of the Biscayans in the Franciscan convent, which was exe- cuted in oak or cedar. Xi the time of the restoration of the Hospi- tal of Charity, Roldan executed an immense piece of sculpture for the centre of the retablo of the high-altar of the church. The " En- tombment of Our Lord " is the subject represented, and it has a peculiar interest as being the last fine work of painted sculpture in Spain, that can be compared with the works of Juni and Hernandez. Roldan also executed bas-reliefs in stone at Jaen for the exterior of the cathedral. His native city abounded with his works. His devo- tion to his art was such that he considered every moment lost that was spent on other pursuits. He married a lady of good birth, and ROLDAN — ROMANO. 513 lived in the country. When obliged to go to Seville, he carried a lump of clay in his hand and modelled as he rode along. Although not the best of Spanish sculptors, he had great skill in the arrange- ment of his compositions, and his figures and draperies were well studied. His daughter, Dona Luisa, became a good artist under his instruction, and was accustomed to superintend his studio and pupils. She often made valuable suggestions to her father, and upon one oc- casion, when he had made a statue which was rejected, she sug- gested to him certain anatomical differences which so altered the effect of the work that it was thought to be new, and was peaceably installed in the place for which it was intended. Her own works were principally small figures of the Virgin, the '' Adoration of the Shepherds," and kindred subjects. Several of them were presented to the King, Charles II., and he so admired them that he ordered a life-size statue of S. Michael for the ch. of the Escorial. She exe- cuted this to his satisfaction, and he appointed her sculptress in or- dinary to the King. She died at Madrid in 1704, leaving works in various churches and convents. Romanino, Girolamo, born at Rumano on t]je Serio (about 1485- 1566). It is said that he first studied under Stefano Kizzi. Before 1510 he was free of the guild of Brescia, and began to be an im- portant painter. He belonged essentially to the Venetian school, but had his marked individual modifications and characteristics. His imagination was fertile and fantastic, his pathos is sometimes wonder- ful, his details are slightly treated, so that whatever sentiment he would express is the more effective. A grand work of his is in the Manfrini Pal. at Venice, a "Dead Christ," painted in 1510; an altar-piece with several saints is in the Berlin Mus.; a "Descent from the Cross," at Dresden, is a work of gi'eat power, and though somewhat coarse, is called his chef-d' oeuvi e. His pictures are very numerous, and are seen in Brescia, Padua, and Cremona. A " Na- tivity," in the National Gall., ranks high among the works of Ro- manino. Romano, Gdulio, real name Giulio Pippi, born at Rome (1492- 1546). A favorite pupil of Raphael. While his master lived he did but few original works. He was co-heir to Raphael's estate with Gio. Francesco Peniii. When left entirely to himself, he displayed a wildness which ended in a coarseness hard to be attributed to one educated as he had been. He was also an architect, and was invited to Mantua, where he erected many palaces and churches. In that city he attracted much attention, and was surrounded with pupils who executed many rich decorations under his direction. After the death of Sangallo he was appointed architect of S. Peter's, but died at Mantua while preparing to go to Rome to assume his office. Among other works of his at Mantua, the famous Palazzo del Te gained him much reputation, but it is only wonderful as regards the 514 ROMANO — ROMNE Y. immensity of labor performed; when considered in detail it is want- ing in power, and in many respects emphatically coarse. The fres- coes of scenes from the history of Rome in the Villa Lanti, and a frieze in an upper saloon of the Farnesina, executed before he left Rome, are his best works of this kind. A fine altar-piece, painted originally for the Fugger family of Augsburg, is above the high-altar of S. Maria dell' Aniraa at Rome; another altar-piece, in S. Stefano at Genoa, represents the martyrdom of the saint, and is an impor- tant work; it was painted very soon after Raphael's death; these are the best of his large religious pictures. The easel pictures of Giulid Romano are not numerous, neither can any be spoken of as very excellent. A few are in private collections in England, and the Louvre and Manfrini galleries have several. Professor T. Phillips speaks thus of his style : " Day and night are commixed in his effects; lights and darks are arranged at will, and often in total violation of the principles of nature. Colors are heaped together of the most vivid hues, such as sunshine or the prism only can produce, accompanied by shades of deeper color, or of the blackest night; while the lights anc^ shadows are frequently interrupted in their course without any possibility of assigning a reasonable cause. Its brilliancy and vigor have acquired for it too much applause from that portion of the world which has given its attention to pictures. Its great defects have been overlooked because of the beauties and the power of imagination united with them, but which in reality they obscure or deform." He also calls it "an evil art founded on art, and at variance with nature." It is a regret that some prints still exist which were engraved by Marc Antonio after the designs of Giulio, and are of so vUe a character as to be revolting to every sense of decency. They are accompanied by sonnets from the pen of Aretino, which are, if possible, more disgusting than the prints. Rombouts, Theodore, born at Antwerp (1697-1637). Said to have studied under Abraham Jansens. In 1617 he went to Italy, where he painted historical works successfeilly. Houbraken gives an account of his attempted rivalry of Rubens, but this lacks confirma- tion. He had many excellences, and fine feeling for composition and beauty. His execution was finished, but his flesh colors were too brown and heavy. His pictures are few. His chef-d'muvre is a " Descent from the Cross," in the Ghent Cath. The Antwerp Mus. has an interesting work of his which represents S. Augustine enter- taining Christ in the garb of a pilgrim. Romeyn, 'Willem. Flourished 1660-1680. A painter of land- scapes with animals, who imitated Du Jardin successfully. His love of nature was pure, his drawing good, and his composition picturesque. His works are in the Munich, Dresden, Berlin, and Amsterdam galleries. Komuey, George, born in Kendal, Lancashire (1734-1802). nOMNEY — ROSA. 515 The private life of this painter was peculiar. He married before going to London, and lefl his family in Kendal, visiting them but twice in thirty-seven years. In 1799 he returned to them for the remainder of his days. In London he rapidly rose to fame and fortune, and in 1773 went to Italy, where he remained two years. His best points as a painter were vigorous drawing and expressive form. He divided the honors of portraiture with Sir Joshua Rey- nolds, whose color surpassed that of Komney. Flaxmau praised him in high terms. His best efibrts were poetical subjects and cartoons; many of the latter have been destroyed. His works are in the Fitz- william Mus., Cambridge, and in the Royal Institution, Liverpool. Roos, Heinrich, born at Ottendorf in the Palatinate (1631-1685). Pupil of Julien Du Jardin and Adrian de Bye. He settled in Prank- fort in 1671, and passed the remainder of his life there. His pictures are landscapes with animals; he often introduced ruins, fountains, etc. While his painting cannot be compared with that of Adrian van de Velde or Paul Potter, it is yet admirable. His feeling for nature was refined, the drawing of his animals excellent, and his composition agreeable. His sheep were better than his cattle. Color was his weakest point, therefore his etchings, forty-two in number, are finer than his pictures; they are rare and much prized, and as an etcher he ranks with the best Dutch painters. His animals are truthful, his foreshortening admirable, and his success in represen't- ino- the peculiar coats of the different animals is wonderful. His chiaro-scurb is also gbod. His works are in the Munich, Dresden, Vienna, and BerUn galleries, and in the Stadel Institute at Frankfort. Roos, Philip, called Rosa di Tivoli, born at Frankfort (1655- 1705). Son and pupil of the preceding. He settled at Tivoli, and painted life-size figures and animals in a decorative style; they are not aoreeable. His subjects were sometimes historical, as that^of Noah surrounded by all kinds of animals, now in the Dresden Gall. In the Vienna Gall, there is a view of the Falls of Tivoli, which is powerful in color. The Gall, at Cassel has some of his best pictures. RoBa, Anna di, born at Naples (1613-1649). A pupil of Francesco di Rosa and Massimo Stanzioni. She ac- quired a good reputation as an historical painter, and married Agostino Beltrano, a fellow-pupil, who murdered her in a fit of jealousy. She was noted for her beauty as well as for her talent. It is now quite impossible to speak intelligently of her works, as she labored conjointly with Stanzioni and with Beltrano. Rosa, Salvator, bom near Naples (1615-1673). This painter was a man of varied talents, and was a poet and musician besides being a wonderful artist. His father was an educated man, and en- coursiged his son in his tastes for art; he had also a relative who was an artist and assisted him in his pursuits. His masters were Spagn-' olettc and Aniello Failcone. In 1635 he went to Rome, and, with 516 ROSA. the exception of intervals passed at Viterbo, Volterra, and Florence, he resided there until his death. It is said that in his youth he asso- ciated with bandits, and there is an element in his representations of wild scenery and the men he pictures in its midst, that leads us to believe that this is true. He certainly painted the portrait of Ma- saniello more than once, and is said to have joined the Cumpagnia delta Morte, of which Aniello Falcone was captain. He made many enemies by his independence and his satirical proclivities. He wrote satires on Music, Poetry, Painting, War, Babylon, and Envy, and though they were not published until long after his death, it was well known tliat he had written tliem, during his life. He married a Flor- entine woman, who had been his housekeeper, only a few days before his death. She had borne him two sous, one of which, Augusto, alone survived him. He was buried in the ch. of S. Maria degU Angeli, where a monument is erected to his memory. The pictures of Salvator Rosa are historical, genre, and landscape subjects, and he was not inferior in portrait painting. In the first and last (historical and portraits), he followed the Naluralisti, and yet some of his his- torical works are impassioned; but his landscapes are his character- istic works. Jagged rocks and mountains, wild dells and lonely de- files, with here and there robbers, hermits, or soldiers, make his most effective pictures. There is a deep sense of desolation and almost fear in them, that is most impressive. Again his views are as quiet and simply serene as those of Claude, while the figures are the inter- esting element, and are full of poetic feeling and fantastic couc*J)tion ; but in spite of all his varied gifts, and in spite of the degree of ex- cellence which attended all his efforts, it is in his wildest and loneliest pictures that he speaks most to me : they are the expression of him- self; the others are the expression of his remarkable acquirements. Perhaps his best historical work is the " Conspiracy of Catiline," in the Pitti Pal. In the same place there is a portrait of a man in ar- mor, with a wild gloominess in it which makes it fascinating. There is also a battle piece of his in the Pitti, btit there is a better one in the Louvre. The Augsburg Gall, has some of his best landscapes. The Vienna Gall, has a good representation of a " Warrior doing Penance," and tlie Berlin Gall, has a sea piece; so we see him under all aspects, and never without power. Many works of his are in private collections in England. They can be purchased now only at enormous prices. His etchings, of which he left about ninety, are masterly in execution and have great expression in the heads, while the chiaro-scuro is well managed. ENGRAVINGS AFTER THE WORKS OF SALVATOR ROSA. Engraver, Browne, John. Apollo and the Muses granting Lon- gevity to the Cumsean Sibyl. S. John preaching in the Wilderness. Engraver, Ckcchi, Gio. Battista. Catiline's Conspiracy. ROSA — ROSASPINA. 517 Engraver, Goupy, Joseph. S. Philip baptizing the Eunuch. S. John preaching in the Wilderness. A set of eight Landscapes. Engraver, Grignon, Charles. Phryne and the Philosopher Xe- nocrates. Engraver, Michel, Jean Baptiste. The Prodigal Son. Engraver, Ossenbeck, Jan van. Some large prints which are scarce. ^ Engraver, Parizeau, Philip. An Assembly of Roman Soldiers. Marius seated on the Ruins of Carthage. Engraver, Pbeislkr, John Martin. Jonas preaching to the Nin- evites. Engraver, Ravenet, Simon Francis. The Prodigal Son. Phryne tempting Xenocrates. From his own Designs, engraved by himself. A set of sixty-two prints of banditti, soldiers, and other figures ; single and in groups. The Fall of the Giants. The Death of Attilius Regulus. The Finding of (Edipus. Demooritus meditating. The Execution of Polycraies. Glaucus and Sylla. Jason charming the Dragon. Alexander with Apelles. Alexander and Diogenes. Diogenes throwing away his Bowl. Plato discoursing with his Disciples. Apollo and a Nymph. A print called " The Genius of Salvator." A set of six plates in the form of friezes, with Tritons, Sea Nymphs, etc. Engraver, Stkange, Sir Robert. Belisarius; 1757. Laomedon, King of Troy, detected by Neptune and Apollo; 1775. Engraver, Wood, John. A Mountainous Landscape. Rosalba, Carriera, born at Chiozza (1675-1757). She accom- panied her brother-in-law, Pellegrini, to Paris, where she was much employed in portrait painting, and numbered the royal family among her sitters. Her pictures have many excellences in the heads, but are weak in the busts, arms, and drapery. From over application she lost her sight, and was blind several years before her death. Rosaspina, Francesco, born at Bologna (1760-1841). A dis- tinguished engraver. He was an excellent imitator of Bartolozzi, and has been by some writers compared to Morghen. He certainly suc- ceeded remarkably in rendering the peculiarities, and excellences of the different painters from whom .he copied. 518 ROSELLINO — EOSSI. Roselliuo, Bernardo (1409-1470). This architect was employed by Nicholas V. to restore the palaces of ancient Rome, and to build palaces at Orvieto and Spoleto and baths at Viterbo. This Pope had also conceived the idea of reconstructing S. Peter's and enlarging the Vatican, so as to make an immense monastery, or a little city by itself, especially for the servants of the church. He had asked Rosellino to make him a plan for all this, but death ended his schemes, and although the artist found another patron in the famous Piccolomini, Pius II., he was intent only upon the improvement of Pienza, his na- tive place. Rosellino there built a cathedral, a palace, a canonica, and a municipal palace. This architect also built the Piccolomini Pal. at Siena, and various other architectural works in that city. Bernardo found some time to devote to sculpture, and executed several elabo- rate monuments ; but two of his choicest works in this way are a bust of the young S. John, and a portrait bust of Battista Sforza, both in the UfBzi Gall. Rosellino, Antonio (1427-1490). Called Antonio del Prooon- solo from the quarter of Florence in which he was born. He was a fine sculptor and is said to have studied under Donatello, but his style resembles Ghiberti. Tlie expression of his faces was full of sweetness and grace ; he had also dignity of treatment combined with delicacy. Some of his best works were the monument to Card. Portogallo at S. Miniato, near Florence ; that of Mary of Aragon in Monte Oliveto at Naples ; a relief of the " Nativity," over an altar in the same ch., and a relief of the "Adoring Madonna," in the Uffizi. There are smaller works by Antonio in the oh. of Santa Croce at Florence, in the Cath. of Prato, and in the Uffizi. RoBselli, Cosimo, born at Florence (1439-1506). This artist exe- cuted large frescoes which are still preserved. He is not by any means an incomparable painter, for his compositions are crowded and wanting in effective unity. Here and there his figures have d^- nity and grandeur, and he has some skill in details. His best work is in the ch. of S. Arabrogio at Florence, and represents the " Mira- cle of the Sacrament." Sixtus VI. employed him in the decoration of the Sixtine chapel, where his best effort was the " Sermon on the Mount." It is said that Cosimo realized his incompetency when compared with the other painters employed there, and used much gold and ornamentation in order to please the untrained eyes of the Pope. He succeeded in his wish for the time, but his reputation gains nothing by the ruse. Rosselli, Matteo, born at Florence (1578-1650). There are many good works by this painter in his native city, and he became a very popular teacher of painting. The " Triumph of David," in the Pitti Gall., is one of his best pictures. Rossi, Properzia de', born at Bologna (1490-1530). The one Italian sculptress. She was born about a year after the return of ROSSI. 519 her father from the galleys, where he had passed eighteen years, • having been condemned for manslaughter. She seems to have in- herited a violent temper, and was twice arraigned in court for dis- playing it. Antonio Galeazzo Malvasia de' Bottigari was her de- voted lover, and did not man-y until long after her- death. She was very beautiful. ■ When Pope Clement VII. visited Bologna in 1530, he desired to see her, but she had died a few days before. She was instructed in drawing by Marc Antonio Raimondi, and first devoted herself to intaglios so minute as to require great delicacy of handling and vast patience. She carved a glory of saints on a cherry-stone, upon which sixty heads may be counted. This is in the cabinet of gems at the Uffizi. Other microscopic works executed for Count Camillo Grassi are preserved by his descendants in the Palazzo ManUi. She next turned to arabesques, marble ornaments, lions, griffins, vases, eagles, heads, etc. She modelled the bust of Count Guido Pepoli now in the sacristy of the basilica of S. Petronius. She was employed to assist in finishing the reliefs about the portal which Giacomo della Querela had left unfinished. She also executed two bas-reliefs now in the sacristy, which represent " Joseph and Potiphar's Wife," and " Solomon receiving the Queen of Sheba." Her later works seem to have been much influenced by her contact with II Tribolo, but are still interesting. Rossi, Francesco. See Salviati. Rossi, Rosso de', called by the French Maitre Boux, bom in Florence (1496-1541). This painter was 'an imitator of Michael Angelo and Andrea del Sarto. After painting in several cities of Italy he went to France, and was employed at Fontainebleau by Francis I. He was an agreeable and handsome man, and became a great favorite with the King. He was well versed in poetry, music, and general literature, and was in the full tide of popularity when he was robbed of a considerable sum of money. By some means his suspicions were fixed upon his assistant, another Florentine painter, Francesco Pellegrini; the latter was put to the torture, but nothing could be proved against him, and the judges declared him innocent. Kossi suffered such acute remorse for having thus wronged an un- offending man, that he at last took his own life. His works are not numerous in Italy. There is a large Madonna and saints by him in the Pitti Pal., and a fresco in the court of the SS. Annunziata, rep- resenting the " Assumption of the Virgin." But few of his pictures remain at Fontainebleau. In the Louvre there is one of his few easel pictures, " Tlie Rival Songs of the Muses and the Pierides; " it is one of his best. Rossi, John Charles Felix, born at Nottingham (1762-1839). Principally known by his sculptures in S. Paul's Cath. The most noted are the monuments of Lords Cornwallis,,Heathfield, a^d Rod- ney. He was appointed sculptor to the Prince Regent, and em- 520 ROSSI — ROVEZZANO. ployed in Buckingliain Pal. He was also sculptor to King William IV. A TD^ -T^ Rota, Martino, born in a town of Dalmatia ■i V\\. \jj (1532 ?-1586 V) An eminent engraver whose works in good impressions ai-e now rare. Tiie '' Last Judgment," after Michael Angelo, is considered his chef-d'ceuore. After this, some of his portraits are most excellent. His " Battle of Lepanto," a stranore composition of his own, is extremely rare. There have been very exact copies made of his " Last Judgment " by other engravers. Kothenhammer, Johann, born at Munich (1564-1622). At the end of the 16 th century the northern painters had lost many of their distinctive characteristics from constant study of Italian art. Roth- enhammer had made the works of Tintoretto his models, and while he imitated them, he still preserved some traits of the German taste and style. He painted some large pictures, but his best works, and those by which he is generally known, are easel pictures, in which the figures are his, and the landscape executed by Jan Breughel or Paul Bril. His earlier works are his best. He married in Venice, and was extravag